So, we're not going to get in any way involved in being distractive.
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The meditative and distractive quality of training drills gave me enough time to steady my mind.
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Just like in a BMW auto HUD, information design is carefully worked to be non-distractive and ergonomically correct.
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"I suppose some might say that to do that would be distractive," Johnson said of would-be Democratic critics.
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Trump's Twitter use has been the subject of various analyses of his moods and habits and musings about potentially distractive strategies.
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" The code says that "divided skirts, and dresses may be worn, provided they are not disruptive or distractive, as determined by the school administration.
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The Vive Pro hasn't quite eliminated the screen door effect, the visible and distractive spacing between the pixels that resemble a screen door, but we're getting closer.
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"What we have right now is a president-elect running around the world with his [Twitter account] making statements that are disruptive and distractive for the American public," McDermott said on the House floor.
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Distractive elements like the blue video title links are now toned down to black, sidebar menus have been cleaned up, and even the YouTube logo and the search bar in the upper left are smaller.
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Rage of Reason is a single by the Polish symphonic black metal band Vesania from their 2007 album Distractive Killusions. It was recorded, mixed and mastered during the Distractive Killusions studio sessions at Studio X in 2007.
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These participants also experienced an increase in positive affect after a distractive drawing task. The change in mood valence after a distractive drawing task is even greater when participants are asked to create happy drawings to counter their negative mood.
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Rote rehearsal was discouraged by a distractive task administered between encoding and recall blocks.
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A trio of bug-shaped drones introduced for the second series to serve as distractive obstacles in the second round.
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Many prey animals have conspicuous high-contrast markings which paradoxically attract the predator's gaze. These distractive markings may serve as camouflage by distracting the predator's attention from recognising the prey as a whole, for example by keeping the predator from identifying the prey's outline. Experimentally, search times for blue tits increased when artificial prey had distractive markings.
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In 1909, Abbott Handerson Thayer described the snowy owl's black markings on its white snow camouflage as distractive. Distractive markings serve to camouflage animals or military vehicles by drawing the observer's attention away from the object as a whole, such as noticing its outline. This delays recognition. The markings necessarily have high contrast and are thus in themselves conspicuous.
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The mechanism therefore relies, as does camouflage as a whole, on deceiving the cognition of the observer, not in blending with the background. Distractive markings were first noticed by the American artist Abbott Handerson Thayer in 1909, but the mechanism was for a century confused with disruptive coloration, another mechanism for delaying recognition that also relies on conspicuous markings. Distractive markings however need to be small and to avoid outlines, to avoid drawing attention to them, whereas disruptive markings work best when they touch the outline, breaking it up. Distractive camouflage marks are sometimes called dazzle markings, but the mechanism differs from motion dazzle.
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Their third album, Distractive Killusions, was released in 2007 on Napalm Records, from which came their first single Rage of Reason. The vocals include screaming and low growling.
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Distraction is the process of creating art to oppose, or in spite of negative emotions. This can also take the form of fantasizing, or creating an opposing positive to counteract a negative affect. Research has demonstrated that distractive art making activities improve mood greater than venting activities. Distractive drawings were shown to decrease negative emotions more than venting drawings or no drawing task even after participants were asked to recall their saddest personal memories.
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Many prey animals have conspicuous high-contrast markings which paradoxically attract the predator's gaze, like other camouflage mechanisms, especially masquerade, working by exploiting weaknesses in the predator's cognitive mechanisms to delay detection or recognition of the prey. These distractive markings serve as camouflage by distracting the predator's attention from recognising the prey as a whole, for example by keeping the predator from identifying the prey's outline. Experimentally, search times for blue tits increased when artificial prey had distractive markings. The researchers, M. Dimitrova and colleagues, note that Thayer's suggestion that such marks take up the predator's attention is plausible, since visual attention is limited, and stimuli effectively compete for attention.
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They note, too, that bright features are preferentially given attention in human vision, so it is possible the same happens in other species. Another possible explanation according to Dimitrova is lateral masking, suppression of peripheral perception; this is known to be strong, again in human perception, when a (single) high-contrast stimulus is provided, but it is doubtful whether a pattern containing small distractive markings could form such a stimulus. Disruptive and distractive camouflage both rely on conspicuous markings, but differ in their mechanisms, and therefore in the most effective size and position of the markings. There is an apparent conflict between background matching and disruptive markings.
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Distractive Killusions is the third full-length album by Polish symphonic black metal band Vesania. It was recorded at Studio X in Olsztyn, Poland by Szymon Czech and Vesania. The record was mixed and mastered at Studio X by Szymon Czech and Orion with virtual assisitance of Siegmar. The album was released worldwide in November 2007.
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People who know more than one language have been reported to be more adept at language learning compared to monolinguals. Bilinguals who are highly proficient in two or more languages have been reported to have enhanced executive function or even have reduced-risk for dementia. More recently, however, this claim has come under strong criticism with repeated failures to replicate. There is also a phenomenon known as distractive bilingualism or semilingualism.
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The Texas blind snake spends the vast majority of its time buried in loose soil, only emerging to feed or when it rains and its habitat floods with water. It is often found after spring rains and mistaken for an earthworm. If handled it usually squirms around and tries to poke the tip of its tail into the handler. This is a completely harmless maneuver and likely serves as a distractive measure.
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Camouflage relies on deceiving the cognition of the observer, such as a predator. Some camouflage mechanisms such as distractive markings likely function by competing for visual attention with stimuli that would give away the presence of the camouflaged object (such as a prey animal). Such markings have to be conspicuous, and positioned away from the outline so as to avoid drawing attention to it, in contrast to disruptive markings which work best when in contact with the outline.
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However, the two mechanisms are different, and according to Dimitrova require different kinds of marking. For distraction, the markings should be small and should avoid the prey's outline so as to take attention away from it, whereas disruptive markings should contact the outline so as to break it up. Distractive camouflage marks are sometimes called dazzle markings, but the mechanism differs from motion dazzle, which relies on conspicuous markings to interfere with an observer's ability to estimate the target's speed and direction.
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The Oracles of Distraction, are similar in style to Brian Eno's Oblique Strategies; however, rather than being instructional they are intended to distract the reader with juxtaposed images and sound. Mosdell wrote a "distractive" poem for each "oracle" in English, while Tanikawa wrote the reverse side in Japanese. Jore Park and Wylci Fables created accompanying 77 washi-painted panels. Musician Yu Imai then worked alongside other studio performers with Mosdell to create 77 audio sketches using Mosdell's VISIC compositional method.
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Background matching relies on choosing coloration and brightness similar to the background, but disruptive markings must stand out from the background. Dimitrova and colleagues note that Thayer suggested that such markings must be small; this, they argue, would enable the markings to fit in with background matching at any great distance, and would prevent predators from learning a search image and then detecting prey with that type of marking. Hugh Cott, author of the 1940 Adaptive Coloration in Animals, followed by many other researchers, conflated distractive markings with disruptive coloration. Both mechanisms require conspicuous marks.
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Film choice was apparently indiscriminate, ranging from sentimental gimmicky productions to world acknowledged classics. Both Schnitzler and Pollaczek recalled approximately 500 of these cinema visits in their respective diaries between 1923 and 1931, providing insights into how different films were received by the public as well as the individual events surrounding their own cinema visits. From Pollaczek diary entries it appears that these cinema visits served a distractive function. During the final year of Schnitzler's life the two of them also discovered listening to the radio together as an alternative pastime.
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Mycena chlorophos, a bioluminescent mushroom Bioluminescence has several functions in different taxa. Steven Haddock et al. (2010) list as more or less definite functions in marine organisms the following: defensive functions of startle, counter-illumination (camouflage), misdirection (smoke screen), distractive body parts, burglar alarm (making predators easier for higher predators to see), and warning to deter settlers; offensive functions of lure, stun or confuse prey, illuminate prey, and mate attraction/recognition. It is much easier for researchers to detect that a species is able to produce light than to analyze the chemical mechanisms or to prove what function the light serves.
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The principle of "maximum disruptive contrast" in Hugh Cott's 1940 Adaptive Coloration in Animals, "showing the distractive effect upon the eye of patterns which contrast as violently as possible with the tone of their background". The examples are of a fish, an antelope, and a bird. The artist Abbott Handerson Thayer in his 1909 book Concealing-Coloration in the Animal Kingdom argued that animals were concealed by a combination of countershading and "ruptive" marks, which together "obliterated" their self-shadowing and their shape. Thayer explained that: Hugh Cott's 1940 book Adaptive Coloration in Animals introduced ideas such as "maximum disruptive contrast".
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They found that disruptive coloration provided the best protection from bird predators when the pattern was matched to background luminance, but even when elements in a pattern did not match, disruptive patterns were still better at reducing predation than either non-disruptive patterns or plain (unpatterned) control targets. distractive camouflage both rely on conspicuous markings, but differ in their mechanisms and so in the size and position of the markings for greatest effectiveness. Disruptive patterns can also conceal specific features. Animals such as fish, birds, frogs and snakes can readily be detected by their eyes, which are necessarily round and dark.
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The word "Combat" was added to Combat Hapkido to distinguish this system from Traditional Hapkido styles and to identify its focus as Self-Defense. The style employs joint locks, pressure points, throws, hand strikes, and low-lying kicks, and trains practitioners to either counter or preemptively strike an imminent attack to defend one's self. In common with many Hapkido styles, it also emphasizes small circular motion, non-resisting movements, and control of an opponent through force redirection and varied movement and practitioners seek to gain advantage through footwork, distractive striking and body positioning to employ leverage.
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Many species conceal the eye with a disruptive eye mask, sometimes contrasting with a stripe above the eye, making it seem just part of a dark area of background. Cott called this a special case of a "coincident disruptive pattern". Another camouflage mechanism, distractive markings, also involves conspicuous marks and has for a century since Thayer's initial description been conflated with it, but the two require different kinds of marking. For distraction, the markings should be small and should avoid the prey's outline so as to take attention away from it, whereas disruptive markings should contact the outline so as to break it up.
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Eye-spots are mentioned, but instead of noting that these might be distractive, they are asserted to be "dazzling", appearing as holes, and thus functioning as disruptive camouflage. The text ends with a paragraph that asks if it is "any wonder that artists should feel keen delight in looking at the disguising-patterns worn by animals?" These are "triumphs of art", where the student can find "in epitome, painted and perfected by Nature herself", the typical color and pattern scheme of each kind of landscape. An appendix provides extracts from a "very remarkable addition to our subject", Poulton's 1907 observations of color change in chameleons.
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The majority of those against Jazani, were the followers of Masoud Ahmadzadeh and Amir Parviz Pooyan, two of the founders of Iranian People's Fadaee Guerrillas. Although these two individuals were killed in 1972, their teachings were the official teachings of the movement up to 1976. Jazani thought these two individuals teachings were distractive and his book "Armed struggle in Iran: The road to mobilization of the masses" was written in response to a book written by Ahmadzadeh "Armed struggle, both tactic and strategy". Even though Jazani did not mention Parviz Pooyan or Ahmadzadeh in his book; when discussing and offering his thoughts he disapproves those offered by these two individuals.
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Advertisers may use a well-known nickname for the event that is not a trademark, such as "the big game". Similarly, a non-sponsor may use "distractive" techniques to divert consumers' attention away from the actual event and its official sponsors using similarly indirect means; for example, a non-sponsor may saturate the area at or around its venue (including street vendors, billboards, and public transport) with a competing marketing presence. Such "saturation marketing" may either be indirectly related to the event, or be incidental and make no references at all. In some cases, a company may sponsor or create a similar "parallel property," designed to compete directly with a major property by evoking similar thematics.
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While he did not invent camouflage, he was one of the first to write about disruptive patterning to break up an object's outlines, about distractive markings, about masquerade, as when a butterfly mimics a leaf (though here he was anticipated by Bates, Wallace, and Poulton), and especially about countershading. Beginning in 1892, he wrote about the function of countershading in nature, by which forms appear less round and less solid through inverted shading, by which he accounted for the white undersides of animals. This finding is still accepted widely, and is sometimes now called Thayer’s Law. However, he became obsessed with the idea that all animals are camouflaged, spoiling his case by arguing that conspicuous birds like peacocks and flamingoes were in fact cryptically colored.
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In Satmar Custody is a 2003 film of the Jaradis, a Yemenite Jewish family, one of many that were brought from Yemen to the US (Monroe, New York) by the ultra-Orthodox Satmar community which advises against immigration to Israel. The story exposes a deep cultural gap between the Yemenite families and the Yiddish Satmar community that became distractive and tragic to families who have traveled thousands of miles to a place with strange rules, norms, morals, and lifestyles. The film follows the life of Yahia and Lauza Jaradi, who were brought from Yemen into the Satmar community. It starts on the day that the Jaradi couple received an urgent phone call notifying that their two-and-a- half-year-old daughter, Hadia, died in a hospital in Paterson, New Jersey.
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Steadfast in the face of the heated and violent anti-gay sentiment, they had to deal with threats to much more than just their right to march… The film participated at the following film festivals - Docaviv (ISRAEL), Outfest (USA), Sheffield (UK), DOCNZ (New Zealand), Festival de Popoli (ITALY), IDFA (Amsterdam), FICCO (Mexico), One World (Prague), Cleveland International Film Festival, Guth Gafa (Ireland), PIFF (Provincetown, US), Banff World Television Film Festival, London Jewish Film Festival, Fresco LGBT Film Festival, Seattle LGBT Film Festival, Washington Jewish film festival, New York Jewish film festival, Chicago LGBT film festival, Atlanta Jewish film festival, Boston LGBT Film Festival. The film "In Satmar Custody" - Synopsis - In Satmar Custody reveals the story of the Jaradi’s, a Jewish Yemenite family, one of many that were brought from Yemen to the US (Monroe, NY) by the Ultra orthodox Satmar Community which operates a propaganda machine against the immigration to Israel. The story exposes a deep cultural gap between the Yemenite families and the Yiddish Satmar Community that became distractive and tragic to families who have traveled thousands of miles to an entirely different planet of their own, with strange rules, norms, morals and lifestyles.
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