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Ada Xavier
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The following article was written by https://essays-writers.com/
The main aim of this document is to describe the approaches and strategies that my organization would take to migrate to a cloud-based environment. The paper describes and introduces the best management approaches that might enable the project manager to start the process and manage the main aspects of the program’s execution and operation. The lift and shift approach would be used to introduce the new cloud service technology. The introduction of vanilla and strawberry firewalls would be achieved from the cloud service provider. However, there are plans and strategies that the company ought to adapt to ensure that the migration is effectively accomplished. The staff in the company would, however, require training to ensure that the migration is smoothly achieved.
Plans and Strategies to Migrate to a Cloud Environment
Introduction
Despite the fact that technology has provided efficient and effective availability of the necessary solutions in IT, addressing the problems that it brings along has been hard. Therefore, there are fewer resources that might typically address the increasing demand for such problems. Due to the consolidation of data centers, the leadership of any organization ought to decide on the IT services that must be provided and the source of the provider. Cloud technology has been the best back up method for companies. However, migration to cloud environments has not been easy for some companies and some problems. Some of the problems encountered include a change in roles in the company, responsibilities, staff disruption, and disruption in the IT delivery process. Proper management strategies would, however, reduce such risks. Thus, this research helps identify the main planning factors as well as strategies to "kickstart" and scope the planning process effectively.
Approaches to Be Used
As the company intends to migrate to cloud technology, the best approach would be the lift and shift approach that involves non-premises hardware mapping of the cloud instances of resource size. In this case, the company uses a front-end application server that has 4 CPUs with 64GB RAM and 512GB ROM, they would, therefore, migrate to cloud technology that would fully or closely match the configurations of the servers (Zhao & Zhou, 2014). Migration would be done for the whole system. However, the hardware would not be required since the users would just be required to fill in their login details to access the data. Therefore, the software-defined networks and security technologies would be used; hence, the changes to be made would be on the introduction of vanilla and strawberry firewalls.
Gaps of New Technology
Although it would be beneficial to adopt the new cloud technology, some gaps would exist. The main changes to be noticed would be in the organization, processes, and governance procedures of the company (Gholami, Daneshgar, Low, & Beydoun, 2016). Although the company would follow the CISC #16 to ensure that the systems are well monitored and controlled and the CISC # 18 to ensure that provider offers software security and antivirus, it would be a challenge for the staff to access internet-based applications that would compare to the widely managed and shared data.
The current billing system is operated manually, and data is printed in the same way. To solve the changes in the core quoting and billing system, a microservice to the developers would be introduced. Introduction of a microservice would be done to a small section of the code that would require building a new version of the software. The microservice would help in coming up with an application that would suit the services and ensure that each service would be running on its own and would each be independently deployable. The microservice would act as a classical UNIX system where requests would be received, processed, and generate according. The microservice architecture would also favor the decentralized data management that would come from the previously used database.
The IT team operations would also change. Currently, the IT team operates by filling in the data by use of personal logins. However, the introduction of the new cloud system would include the introduction of DevOps. It is a process that incorporates culture and some sets of practices that would aid in faster delivery, quicker automation, improved security, as well as serving the customers better. DevOps ensures that there is a smooth flow of information between the operations of the IT team and the development team of the cloud servers. It would ensure that there is automation of the delivery tests, while the results are delivered on a continuous process (Liaqat, Ninoriya, Shuja, Ahmad, & Gani, 2016). DevOps would guarantee that although the information is delivered in a faster way, the company is also able to reach many customers, understand the complexity of the application, and quickly get the feedback.
Training Plan for the Technical Staff
The training would focus on 30 technical professionals in the company. It would adopt the new cloud technology, and the topics to be discussed would be on the changes that would be experienced from the implementation of the new cloud technology. Moreover, there would be nine training objectives that would be done covering the employment training and development. It would increase the knowledge, skills, and performance of the staff of the company. Additionally, there would be coaching on how to observe the performance of employees in relation to their job performance that would take four hours daily for a period of two days.
Day 1
TIME
SUBJECT
LOCATION
TRAINER(S)
PERSONNEL
0700-0730
Registration Continued
Hotel Lobby
TCNC Staff
HR RPS
0730-0800
Opening Remarks
Meeting Room
Various Instructors
ALL
0700-0800
Identifying Critical Elements
Meeting Room
Various Instructors
HR RPS
0800-1030
(SMART) Objectives
Meeting Room
Various Instructors
ALL
1030-1100
Break
N/A
N/A
ALL
1100-1300
Employee Training and Development Purpose
Meeting Room
Various Instructors
HR RPS
1300-1400
Break
N/A
N/A
ALL
1400-1500
Supervisor’s Role in Transfer of Training
Meeting Room
Various Instructors
HR RPS
1500-1400
Break
Hotel Lobby
NA
ALL
Day 2
0800-1000
Coaching
Meeting Room
Various Instructors
HR RPS
1000-1100
Break
N/A
N/A
ALL
1100-1300
How IDP Benefit Supervisors
Meeting Room
Various Instructors
HR RPS
1300-1400
Break
Hotel Lobby
N/A
ALL
1400-1500
Closing Remarks
Meeting Room
TCNC Staff
HR RPS
Legend:
1. HR Recruitment and Placement Specialist (HR RPS)
2. Tri-City National Capital, Inc. (TCNC Staff)
Timeline with the Milestones Required to Migrate the Systems
As planning the project implementation, the following milestones would be discussed, development of the cloud technology, pre-installation, final installation, and monitoring of the cloud technology.
Key milestones
When it takes place
Notes
Development of cloud technology
Week 6 of the project
Network and environmental planning would be carried out.
Pre-installation
Week 7-9 of the project
It would include configuration of the guide that was implemented during the development. It involves checking and updating quality assurance. The configuration guide would be applied during the preproduction environment.
Final installation
Week 10-11 of the project
The configuration guide that was updated in the preproduction phase would be applied in the final installation.
Monitoring
Week 11-15 of the project
It would include regular checkups on whether the cloud technology is working as required. Apart from that, there would be monitoring of systems and applications and also synthetic monitoring.
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Dinesh Kumar
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Part 2 of the Andy Yanchus Collection of Rare, Vintage Comic Books and Comic Art will be Sold Jan. 1
Cranston, RI, USA, December 22, 2023 -- Part 2 of the Andy Yanchus collection – 564 lots of rare and vintage comics and comic art gathered over the course of a lifetime by the renowned hobbyist – will come up for bid on New Year’s Day, Sunday, January 1st, beginning at 12 noon Eastern time, by Bruneau & Co. Auctioneers, online and live in the Bruneau & Co. gallery at 63 Fourth Avenue in Cranston.
Part 1 of the collection, which consisted of plastic models, diecast toys, American models and vintage toys from the 1960s thru the 1990s, was sold on September 17th, also by Bruneau & Co. A series of further auctions will also be conducted throughout the year, featuring more of Mr. Yanchus’s models, toys and more. Part 2 will be Bruneau & Co.’s largest comic auction to date.
Andy Yanchus was born and raised in Brooklyn and amassed his collection in his lifelong home. His passion for collecting goes back to early childhood and his love for building and displaying models led him to attend the Pratt School of Industrial Design in New York and to go on to have a ten-year career with Aurora Plastics. While at Aurora, he rose to the level of Project Manager.
Yanchus then became a staff colorist with Marvel Comics, a job he held for 17 years. He worked on Amazing Spider-Man, X-Men, Alpha Flight and G.I. Joe, among other titles. He also worked alongside Marvel great Dave Cockrum (1943-2006) and the two men became lifelong friends. Cockrum co-created the new X-Men characters Nightcrawler, Storm, Colossus and Mystique.
“Many of the books in the Part 2 sale are the highest graded examples available. We couldn’t be prouder,” said Travis Landry, Bruneau & Co.’s Director of Pop Culture and an auctioneer. “It also includes a large selection of Andy’s original artwork from when he worked at Marvel. His friendship with Dave Cockrum produced an unreleased Ms. Marvel cover they did together.”
Also offered will be Cockrum’s original ink and watercolor box art for Aurora Plastics and the Metaluna Mutant model, from the 1955 film This Island Earth. Cockrum brought the mutant to life on the 20 inch by 14 inch paper circa 1974 with an ominous red background. It’s signed “Cockrum”. The Metaluna Mutant has gained cult status over the years (est. $7,000-$10,000).
A copy of Marvel Comics Tales to Astonish #90 (April 1967), graded CGC 9.8, featuring the first appearance of the Abomination and the first Silver Age appearance of Byrrah, has a pre-sale estimate of $10,000-$15,000. The comic is one of eight known and, per the CGC census, none are graded higher than 9.8. Remarkably, it sat unbagged in Andy’s collection for over 55 years.
A copy of Gold Key Green Hornet #1 (Feb. 1967), graded CGC 9.8, based on the Green Hornet ABC television series and featuring a Bruce Lee and Van Williams photo cover, should realize $5,000-$8,000. The book is one of two in the CGC census graded 9.8, with none graded higher, and per GP Analysis a 9.8 copy has never been sold on the open market; a 9.6 sold in Dec. 2011.
A copy of Marvel Comics Marvel Premiere #28 (Feb. 1976), graded CGC 9.8, featuring the first appearance of the Legion of Monsters, is estimated to bring $3,000-$5,000. As the MCU moves into phase 5 we have already been introduced to Man-Thing, Werewolf by Night and Morbius. Per the CGC census, 25 known copies of the comic are graded at 9.8, with none graded higher.
A copy of Marvel Comics Marvel Spotlight #5 (Aug. 1972), graded CGC 9.0, featuring the origin and first appearance of Ghost Rider and the first appearance of Roxanne Simpson, has a pre-sale estimate of $3,000-$5,000. Per the CGC census, 253 are graded in 9.0; 304 are higher.
The original cover color guide to the unreleased Marvel Comics Black Panther #16 (July 1979), the stat paper page of cover artwork by Rich Buckler and Bob McLeod and hand-colored by Andy Yanchus with color codes and due date hand-written on verso, should finish at $1,000-$2,000. Jack Kirby’s Black Panther series ran to issue 15; this book was written but unpublished.
An original 1980 birthday card drawing by Dave Cockrum for Andy Yanchus’s 36th birthday, decorated with the Blackhawk team and Chop Chop holding a birthday cake has an estimate of $1,000-$2,000. The drawing is signed “Cockrum 80” and annotated, “Best Wishes from Dave and Paty!” This unique piece nicely captures the career and friendship of two Marvel legends.
A copy of Marvel Comics Rawhide Kid #52 (June 1966), graded CGC 9.8, featuring a story, cover and art by Larry Lieber, is expected to change hands for $1,000-$1,500. Per the CGC census, this is the single highest graded copy (9.8) of this Silver Age classic in the world. Also up for bid will be a copy of Marvel Comics Silver Surfer #3, graded well at 9.6
Nearly 50 comic books from Andy Yanchus’s collection were graded 9.8, while hundreds of other high-grade books were 9.0 and higher. Comic art highlights, meanwhile, will include the full story color guides to Amazing Spider-Man #238, Shogun Warriors #1 and Alpha Flight #1.
Internet bidding will be facilitated by LiveAuctioneers.com, Invaluable.com, bidLIVE.Bruneauandco.com and the mobile app “Bruneau & Co.” on iTunes or GooglePlay. Doors will open on auction day at 10 am Eastern time. Previews will be by appointment if needed. To schedule an appointment call 401-533-9980, or email to contact@bruneauandco.com.
To learn more about Bruneau & Co. Auctioneers and Part 2 of the Andy Yanchus collection slated for New Year’s Day, Jan. 1, 2023 visit www.bruneauandco.com. Updates are posted often.
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Dinesh Kumar
posted a blog.
Part 2 of the Andy Yanchus Collection of Rare, Vintage Comic Books and Comic Art will be Sold Jan. 1
Part 2 of The Andy Yanchus Collection, 564 Lots of Rare and Vintage Comic Books and Comic Art, will be Auctioned Jan. 1
A series of further auctions will also be conducted throughout the year, featuring Mr. Yanchus’s models, toys and more. Part 2 will be Bruneau & Co.’s largest comic auction to date.
Cranston, RI, USA, December 20, 2023 -- Part 2 of the Andy Yanchus collection – 564 lots of rare and vintage comics and comic art gathered over the course of a lifetime by the renowned hobbyist – will come up for bid on New Year’s Day, Sunday, January 1st, beginning at 12 noon Eastern time, by Bruneau & Co. Auctioneers, online and live in the Bruneau & Co. gallery at 63 Fourth Avenue in Cranston.
Part 1 of the collection, which consisted of plastic models, diecast toys, American models and vintage toys from the 1960s thru the 1990s, was sold on September 17th, also by Bruneau & Co. A series of further auctions will also be conducted throughout the year, featuring more of Mr. Yanchus’s models, toys and more. Part 2 will be Bruneau & Co.’s largest comic auction to date.
Andy Yanchus was born and raised in Brooklyn and amassed his collection in his lifelong home. His passion for collecting goes back to early childhood and his love for building and displaying models led him to attend the Pratt School of Industrial Design in New York and to go on to have a ten-year career with Aurora Plastics. While at Aurora, he rose to the level of Project Manager.
Yanchus then became a staff colorist with Marvel Comics, a job he held for 17 years. He worked on Amazing Spider-Man, X-Men, Alpha Flight and G.I. Joe, among other titles. He also worked alongside Marvel great Dave Cockrum (1943-2006) and the two men became lifelong friends. Cockrum co-created the new X-Men characters Nightcrawler, Storm, Colossus and Mystique.
“Many of the books in the Part 2 sale are the highest graded examples available. We couldn’t be prouder,” said Travis Landry, Bruneau & Co.’s Director of Pop Culture and an auctioneer. “It also includes a large selection of Andy’s original artwork from when he worked at Marvel. His friendship with Dave Cockrum produced an unreleased Ms. Marvel cover they did together.”
Also offered will be Cockrum’s original ink and watercolor box art for Aurora Plastics and the Metaluna Mutant model, from the 1955 film This Island Earth. Cockrum brought the mutant to life on the 20 inch by 14 inch paper circa 1974 with an ominous red background. It’s signed “Cockrum”. The Metaluna Mutant has gained cult status over the years (est. $7,000-$10,000).
A copy of Marvel Comics Tales to Astonish #90 (April 1967), graded CGC 9.8, featuring the first appearance of the Abomination and the first Silver Age appearance of Byrrah, has a pre-sale estimate of $10,000-$15,000. The comic is one of eight known and, per the CGC census, none are graded higher than 9.8. Remarkably, it sat unbagged in Andy’s collection for over 55 years.
A copy of Gold Key Green Hornet #1 (Feb. 1967), graded CGC 9.8, based on the Green Hornet ABC television series and featuring a Bruce Lee and Van Williams photo cover, should realize $5,000-$8,000. The book is one of two in the CGC census graded 9.8, with none graded higher, and per GP Analysis a 9.8 copy has never been sold on the open market; a 9.6 sold in Dec. 2011.
A copy of Marvel Comics Marvel Premiere #28 (Feb. 1976), graded CGC 9.8, featuring the first appearance of the Legion of Monsters, is estimated to bring $3,000-$5,000. As the MCU moves into phase 5 we have already been introduced to Man-Thing, Werewolf by Night and Morbius. Per the CGC census, 25 known copies of the comic are graded at 9.8, with none graded higher.
A copy of Marvel Comics Marvel Spotlight #5 (Aug. 1972), graded CGC 9.0, featuring the origin and first appearance of Ghost Rider and the first appearance of Roxanne Simpson, has a pre-sale estimate of $3,000-$5,000. Per the CGC census, 253 are graded in 9.0; 304 are higher.
The original cover color guide to the unreleased Marvel Comics Black Panther #16 (July 1979), the stat paper page of cover artwork by Rich Buckler and Bob McLeod and hand-colored by Andy Yanchus with color codes and due date hand-written on verso, should finish at $1,000-$2,000. Jack Kirby’s Black Panther series ran to issue 15; this book was written but unpublished.
An original 1980 birthday card drawing by Dave Cockrum for Andy Yanchus’s 36th birthday, decorated with the Blackhawk team and Chop Chop holding a birthday cake has an estimate of $1,000-$2,000. The drawing is signed “Cockrum 80” and annotated, “Best Wishes from Dave and Paty!” This unique piece nicely captures the career and friendship of two Marvel legends.
A copy of Marvel Comics Rawhide Kid #52 (June 1966), graded CGC 9.8, featuring a story, cover and art by Larry Lieber, is expected to change hands for $1,000-$1,500. Per the CGC census, this is the single highest graded copy (9.8) of this Silver Age classic in the world. Also up for bid will be a copy of Marvel Comics Silver Surfer #3, graded well at 9.6
Nearly 50 comic books from Andy Yanchus’s collection were graded 9.8, while hundreds of other high-grade books were 9.0 and higher. Comic art highlights, meanwhile, will include the full story color guides to Amazing Spider-Man #238, Shogun Warriors #1 and Alpha Flight #1.
Internet bidding will be facilitated by LiveAuctioneers.com, Invaluable.com, bidLIVE.Bruneauandco.com and the mobile app “Bruneau & Co.” on iTunes or GooglePlay. Doors will open on auction day at 10 am Eastern time. Previews will be by appointment if needed. To schedule an appointment call 401-533-9980, or email to contact@bruneauandco.com.
To learn more about Bruneau & Co. Auctioneers and Part 2 of the Andy Yanchus collection slated for New Year’s Day, Jan. 1, 2023 visit www.bruneauandco.com. Updates are posted often.
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dasy9ehj121
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March 9, 2022
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口紅這種東西，對於女生來說是最親密的好夥伴，不管是化妝還是素顏都離不開它瞭，今天來給大傢推薦幾款全網最火的口紅 ，2021年必入款，不管你是什麼膚色都可以輕松的駕馭超級顯白，值得藏起來慢慢看哦！
1.迪奧（Dior）#999
雖然這款口紅已經被推爆瞭，但是因為顏色非常的正，是提亮氣色又顯白的大紅色，屬於迪奧經典款，基本都是人手一隻瞭。 塗上唇以後滋潤不油膩，素顏也OK，不用擔心沒化妝就不能塗口紅。
2.聖羅蘭（YSL）#21
YSL口紅小金條21號萬年老網紅瞭！經典色！一隻永流傳,啞光質地非常棒，輕薄持久不掉色不沾杯，是YSL 唇膏的門面擔,絲絨質地，塗在嘴唇上一點也不拔幹，非常絲滑。
3.阿瑪尼#405
阿瑪尼405號色紅管唇釉算是爛番茄色的鼻祖瞭，經常斷貨，它的顏色非常正，塗在嘴唇上無敵顯白，還不挑皮，無論是薄 塗還是厚塗都非常好看，即使是黃皮黑皮也能輕松駕馭。
4.魅可(MAC)#chili
Mac 口紅Chili牛血色也太美瞭，薄塗是橘調的紅色，厚塗是霸氣的血漿色，不管是薄厚塗都非常顯白提氣質！膏體有很好聞的玫瑰花 味兒，顯色度很高！上嘴不會拔幹，滋潤度剛剛好。
5.蘭蔻（LANCOME）#196
196號色是偏朱砂橘色，橘調非常重，所以特別顯白，黃皮塗這個顏色的口紅不僅不顯黃、顯黑，還能襯得膚色白皙，持久 度也還可以。
6.香奈兒（Chanel）#58
香奈兒58號絲絨豆沙色，有著絲絨質感，上唇以後滋潤不幹澀，顏色非常受歡迎，是必入款！黃皮的妹子上妝真的有被驚艷 到。
7.紀梵希（Givenchy）#333
炒雞正的桃粉色，嫩而不嬌，媚而不俗，斬男招桃花的好手！無敵顯白顯氣色，白皮塗上氣色超好！絲絨慕斯質地，不潤但也 不會卡紋，順滑好推。
8.嬌蘭（Guerlain）#N24
這支N24 薄塗活潑元氣，厚塗正紅氣場十足，半啞光妝效讓口紅看起來不那麼油膩誇張，很有質感，黃皮女孩塗也不熒光不踩雷，每個 女孩都應該是朵嬌艷的紅玫瑰～
9.TF(TOM FORD)#16
TF16十足顯白的顏色，黃皮帶妝使用更好看，滋潤的光感不會油膩，是適合春夏的顏色，也是tf中最熱門的一款網紅色，它適合平時的淡妝搭配，而且具有青春感，適合少女妝容。
10.雅詩蘭黛（Estee Lauder）#333
雅斯蘭黛333，雖然說是啞光質地的，但是一點都不拔幹，也不會顯得唇紋深，超級好看，塗抹上比較日常，比較自然，適 合素顏，裸妝，淡妝。
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Samara Alves
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March 8, 2022
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Parimal Rajput
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February 1, 2022
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They are renowned for their extraordinary abilities, great costumes, and passion for justice. WatchMojo.com is proud to present the top 10 most influential superheroes.
#1 Superman
WatchMojoHQ was not pleased with the decision to name the number one choice for this list. But, it is hard to imagine who else it could be. The guy is super. Kal-El is the real Kal-El. His only weaknesses are kryptonite, and apparently, movie reboots. Joe Shuster and Jerry Siegel were high school students when the character was first created. In 1933, they sold it to Detective Comics, Inc., and in 1938, he was made public to America. He became the first superhero and helped to define the genre.
Do you agree with this list? What would you do if you could have someone save you from a burning house? Subscribe to WatchMojo.com to get more top 10s and learn the origins of your favorite comic-book characters.
#2 Batman
Without Batman, where would we be? He first appeared in Detective Comics #27 1939. He is the yin and yang of Superman, the secret identity of dark, brooding billionaire Bruce Wayne. He is a dark, complex, and compelling superhero. Despite not having superhuman abilities, he is a skilled detective, martial arts expert, as well as a technological genius.
Enjoy these honorable mentions before we reveal our top-ranked hero.
- The Flash (Debut 1940).
- Daredevil (Debut 1964)
Deadpool (Debut 1991).
- Green Arrow (Debut 1941).
Robin (Debut 1940).
#3 Spider-Man
This plucky underdog takes the number three spot. Perhaps the reason Peter Parker's Spider-man doesn't rank higher is his endearing imperfections and neuroses. It highlights Spider-Man’s youthfulness in contrast to his more serious peers.
In 1962's Amazing Fantasy #15, he was the first to make his debut. A radioactive spider bite allowed him to take on super-villains and also to defy a popular trend that teens were often left playing second fiddle to adults. He explored themes such as power, loss, and responsibility like most superheroes while remaining relatable to teenage readers.
#4 Wolverine
While there are many great X-Men heroes, this guy is the most powerful and coolest. Logan, a Canadian, is popular and unapologetic. He will rip you apart in just five seconds. This regenerating immortal with retractable Adamantium Claws made his debut in 1974's The Incredible Hulk #181. He has enjoyed an inexplicable amount of popularity over the years. His untanned appearance and his abrasive personality made him a sought-after actor for film adaptations.
#5 - Hulk
Although a bit inarticulate, this gigantic green smashing machine is enduringly loved through many decades and media adaptations. This Gamma-ray-fueled, Gamma ray-fueled berserker was the comic book's equivalent to a berserker car. He made his debut in 1962 with The Incredible Hulk #1. Bruce Banner must keep his cool, or "the other guy" will show up. The other guy is always in a bad mood and displays limitless strength as well as an insatiable desire to take down everything.
#6 Iron Man
The billionaire playboy philanthropist made his debut in 1963's Tales of Suspense #39. He then changed his look in issue #48. He could be called Marvel's Batman-Esque counterpart, but Iron man does it much better and with a lot more fun. Tony Stark is more than just a party animal. After being severely injured and kidnapped, Tony Stark has a sudden change of heart. He uses his knowledge to create incredible armor suits that he can use to defend the world.
#7 Captain America
Steve Rogers, the latest Marvel Superhero, has his own movie franchise. He was a soldier in World War II who was enhanced with super-soldier serum, first seen in Captain America Comics #1, 1941. This hero is best known for his distinctive headgear and invincible shield. He was also frozen when he crashed-landed in the arctic during World War II. He is now a symbol of American dreams, having been discovered and revived. The one that gives you everything in a single day, and doesn't require you to work. Cap's military experience made him an expert tactician, making him the natural choice to lead the Avengers.
#8 Wonder Woman
This feminist icon is a fighter against evil since 1941's All-Star Comics #8. Unfortunately, she is the only woman on this list. However, that could change with more Thor-related developments. She is also known as Diana, Warrior Princess Amazons. She has super strength, an invisible jet, a magic lasso, an invisible tiara, and invincible bracelets. You could not ask for more. Wonder Woman, will your company go out with you? I like this superhero hometown. I love to watch that country. If you want to create your misterioso country name then you can use a country name generator it’s too easy to generator cool country names.
#9 Thor
The Thunder God is the source of this superhero's power! The hammer-wielding royal immortal made his debut in 1962's Journey Into Mystery #83. He took it upon himself, along with his half-brother Loki, to protect Earth from any threats. Thor was created by utilizing the richness and mythology of Norse mythology in order to be a hero unlike anyone else. He was finally portrayed on the big screen by Chris Hemsworth.
#10 Green Lantern
We start with a superhero name generator who has a lifetime JLA membership. Another DC superhero is the Lantern. This character can be inhabited by many characters. The most well-known is Hal Jordan, an agent for the Green Lantern Corps, an interstellar law enforcement organization. He is an intergalactic guardian who fights with pure willpower. Alan Scott was the first Green Lantern to make his debut in 1940's All-American Comics #16. Hal made his debut in 1959.
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Ulrica
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The rune in Diablo 2 Resurrected is a very important resource, and players usually get it by constantly spawning monsters. But we can also get it through synthesis. Here is a brief introduction to all the rune synthesis methods in Diablo 2 Resurrected and the materials that need to be used.
#2 to #10
To synthesize this range, you only need to put 3 same low-level runes in the box and click synthesize to get the upper rune. For example, three #6 runes can be directly synthesized into one #7 rune.
The drop probability of low-level runes below #10 is quite high. If you can't brush runes in this range in the early stage of Diablo 2 Resurrected, you can pick up more low-level runes and synthesize them directly. However, if you want to synthesize more advanced runes, using them to synthesize consumes too much, is time-consuming and laborious, so it is completely unnecessary.
#11 to #16
The rune synthesis of #11 and above cannot be directly synthesized from 3 same runes (like #2-#10)to the upper-level rune. Each synthesis requires the addition of one specific gem, and the materials for the synthesis of #11 to #16 are chipped gems of different colors.
For example, three #10 runes and 1 broken topaz can be combined into a #11 rune, the order of colors is chipped yellow, purple, blue, red, green, and white. Many of the more practical Runeword can use runes in this range, and they are also commonly used as inlays. These runes can be properly reserved, if the inventory is not particularly large, it is not recommended to synthesize upwards.
#17 to #22
The drop probability of runes in this range has begun to decrease. If you brush a lot of runes around #20, you only need to keep a part of them for spare, and it is recommended to synthesize the rest to #22 or more. It is similar to the synthesis formula of #11 to #16 runes, except that the materials that need to be used are upgraded from chipped gems to flawed gems.
For example, three #20 runes + one flawed gem can be combined into a #21 rune, and the combination of #22 and above runes (including #33 runes) only needs to consume two lower-level runes, such as two #21 runes + a flawed white gem can be synthesized into a #22 rune. The color order of gems is flawed yellow, purple, blue, red, green, and white.
The way to synthesize #33 rune in Diablo 2 Resurrected
#23 to #28
This range can be said to be an intermediate rune. For example, #24 rune (the function is to increase MF) is a more commonly used rune, #28 rune is also a very valuable rune, can be used to make "Dragon", "Fortitude" and so on.
Players who like to knock stones (RR) usually have a lot of #26 runes, so the synthesis formula of this range is also very commonly used. The synthetic material becomes regular gems, and the color order of the gems is regular yellow, purple, blue, and red, green, white. For example, two #23 runes + a square purple gem are synthesized a #24 rune.
#29 to #33
Runes larger than #28 are extremely rare advanced runes, which can be used to make some very powerful advanced Runewords. For example, the two Runewords "Enigma" and "Infinity" which are necessary for many later gameplays need to be used these high-level runes.
The synthesis formula of #29 to #33 runes is still synthesized with two runes and gems, using the flawless gems yellow, purple, blue, red, and green respectively, such as two #29 runes + one flawless purple gem synthesize a #30 rune. The drop rate of high-level runes is very low, so unless there is a specific need, it is not recommended to use the more useful #30 and #31 runes to synthesize the upper-level rune under other circumstances.
The above is the synthesis method of all runes in Diablo 2 Resurrected. Generally speaking, it is to use some low-level runes to synthesize the high-level runes we need. At Diablo 2 Resurrected, each type of low-level rune we can keep some. After all, it is very expensive to synthesize from runes below #20 to high-level runes, and it is not realistic. Interested players can calculate how many #1 runes we need to synthesize #33 runes. Players who don’t want to spend time synthesizing can directly Buy Diablo 2 Resurrected Items on MMOSO, price cheap and delivery fast.
Article from: Can #33 rune really be obtained through the synthesis in Diablo 2 Resurrected?
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Isyana Waraswati
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Kartu yang belum pendaftaran kagak sanggup menyelenggarakan komunikasi tercantum panggilan telepon, menyuplai SMS bersama browsing Internet terhitung pengisian pulsa. Apabila periode batas waktu habis, bersama nomor SIM prabayar belum diisi balik pulsanya, kemudian nomor itu bakal gosong.
Ikuti teknik tinjau Nomor Pokok Kependudukan (NIK) yang tertera buat pendaftaran nomor telepon pintar (hp), cakap memanfaatkan kartu Telkomsel, Indosat, Tri, XL dan lain sebagainya. Metode tinjau NIK di kartu Telkomsel, Indosat, Tri, XL dan lain sebagainya ini berarti buat melihat apakah NIK Kamu terpakai oleh orang lain ataupun kagak.
Klien operator seluler di Dalam Negeri perlu mencantumkan NIK jika membeli/mengaktifkan nomor SIM card operator seluler. Tujuan pendaftaran NIK ialah buat memberikan proteksi bagi publik kepada bermacam-macam pengecohan yang lumrah dicoba positif melalui SMS alias telepon bersama kriminal lain, meminimalkan penyalahgunaan nomor, juga buat mengarah single identity number.
Nah, konsumen sejatinya mampu mengontrol melewati handphone-nya tiap-tiap, apakah NIK mereka telah tercatat di kartu SIM operator spesifik ataupun kagak. Salah 1 faedahnya yaitu buat mengerti apakah NIK kita dibubuhkan di nomor telepon yang kagak diketahui maupun kagak.
Lalu seperti apa cek registrasi kartu yang tercantum di operator seluler kayak Telkomsel, Indosat, Tri, XL dll? Selanjutnya ialah teknik tinjau NIK yang tercantum di kartu SIM operator-operator seluler di Tanah Air Kita, diambil KompasTekno kepada account Instagram sah Departemen Kominfo.
Konsumen lama positif Telkomsel, XL Axiata, Indosat, Tri, alias Smartfren jua sanggup menginventarisasi olak lewat SMS ke 4444. Pemakai Indosat, Smartfren, beserta Tri sanggup mengirimkan SMS dengan struktur: ULANG#16 digit NIK#16 digit nomor KK#. Konsumen XL sanggup mengirimkan SMS dengan struktur: ULANG#16 digit NIK#16 digit nomor KK. Pemakai Telkomsel sanggup mengirimkan SMS dengan pola: ULANG16 digit NIK#16 digit nomor KK#. Tidak Cuma lewat SMS, pemakai pula mampu melangsungkan pendaftaran dengan web situs tiap-tiap operator, maupun via gerai-gerai operator seluler.
Butuh dicatat, tiap operator seluler ada trik periksa NIK yang tercatat yang berbeda-beda. Ikuti sepenuhnya selanjutnya ini. Metode kontrol NIK yang tercatat di kartu Telkomsel: Telepon ke 188 Teknik kontrol NIK yang tertera di kartu Indosat: Datangi myim3 indosatooredoo com/ceknomor/index alias SMS ke 4444 dengan struktur INFO#NIK. Teknik kontrol NIK yang tercantum di kartu XL Axiata: USSD dengan struktur *123*4444# Trik lihat NIK yang tertera di kartu Axis: Sambangi axis co id/cek-nik Trik lihat NIK yang tercantum di kartu Tri (3): SMS ke 4444 dengan pola STATUS Teknik periksa NIK yang tercatat di kartu Smartfren: SMS ke 4444 dengan pola LIHAT Tidak Cuma cara-cara di sehubungan, konsumen serta mampu mengontak client service alias mendatangi kedai sah per operator buat lihat NIK dan juga bermacam keadaan terikat yang lain.
Salah 1 yang mampu dicoba di kedai operator seluler ialah menerapkan sistem "UNREG" bila NIK kita nyatanya tertera di nomor handphone orang lain, agar tak disalahgunakan buat kondisi yang tak di idamkan.
Demikianlah cara cek registrasi kartu periksa NIK yang terpakai buat himpunan kartu Telkomsel, Indosat, Tri, XL, Smartfren, Axis dan lain sebagainya. Buru-Buru UNREG jikalau NIK Kamu dipakai oleh kartu yang tak terkenal.
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Carla Cain
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Today’s art mostly explores the same objects and questions as the art of the previous centuries did. Besides, the worldview shift in the today’s society presupposed the reconsideration of some basic objects of art. For example, the growth of women’s social influence made possible to transform the way, in which female bodies are traditionally represented in art. While during the previous centuries, when patriarchal social order was undoubted, females were objectified and thus treated with the primary regard to their beauty and pleasure provided by them (and their look) to males, today females are treated as persons equal to males, whose social position does not depend on any patriarchal evaluation. Today, the patriarchal stereotypes need appropriate criticism that lays in adequate reconsideration of female bodies. One of the best ways to show that females are not objects created for the pleasure of males is to demonstrate females in untypical contexts that exceed any gender limitations https://best-essays-sites.com
As an example of the today’s art opposing to patriarchal stereotypes, I would use an artwork of Tatiana Parcero Re-Invento #16, a great piece of today’s feminist art, which I have seen in the Jordan Schnitzler Museum of Art at the University of Oregon. The artwork describes a young naked woman whose breasts are covered by her hands. The woman’s white figure is contrasted to the black background, while the figure is surrounded by different white passages of the text. As follows from the description provided in the museum, the idea of the artist (the young woman in the picture is actually the author) is to show how her body can serve as a version of the universe surrounded by different stories. In this way, Parcero’s artwork has a metaphorical meaning that presupposes the conceptual analysis through the prism of the today’s tendencies, connected with the problems of gender and female body in today’s art.
Before the rise of the feminist movement that underlined the importance of patriarchal worldview’s reevaluation, females had been generally objectified and used in art just as beautiful bodies or even beautiful things. For example, Berger claims that in the majority of the world’s visual art, “Men act and women appear. Men look at women. Women watch themselves being looked at”. Thus, Berger emphasizes that female body’s beauty has been so important traditionally, that not only men, but even women perceived themselves as visual objects in such social context. According to Solnit’s considerations, the history of art can be reflected by the problem of female body’s relation to beauty, while the today’s claims of the feminists express the idea that “the object has dangerous agency and more dangerous porosity and is not necessarily interested in pleasing”. In other words, the transformation of the worldviews along with women’s ideological success made it possible to reach the equality between the interests of both males and females, and thus the female bodies cannot be understood as objects anymore. Besides, it is clear that the reconsideration of the previous concepts cannot just come through the denial of the latter. The today’s ideological conditions need some relevant forms of art that would express the dominant revised concepts of the today’s ideology in some new visual forms. Perry provides one example of such visual reconsideration of women’s image: “works such as Female Rejection Drawing of 1974… were produced as attempts to resist the objectification of women by developing geometric and flowerlike forms, which evoke female genitalia”. According to Perry, such pictures were provided as the attempts to express “both strength and vulnerability” of women. In fact, such approach served as a good attempt to replace the previously promoted stereotypes concerning female bodies (for instance, female genitalia as a supreme point of difference between males and females) through the prism of their multidimensional specifics apart from the patriarchal stereotypes. The same objective appears as the primary aim of Parcero, whose depiction of the female body is free from any traditional stereotypes. I suppose that Parcero tries to demonstrate the equality of all people in her artwork (with no regard to their gender or any other criterion of difference) in their relation to the universe, which includes everything and thus transcends any difference. Certainly, all people are different, but this diversity should not imply any inequality between them. I suppose that the diversity is expressed in Parcero’s artwork by the text placed around her figure: each person may have her or his own story expressed in this way, but each story is equally important. In this way, it seems to me that Parcero transcends the gender differentiation and avoids female bodies’ objectification through her appellation to a broader context of the universe, which equalizes all people with no regard to their diversities.
Through the prism of the analysis provided, the main Parcero’s point was to show that her body exceeds the limitations of gendered thinking. The understanding of the female body as a universe (while the universe is total) presupposes the negation of any gender duality or even plurality: the idea of gender differences becomes too vague for any differentiation. Thus, Parcero’s example demonstrates the realization of today’s tendencies oriented against the patriarchal objectification of women’s bodies. In the case when a female body is equal to the universe, males lose their privileged status of the observers of naked women and treat females in the gender-free context.
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Carla Cain
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October 25, 2021
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Female Body’s Reconsideration in the Today’s Art
Today’s art mostly explores the same objects and questions as the art of the previous centuries did. Besides, the worldview shift in the today’s society presupposed the reconsideration of some basic objects of art. For example, the growth of women’s social influence made possible to transform the way, in which female bodies are traditionally represented in art. While during the previous centuries, when patriarchal social order was undoubted, females were objectified and thus treated with the primary regard to their beauty and pleasure provided by them (and their look) to males, today females are treated as persons equal to males, whose social position does not depend on any patriarchal evaluation. Today, the patriarchal stereotypes need appropriate criticism that lays in adequate reconsideration of female bodies. One of the best ways to show that females are not objects created for the pleasure of males is to demonstrate females in untypical contexts that exceed any gender limitations.
As an example of the today’s art opposing to patriarchal stereotypes, I would use an artwork of Tatiana Parcero Re-Invento #16, a great piece of today’s feminist art, which I have seen in the Jordan Schnitzler Museum of Art at the University of Oregon. The artwork describes a young naked woman whose breasts are covered by her hands. The woman’s white figure is contrasted to the black background, while the figure is surrounded by different white passages of the text. As follows from the description provided in the museum, the idea of the artist (the young woman in the picture is actually the author) is to show how her body can serve as a version of the universe surrounded by different stories. In this way, Parcero’s artwork has a metaphorical meaning that presupposes the conceptual analysis through the prism of the today’s tendencies, connected with the problems of gender and female body in today’s art.
Before the rise of the feminist movement that underlined the importance of patriarchal worldview’s reevaluation, females had been generally objectified and used in art just as beautiful bodies or even beautiful things. For example, Berger claims that in the majority of the world’s visual art, “Men act and women appear. Men look at women. Women watch themselves being looked at”. Thus, Berger emphasizes that female body’s beauty has been so important traditionally, that not only men, but even women perceived themselves as visual objects in such social context. According to Solnit’s considerations, the history of art can be reflected by the problem of female body’s relation to beauty, while the today’s claims of the feminists express the idea that “the object has dangerous agency and more dangerous porosity and is not necessarily interested in pleasing”. In other words, the transformation of the worldviews along with women’s ideological success made it possible to reach the equality between the interests of both males and females, and thus the female bodies cannot be understood as objects anymore. Besides, it is clear that the reconsideration of the previous concepts cannot just come through the denial of the latter. The today’s ideological conditions need some relevant forms of art that would express the dominant revised concepts of the today’s ideology in some new visual forms. Perry provides one example of such visual reconsideration of women’s image: “works such as Female Rejection Drawing of 1974… were produced as attempts to resist the objectification of women by developing geometric and flowerlike forms, which evoke female genitalia”. According to Perry, such pictures were provided as the attempts to express “both strength and vulnerability” of women. In fact, such approach served as a good attempt to replace the previously promoted stereotypes concerning female bodies (for instance, female genitalia as a supreme point of difference between males and females) through the prism of their multidimensional specifics apart from the patriarchal stereotypes. The same objective appears as the primary aim of Parcero, whose depiction of the female body is free from any traditional stereotypes. I suppose that Parcero tries to demonstrate the equality of all people in her artwork (with no regard to their gender or any other criterion of difference) in their relation to the universe, which includes everything and thus transcends any difference. Certainly, all people are different, but this diversity should not imply any inequality between them. I suppose that the diversity is expressed in Parcero’s artwork by the text placed around her figure: each person may have her or his own story expressed in this way, but each story is equally important. In this way, it seems to me that Parcero transcends the gender differentiation and avoids female bodies’ objectification through her appellation to a broader context of the universe, which equalizes all people with no regard to their diversities.
Through the prism of the analysis provided, the main Parcero’s point was to show that her body exceeds the limitations of gendered thinking. The understanding of the female body as a universe (while the universe is total) presupposes the negation of any gender duality or even plurality: the idea of gender differences becomes too vague for any differentiation. Thus, Parcero’s example demonstrates the realization of today’s tendencies oriented against the patriarchal objectification of women’s bodies. In the case when a female body is equal to the universe, males lose their privileged status of the observers of naked women and treat females in the gender-free context.
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