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R~dwces mflammatton of the heart mwsck and artenosclerons.
Treats 1njectton, mfWmma/ton and anemua.
Treatment fo r photophobUJ, pterygturn and blurnd vuion.
Trelllme"t for hypoglyumio ""d dwbetes.
AwciiUJry trecztmcnt for tttanus.
Treatment for high feuerand vomitrng.
Reltews couglu tmd wheezing.
Cleun and sl~n'lilt infected wounds.
Treatment fo r epilepsy and optSthotonCJs.
Detox.tfymg agent for poisott.
Remedy for intestinal ulcus.
Stopschro"icdiorrhea.
Treatrn~nl forolnsity.fati"gue and st~ss.
T~tJ.tmenl for measles rwh.
T~atm~nt for
•mpotencc.
Relun.~s symptoms of menopauu T~atm~nt for
andmen.strual cromps.
r~atment Jordtphthuw
a"d scarlet Jet.~r.
Antitoxin fo r IIVerdtsorders.
high blood prrssure
Pnw"ts co"vulsto"s a"d s~atu res due to hwh jnJer.
NATVIIIMASACURII'o.l&&at.Y~IJCICIP'I'TNIINIADOfwasnltNCMUZAJ'IOIIL lhankfuJiy.culturaJgcnocidcisnok:Mlgera n acceptablepractlce.ThatTIME rcadcnareonthcleadingedgeol thU rK.'WaUitudeshoukl be nosurprisc.Til!CY're the pt.q1lecultural researchencall the thought leaders of Amcrica. l\:q>lewhoa.reopen to fll'W w-.1ysof thinking. N~ whatclientof yours~kln't want to talk to24 million peopLe like that ?
No. Corne on. No. Please. No. What} wrong? Nothing. Then come on. No. It'll be great. No. I know you want to. No I don't. les, you do. No. "Well, I do. Please stop it. I know you'll like it. No. Corne on. I said no. Do you love me? I don't know. I love you. Please don't. 1Vhy rwt? I iust don't want to. I bought you dinner, didn't I? Please stop. Come on, just this once. No. But I need it. Don't. Come on. No. Please. No. What} wrong? Nothing. Then come on. No. It'll be great. Please stop. I krww you need it too. Don't. Come on. I said no. But I love you. Stop. I gotta have it. I don't want to. 1Vhy not? I iust don't. Are you frigid? No. Thu gotta loosen up Don't. It'll be good. No it won't. Please. Don't. But I need it. No. I need it bad. Stop it. I know you want to. No. Don't. Come on. No. Please. No. Whats wrong? Nothing. Then come on. No. Itll be great. Stop. ~====-., Come on. No. I really need it. Stop. 1Vu have to. Stop. No, you stop No. Take your clothes off No. Shut up and do ft.:...~o_l}!:. WM1N Till MAN Of,._ DltiAMI..COMU 'ftMM WOitST ..aH1MA11L Date rape is one of those cover stories that over 24 mill ton pt..·ople could n't ignore: In fact, it ignited a natK>nal debate. ItS the kind of thingTIMEdocs. Stories that engage the reader on a more personal level by addressi ng issues that touch their li ves. Now, ca n your clients rea1 1yafrord to miss out on reader involvement and numbers like that ?
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Left: Portrait of Lonnie Duka . ''I'd rather photograph a filthy toxic waste site than shoot a self-portrait. When first requested , I thought I'd provide CA with an x-ray of my skull. or for a more colorful image, an MRI of my head, but none existed. While shooting the last assignment before leaving town, I found myself in this acoustical chamber. Under duress, and at the end of a long day (see face). I lit a shot and asked my assistant to snap a few." This page : Personal photograph , "Nude with Green Fingers." Parts of the photograph were shot with black lights. The three waitresses were photographed for a Fluor Corporation calendar. "The 52-page calendar, taken over a period of two weeks, meant shooting even during lunch breaks. These three waitresses were photographed in Florence, Italy. No, they are not contestants in the Dating Game." '"Boy in Red' is a personal study of my son, Daniel. He's not very happy to have all these weird pictures of himself floating around . This was shot in color neg and processed in E-6 ."
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1ft IHI the Arllb World t:ont-cl aiM'Oidranc•r~tMIIIIItmentprot:IHI
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COMMUNICATIO
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125
1,2,3,4: The title of this The writers of our typography Printed by Ph thesis could we books bow down in admiration il Baines at 'T ~a g~ : Y~ 11 be: 'The BA and awe: 'Typography must be cl ypo-house', b 9 sp. UHAUSmisto ear communication in its mostviv etween 9. 84 oklegibilityfo id form ... clarity is the essence and 2. 85. !~~~~~:~: rcommunicati of modern printing.' ' ... the indiv ' ... languagew ~:;~~~= 9 p. on, (it'saman' idual element-theartist'stouch hen truly com in&p.&z s world).' - is of absolutely no consequen prehended as Herbert ' •t Ce.' p"I reS tO the CO sayer : i ••• once more 1 7 n was affirmed th Anew and richer vocabulary or ndition of mu at typography a One directional (fast-fOrW 'The FALL- slovenly. sick. Jim Shel sic. By a grad ley: ina is not self-exp ards) world?' the white-gods 0 self-satisfied. sarky.•• s ression, butth rjustboringbastards?. Thewr ualloosening at it is founded i iters of the typo-books share the mith rants and brags; the or transcende nand condition same world view as affore- menti song lurches and stumble ed by the messa oned 'b.b.s': starting from zero, th nee of its own ge it must conv e international spirit, logic, and m s. crashes. rumbles and c ey, and that it is athematics, (more pipe-dreams th !~~~-~, the po a service art an an any (R) Catholic ethic!) they f em strives to d not a fine art, orgot:escape from however pure a 1: What man is. the linear de nd elemental th 2: What words are. notative, logi _ is discipline is.' 3: WHAT WORDS CAN DO. cally determi Moholy'C} •ty b 4 H d h b WR Nagy : in an must : ow wor s ave een ned bon d s of 117 tp. e particularly e ITTEN and PRINTED in HIST linguisticsyn mphasised since ORY... tax into what this is the essen aut how can you be a typog the poet take ce of our writi rapher without fully under s to be the si ng as compared standing these things?. Let's as m u ltaneities with the pictori k the question, let's make a moral , immediaces al communicati issue out of it ... THIS IS A COL and free-play on of ages ago. LAGE, many answers to these of musical fo Foremost ther questions and others, a series of rm.' efore: ABSOL loose-ends, paradoxes, the pol 'Apollinaire The stephan mere UTE CLARI itical-historical-cultural BAC was a singing on:in,o p.17 TY in all typo KG ROUND TO TVPOGRAPH -poet, and he graphical wor Y; (make-your-mind-up-time), pu didn't cease t ks. LEGIBILI tting The Bauhaus in its place- it o be a singing TY- COMMU really isn't that important. -poet when Ia NICATION, that is, must never ter he tried to use the visual suffer from a priori assumed aesth , spatial, qualities of signs t etics. The letter-forms mustnev o express the same, his own t 0 01
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