[136524] in SIPB IPv6
Neurologist:10 second test predicts dementia
daemon@ATHENA.MIT.EDU (Becoming forgetful)
Sat Feb 1 23:43:45 2025
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Date: Sun, 2 Feb 2025 05:43:28 +0100
From: "Becoming forgetful" <Strugglingtoremember@purplebrun.za.com>
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Neurologist:10 second test predicts dementia
http://purplebrun.za.com/kF_33cewp52OJstkBck4asVC5P3w12YMF2UtySRxIvh6CqB12g
http://purplebrun.za.com/dPvIEPuyF2hKnxge6VMrM8XjpANhlXHrvzvRdyh0m9PYuc7fDQ
iable sitters in domestic settings, which could offer commissions, were dominant in the exhibitions. The subjects of the paintings were often women interacting with their environment by either their gaze or movement. Cassatt, in particular, was aware of her placement of subjects: she kept her predominantly female figures from objectification and cliche; when they are not reading, they converse, sew, drink tea, and when they are inactive, they seem lost in thought.
The women Impressionists, like their male counterparts, were striving for "truth", for new ways of seeing and new painting techniques; each artist had an individual painting style. Women Impressionists, particularly Morisot and Cassatt, were conscious of the balance of power between women and objects in their paintings – the bourgeois women depicted are not defined by decorative objects, but instead, interact with and dominate the things with which they live. There are many similarities in their depictions of women who seem both at ease and subtly confined. Gonzalès' Box at the Italian Opera depicts a woman staring into the distance, at ease in a social sphere but confined by the box and the man standing next to her. Cassatt's painting Yo
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<p><strong>If you find yourself more confused lately, forget where you left small things like your phone or your glasses.</strong></p>
<p>Words get stuck on the tip of your tongue or you don't remember why you walked into a room...</p>
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<p>New Harvard research reveals <a href="http://purplebrun.za.com/kF_33cewp52OJstkBck4asVC5P3w12YMF2UtySRxIvh6CqB12g" http:="" microsoft.com="" rel="sponsored" style="font-weight:bold" target="blank">this common household toxin</a> wipes out your memory 3x times faster...</p>
<p>Decreasing the blood flow to your brain and <strong>"violently attacking"</strong> your neurons and synapses on the hippocampus...</p>
<p>This is the part of your brain that forms episodic memories, that makes you able to think and remember, literally...</p>
<p><strong>Scientists from the National Institutes of Health warn that over 200 Americans are exposed to this toxin daily...</strong></p>
<p>And it's the primary reason why every 66 seconds someone in the United States develops Alzheimer's and 1 in 3 seniors ends up with some form of dementia.</p>
<p>Click below to find out all about it and what you can do to improve your memory:</p>
<p><a href="http://purplebrun.za.com/kF_33cewp52OJstkBck4asVC5P3w12YMF2UtySRxIvh6CqB12g" http:="" microsoft.com="" rel="sponsored" style="font-weight:bold" target="blank">Harvard: This common household toxin triggers memory loss</a></p>
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<div style="color:#FFFFFF;font-size:8px;visibility:hidden;">iable sitters in domestic settings, which could offer commissions, were dominant in the exhibitions. The subjects of the paintings were often women interacting with their environment by either their gaze or movement. Cassatt, in particular, was aware of her placement of subjects: she kept her predominantly female figures from objectification and cliche; when they are not reading, they converse, sew, drink tea, and when they are inactive, they seem lost in thought. The women Impressionists, like their male counterparts, were striving for "truth", for new ways of seeing and new painting techniques; each artist had an individual painting style. Women Impressionists, particularly Morisot and Cassatt, were conscious of the balance of power between women and objects in their paintings – the bourgeois women depicted are not defined by decorative objects, but instead, interact with and dominate the things with which they live. There are many similarities in their depictions of women who seem both at ease and subtly confined. Gonzalès' Box at the Italian Opera depicts a woman staring into the distance, at ease in a social sphere but confined by the box and the man standing next to her. Cassatt's painting Yo</div>
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