1,750,623 research outputs found
Tony Rivera, Annie Maes, Gloria Maes as small children
No full textL-R: Tony Rivera, Annie Maes, Gloria Maes as small children on tricycle (?
Tina Chavez Villescas First Communion with maternal grandparents Ed Maes and Carmen Rivera Maes.
No full textFirst Communion of Tina Chavez Villescas with maternal grandparents Ed Maes and Carmen Rivera Maes. Tina oldest child of Annie Maes Chavez and Augustine Chave
Who Says Pornography Can't Be Art?
Full text linkThis opening chapter provides the contours of the debate about whether art and pornography are mutually exclusive and is meant as an introduction to the main themes of the book. It begins by looking at some of the classic ways of explaining the difference between art and pornography. Pornography, some have said, is sexually explicit and focuses exclusively on certain body parts, while art possesses emotional and psychological depth and is essentially suggestive. Others have stressed that pornography, unlike art, is inherently formulaic, or that pornography is exploitative in a way that art is not, or that pornography aims for a particular response, sexual arousal, that is incompatible with artistic contemplation or aesthetic experience. Such dichotomies, it is argued, are illuminating insofar as they help us to clarify how typical examples of art differ from typical examples of pornography, yet it would be wrong to see them as absolute distinctions. Whenever one attempts to draw a strict line between the two domains, whether it is on the basis of representational content, moral status, artistic quality, or prescribed response, one can always find examples of art or pornography that would fall on the ‘wrong side’ of the divide. Furthermore, it is argued that a value-neutral definition of pornography is to be preferred over any normative characterisation that stipulates that pornographic works, by definition, lack any significant artistic or aesthetic aspect. Finally, after providing a critical assessment of Christy Mag Uidhir’s incompatibilist account, which contrasts the ‘manner specificity’ of art with the ‘manner inspecificity’ of pornography, Maes highlights some of the practical implications of this philosophical discussion
Wedding photo of Ed Maes and Carmen Rivera
No full textWedding photograph of Ed Maes and Carmen River
Friends Augustine Chavez, Bart Sandoval, David Romero, Alcadio Sandoval, Ed Maes, unknown
No full textFriends. L-R: Augustine Chavez, Bart Sandoval, David Romero, Alcadio Sandoval, Ed Maes, unknown ma
Rozpoznanie i ocena ekosystemów i ich świadczeń (MAES): wybrane zagadnienia i niepewności współdziałania nauki i polityki w zakresie bioróżnorodności i świadczeń ekosystemów
No full textThis paper presents a review of the work that has been developed so far under Action 5. It firstly describes the MAES approach to ecosystem assessment. Next the implementation of the MAES process is evaluated at national and EU levels. Finally the paper briefs on how scientific uncertainty and gaps between science and policy related to mapping and assessment can be addressed.Działanie 5 sformułowane w Unijnej Strategii Bioróżnorodności do 2020 r. zobowiązuje kraje członkowskie do rozpoznania i oceny ekosystemów oraz dostarczanych przez nie świadczeń (MAES). Ostatnie analizy wskazują, że działanie to zostało zainicjowane przez prawie wszystkie kraje członkowskie Unii Europejskiej. Oceny na poziomie krajowym są wspierane wytycznymi przygotowanymi przez Grupę Roboczą MAES (raporty techniczne MAES). Podejście MAES jest oparte na modelu “wspólnota praktyk”, zgodnie z którym naukowcy i politycy wypracowują wspólnie wskazania dla państw członkowskich, oparte na ich wiedzy oraz ekspertyzach dotyczących ekosystemów i ich świadczeń. Ocena w skali europejskiej jest prowadzona w oparciu o czteroetapowe postępowanie: rozpoznanie ekosystemów, ocenę stanu ekosystemów, kwantyfikację świadczeń ekosystemów oraz integrację wyników uzyskanych na powyższych etapach w celu wsparcia procesu tworzenia i wdrażania polityk. W artykule zaproponowano trzy podejścia dla rozwiązania wątpliwości, które pojawiają się podczas rozpoznania i oceny ekosystemów oraz w trakcie wykorzystywania tej wiedzy na potrzeby polityki: lepsze rozpoznanie publikowanych dowodów naukowych, porównanie rezultatów procesu MAES w różnych skalach przestrzennych, a także jednoczesne współtworzenie wiedzy przez naukowców i politykó
Solutions pour [...] le prince electeur palatin [...] Seigneur du pays de Wynendal &ç. deffendeur d'une part contre [...] Ferdinande prince de Schwartzenberch, &ç. demandeur d'autre.
No full textVingerafdruk: 000002 - # b1 A i : # b2 I $eDrukkersmerk van Michiel Maes achteraanTitel uit f. A1 recto (= incipit)Vanderhaeghen, F. Bib. gantoise 11814 qEuropeana-GoogleBook
Adelpherupa pontica Maes 2002, sp.n.
No full text<i>Adelpherupa pontica</i> sp.n. <p>(gures 1f, 2c, 3g, 4e)</p> <p> <i>Diagnosis</i>. Black line on fore wing straight. Male genitalia with straight costa, ventral part of valva rounded. Zona glabra tympani with median sclerotization forming four short branches as in <i>A. typicota</i> but always one branch forming an angle of 90ss degrees with the longitudinal body axis.</p> <p> <i>Description</i>. Ground colour reddish-brown or yellowish-brown. Black line on forewing straighter almost straight, usually clear. Two black spots clearly visible on forewing.</p> <p> <i>Male genitalia</i>. Uncus curved, gnathos covered with minute spines; valva with costa straight and ventral part curved to the apex of the costa; aedeagus slightly bend; vesica with a single plate-like cornutus.</p> <p> <i>Female genitalia</i>. Papillae anales with short and long setae, apophyses posteriores and anteriores of about equal length; ostium bursae, ductus bursae and corpus bursae membranous, antrum only slightly sclerotized.</p> <p> <i>Tympanal organs</i>. Zona glabra tympani with for branches, rst left and right anterior branch on an angle of 90ss degrees with the longitudinal body axis.</p> <p> <i>Wing span</i>. 22–31 mm.</p> <p> <i>Distribution</i>. Cameroon, Congo (DRC), Uganda.</p> <p> <i>Life cycle</i>. Unknown.</p> <p> <i>Type material examined</i>. HOLOTYPE: <b>Cameroon</b> Dschang 1400 m 23 October 1990 K. Maes, GPKM 776 (ABSRC); 4 PARATYPES: 1: <b>Cameroon</b> Dschang, 1400 m 08 November 1990 K. Maes, GPKM 553; 1, same locality, GPKM 554 (ABSRC); 1: same locality 23 October 1990 (ABSRC); 1: same locality 29 October 1990 (ABSRC).</p> <p> <i>Additional material examined</i>. (<b>Congo</b>, DRC) 1: Elisabethville 21 December 1949 C. H. Seydel, GPKM 14120 (MRAC); 1 same locality, 26 December 1949, GPKM 14119 (MRAC); 1: same locality 19 December 1949, GPKM 14126 (MRAC); <b>Uganda</b>: 1: Uganda Ruwenzori Range, Ibanda 4700 ft 20–21 August 1952 D. S. Fletcher, Pyr.Brit.Mus. Slide No. 20049 (BMNH); 1: W.Uganda, Fort Portal, March 1959 R. H. Carcasson, GPKM 20106 (NMK); 1: Masindi 30 April 1895 (Dr Ansorge), Pyr.Brit.Mus. Slide No. 20896 (BMNH); 1: Mahuba’s Kif. 1050 m 16 January 1925 A. J. T. Janse, Pyr.Brit.Mus. Slide No. 20050 (BMNH).</p>Published as part of <i>Maes, K. V. N., 2002, Revision of the genus Adelpherupa Hampson (Lepidoptera: Pyraloidea, Crambidae, Schoenobiinae) with the description of ve new species, pp. 1707-1724 in Journal of Natural History 36 (14)</i> on page 1723, DOI: 10.1080/00222930110061878, <a href="http://zenodo.org/record/4757434">http://zenodo.org/record/4757434</a>
Wedding of Augustin Chavez and Annie Maes; Greg and Mary Romero on left; Our Lady of Sorrows Church, Bernalillo
No full textWedding photograph of Augustin Chavez and Annie Maes; Greg and Mary Romero on left; Our Lady of Sorrows Church, Bernalill
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