La musique originale est composée par Hervé Noury. La palette des paysages uniques de Chefchaouen, de Merzouga, de Todga, de Marrakech et d'autres lieux magnifiques aux couleurs vibrantes se retrouve en harmonie avec « les tableaux vivants », créations de Larissa Noury, designer-coloriste, et de Jean -Marie Pujol, couturier-styliste. Elle est photographiée par Mohammed Taghzout, ancien professeur d'arts plastiques d’Oujda et par le photographe-vidéaste Bouayad Imounachen. Tableaux Vivants: Peinture Tactile & Haute Couture.Ĭette vidéo est composée de photos de paysages marocains, de peintures tactiles et de performances avec les robes peintes par Larissa Noury. Me, I structure modern dresses with my tactile colors and color plays a particularly unique role here,” explained Larissa. "A dress as I conceive it is an ephemeral architecture intended to exalt the proportions of the female body” – said Dior. Bien-tre, convivialit, originalit ou personnalit, l'allure des murs en dit beaucoup sur les membres du foyer en particulier s'il est question du salon o les passages sont rguliers. “I LOVE GOLD, IT IS A MAGICAL COLOUR, FOR THE REFLECTION OF A WOMAN IT IS A COLOUR OF THE SUN”- SAID YVES SAINT LAURENT Peinture salon : des associations de couleurs qui marchent La couleur est une instigatrice de bonne humeur dans les intrieurs. Gold is the color of luxury, absolute perfection, balance, inner illumination and even immortality. It was originally the symbol of sunlight, element of wealth and domination. This artwork is painted freehand and the dress is a continuation of colour harmony from Larissa’s paintings. It is higher than Haute Couture it is something that adds a very personal touch to a haute couture creation. LASTLY, THE PERFORMANCE OF LARISSA PAINTED DRESS “GOLDEN SUN” WAS PERCEIVED BY THE PUBLIC AS A “LIVING PAINTING”. The conference demonstrated the collaboration between couturiers and artists of the 20th century and also presented dresses created by the couturier Jean-Marie Pujol and painted in resonance with the paintings of Larissa Noury, Gold Medal of the International Lepine competition. The exhibition of renowned artist Larissa Noury’s showed her tactile painting as a source of inspiration for painted dresses created with Jean Marie Pujol, couturier. It is the collaboration between the artists and the Couturier, who designs high end fashions of high quality unusual fabric sewn with extreme care and detail. The event -Art and Haute Couture was organized by the French Colour Center (Centre Francais de la Couleur), a unique representative of the International Colour association( AIC). Ensemble doutils de jardin 3 pices 2 assortiments. Hot news!New article! La presse en parle ! #art #exhibition #colorist #conference #couleurs #mode #paris #colour #performanceĪRT AND HAUTE COUTURE – The exhibition, the conference and the performance of Larissa Noury in Paris took place in the House of Associative and Citizen Life of the very famous Latin Quarter. Salon De Jardin Prestij 4 Places + Table Noir En savoir plus 2899,00 MAD Tonnelle.
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The project brings together a multidisciplinary Consortium of 9 partners, of which 5 are SMEs, two are prominent EU Institutes and two are leading Textile and Clothing Groups.Modified: 14-06-2022 ~ Technology ~ 6 Minutes Reading The results will be demonstrated by two pilots, one focussing on the user configurable eco-certification, the second on the customisable attachment of safety e-devices. The platform will be built on the principle of Software as a Service, to maximise it’s exploitation potential. Development of an e-supply chain management platform to model the sourcing of e-devices and the concept of configurable eco-certification along the two supply chains (vertical brand chain, supply network of micro-factories). Development of a new biosensor-based screening test which can revolutionise the process of consumer health related garment components screening (fabrics, accessories, etc). Derivation of eco-efficiency and eco-logistics related prediction algorithms and web-tools enabling user configurable eco-certification, based on materials and processes information along the supply chain (yarn to garment). The Objectives are: - Development and deployment of direct-write rapid manufacturing techniques for the production of portable garment integrated microelectronics components. The challenges related to both added value aspects will be researched in order to prove these concepts within a pragmatic framework based on two distinct business/supply chain models: i) Extension of existing mass customisation model of an International Brand (Ermenegildo Zegna), ii) Expansion of an innovative mass-customisation model (micro-factories), targeting innovative SMEs. The Micro-Dress project aims to extend the limits of feasible garment customisation for men’s, and ladies’ garments, to include for the first time user-configurable wearable functionality, as well as user-selectable degree of material eco-friendliness. The project brings together a multidisciplinary consortium of nine partners, of which five are SMEs, two are prominent European institutes and two are leading textile and clothing groups. The results will be demonstrated via two pilot schemes, one focusing on user-configurable eco-certification, the second on the customisable attachment of e-devices. To support the Micro-Dress vision for the two selected business models, an e-supply chain management platform will be built on the principle of Software-as-a-Service in order to maximise its usability. To develop an e-supply chain management platform to model the sourcing of e-devices and the concept of configurable eco-certification along the two supply chains (vertical brand chain and the supply network of micro-factories).To develop a new biosensor-based screening test able to revolutionise the process of screening certain garment components created to address specific issues relating to consumer health (fabrics, accessories, etc).To derive eco-efficiency and eco-logistics-related algorithms and web-tools, allowing user- configurable eco-certification based on information relating to materials and processes along the supply chain (yarn to garment). To develop rapid manufacturing techniques to be able to directly write onto the fabric and produce microelectronics components directly woven into the articles themselves.The scientific and technological objectives of the Micro-Dress project are: On the one hand Micro-Dress will introduce mechanisms to expand the existing mass customisation model of a major international brand, while on the other, to extend an innovative mass-customisation model known as ‘micro-factories’ which targets innovative SMEs. The challenges related to the production of new customisation features will be researched within a framework based on two distinct business and supply chain models. It is located near the Inland sea of helcar (actually, near its Eastern bank). Lake Cuivenien This lake is the awakening place of the Elves. Here is the general order from Northernmost (top) to southernmost (bottom):Īnd all around of this flat world was the doors of night. It is Protected by the iron mountains, and the Isle of Almaren is South of Utumno, in the Great Lake. Compared to ormal, it was still North of Ormal, just farther away compared to its relativeness to Illuin. Location utumno, also known as Udun, was directly north of the great lamp Illuin, which it was closer to compared to the Great lamp Ormal. As the crow flies (a straight line) it is approximately 26-2800 miles from Aman. It is approximately 415-425 miles South-west from the Firth of Drengist (a Firth is a wide inlet of the sea). Directly to the north of Angband were the Ered Engrin (The Iron Mountains), and Dor Daidelos (the Regions of Everlasting cold). It is approximately 130-140 miles North-west of Thangorodrim. Location Angband is located in the Lands North of Beleriand. I will give a detailed description of the location pf each place. Those are what you want to know the location of. First realm of the Valar (before Valinor) Lake Cuivienen (birthplace of the elves)ĥ. We don't have much info about it, anyway, and Fonstad relied solely on the Professor's work when she was making it (but where he was not clear about something, she might have interpreted it in her view).ģ. I'm not much sure about it being 100% reliable, but I think it will be more or less precise. She draws there the sea of Helcar, which, interestingly, is flooding Mordor and then all the space through Dagorlad to lake Rhun, and then further to the east as far as Cuiviénen. I'm not much sure about this one, but Fonstad in her atlas puts it about the same latitude as lake Rhun, but more to the east, as if you took the distance from Misty Mountains to Lake Rhun and multiplied it twice. Maybe the original island matched even the place of later Númenor?Īnd Cuiviénen. I guess if you sought for the place using geographic coordinates, you'll find the places matching some spot between M-E and Valinor (somewhere in the sea). You simply had the world, where the only sea was in the midst, on the northern edge there was one lamp, soutwards the other, and in its middle there was the island where Valar dwelt. At the time of the Lamps, when the first realm of Valar was on the island of Almaren, Arda looked completely different than after, because the wars between Valar&Morgoth even before the coming of the Elves completely changed its face. The last three are a problem, since they are all situated to the same environment (more or less, Cuiviénen is maybe a little bit better, but the two others are quite a big problem). In that case Utumno lies practically on the pole (or, on the edge of the world) and Angband is in the southmost part of the mountains, somewhat more to the west than Utumno. In the Atlas of Middle-Earth by Karen Wynn Fonstad (quite a good tool, and I consider it quite trustworthy) Ered Engrin are pictured like some sort of circumpolar-oriented mountains (of course Middle-Earth was flat back then, so it's just half a circle). Behind the walls of Ered Engrin in the west, where they bent back northwards, Melkor built another fortress In the north of the world Melkor had in the ages past reared Ered Engrin, the Iron Mountains, as a fence to his citadel of Utumno and they stood upon the borders of the regions of everlasting cold, in a great curve from east to west. You can measure it for yourself :)Ĭoncerning Utumno, it is probably somewhere "around" (but the distance can be quite great), maybe a little bit more to the north and definitely further to the east. That's probably the closest description we have. In the Silmarillion, we are told that:īut Morgoth, as has before been told, returned to Angband, and built it anew, and above its doors he reared the reeking towers of Thangorodrim and the gates of Morgoth were but one hundred and fifty leagues distant from the bridge of Menegroth: far and yet all too near. Hopefully someone else can make the information more precise.Īngband is just outside the map in Silmarillion, I guess about the same longitude as the long vertical line is (maybe a little bit to the east. that's a little bit complicated, but I'll try to answer as best as I can. For example, Cryo library provides an implementation of immutable data structures with this functionality, it's possible to implement a lighter-weight library by, for example, extending a table with methods to return mutated versions of the table, but retaining the usual table interface We actually already have support for freezing and use it internally on various builtin tables like math, we just don't expose it to Lua.ī) It allows an easier way to expose immutable objects for consistency/correctness reasons. Reading the table fields or iterating through the table proceeds as usualĪ) It allows an easier way to expose sandboxed objects that aren't possible to monkey-patch for security reasons.Attempts to change the metatable of the table fail.Attempts to add new keys to the table fail, unless _newindex is defined on the metatable (in which case the assignment is routed through _newindex as usual).Attempts to modify the existing keys of the table fail (regardless of how they are performed - via table assignments, rawset, or any other methods like table.sort).When a table is frozen, the following is true: table.isfrozen(t): given a table t, returns a boolean indicating the frozen status fails when t is not a table. eeze(t): given a non-frozen table t, freezes it fails when t is not a table or is already frozen.This proposal proposes formalizing the notion of "read-only" tables by providing two new table functions: However, this results in iteration and length operator not working on the resulting table, and carries a performance cost - both for creating the table, and for repeated property access. To make an existing table read-only, one needs to combine these mechanisms, by creating a new table with a locked metatable, which has an _index function pointing to the old table. With this it's possible to prohibit customizations of a table's behavior, but existing fields can still be assigned to. Today it is also possible to customize the behavior of setmetatable by "locking" the metatable - this can be achieved by setting a meta-index _metatable to something, which would block setmetatable from functioning and force metatable to return the provided value. Today it is possible to customize the behavior for adding new fields by setting a metatable that overrides _newindex (including setting _newindex to a function that always errors to prohibit additions of new fields). Lua tables by default are freely modifiable in every possible way: you can add new fields, change values for existing fields, or set or unset the metatable. Note: this RFC was adapted from an internal proposal that predates RFC processĪdd eeze which allows to make a table read-only in a shallow way. At the end of the backup, the user can choose to send it via internet to a FTP server or, in case of using Windows XP, write it to a CD. After all these operations, the user is ready to create the needed backup file. The application displays useful tips on every step of the backup or restore process to help users to easy use it. Foxmail Backup Software is a perfect Solution to Convert Foxmail Emails into 20+ File. select the items to be backed up, the folder where to be backed up, the maximum size of the back up file, etc). Before making a backup, you have to set up some necessary functions in order to make the process work (eg. Sometimes newer versions of apps may not work with your device due to system incompatibilities. 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Alongside Telesdon, it tried to attack ZAP Spacy until both were defeated by Gomora. Super Ancient Monster Golza ( 超古代怪獣 ゴルザ, Chō Kodai Kaijū Goruza, 2): A monster which previously killed Mukadender.First appeared in episode 5 of Ultra Q, where it was also called by the name Mammoth Flower ( マンモスフラワー, Manmosu Furawā). Giant Plant Juran ( 巨大植物 ジュラン, Kyodai Shokubutsu Juran, 2): A giant flower which encountered the ZAP Spacy, it began to attack them until Litra fired its Citronella Acid to destroy it.First appeared in episode 26 of Ultraman Taro. Centipede Monster Mukadender ( 百足怪獣 ムカデンダー, Hyakusoku Kaijū Mukadendā, 2): Only appeared as a carcass, Mukadender's death was caused by a Golza with ZAP Spacy initially mistaking Rei's monster as its perpetrator.Freezing Monster Peguila ( 冷凍怪獣 ペギラ, Reito Kaijū Pegira, 1): Only appeared as a carcass, Rei first emerged from the monster, which eventually leads him to his first encounter with ZAP Spacy.Another Red King was summoned by Bullton as a fight representative against ZAP Spacy alongside Telesdon and Neronga before it was killed by Gomora and Litra. Skull Monster Red King ( どくろ怪獣 レッドキング, Dokuro Kaijū Reddo Kingu, 1, 7, 11): One of the earliest monsters to arrive on Planet Boris following Bullton, Red King firstly killed Sadola before setting its sight on the ZAP Spacy's Pendragon, only to be killed by Rei's Gomora.First appeared in episode 3 of Return of Ultraman. Several Sadola appeared later on in episode 5, with a total of eight killed by Kate's Fire Golza and five others in later episode were killed by ZAP Spacy. Rock Monster Sadola ( 岩石怪獣 サドラ, Ganseki Kaijū Sadora, 1, 5, 6): A monster who fought Telesdon before being defeated by Red King, therefore marking its first kill.First appeared in episode 22 of Ultraman. Another Telesdon was summoned by Bullton as its fight representative alongside Red King and Neronga but was unfortunately tricked into attacking its own allies before being killed by Gomora. It soon resurfaced and attacked the Pendragon before Rei summoned his Gomora and defeated it. Subterranean Monster Telesdon ( 地底怪獣 テレスドン, Chitei Kaijū Teresudon, 1, 2, 7): The first monster to appear in the series, Telesdon attacked Sadola before Red King joined the commotion and beaten the two, forcing Telesdon to retreat while Sadola died from its fight.Main article: List of Mega Monster Battle characters Monsters of Planet Boris While forced to wait for reinforcements, the crew must solve the mystery of this planet's background as a monster tamer named Rei, whose past remained mysterious, joined ZAP SPACY in order to learn his past.Ĭharacters Main characters Arriving on the planet, the crew was astonished to find it inhabited by monsters, with every nearby city destroyed. The crews of Space Pendragon were tasked to investigate Planet Boris after communications on that planet were mysteriously halted. ĥ0 years after the extinction of monsters, humanity had finally advanced to outer space. On July 25, 2017, Toku announced that the series (along with its second season) would air in the United States on its channel with English subtitles beginning August 31, 2017. Ultra Galaxy was the first Ultra Series to be shown as a pay-per-view service. On December 20, 2008, the second season titled Ultra Galaxy Mega Monster Battle: Never Ending Odyssey ( ウルトラギャラクシー大怪獣バトル NEVER ENDING ODYSSEY, Urutora Gyarakushī Daikaijū Batoru Nebā Endingu Odessei, Ultra Galaxy Mega Monster Battle: NEO) premiered. The show first aired on Decemand concluded on February 23, 2008. It is an adaption of the video game Mega Monster Battle: ULTRA MONSTERS. Ultra Galaxy Mega Monster Battle ( ウルトラギャラクシー大怪獣バトル, Urutora Gyarakushī Daikaijū Batoru) is the first season of its series that is the 21st entry in the Tsuburaya Productions' long-running Ultra Series. Ultra Galaxy Mega Monster Battle: Never Ending Odyssey. 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