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However, a severely atherosclerotic carotid artery may also cause amaurosis fugax due to its stenosis of blood flow, leading to ischemia when the retina is exposed to bright light. [12] "Unilateral visual loss in bright light may indicate ipsilateral carotid artery occlusive disease and may reflect the inability of borderline circulation to ...
The amorous discourse surfaces heavily in the sestet of the poem, asserted by words and phrases such as: dearly I love you, loved, bethroth'd, divorce me, untie or break that knot, enthrall me, chaste, ravish. The speaker here talks about himself as betrothed to God's enemy.
The energy we give to matters and others can make change happen. Our abilities are more potent than we know, so manifestation can help us bring positivity, abundance and love into our lives by ...
Spectral purity is easier to achieve in devices that generate visible and ultraviolet light, since higher frequency light results in greater spectral purity. In signal processing, spectral purity is defined as the inherent stability of a signal, or how clean a spectrum is compared to what it should be.
When lovely young Stella (Meredith Host) strikes up a romance with pale, brooding vampire Edgar Mullens (Kurt Indovina), the couple must navigate the treacherous waters of human-undead love and fend off the amorous advances of a werewolf named Jack (A.J. Stabbone). Meanwhile, another brood of bloodsuckers seeks to impale Edgar and claim Stella ...
Light pollution is increasing globally, and having a negative impact on wildlife and humans. But according to DarkSky International, the solutions are surprisingly simple.
Eye contact doesn't just signal interest in someone and give them the green light to hit on you; it also makes you more attractive. Chan says that "prolonged eye contact can make someone appear ...
Aurora is an orchestral tone poem by William Lloyd Webber which is acknowledged to be among the composer's finest works. Written in 1948, it lay unperformed for many years. When a recording was issued in 1986 the Guardian newspaper's reviewer, Edward Greenfield, described the work as: "Music as sensuous as any you will find by a British compose