Watching a colossi collapse is heartbreaking every single time it happens.
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In most cases, when you approach a colossi, they won't attack you.
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Instead, it's populated entirely by 16 unique colossi that you must kill.
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Two tiny spots of pink on a plain, gazing up at the Colossi of Memnon.
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Instead, it plays out through a series of grand battles against giant beasts known as colossi.
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There are 16 colossi roaming this land, says Dormin; if the boy kills them, the girl will live.
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But the raw business models of the colossi of the data economy are creepy in and of themselves.
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Choose to stand in the shadows of colossi, after all, and your own definition will only ever appear dwindled.
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These colossi might even clog a microinjection needle, making it difficult to deliver into mouse (or potentially human) embryos.
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But up close, at the distance from which they were painted, our physical relationship to these colossi distorts all perception.
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It's part adventure, part puzzle as players hunt down colossi and figure out how to best slay these monumental beasts.
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Here is a land populated entirely by large, majestic colossi, who seem to want nothing more than to be left alone.
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The Lannisters stand astride the country like colossi, but their power is mostly illusory — they mostly gain it from trampling everybody.
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And if we ever need to take the planet back, Flora Colossi are apparently easily distracted by 1980s video game consoles.
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To do this, he strikes a deal with a shadowy figure and hunts massive colossi across a beautiful and desolate landscape.
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Gilmore Girls aired at the dawn of TV's antihero age, when Tony Soprano and his progeny strode the primetime landscape like colossi.
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Mr. Kader said the immense complex of pylons, columns, colossi and obelisks was patched together by pharaohs over more than 1,500 years.
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The Russian president has previously waxed nostalgic for the days when just two superpowers strode the world as problem-solving colossi, before the Soviet Union imploded.
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Once upon a time there were the unnamed sculptors who carved the "Colossi of Memnon", proclaiming the pomp of the pharaoh in statues 18 metres high.
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The remake still has a wonky camera and not-so-great controls, making some of the colossi fights a true challenge in mastering an imperfect system.
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And on the global stage, we face two colossi — India and China — which, with their billions, are projected to outstrip American economic hegemony within two decades.
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Bruni: I think you've hit on something big there, Ross, in terms of movie-industry polarization between the mass-market commercial colossi and the more artistic fare.
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Wander defeats the 16 Colossi, only to discover that in the process he's unleashed a powerful magical being that's been imprisoned for an unspecified amount of time. Oops.
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With nearly 30 murals completed, Lopez said he is only getting started on his "Colossi" series, a striking endeavor in the Communist-run country where street art is rare.
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Moreover, the match set another precedent: It was the only game in which the four mid-century colossi of Mickey Mantle, Willie Mays, Stan Musial and Ted Williams all homered.
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Up close and personal with one of the 16 colossi, it was too easy to lose Wander behind a massive leg, or on the other side of a screen-filling torso.
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Steve Dashew bought Prewitt's company in 1963, establishing International Fiberglass which continued to create standard Muffler Men, and a whole host of fiberglass colossi, including some Muffler Women with the Uniroyal Gals.
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The first royal colossi -- larger-than-life sculptures -- were produced in the 12th dynasty (1938-1756 BC), but the trend reached its height in the 10th, under Ramses II (1292-1190 BC).
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These skyscraper colossi positioned postwar American corporations as gateways to the world's boundless resources and cultural treasures, which existed to be exploited, just as the buildings exploited the possibilities of epic form.
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Cohen, its fabled steward, was different from the other colossi of the industry (George Soros, Paul Tudor Jones) in that he never seemed to have a grand unified field theory of investing.
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Then, between 266 and 22010, sections of bark were cut from two colossi in Calaveras, the Mammoth Tree and the Mother of the Forest, and exhibited in San Francisco, New York and London.
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It's simple enough on the surface: A young boy sets out to destroy 16 towering Colossi in a cursed land, and in return, the life of his dearly departed love will be restored.
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The 4K / HDR remake of the game, which came out earlier this year, reconstructed its visuals from the ground up, breathing new life into the haunting primordial landscape and the massive colossi boss battles you engage in.
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Three of the largest names — Zegna, Versace, Prada — took on the shape of real colossi amid the landscape of a greatly reduced show calendar, each cranking up effects to rival Mr. Harryhausen's famous battle of the seven skeletons.
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After placing her on an altar in a crumbling temple, a booming, disembodied voice explains to Wander that if he can kill 16 colossi spread out across the land, there's a chance of bringing the girl back to life.
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Relative to GDP, Apple's earnings are now so big that it is entering a danger zone that has been occupied by only a few other corporate colossi, including the East India Company and John D. Rockefeller's firm, Standard Oil.
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After Dubois, Vladimir and Véra went north over the dramatic Togwotee Pass, overlooking Jackson Hole, which Humbert must have had in mind when he described "heart and sky-piercing snow-veined gray colossi of stone" of the high mountain West.
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O'Neill is the man who gave us such lumbering colossi of the theater as the "Mourning Becomes Electra" trilogy, "The Iceman Cometh" and the ultimate American drama of domestic pathology, "Long Day's Journey Into Night," which is being revived on Broadway this spring.
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In 2005's Shadow of the Colossus, players take on the role of a man named Wander, who must travel around an empty, desolate world in search of towering colossi, who then must be killed in order to save a young girl.
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His illness—the bloody cough that marks a potential death looming on the horizon—is symbolically connected to the old world, the shadows chasing him tied to the colossi who destroyed the old world and the machine gods who defend its remains.
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That was The Point: to pronounce the barrenness of the outside through rendering it in such hazy detail, while spotlighting the colossi through fantastic detailing and animation, giving them unforgettable character—something that was important, given the slow-emerging significance of each monster's demise.
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Controlling the hero, Wander, and battling the giant colossi feels like it did when played in its much lower resolution, with the same messy, realistic physics and the same tense feeling as giant monsters try to shake you free with gradual crescendos of frenzied motion.
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The biggest winners all round are likely to be consumers, though with a number of caveats So what banks, fintechs and MNOs fear most are the digital "platforms"—the colossi bestriding the internet and controlling the apps and sites where most people spend most of their time online.
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The nocturnal symbolist visions of František Kupka might appear the stuff of nightmares but they were inspired by real-life ruins; Resistance – Black Idol (1903) is based on the Egyptian Colossi of Memnon, while his The Way of Silence (from the same year) was born from the Avenue of Sphinxes at Luxor.
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When 18-year-old Stephen A. Schwarzman, the son of a Philadelphia dry-goods store owner, entered Yale in 1965, he took his meals, like all freshmen, in the Commons, a vast, baronial dining hall in a cluster of beaux-arts colossi that the university had constructed for its bicentennial in 1901.
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Adam and Shivaun weren't sure their company would succeed — there were already a couple of other big price-comparison search engines, like PriceGrabber, NexTag and, of course, Google itself — but they figured this was how the internet was supposed to work: Two people with a new idea can take on giants and, if their technology is good enough, grow into colossi themselves.
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I helped work on a thing last weekend that I can't write about, yet, and then last week I found my way to San Jose for Nvidia's GPU Technology Conference, and fine, all right, OK, I'm convinced: Now that the smartphone boom is plateauing, AI/deep learning is the new coal face of technology — and, at least for now, Nvidia bestrides it like many parallel colossi.
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That's down to the remake employing the same code for the motion and control of the colossi, Argo and Wander as did the original, with subtle but significant tweaks to improve performance in a way that aligns with rose-colored memories of what it was like to play the first version, rather than the sometimes frustrating truth of what it was actually like in reality.
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2009 \- Gaijin, Musashy Gallery, Tokyo. 2011 \- H.O.2, Fabbrica Eos, Milan. 2012 \- Jab, Jab!!, Colossi Arte Contemporanea, Brescia.
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Rodos Colossi RFC is a Greek rugby club in the city of Rhodes on the island of Rhodes (Rodos).
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This is the largest remaining colossal statue (except statues done in situ) in the world. However, fragments of four granite colossi of Ramesses were found in Tanis (northern Egypt) with an estimated height of 69 to 92 feet (21 to 28 meters). Like four of the six colossi of Amenhotep III (Colossi of Memnon), there are no longer complete remains, so the heights are based on unconfirmed estimates. Remains of the second court include part of the internal façade of the pylon and a portion of the Osiride portico on the right.
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Groot is a Flora colossus from Planet X, the capital of the branch worlds. The Flora colossi are tree-like beings whose language is almost impossible to understand due to the stiffness of their larynxes, causing their speech to sound like they are repeating the phrase "I am Groot". Other beings try to be friendly but become angry with the Flora colossi for not being able to speak. (Groot was shown to be capable of speaking not just understandably but eloquently throughout Annihilation: Conquest.) The Flora colossi are ruled over by the "Arbor Masters" and teach the children of the species with "Photonic Knowledge", which is the collected knowledge of the Arbor Masters of the generations and is absorbed through photosynthesis; this is a highly advanced education method, making the Flora colossi geniuses.
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This episode is used as the basis for My Way Entertainment's internet parody J3: Shadow of the Colossi, the third part of their Juggernaut parody series.
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Most colossi are located in remote areas, such as atop cliffs or within ancient structures. heads-up display shows the character's health and stamina (lower right), as well as the colossus' health (upper left). Once a colossus is found, the player must discover its weaknesses to defeat it. Each colossus dwells in a unique lair, and many colossi cannot be defeated without making use of the surrounding environment.
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Though limiting the presence of enemies to only bosses was partly intended to differentiate the game from others, Ueda also expressed that it was to ensure that the programmers' focus was entirely on the colossi so that their quality would be as high as possible. In accordance with this focus upon the colossi—and his preference for simple controls—he intended that one button on the game controller be used solely for targeting the colossi during battles. Ueda cited The Legend of Zelda as an influence on the boss design, referring to the bosses as "inverted Zelda dungeons." A theme of companionship between the player and an AI-controlled partner was a concern for Ueda.
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Along the way, should Wander be killed while fighting any of the 16 colossi, a game over screen will appear featuring the head of the respective colossus the player had just fought.
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In the Guardians of the Galaxy comic book and film, Groot is a member of an alien species resembling Tolkien's Ents called the Flora Colossi, sentient trees that can regenerate body parts.
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Outside the museum building are set up two granite unfinished colossi from Tabo of the Argo Island. Due to missing inscriptions they cannot be assigned to any person but they have Roman influence.
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The Colossi of Memnon are two massive stone statues built by the Egyptian Pharaoh Amenhotep III (flourished 14th century BC), to stand guard at the entrance of Amenhotep's memorial temple. Balbilla had travelled to Egypt and was the escort to the Roman emperor Hadrian with his wife, Vibia Sabina in the country. The inscriptions that Balbilla commissioned commemorated their visit to the country. Balbilla by inscribing her name on the Colossi of Memnon, she is acknowledging and making reference to her royal and aristocratic descent.
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In addition to serving as a means of transportation, fighting from horseback is vital to defeating some of the colossi. There are, however, many environments that cannot be traversed by horse, and colossi often inhabit areas within deep water or beyond large obstacles that must be scaled. Agro cannot travel beyond these, and when separated from Wander by such obstacles, cannot participate in the following battle. Agro is referred to as a male in the English-language version of the game,Sony Computer Entertainment.
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Imyremeshaw is attested on the Turin canon, on column 7, line 21 (Alan Gardiner's entry 6.21) as [Smenkh]kare Imyremeshaw. The main contemporary attestations of Imyremeshaw are a pair of colossi dedicated to Ptah "He who is south of his wall, Lord of Ankhtawy" (rsy-ínb=f nb ˁnḫt3wy), a Memphite epithet indicating that the statues must originally have been set up in the temple of Ptah in Memphis. The colossi were later usurped by the 15th Dynasty Hyksos ruler Aqenenre Apepi who had his name inscribed on the right shoulder of each statue with a dedication to "Seth, Lord of Avaris" and had the statues placed in his capital, Avaris. Later, the colossi were moved to Pi-Ramesses by Ramses II who also had his name inscribed on them, together with a further dedication to Seth.
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A pillar of light marks the location of each colossus after they are defeated. The Latin names of the colossi, though featured throughout fan related media, are not official and are never referred to within the game.
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In the present, Gardener and his army of Flora Colossi are attacking Telferina. The Guardians of the Galaxy intercepted the army of Flora Colossi where it was revealed that Groot regenerated from a splinter and couldn't reach his normal size due to Gardener having taken all his splinters. Getting close to Gardener, Groot used his energy to cure Gardener of the poison. After being healed, Gardener's first action was to restore Groot to his original height as well as allowing him to speak in full sentences in the third person.
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Colossi at Wady Saboua. 176\. Ruins of the Memnonium, Thebes. 177\. Persian Water-Wheel, used for irrigating Nubia. 178\. A group at the entrance of the Temple of Amun, at Goorna, Thebes. 179\. The Island of Philoe, by sunset. 180\.
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Abarrach, the World of Stone is just that: lava, stone, poisonous fumes, and precious little food that can be grown. The peoples of Abarrach rely on giant rune-inscribed stone pillars called colossi to provide warmth and breathable atmosphere, but the colossi have been failing slowly for many years. The mensch have all died out, and the only remaining people — all of them Sartan — are far reduced in power; most of their innate magic is consumed with simply keeping them alive. To bolster their numbers, they have taken to the forbidden art of necromancy: the raising of the dead.
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Covering a total of , even later rivals such as Ramesses II's Ramesseum or Ramesses III's Medinet Habu were unable to match it in area; even the Temple of Karnak, as it stood in Amenhotep's time, was smaller. alt= With the exception of the Colossi, however, very little remains today of Amenhotep's temple. It stood on the edge of the Nile floodplain, and successive annual inundations gnawed away at its foundations – a famous 1840s lithograph by David Roberts shows the Colossi surrounded by water – and it was not unknown for later rulers to dismantle, purloin, and reuse portions of their predecessors' monuments.
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He referred to these two concepts as "player dynamics and reactions" and "organic collision deformation". The realistic physics engine produced as a result required that faster colossi had to be smaller as well. Kenji Kaido, producer of the game, and Fumito Ueda, lead designer of the game at Art Futura 2005 Ueda wished the game to have a unique presentation and change how both players and developers perceived the idea of what bosses should be in video games. To achieve this, he ensured that the game's only enemies would be the sixteen colossi, that they could only be approached one at a time, and that they would have various behavior patterns.
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In the late Babylonian astral-theological system, Nergal is related to the planet Mars. As a fiery god of destruction and war, Nergal doubtless seemed an appropriate choice for the red planet, and he was equated by the Greeks to the war-god Ares (Latin Mars)—hence the current name of the planet. In Assyro- Babylonian ecclesiastical art, the great lion-headed colossi serving as guardians to the temples and palaces seem to symbolise Nergal, just as the bull-headed colossi probably typify Ninurta. Nergal's chief temple at Cuthah bore the name Meslam, from which the god receives the designation of Meslamtaeda or Meslamtaea, "the one that rises up from Meslam".
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While Nepos was governor, he visited the Colossi of Memnon at dawn of 18 February 121 and heard the statue sing. His life after he stepped down as governor of Egypt is not known, beyond the certainty he was not the identically-named suffect consul of 134.
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Ueda had since left Sony, but provided a list of recommended changes to Bluepoint for the remake; he stated that he does not believe many of them will be implemented, nor would they add any of the colossi that had been cut from the original game.
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Because the mortuary temple was built relatively close to the river, the annual flooding caused the site to decay at a more rapid rate over time. The Colossi of Memnon and Amenhotep III Temple Project have helped conserve the site as well as possible (Sourouzian-Third Report).
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The Colossi of Memnon ( or es-Salamat) are two massive stone statues of the Pharaoh Amenhotep III, who reigned in Egypt during the Eighteenth Dynasty of Egypt. Since 1350 BCE, they have stood in the Theban Necropolis, located west of the River Nile from the modern city of Luxor.
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The legionaries were used not only as soldiers, but also as workers, as some of them were sent to the granite mines of Mons Claudianus. Other legionaries were sent in the deepest south of the Egyptian province and scratched their names on the stones of the Colossi of Memnon.
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See a similar situation for the colossi of Imyremeshaw. Finally, Khabaw is attested by a cylinder-seal now in the Petrie Museum (UC 11527),Seal of Khabaw, catalog of the Petrie Museum. 4 seal impressions from Uronarti and one from Mirgissa, both places being Egyptian fortresses in Nubia.
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He was also an architect and supervised several building projects, among them Amenhotep III's mortuary temple at western Thebes, of which only two statues remain nowadays, known as the Colossi of Memnon, and the creation of the quarry of El-Gabal el-Ahmar, nearby Heliopolis, from which the blocks used to create the Colossi were probably taken. Other plans, such as the portico of the Temple of Karnak, completed under Ramesses II, and those for the Luxor Temple are also attributed to Amenhotep. He may also have been the architect of the Temple of Soleb in Nubia. Amenhotep is noted to have participated in Amenhotep III's first Sed festival, in the 30th year of the king's rule.
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On June 10, 2007, My Way released a second sequel, entitled "J3: Shadow of the Colossi", on their website, using footage from "The Unstoppable Juggernaut" and "Pryde of the X-Men". The video game Call of Duty: Modern Warfare 2 has an achievement called "I'm the Juggernaut..." which references the parody.
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6 inches in breadth. The whole image is built up in sections with carved stones. The only attendant figures are two Gandharvas flying with garlands in their hands on the sides of the head. On the whole, this colossus of Boudh compares favourably with similar colossi at Udayagiri and Lalitgiri in Cuttack district.
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The Colossi of Memnon—two massive stone statues, high, of Amenhotep that stood at the gateway of his mortuary temple—were the only elements of the complex that remained standing. Amenhotep III also built the Third Pylon at Karnak and erected 600 statues of the goddess Sekhmet in the Temple of Mut, south of Karnak.Some of the most magnificent statues of New Kingdom Egypt date to his reign "such as the two outstanding couchant rose granite lions originally set before the temple at Soleb in Nubia" as well as a large series of royal sculptures. Several beautiful black granite seated statues of Amenhotep wearing the nemes headress have come from excavations behind the Colossi of Memnon as well as from Tanis in the Delta.
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Consequently, it was not included in the history of computing hardware for many years, and Flowers and his associates were deprived of the recognition they were due. Colossi 1 to 10 were dismantled after the war and parts returned to the Post Office. Some parts, sanitised as to their original purpose, were taken to Max Newman's Royal Society Computing Machine Laboratory at Manchester University. Tommy Flowers was ordered to destroy all documentation and burnt them in a furnace at Dollis Hill. He later said of that order: Colossi 11 and 12, along with two replica Tunny machines, were retained, being moved to GCHQ's new headquarters at Eastcote in April 1946, and again with GCHQ to Cheltenham between 1952 and 1954.
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Lord Emon is a shaman who narrates a vision in the game's introduction, vaguely explaining the origin of the land Wander has come to, and emphasizing that entry to this place is forbidden. He is portrayed as having extensive knowledge regarding the nature and containment of Dormin, and the ability to use powerful magic. He has a small group of warriors at his command, and is pursuing Wander to prevent the use of "the forbidden spell", the ritual involving the destruction of the sixteen colossi and the restoration of Dormin's power. The colossi are armored, most often enormous creatures with forms ranging from various humanoids to predatory animals, and live in all manner of surroundings and environments, including beneath water and flying through the air.
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After vanquishing the shadow creatures, the voice of the disembodied entity known as "Dormin" echoes from above, expressing surprise that Wander possesses the weapon. Wander requests that Dormin return Mono's soul to her body, which Dormin states may be possible on the condition that Wander can destroy the sixteen idols lining the temple's hall by using the ancient sword to kill each colossus the idols represent located throughout the land. Despite being warned by Dormin that he may have to pay a great price to revive Mono, Wander sets out to search the land for the colossi and destroy them. What Wander does not know is that the colossi contain portions of Dormin's own essence that were scattered long ago to render the entity powerless.
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Messages were sent to and fro across the Atlantic by enciphered teleprinter links. A Mark 2 Colossus computer. The ten Colossi were the world's first (semi-) programmable electronic computers, the first having been built in 1943 The Lorenz messages were codenamed Tunny at Bletchley Park. They were only sent in quantity from mid-1942.
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Additional colossi were transported to Paris from Khorsabad by Paul Emile Botta in 1853. In 1928 Edward Chiera also transported a colossus from Khorsabad to Chicago.Oliphant, Margaret The Atlas Of The Ancient World (1992) p. 32 The Metropolitan Museum of Art in New York has another pair.Human–headed winged lion (lamassu), 883–859 b.c.
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In 2012 the Chinese automobile manufacturer Zhejiang Jonway Automobile Co., Ltd. (former Jonway) acquired the trademark of the Carrozzeria Viotti and relaunch the company founded a new headquarters in Rivoli, Turin.Ingegneria e polo del design. I colossi della nuova Cina guardano al Piemonte The new business found in hybrid vehicles, design and engineering of sportcars.
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One of the Colossi of Memnon was reputed in antiquity to sing; the sound was probably due to cracks in the statue, with solar rays interacting with dew in the cracks. The historian Glen Bowersock proposed that the queen restored the colossus ("silencing" it), which would explain third- century accounts of the singing and their disappearance in the fourth.
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I repeated queer extracts, and > muttered of Afrasiab and the daemons that floated with him down the Oxus; > later chanting over and over again a phrase from one of Lord Dunsany's > tales--"The unreverberate blackness of the abyss." The paragraph goes on to quote the Irish poet Thomas Moore. The Colossi of Memnon are also mentioned.
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The date of Mutemwiya's death is unknown, but she is believed to have survived long into her son's reign. The evidence for that is her presence among the sculptures of the Colossi of Memnon, which was built well into his reign, as well as a mention of her estate on a wine-jar label found in Amenhotep III's Malkata palace in Thebes.
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Wander must travel across a vast expanse on horseback and defeat sixteen massive beings, known simply as colossi, in order to restore the life of a girl named Mono. The game is unusual within the action-adventure genre in that there are no towns or dungeons to explore, no characters with whom to interact, and no enemies to defeat other than the colossi. Shadow of the Colossus has been described as a puzzle game, as each colossus can only be killed by attacking certain weak points which require specific actions to access. Cited as an influential title in the video game industry and one of the best video games ever made, Shadow of the Colossus is often regarded as an important example of video game as art due to its minimalist landscape designs, immersive gameplay, and emotional journey.
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The environment must be used to the player's advantage more often as the game progresses. The first two battles take place on simple, large, flat areas of land, with the only goal being to discover how to scale the colossi and attack their weak points. However, the majority of the following fourteen battles require that some aspect of the battlefield be used. Page 2.
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The gameplay is nearly identical to the original version of the game, aside from reworked controls. Progression through Shadow of the Colossus occurs in cycles. Beginning at a central point in a landscape, the player seeks out and defeats a colossus, and is returned to the central point to repeat the process. Most colossi are located in remote areas, such as atop cliffs or within ancient structures.
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The outdoor museum houses numerous other statues, colossi, sphinxes, and architectural elements. However, the majority of the finds have been sold to major museums around the world. For the most part, these can be found on display in the Egyptian Museum in Cairo. The specific appearance of the temple is unclear at present, and only that of the main access to the perimeter are known.
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For example, in a Tell mound, where layers are not typically uniform or horizontal, or in land cleared or tilled for farming. The term in situ is often used to describe ancient sculpture that was carved in place such as the Sphinx or Petra. This distinguishes it from statues that were carved and moved like the Colossi of Memnon, which was moved in ancient times.
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Named after him, the event was held at Ephesus from 79 well into the 3rd century. An inscription in Ephesus honors Balbilus and his daughter. Balbilus is honored by his granddaughter Julia Balbilla in two epigrams in Aeolic Greek which is dated in 130. The two epigrams are a part of four epigrams recorded which are inscribed and are preserved on lower parts on one of the Colossi of Memnon.
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The statue takes the form of a rebus showing the goddess Mut seated in a barque, thereby forming her name. Mutemwiya is named in the inscription on the side of the barque.Quirke, Stephen and Spencer, Jeffrey, The British Museum Book of Ancient Egypt, Thames and Hudson, 1992, p 78. Along with her daughter-in-law, Tiye, she also is shown on the Colossi of Memnon erected by Amenhotep III.
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Within two years, thousands of public servants were wrongly accused and executed, and numerous commoners were kidnapped or killed. In order to purchase materials for further development of the Mei citadel, he had bells and bronze statues, among which were nine of the Twelve Metal Colossi,西汉五铢 melted and recast into coins. The coins did not weigh the same, however, resulting in all copper cash being devalued.
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Marcus Herennius Faustus was a Roman senator, who was active during the reigns of Trajan and Hadrian. He was suffect consul in the nundinium of March of April 121 with Quintus Pomponius Marcellus as his colleague.Alison E. Cooley, The Cambridge Manual of Latin Epigraphy (Cambridge: University Press, 2012), p. 469 An inscription on the Colossi of Memnon at Luxor in Egypt refers to a Marcus Herennius M.f. Quir.
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I created clay > moulds as if by divine intelligence....twelve fierce lion-colossi together > with twelve mighty bull-colossi which were perfect castings... I poured > copper into them over and over again; I made the castings as skillfully as > if they had only weighed half a shekel each Sand casting molding method was recorded by Vannoccio Biringuccio in his book published around 1540. In 1924, the Ford automobile company set a record by producing 1 million cars, in the process consuming one-third of the total casting production in the U.S. As the automobile industry grew the need for increased casting efficiency grew. The increasing demand for castings in the growing car and machine building industry during and after World War I and World War II, stimulated new inventions in mechanization and later automation of the sand casting process technology. There was not one bottleneck to faster casting production but rather several.
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Dated to the 7th Century B.C., the Colossi were cut at what is conceived to be an immeasurable cost into the towering, sandstone cliffs surrounding Bamiyan. Located at the center of a long valley, separating the mountain ranges of Hindu Kush and Koh-i-Baba, the taller of the two statues (approximately 53 meters/175 feet) is thought to represent Vairocana while the shorter one (approximately 36 meters/120 feet) most likely represents Buddha Sakyamuni, although the local Hazara people believe it embodies a woman. In the height of their existence, the two colossi rendered an awesome sight situated in a cliff with innumerable caves on either side of them while visible for miles with giant copper plated accents and brightly painted garments, as the statues were naturally illuminated both day and night. The Buddhas were seen as transcendental images and key symbols in the rise of Mahayana Buddhist teachings, the antithesis of Taliban belief construct and rule of law.
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In 1910 the Tomb of Khesuwer, a priest of Hathor, was found and excavated by C. Edgar. Within, a stone head of a 12th Dynasty Pharaoh was found wearing the white crown of Upper Egypt. A damaged statue group of Amenemhat III was also found, possibly related to the broken colossi found earlier. This tomb cements the presence of a cult of Hathor at the site as well its possible religious function.
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Meditating Jinas, Siddhachal Caves, Gwalior Fort The Siddhachal Caves are rock-cut monuments with Jain collosi. They are found on both sides of the slope of the Urwahi road in the fort, along the Urwahi valley. The monuments include many caves, small reliefs on the walls, as well as 22 colossi. The largest of these are for Rishabhanatha (Adinatha), identifiable by the bull emblem carved on the pedestal under his foot, with a height of .
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He says that the colour is similar to scolecium, probably the kermes insect. The dust is very toxic, so workers handling the material wear face masks of bladder skin. Copper and bronze are, says Pliny, most famous for their use in statues including colossi, gigantic statues as tall as towers, the most famous being the Colossus of Rhodes. He personally saw the massive statue of Nero in Rome, which was removed after the emperor's death.
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These are lamassu, statues with a male human head, the body of a lion or bull, and wings. They have heads carved in the round, but the body at the side is in relief.Frankfort, 154 They weigh up to . In 1847 Layard brought two of the colossi weighing each including one lion and one bull to London. After 18 months and several near disasters he succeeded in bringing them to the British Museum.
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The temple and enclosure wall have since been destroyed. Currently, two of the statues of Ramesses II are still at the site. One has been moved to the Cairo Museum. Another survey in 1902, this time by Georges Daressy, found more artifacts related to Ramesses II with "two broken colossi of Amenemhet III usurped by Ramsses II, an inscribed stone of Ramesside date, and four blocks from a chapel of Shoshenq II which had been usurped by Ramsses II".
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One of the Colossi, known as Colossus Blue, was dismantled in 1959; the other in 1960. There had been attempts to adapt them to other purposes, with varying success; in their later years they had been used for training. Jack Good related how he was the first to use Colossus after the war, persuading the US National Security Agency that it could be used to perform a function for which they were planning to build a special-purpose machine.
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Wander and Mono were designed with long hair from the start of the design process, with Mono's long hair specifically as a contrast to Yorda of Ico, who has short hair. Assisting Wander in his quest to revive her is his loyal horse, , who serves as his only ally in defeating the colossi. Wander also receives aid from an entity called . The story revolves around these characters but features a small supporting cast including Lord and his men.
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Their bodies are a fusion of organic and inorganic parts such as rock, earth, fur, and architectural elements, some of which are weathered or fractured. Some colossi are peaceful and will only attack when provoked, while others are aggressive and will attack on sight. Inhabiting specific locations in the forbidden land, they do not venture outside their own territory. Once slain they will remain where fallen, as a mound of earth and rock vaguely resembling the original colossus.
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Unlike Ico, Shadow of the Colossus received far more exposure, due in part to Sony putting its weight behind a massive advertising campaign. It was advertised in game magazines, on television and on the internet, including a viral marketing campaign launched in October 2005. The site posted links to several websites claiming that the remains of five giants resembling certain colossi had been discovered in various parts of the world. The website has since been taken down.
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A necropolis for the high priests of Memphis dating precisely from the 22nd Dynasty has been found west of the forum. It included a chapel dedicated to Ptah by a prince Shoshenq, son of Osorkon II (r. 872–837 BC), whose tomb was found in Saqqara in 1939 by Pierre Montet. The chapel is currently visible in the gardens of the Egyptian Museum in Cairo, behind a trio of colossi of Ramesses II, which are also from Memphis.
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They gave to the Quirinal its medieval name Monte Cavallo (), which lingered into the nineteenth century. Their coarseness has been noted, while the vigor—notably that of the horses—has been admired. The Colossi of the Quirinal are the original exponents of this theme of dominating power, which has appealed to powerful patrons since the seventeenth century, from Marly-le-Roi to Saint Petersburg. The huge sculptures were noted in the medieval guidebook for pilgrims, Mirabilia Urbis Romae.
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Anticipated by Shelley's poem "Ozymandias", the head arrived in 1818 on in Deptford. In London it acquired its name "The Younger Memnon", after the "Memnonianum" (the name in classical times for the Ramesseum – the two statues at the entrance of the mortuary temple of Amenhotep III were associated with Memnon in classical times, and are still known as the Colossi of Memnon. The British Museum sculpture and its pair seem to have either been mistaken for them or suffered a similar misnaming).
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Finally, the statues were moved to Tanis during the 21st Dynasty where the colossi remained until the 1897 excavations under the direction of Flinders Petrie.Darrell D. Baker: The Encyclopedia of the Pharaohs: Volume I - Predynastic to the Twentieth Dynasty 3300–1069 BC, Stacey International, , 2008, p. 134Flinders Petrie: A history of Egypt from the earliest times to the 16th dynasty, pp. 209-210, 1897, available online The two statues are now in the Egyptian Museum and are numbered JE37466 and JE37467.
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Blackwell Books. p.224 The place where the statue was found is likely to have been the south gate of the mortuary temple complex, as it is as far from the temple as the Colossi of Memnon at the east gate. Another possibility is that the dyad was usurped by Ramesses III when using the blocks from Amenhotep's temple to construct his own at Medinet Habu, although original names were not erased. The statue was found in the late 19th century in fragments.
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The following year the championship was played as a straight league with no Grand Final - Athens comfortably won it with Attica Springboks finishing as runners- up. The 2008–09 season again saw Athens emerging triumphant although only after an exciting final against Attica Springboks at the stadium in Glyka Nera which Athens won 22 – 18. Seven teams took part in the 2009–10 championship. These were Athens RFC, Athens Spartans, Attica Springboks, Iraklis Thessaloniki, Macedones Evosmos, Rhodes Colossi, Thessaloniki Lions.
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The Mark II Colossus was installed on 1 June 1944 in time for the D-day landings on 6 June. By the end of the war there were ten functioning Colossi working around the clock helping to decipher the messages of German High Command. The deciphered messages provided the Allies with crucial intelligence on what enemy armed forces were plotting. The allies knew for example that Hitler had swallowed the bait that the D-Day landings in June 1944 would be at Calais rather than Normandy.
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173 While Hadrian and his entourage were sailing on the Nile, Antinous drowned. The exact circumstances surrounding his death are unknown, and accident, suicide, murder and religious sacrifice have all been postulated. Historia Augusta offers the following account: Hadrian founded the city of Antinoöpolis in Antinous' honour on 30 October 130. He then continued down the Nile to Thebes, where his visit to the Colossi of Memnon on 20 and 21 November was commemorated by four epigrams inscribed by Julia Balbilla, which still survive.
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In contrast, we are better informed about Priscus' term as governor of Egypt, which he held from 80 to 82.Guido Bastianini, "Lista dei prefetti d'Egitto dal 30a al 299p", Zeitschrift für Papyrologie und Epigraphik, 17 (1975), p. 276 We have an inscription concerning a dedication he made for the emperor Titus, dated to no later than 28 August 81.OGIS 672 Graffiti on one of the Colossi of Memnon dated to 2 December 82, gives us the name of his wife, Funisulana Vettula.
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During the "Infinity Countdown" storyline, Groot was with the Guardians of the Galaxy when they notice that the planet Telferina is under attack by the Flora Colossi that Gardener grew from Groot's splinters. Groot got close to Gardener and used his healing powers to purge the poison that Loki put in him from his body. Gardener repaid Groot by using his abilities to restore Groot back to his previous size. In addition, Groot can now speak in full sentences and refers to himself in the third person.
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Apographa is the same term that is used in the Gospel of Luke (2:1-4) to refer to the census conducted at the time of the birth of Christ. During his tenure Petronius visited the Colossi of Memnon at dawn of 16 February 104 and heard the statue sing. If he is the same Maximus Pliny addressed one of his later letters, then Vibius Maximus was engaged in a fierce rivalry with Gaius Pompeius Planta, one of his predecessors as prefect of Egypt.Pliny, Epistulae, ix.
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The Saint Andrew is a larger-than-life marble sculpture by Flemish artist François Duquesnoy, executed between 1629 and 1633. Located in the crossing of Saint Peter Basilica in Rome, the work depicts Andrew the Apostle leaning over the crux decussata of his martyrdom. Duquesnoy's St Andrew is one of four colossal statues beneath the dome of St. Peter, standing opposite to Bernini's less restrained Saint Longinus. The four colossi were installed in niches within the four piers supporting the dome between 1639 and 1640.
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Thames & Hudson. p. 183 This is all standard fare for a temple of its kind built at that time. Leaving aside the escalation of scale – whereby each successive New Kingdom pharaoh strove to outdo his predecessors in volume and scope – the Ramesseum is largely cast in the same mould as Ramesses III's Medinet Habu or the ruined temple of Amenhotep III that stood behind the "Colossi of Memnon" a kilometre or so away. Instead, the significance that the Ramesseum enjoys today owes more to the time and manner of its rediscovery by Europeans.
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While Shelley's "vast and trunkless legs of stone" owe more to poetic license than to archaeology, the "half sunk... shattered visage" lying on the sand is an accurate description of part of the wrecked statue. The hands, and the feet, lie nearby. Were it still standing, the Ozymandias colossus would tower 19 m (62 ft) above the ground, rivalling the Colossi of Memnon and the statues of Ramesses carved into the mountain at Abu Simbel. A joint French-Egyptian team has been exploring and restoring the Ramesseum and its environs since 1991.
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A Mark 2 Colossus computer. The ten Colossi were the world's first programmable electronic computers. It is unclear why the German submarine command believed that frequent radio communications were not a hazard to their boats, although they seemed confident in the security of their Enigma ciphers, both in the initial three-rotor and subsequent four-rotor versions (known as Triton to the Germans and Shark to the Allies). There was an apparent, mutually reinforcing belief that wolfpack attacks by groups of submarines were much more deadly than individual operations, and confidence the communications were secure.
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Speaking with two voices at once (one male and one female), Dormin is a mysterious, disembodied entity. In legends of the game's world, it is said that Dormin has the power to revive the dead; it is for this reason that Wander enters the forbidden land, seeking its assistance in reviving Mono. Dormin offers to revive her in exchange for Wander destroying the sixteen colossi. "Dormin", which spells "Nimrod" backwards, has been speculated to be a reference to the body of the biblical King Nimrod which was cut up and scattered.
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The domestic championship began in 2005–06 and has been dominated by Athens RFC who won the first four championships. In 2005–06 Athens claimed the title in unsatisfactory manner when Rhodes Colossi were unable to get to the final in Athens because bad weather prevented their ferry from leaving Rhodes. Athens were thus given a walkover although in fairness they had dominated the season and were clear favourites to win. In 2006–07, Athens and Rhodes again made it to the final which Athens won 19 – 0 at the Zirinio Stadium in Athens.
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Every colossus has at least one weak point, indicated by a glowing sigil that can be illuminated and identified by the sword's reflected light. Each colossus has areas covered with fur or protruding ledges, which Wander may use to grip and scale the colossus while it thrashes about in an attempt to dislodge him. While scaling a colossus, the player must act quickly, as Wander has a limited stamina gauge that decreases while he hangs onto the creature. Wander and the colossi have life bars to indicate their remaining health.
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A colossus' health will decrease significantly when its weak points are attacked, while Wander can be harmed by a colossus' attacks or a fall from a great height. Throughout the game, Wander is equipped with only a sword and a bow with arrows, but may obtain other weapons from completing the Time Attack trials. While the colossi are the only enemies, there are natural animals in the environment. Only one species, however, has an effect on gameplay: eating the tail of a certain kind of lizard increases Wander's stamina gauge.
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Thutmose also undertook building projects to the south of the main temple between the sanctuary of Amun and the temple of Mut. Immediately to the south of the main temple, he built the seventh pylon on the north–south road which entered the temple between the fourth and fifth pylons. It was built for use during his jubilee and was covered with scenes of defeated enemies. He set royal colossi on both sides of the pylon and put two more obelisks on the south face in front of the gateway.
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A pair of massive bulls secured the western entrance; two Lamassu in the Assyrian style, albeit, of colossal proportions, stood at the eastern doorway. Engraved above each of the four colossi is a trilingual inscription attesting to Xerxes having built and fulfilled the gate. The doorway on the south, opening toward the Apadana, is the widest of the three. Pivoting devices found on the inner corners of all the doors indicate that they must have had two-leaved doors, which were possibly made of wood and covered with sheets of ornamented metal.
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In the future, when talking about the colossi of > Memnon and the rock temples of Abu Simbel in my lectures, I will also quote > your eagle created in such an extraordinary, inventive manner no one thought > of before.” In 1943 it came to a rift between engineer corps chief Werner Grimm and Baumann. Grimm posed continually as the builder of the Simplon eagle. That deeply hurt Baumann's feelings and even motivated him to stay away from the unveiling ceremonies in September 1944 on the Simplon.Even in the obituary for Werner Grimm in “Der Bund” nr.
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In 1998, a Taliban commander fired grenades at the smaller statue, severing its upper half. The Taliban bombed the mountain above the statues frequently, cracking the enclaves that held the statues and damaging the colossi further. By winter 2001, pleas were raining down on the Taliban from around the world to spare the statues. Mullah Mohammad Omar, leader of the Taliban Islamic militia in Afghanistan, dismissed the international pleas of the art and historical preservation world community with regard to saving the world-renowned Buddhas from imminent destruction.
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In scenes from the battle of Qode in year 10 at Luxor, the princes Amunherkhepeshef, Ramesses, Pareherwenemef and Khaemwaset are shown leading prisoners before their father the king.Kitchen, K.A., Ramesside Inscriptions, Translated & Annotated, Translations, Volume II, Blackwell Publishers, 1996 Ramesses is depicted as just one of two princes depicted by the colossi of Ramesses II in front of the Great Temple at Abu Simbel. He appears in front of the colossus to the north of the entrance. Prince Ramesses is said to be the Royal Scribe and first Generalissimo of His Majesty, Bodily King's Son (of his body).
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Pryan was created as a great inverted globe with four small suns at its center. It was to be the power plant and center for all four worlds, but it too fell into chaos. Great Citadels collected the energy from Pryan's four suns and beamed it through conduits to the other three worlds (the Colossi on Abarrach, the Kicksey-winsey on Arianus and the seasun on Chelestra). Covered entirely by miles-thick jungle (only the dwarves had ever seen the legendary 'ground') the Citadels were to be the bastions of civilization, where the Mensch would live a life of plenty and comfort.
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40-42 It was this connection that likely enabled Lupus to be appointed to the governorship. While governor of Egypt, Lupus is attested as hearing the Colossi of Memnon sing, one of many ancient Romans known to have witnessed this phenomena. After the fall of Masada, according to Josephus, members of a militant Jewish sect known as the Sicarii managed to escape destruction in the First Jewish–Roman War and some took refuge in Alexandria. At first these survivors lived quietly in the city, but after a time they quarreled with their coreligionists, and the two groups fell to fighting each other.
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Hammie's artistic direction began to take shape in 2007, when he considered his reaction to his father's untimely death in 1999. According to Hammie, “I’d become emotionally reserved, which led me to question the source of this behavior and art’s role in representing and nurturing such masculine traits.” This reflection inspired Hammie; he painted his un-idealized brown body as the antithesis of the hard- bodied heroes of Old Master imagery. In his 2007 painting, Protuberance, Hammie portrays himself pulling and tugging at his bulky loose flesh, laying the groundwork for his first project Imperfect Colossi.
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This series of paintings and drawings visualize Hammie's effort to reshape himself and propose the possibility of a new ideal, one positioned more as a work in progress than an achievable end. On April 12, 2008 Hammie premiered selections from Imperfect Colossi at the William Benton Museum of Art. On May 20, Hammie displayed selections at Kathleen Cullen Gallery in New York City. In May, he was awarded the Alice C. Cole ‘42 Fellowship and a 12-month residency from Wellesley College, which supported the creation of new works to be exhibited at the end of the residency.
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Hammie pictures a figure in the process of confronting the heritage of a black male body, and on the verge of moving from objecthood to subjecthood. On April 1, 2009 Hammie debuted the project Equivalent Exchange in his first solo exhibition at the Jewett Art Gallery at Wellesley College. On August 16, 2009, Hammie accepted a faculty position in the School of Art + Design at the University of Illinois at Urbana-Champaign. On January 11, 2010 Hammie displayed selections from Imperfect Colossi and Equivalent Exchange in a solo exhibition at Stewart Center Gallery at Purdue University.
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Including the stone platforms on which they stand – themselves about – the colossi reach a towering in height and weigh an estimated 720 tons each."The Seventy Wonders of the Ancient World", edited by Chris Scarre (1999) Thames & Hudson, LondonTime Life Lost Civilizations series: Ramses II: Magnificence on the Nile (1993) The two figures are about apart. Both statues are quite damaged, with the features above the waist virtually unrecognizable. The southern statue comprises a single piece of stone, but the northern figure has a large extensive crack in the lower half and above the waist consists of 5 tiers of stone.
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The story of Shadow of the Colossus begins as Wander enters the forbidden land, traveling across a long bridge on his horse, Agro. Unknown to the player, prior to entering, Wander had stolen an ancient sword, which is the only weapon capable of slaying the colossi. Led to the massive Shrine of Worship at the center of the region, Wander carries with him the body of a maiden named Mono. A moment later, several humanoid shadow creatures appear and approach Wander before he easily dismisses them with a wave of the ancient sword in his possession.
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An alternate origin was presented in the Groot ongoing series. In the story, it is revealed that the other Flora colossi had been abducting organisms from other planets, including a young human girl named Hannah. After seeing Hannah, Groot realized that what his people were doing was wrong, and managed to save the child and send her back to Earth. However, for his disobedience, Groot was exiled from Planet X and forced to wander the universe until he met Rocket Raccoon many decades later, where this version of Groot later became a member of the Guardians of the Galaxy.
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It could not be determined whether Maximus's claim was true or merely another manifestation of his madness, though Groot did genuinely seem to be assisting Maximus with highly advanced engineering. Later, in All New X-Men #23, Jean Grey telepathically links with Groot, showing that Groot's thought processes are indeed complex, and the declaration of "I am Groot!" usually represents attempts at highly intelligent communication. In Avengers: Infinity War, which takes place in the Marvel Cinematic Universe, Thor states that Flora colossi is offered as an elective in Asgardian schools and is his explanation for his ability to understand Groot.
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Cuniberti's "ideal ship" had twelve large calibre guns, and would have a significant advantage over the (usual) four of the enemy ship. His ship would be fast, so that she could choose her point of attack. Cuniberti saw this ship able to discharge such a heavy broadside, all of one large calibre, that she would engulf first one enemy ship, then move on to the next, and the next, disdainfully destroying an entire enemy fleet. He conjectured that the effect of a squadron of, say, six "colossi" would give a fleet such overwhelming power as to deter all possible opponents.
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The Small Temple from below and left, before 1923 The Small Temple after relocation The temple of Hathor and Nefertari, also known as the Small Temple, was built about northeast of the temple of Ramesses II and was dedicated to the goddess Hathor and Ramesses II's chief consort, Nefertari. This was in fact the second time in ancient Egyptian history that a temple was dedicated to a queen. The first time, Akhenaten dedicated a temple to his great royal wife, Nefertiti. The rock-cut facade is decorated with two groups of colossi that are separated by the large gateway.
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Ruins of the Temple of Armant in a 19th-century photography. At Armant, the ancient Iuni, there was an impressive Temple of Montu at least since the 11th Dynasty, which may have been native of Armant. King Mentuhotep II is its first known builder, but the original complex was enlarged and embellished during the 12th Dynasty, the less well- known 13th Dynasty (c. 1803–1649 BC), and later in the New Kingdom (especially under King Thutmose III). Ramesses II (1279–1213 BC) and his son Merneptah (1213–1203 BC) of the 19th Dynasty added colossi and statues.
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In his previous game, Shadow of the Colossus, director Fumito Ueda had intended to create an emotional interaction between Mono, the character that Wander wants to save, and the colossi that Wander must fight to save her. He was surprised and inspired to find players felt a stronger connection between Wander and his horse Agro. Ueda wanted to make the relationship between a human and a creature the central concept for his next game. Ueda found that people were drawn to games with lifelike creatures, and felt The Last Guardian needed something similar to attract a broad audience.
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Finally, and most desperately, Abarrach was a huge volcanic asteroid-like world. The Sartan and mensch lived inside its honeycombed tunnels--designed to provide minerals and metals to the Kicksey-winsey--but they turned out to be loaded with poisonous volcanic fumes. The mensch were wiped out swiftly--the dwarves hung on the longest--and the poisons taxed the magic of the remaining Sartan to create breathable air. Huge columns called Colossi had been created by the Sartan to provide light and keep the world warm in the long run, but they began to fail almost immediately (because they did not receive the necessary energy from Pryan).
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The modern Arabic name is Kom el-Hatan, but it is generally known by the Roman name as the Temple of Memnon. Memnon was a hero of the Trojan War, a King of Ethiopia who led his armies from Africa into Asia Minor to help defend the beleaguered city but was ultimately slain by Achilles. Memnon (whose name means or Liddell-Scott-Jones Greek-English Lexicon) was said to be the son of Eos, the goddess of dawn. He was associated with colossi built several centuries earlier, because of the reported cry at dawn of the northern statue (see below), which became known as the .
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Ueda considered Bluepoint Games "real craftsmen" in this porting effort, due to their understanding of the fundamentals of Ico and Shadow of the Colossus and passion for the games. Though it was Team Ico's idea originally to provide stereoscopic 3D, Ueda praised Bluepoint for their work in fine tuning the 3D effect, taking advantage of the scale and camera provided by the existing games; Ueda stated that the developers "made it into something beyond what I imagined". Team Ico considered adding new game content to both games. One example Ueda noted was adding in several colossi that were cut from the PlayStation 2 version of Shadow of the Colossus.
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Egyptologist Kenneth Kitchen has estimated that it was 15 years, but there are no dates recorded for Seti I after his Year 11 Gebel Barkal stela. As he is otherwise quite well documented in historical records, other scholars suggest that a continuous break in the record for his last four years is unlikely, although it is technically possible simply that no records have been yet discovered. Temple of Seti I at Abydos Peter J. Brand noted that the king personally opened new rock quarries at Aswan to build obelisks and colossal statues in his Year 9.Peter J. Brand, "The 'Lost' Obelisks and Colossi of Seti I", JARCE, 34 (1997), pp.
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107 Critically, Brand notes that the larger of the two Aswan rock stelas states that Seti I "has ordered the commissioning of multitudinous works for the making of very great obelisks and great and wondrous statues (i.e. colossi) in the name of His Majesty, L.P.H. He made great barges for transporting them, and ships crews to match them for ferrying them from the quarry." (KRI 74:12-14)Brand, "The 'Lost' Obelisks", p.104 However, despite this promise, Brand stresses that Astronomical ceiling of Seti I tomb showing the personified representations of stars and constellations The German Egyptologist Jürgen von Beckerath also accepts that Seti I's reign lasted only 11 Years.
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Early in his reign, Akhenaten used art in order to emphasize his intentions of doing things very differently unlike his precedents. Colossi and wall-reliefs from the Karnak Aten Temple are highly exaggerated and almost grotesque when compared to the Egyptian royal and elite art during the millennium preceding Akhenaten's birth. Art before Akhenaten was characterized by its formality and restraint. Since art during Akhenaten period such as Karnak Temple is strangely beautiful today, it is hard for us to understand the shocking effect that such representations must have had on the senses of people who were never exposed to any similar art before.
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Titus Petronius Secundus (died 97) was a prefect of the Roman imperial bodyguard, known as the Praetorian Guard, under emperor Domitian, from 94 until 96. Prior to becoming Praetorian prefect, Petronius had served as governor of Roman Egypt from 92 until 93.Guido Bastianini, "Lista dei prefetti d'Egitto dal 30a al 299p", Zeitschrift für Papyrologie und Epigraphik, 17 (1975), p. 278 While governor of Egypt, Petronius is attested as hearing the Colossi of Memnon sing, one of many ancient Romans known to have witnessed this phenomenon. = ILS 8759d The role of Petronius in the conspiracy which led to the assassination of Domitian on September 18, 96 is unclear.
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The statue is thought to have been erected by King Amenhotep III, one of the huge number of statues that he had ordered to be built in ancient Thebes (Luxor). It is uncertain whether it was originally erected at its findspot at the Temple of Mut in Karnak, or if it came to be there having been removed in antiquity from Amenhotep's massive mortuary temple on the West Bank of the River Nile at Kom el-Hitan. Other colossal statues of Amenhotep III include the two Colossi of Memnon, which still stand at his mortuary temple at Kom el-Hitan. The statue is made of red granite.
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Hammie returned to his studio from his Kohler residency in September 2011 and began production on paintings that question inherited visual expectations of historically marginalized people, and work to reorient how meaning is made around those bodies. Encouraged by the communal environment at Kohler, Hammie worked with studio assistants and collaborated with art historians and museum directors toward his “conceptual sequel to Imperfect Colossi.” According to Hammie, traditional representations of women and people of color in art, and present effects of institutional exclusion of minority groups from authorship of their cultural and political narratives informed this direction. Significant Other, Hammie's third project, opened with select works on July 26, 2013 at Greymatter Gallery in Milwaukee.
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The Battle of Samarra was the key engagement between the two great generals Nader Shah and Topal Osman Pasha, which led to the siege of Baghdad being lifted, keeping Ottoman Iraq under Istanbul's control. The armed contest between the two colossi was very hard fought with a total of roughly 50,000 men becoming casualties by the end of the fighting that left the Persians decimated and the Ottoman victors badly shaken. Other than its importance in deciding the fate of Baghdad, the battle is also significant as Nader's only battlefield defeat although he would avenge this humiliation at the hands of Topal Pasha at the battle of Agh-Darband where Topal was killed.
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A different Groot played a part in Annihilation: Conquest, at which time it was shown Groot may be the last remaining member of the Flora colossi, and was under arrest by the Kree for an unknown reason. Groot earned freedom by joining Star-Lord's strike force, where Groot and Rocket Raccoon formed a bond, Rocket being one of the few beings with the ability to understand Groot's language. Star-Lord's team fought their way through the Phalanx, but after the death of Deathcry the team decided to escape through a drainage pipe that Groot could not fit into. As a consequence of the battle, Groot dies, buying the team some time to escape.
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Black Bolt's brother Maximus the Mad asserted that whenever Groot is saying the trademark "I am Groot!" he has actually been saying a number of things, and his varying inflections of the sentence are the equivalent of words and sentences. People who have interacted with Groot are gradually able to decipher the meaning of the inflections and can carry on full conversations with Groot as time goes on. The mature form of Groot's species is robust and heavyweight, which causes the organs of acoustic generation to become stiff and inflexible. It is this nature of Groot's larynx that causes people, who are oblivious to the subtle nuances of Flora Colossi speech, to misinterpret Groot as merely repeating his name.
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200px The temple faced to the East, which is most likely due to the sun rising in the East, since Amenhotep III revered the sun god Amun. At the front of the mortuary temple, the Colossi of Memnon can be found, and as one enters, the long Hypostyle Hall leads to the Peristyle Sun Court, and the whole area is surrounded by three pylons, also known as gates (Sourouzian-Third Report). The Sun court is divided into the North and South halves and consisted of statues of both Amenhotep III and the gods. The North side had statues made of brown quartzite from Lower Egypt, while the South side had red granite from Aswan in Upper Egypt (Kozloff).
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An improved Colossus Mark 2 that used shift registers to quintuple the processing speed, first worked on 1 June 1944, just in time for the Normandy landings on D-Day. Ten Colossi were in use by the end of the war and an eleventh was being commissioned. Bletchley Park's use of these machines allowed the Allies to obtain a vast amount of high-level military intelligence from intercepted radiotelegraphy messages between the German High Command (OKW) and their army commands throughout occupied Europe. The existence of the Colossus machines was kept secret until the mid-1970s; the machines and the plans for building them had previously been destroyed in the 1960s as part of the effort to maintain the secrecy of the project.
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English translation in Sherk, Augustus to Hadrian, p. 193 A fourth relays a decision from Hadrian, acknowledging that for two consecutive years (134 and 135) the Nile failed to inundate the farmlands as needed, and granting a deference in paying the tax.Papyrus Cairo 49359 + 49360. English translation in Sherk, Augustus to Hadrian, p. 199 Graffiti inscribed on the Colossi of Memnon records that Petronius was present at dawn of 10 March 134 to hear the statues sing. He may have been accompanied by Quintus Marcius Hermogenes, then prefect of the classis Augustae Alexandrinae; Hermogenes left graffiti dated to the same year attesting he had also heard the statues. Under Antonius Pius, he advanced to the office of Praetorian prefect in Rome holding it from 139 to 143.
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As Trico functions similarly to the colossi the player climbs in Shadow of the Colossus, journalists have described The Last Guardian as a combination of Ico and Shadow of the Colossus; Ueda stated there was "a bit of each of those [games] in there". He described the relationship between the boy, Trico, and the guards as a game of rock-paper-scissors that changes throughout the game; at times, the boy needs Trico to protect him, while at others the situation is reversed. Though Ico and Shadow of the Colossus have a similar changing connection between pairs of characters, Ueda said there was more "dynamic range" in The Last Guardian. The Last Guardian is the first Team Ico game to use voice-over narration.
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Street in New Gourna Theater architectural drawing by Hassan Fathy New Qurna was built between 1946 and 1952 by Egyptian architect Hassan Fathy midway between the Colossi of Memnon and el-Gezira on the Nile on the main road to the Theban Necropolis to house the residents of the Qurna. The design, which combined traditional materials and techniques with modern principles was never completed and much of the fabric of the village has since been lost; all what remains today of the original New Qurna is the mosque, market and a few houses. UNESCO World Heritage conservation wishes to safeguard this important architectural site. The World Monuments Fund included New Qurna in the 2010 World Monuments Watch List of Most Endangered Sites.
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333 Two inscriptions, one an altar dedicated to the god Mercury, independently confirm Faustus as commander of this legion., Normal practice was to also allocate a province to a senator of praetorian rank to govern for about three years, but much of the rest of the inscription on the Colossi of Memnon, is lost so it is uncertain if that was the case with Faustus. Because priestly offices appear at the beginning of the list of his offices, we know Faustus was co-opted into the Septemviri epulonum, one of the four most prestigious ancient Roman priesthoods, as well as the sodales Augustales. The rest of his life is a blank except for one event: the inscribing of the text at Luxor.
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Colossi from StarCraft II; Science Walkers and Defilers from Universe at War, and Darkwalkers, which use rays and emit a similar noise, from Unreal Tournament 3. Alien tripod mecha have appeared in many animated films and TV series, for example: the three-part pilot of the Justice League; the Japanese animated film Be Forever Yamato; in episodes of The Grim Adventures of Billy and Mandy, Ed, Edd, n Eddy and Kim Possible, as well as (albeit based on automotive spark plugs, and with four legs) in a daydream sequence in the 2006 film Cars. Inspired by the tripods, and the Japanese anime Space Runaway Ideon, several of the Buff Clan's heavy mecha have three legs. Issues #7 and #12 of the Sonic X comic book feature a three-legged alien machine reminiscent of a tripod.
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These upper levels consist of a different type of sandstone, and are the result of a later reconstruction attempt, which William de Wiveleslie Abney attributed to Septimus Severus.Thebes and its five greater temples , by William de Wiveleslie Abney; published 1876 by Sampson, Low, Marston, Searle, & Rivington; archived at the University of Heidelberg It is believed that originally the two statues were identical to each other, although inscriptions and minor art may have varied. The original function of the Colossi was to stand guard at the entrance to Amenhotep's memorial temple (or mortuary temple): a massive construct built during the pharaoh's lifetime, where he was worshipped as a god-on-earth both before and after his departure from this world. In its day, this temple complex was the largest and most opulent in Egypt.
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In 1973, Asaro and his colleagues embarked on a study of the Colossi of Memnon, two statues of Pharaoh Amenhotep III that have stood for 3400 years in the Theban necropolis, across the River Nile from the modern city of Luxor. Collaborating with Professor Robert Heizer and his research group in the Department of Anthropology and Archaeological Research at the University of California, Berkeley, the Asaro group analyzed the stone used to construct the statues. Erected in the early fourteenth century B.C. as guardians of the Mortuary Temple, the two 50-foot monoliths consist of a quartzose sandstone rock (quartzite) formed by quartz particles cemented with iron oxide. Archeologists had once believed that all the stone used to create the statues came from a quarry about 100 miles away from the temple site, near Aswan.
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The single entrance is flanked by four colossal, statues, each representing Ramesses II seated on a throne and wearing the double crown of Upper and Lower Egypt. The statue to the immediate left of the entrance was damaged in an earthquake, causing the head and torso to fall away; these fallen pieces were not restored to the statue during the relocation but placed at the statue's feet in the positions originally found. Next to Ramesses's legs are a number of other, smaller statues, none higher than the knees of the pharaoh, depicting: his chief wife, Nefertari Meritmut; his queen mother Mut-Tuy; his first two sons, Amun-her-khepeshef and Ramesses B; and his first six daughters: Bintanath, Baketmut, Nefertari, Meritamen, Nebettawy and Isetnofret. The façade behind the colossi is high and wide.
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Aerial view of the Mortuary Temple of Amenhotep III The Mortuary Temple of Amenhotep III, also known as Kom el-Hettân, was built by the main architect Amenhotep, son of Habu, for the Pharaoh Amenhotep III (or Amenhetep III) during the 18th Dynasty in the New Kingdom (Kozloff and Bryan). The mortuary temple is located on the Western bank of the Nile river, across from the Eastern bank city of Luxor (Kozloff and Bryan). During its time, the Mortuary Temple of Amenhotep III was the largest funerary complex in Thebes that was built (Kozloff and Bryan). Currently, only parts of the mortuary temple's layout remains, as well as the Colossi of Memnon, which are two large stone statues placed at the entrance measuring 18 meters (59 feet) high (Wilkinson).
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They are described by Malone thus: a young man, the Saxon ("though he was far from being any such thing"), a small and thin man with an umbrella, and a "misshapen giant, bearded." Lemuel requests "excursion soup" (the regularly served broth but with a piece of fat bacon to support the constitution) from the chef at the institution, though after receiving the soup he sucks each piece of bacon of its juice and fat before depositing it back into the soup. Lemuel takes his group onto the terrace where they are greeted by a waggonette driven by a coachman and Lady Pedal, along with two colossi in sailor suits named Ernest and Maurice. They leave the grounds of St. John's and take a boat to the island to picnic and see Druid remains.
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The four colossi in Saint Peter were approved by the Congregazione della Fabbrica of Saint Peter in a meeting held in May 1628. While contemporary biographers of Duquesnoy and earlier, 20th century scholars believed that in this meeting a model by Duquesnoy (according to them risen to fame thanks to his Saint Susanna) received the approval of the Pope, modern scholars have come to disprove such assumption. In 1968, Irving Lavin noted that in the official transcription of the May 1628 meeting, it was recorded that the model chosen by the Pope for Saint Andrew was in fact Gian Lorenzo Bernini's. Duquesnoy got involved only later, and, in fact, it likely was the reception of Duquesnoy's stucco model for the St. Andrew that helped him secure his commission for the St. Susanna.
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The inspiration for the story came from a magazine article about ancient Egyptian burial customs, including the tradition of placing everyday items and food in the grave with the deceased. Another inspiration was the 1932 Boris Karloff movie The Mummy and subsequent horror films, which pictured mummies as animate, vengeful monsters. As this was the first adventure story that Barks wrote, the editors asked him to submit an outline. In a 1973 interview, Barks recalled: The Egyptian landmarks pictured during Donald's trip up the Nile River include the Great Sphinx of Giza (pg 17), the skyline of Cairo (pg 17 and 18), the Pyramid of Meidum (pg 19), the Pyramid of Djoser (pg 20), the Mortuary Temple of Hatshepsut (pg 21 and 22) and the Colossi of Memnon (pg 28).
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An admitted perfectionist, Ueda felt that only one or two out of 500 artists who applied to work on Shadow of the Colossus met his criteria, and often demanded thorough changes in design until it matched his vision. For his part, Kaido challenged the programmers to meet the concept of realistic physics in relation to the movement of the colossi and the subsequent effect this movement would have for Wander, both in terms of how he might be displaced and how he may be able to use this movement to his advantage. For instance, if a colossus were to shake, Kaido wanted Wander's position to shift realistically in response. Additionally, if a colossus' limb was currently horizontal, Kaido wanted the player to be able to run across the limb as though it were any other flat surface.
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However, the game has been criticised for its erratic frame rate, which is usually smooth while traversing the landscape, but often slows down in fast-paced situations, such as colossus battles. Concern was also expressed about the game's camera, which was described by GameSpy as being "as much of an opponent as the Colossi", "manag[ing] to re- center itself at the worst and most inopportune times". Reviewers are often mixed about Agro's AI and controls; while gaming website Thunderbolt insists the realism of Agro's movement and behaviour "create[s] a videogame experience unlike any other", Edge commented that the controls were "clumsy, crude, and unpredictable". Other critics like Game Revolution and GameSpot felt the game was too short (average playthrough time estimated 6 to 8 hours), with little replay value given the puzzle elements to each colossus battle.
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Also, their main objective is to restore the principles of fair play through sport and the promotion of Rhodes as an active and dynamic cultural center, open to stimuli received from the alternative sports tourism. In 2012, Knights were joined by players of the Rhodes Colossi team and, by the provisional name of Rhodian Rugby Unity, were admitted in the Hellenic Rugby League Championship. In 2013, Knights won the Greek Rugby League 9's Championship and by 2014, they won, undefeated, the inaugural Hellenic Rugby League Championship. The 2015 season found Rhodes Knights still strong in the field. By May 2015, despite dominating all of their opponents, the Federation's Disciplinary Committee have found Knights susceptible to a number of violations, which ultimately resulted in their demotion to second-to-last place of the Championship's points board.
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Kitchen, K.A., Ramesside Inscriptions, Translated & Annotated, Translations, Volume II, Blackwell Publishers, 1996 Bentanath became Great Royal Wife around the 25th year of her father's reign. During her time as queen she held many titles including hereditary princess, the great first one (iryt-p`t-tpit-wrt), Lady of The Two Lands (nbt-t3wy), Great King’s Wife (hmt-niswt-wrt), Mistress of Upper and Lower Egypt (hnwt-Shm’w -mhw), King’s Daughter (s3t-niswt), and eventually King’s Sister (snt- niswt).Grajetski Ancient Egyptian Queens: a hieroglyphic dictionary Golden House Publications. As (great) royal wife Bintanath appears on several statues of Pharaoh Ramesses II. She is depicted on a statue from the Sinai (BM 697), on two sandstone colossi found in Tanis, but probably originally from Pi- Ramesse, and on a statue from the south gate of the Ptah precinct in Memphis.
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Soon after its construction the temple was destroyed by an earthquake, recently dated by the Armenian Institute of Seismology to around 1200 BC, which left only the 2 huge colossi at the entrance still standing. These were further destroyed by an earthquake in 27 BC, after which they were partly reconstructed by the Roman authorities.Archaeoseismological studies at the temple of Amenhotep III,Luxor, Egypt, Arkadi Karakhanyan et al, The Geological Society of America Special Paper 471, 2010 The 1200 BC earthquake also opened numerous chasms in the ground which meant that many statues were buried, some in pristine condition. These have been the subject of extensive restoration and excavation conducted by the Armenian/German archaeologist Hourig Sourouzian, who has revealed that the complex consisted of three pylons, each fronted by colossal statues, while at the far end a rectangular Temple complex consisted of a peristyle court surrounded by columns.
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This account, housed in the Biblioteca Nazionale Centrale di Firenze, is unique, in that it is the first known European mention, since the ancient Greek and Roman writers, of a whole range of monuments in Upper Egypt and Nubia, including Karnak, Luxor temple, the Colossi of Memnon, Esna, Edfu, Kom Ombo, Philae and others. Karnak ("Carnac") as a village name, and name of the complex, is first attested in 1668, when two Capuchin missionary brothers, Protais and Charles François d'Orléans, travelled though the area. Protais’ writing about their travel was published by Melchisédech Thévenot (Relations de divers voyages curieux, 1670s–1696 editions) and Johann Michael Vansleb (The Present State of Egypt, 1678). The first drawing of Karnak, rather inaccurate and frequently confusing when viewed with modern eyes, is found in Paul Lucas' travel account of 1704, Voyage du Sieur paul Lucas au Levant. He had travelled in Egypt between 1699 and 1703.
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What art has succeeded > in making this monster out of granite? He is twenty-one feet six inches in > height. The sculptors of ancient Egypt, who had their colossi in granite > also, worked for years with their bronze points and their corundum-dust to > achieve their enormous figures, while the makers of this titanic image, > availing themselves of the appliances of American skill, have needed but a > few months to change the shapeless mass of stone into an idea. Something > rocky, rude and large-grained is obvious in this stalwart American; his > head, with masculine chin and moustache of barbaric proportions... But, > whatever may be thought of the artistic delicacy of the model, Mr. Conrads' > "Soldier" presents the image of a sentinel not to be trifled with, as he > leans with both hands clasped around his gun-barrel, the cape of his > overcoat thrown back to free his arm, and the sharp bayonet thrust into its > sheath at his belt.
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Pausanias describes the temple as it was in the 2nd century: :Before the entrance to the sanctuary of Zeus Olympios [in Athens] – Hadrian the Roman emperor dedicated the temple and the statue, one worth seeing, which in size exceeds all other statues save the colossi at Rhodes and Rome, and is made of ivory and gold with an artistic skill which is remarkable when the size is taken into account – before the entrance, I say, stand statues of Hadrian, two of Thasian stone, two of Egyptian. Before the pillars stand bronze statues which the Athenians call ‘colonies.’ The whole circumference of the precincts is about four states, and they are full of statues; for every city has dedicated a likeness of the emperor Hadrian, and the Athenians have surpassed them in dedicating, behind the temple, the remarkable colossus. Within the precincts are antiquities: a bronze Zeus, a temple of Kronos and Rhea and an enclosure of Gaia (Earth) surnamed Olympias.
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The Siddhachal cave temples are a part of nearly 100 Jain monuments found in and around the Gwalior city, all dated to be from the 7th to 15th century. The Siddachal colossi are near the Urwahi road, and most are dated to be from the 15th century, built in an era when Delhi Sultanate had collapsed and fragmented, a Hindu kingdom was back in power in Gwalior region and before Babur had ended the Delhi Sultanate and replaced it with his Mughal dynasty. The inscriptions found near the monuments credit them to the Tomar kings, and they range from the 1440 to 1453 CE. The Siddhachal Caves were complete by about 1473 CE. Some 60 years after they had been completed, the statues were defaced and desecrated around 1527 when the Emperor Babur ordered their destruction.Gwalior Fort: Rock Sculptures, A Cunningham, Archaeological Survey of India, pages 364-370, Quote: "In 1527, the Urvahi Jinas were mutilated by the Mughal emperor Babar, a fact he records in his memoirs".
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Tiglath-Pileser I's annals contain military campaign documentation, as well as other information such as what Tiglath-Pileser I would bring back in an early form of tribute, from the various locations he showed military strength over. Once returned from a successful war campaign Tiglath-Pileser I is said to have had statues of the various animals he had come into contact with as well as hunted. From the translated annals text, it is said that Tiglath-Pileser I had “ 2 nāhirū (horse of the sea) sculptures, 4 burhiš sculptures, 4 lions constructed of basalt, 2 bull colossi made of alabaster, 2 burhiš sculptures made of white limestone and had them set up at the gates in the City of Ashur” These statues were mainly used to decorate the “royal entrance”, a practice that was taken up by Tiglath-Pileser I's son Aššur-bel-kala after his father's passing. In addition to erecting statues of animals his people had never seen, Tiglath-Pileser I returned from some war campaigns with the living animals themselves, including calves of wild bulls as well as elephants.
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Architectural schematic showing how the four cathode ray tubes (shown in green) were deployed Although Newman played no engineering role in the development of the Baby, or any of the subsequent Manchester computers, he was generally supportive and enthusiastic about the project, and arranged for the acquisition of war-surplus supplies for its construction, including GPO metal racks and "…the material of two complete Colossi" from Bletchley. By June 1948 the Baby had been built and was working. It was in length, tall, and weighed almost . The machine contained 550 valves (vacuum tubes)—300 diodes and 250 pentodes—and had a power consumption of 3500 watts. The arithmetic unit was built using EF50 pentode valves, which had been widely used during wartime. The Baby used one Williams tube to provide 32 by 32-bit words of random-access memory (RAM), a second to hold a 32-bit accumulator in which the intermediate results of a calculation could be stored temporarily, and a third to hold the current program instruction along with its address in memory.
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Several other rulers of this dynasty built temples for the same purpose, the best known being those at Deir el-Bahari, where Hatshepsut built beside the funerary temple of Mentuhotep II, and that of Amenhotep III, of which the only major extant remains are the Colossi of Memnon. Later rulers of the 18th Dynasty either failed to build here at all or, in the case of Tutankhamun, Ay, and Horemheb, their construction was not completed. The 19th Dynasty ruler Seti I constructed his mortuary temple at what is now known as Gurna. Part of his "Glorious temple of Seti Merenptah in the field of Amun which resides at the West of Thebes" was dedicated to his father Ramesses I, whose short reign prevented him from building his own, and was completed by his son Ramesses II. Ramesses II constructed his own temple, referred to as the Ramesseum (a name given to it by Champollion in 1829): "Temple of a million years of Usermaatre Setepenre which is linked with Thebes-the-Quoted in the Field of Amun, in the West".
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After the demise of the two colossi in 2001, Dr. Zemaryali Tarzi, an Afghan archeologist that fled to France upon the Soviet invasion, made the decision to return to Afghanistan and search out an elusive piece of Afghanistan's history, the Sleeping Buddha of Bamiyan. The last time the Sleeping Buddha was seen was approximately 630 C.E. when it was recorded in the journal of Xuanzang, a Chinese pilgrim who traveled to central Afghanistan in the 7th century C.E. Prior to the Soviet invasion in 1979, Professor Tarzi had already spent three decades of study and completed extensive restoration on the standing Buddhas of Bamiyan's. Devastated by the Taliban's indiscriminate destruction of the two standing Buddhas, Dr. Tarzi used the ancient texts from the journal of Xuanzang to locate the suspected area of the ancient Buddhist monastery, housing the sleeping Buddha. Professor Tarzi sought to offer up the discovery and resurrection of the mythological sleeping Buddha of Bamiyan to the Taliban as a response to the terror exacted on the other colossals, affectionately known as the sleeping Buddha's “Brothers”.
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The son of a dry goods merchant, Sciarrotta studied mechanical engineering at Alessandro Volta School of Engineering in Naples, Italy and remained in Naples working at a munitions factory during the years before World War II. Sciarrotta came to the U.S. in 1943 to play a major role in a clandestine Office of Strategic Services (OSS) operation carried out at the U.S. Naval Torpedo Station in Newport, Rhode Island. As an engineer whose undersea weapons expertise was acquired in Naples, Italy under the scientist Carlo Colossi, who invented the first magnetic torpedo exploder for the Germans during World War II, Sciarrotta was a critical asset to the U.S Navy when Italy fell to the Allies. In order to protect the secret hardware for the Allied war effort, Sciarrotta and a team of scientists and engineers were smuggled out of Italy with weapon-related hardware and tools plus two small submarines and a torpedo that Sciarrotta knew had been sunk by the Germans in Naples Harbor. The result of the mission in Newport at the Naval Torpedo Station was the building of the first two-man submarine as well as exploding magnetic torpedo devices.
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