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Wallmonkeys Peel and Stick Wall Decals - Wissower Handles Complaints - 18"H x 12"W Removable Graphic
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won't damage your paint or leave any mess. PLEASE double check the size of the image you are ordering prior to clicking the 'ADD TO CART' button. Our graphics are offered in a variety of sizes and prices.
WallMonkeys are intended for indoor use only.
Printed on-demand in the United States Your order will ship within 3 business days, often sooner. Some orders require the full 3 days to allow dark colors and inks to fully dry prior to shipping. Quality is worth waiting an extra day for!
Removable and will not leave a mark on your walls.
'Fotolia' trademark will be removed when printed.
Our catalog of over 10 million images is perfect for virtually any use: school projects, trade shows, teachers classrooms, colleges, nurseries, college dorms, event planners, and corporations of all size.
MYSELF Diptych, Detail
Below is a transcription of the handwritten text on the detail pictured above:
"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusi
Leisure Suit Larry Box Office Bust
It was Codemasters that snagged this title from the dust cloud surrounding Activision Blizzard's mid-2008 supernova of intellectual properties, though for what reason is truly a mystery. Team 17's Leisure Suit Larry: Box Office Bust is an awful, awful game. Anyone who played it before release must have realized this, yet here it is sitting on store shelves. It's frustratingly unpolished, devoid of any kind of wit or charm, and packed with tiring, at times infuriating challenges. While the PC and Xbox 360 versions available now may be budget priced at $20 USD, this game is nearly impossible to recommend.
I say nearly impossible because Box Office Bust does offer something not found in that many videogames: sexually explicit dialogue. Cursing and not-so-subtle references to the shape and function of certain body parts is injected into almost every line of speech, of which there's quite a bit, and that's just fine. The problem is, while it's all crude and inappropriate and refreshingly politically incorrect, it's just not funny. And this is coming from someone who's rarely laughed harder than at a Jim Norton live show. It may be bearable at first, but the obviousness of the majority of the humor, which often just boils down to characters blatantly pointing out physical features, just doesn't stay interesting for the duration of the game's surprisingly long run. In the game you play as Larry Lovage, the nephew of the original Larry. The goal is to expose a plot to torpedo a movie studio, and to do so you must guide Larry through a number of small sandbox levels featuring a bunch of different gameplay styles implemented with the finesse of a blind giraffe. You get a hand-to-hand fighting system that makes Dreamfall's combat seem like Virtua Fighter, sloppy third-person platforming, tedious stealth sequences, shooting galleries (yes, with weapons), and a number of fetch quests and timed challenges. The worst part is, it seems the script writer was aware of how poorly designed and pointless of the majority of the missions are, and had Lovage point out how silly moving a crate or finding a certain number of items within a set time limit is.
"Oh that's right, introduce a timer to place me under undue and unnecessary pressure," says Larry near the game's beginning. We have the same complaint! Apparently the only real joke in Box Office Bust is on the player. Even after the game calls out how terrible some of its challenges are, it still forces you to perform them successfully to proceed.
Since you have to do these challenges to get to the story bits, and since the story and character interaction is generally so repetitive and so very irritating, you wind up with a play experience that never offers anything to look forward to. Every successive sequence, be it dialogue or gameplay, is either so boring you'll want to skip ahead or so exasperating you'll want to skip your input device out the nearest window.
A lot of the frustration caused can be attributed to horrible camera and control systems. The game takes place in several locations, from the main movie studio lot hub world to a number of "dream sequences" set in spots like the Wild West ("Beefcake Mountain") and the Titanic (called "Bytanic" in the game). In all, you'll find platforming sequences ruined by a camera that throws a temper tantrum almost every time you near a vertical surface. It makes trying to navigate environments, a process already maddening because of Larry's imprecise handling and a lack of definition as to where the edges of platforms actually are, absolutely tortuous.
It certainly doesn't help that Larry has a health bar and takes falling damage. Topple from any perch of significant enough height and you'll frequently find yourself back at a mission's beginning. This creates loops of restart situations during timed platforming sequences, such a rock climbing section in the Wild West area where Larry will, unless you're lucky, fall to his death not through any fault of your own, but because the camera decided to do a surprise 180 degree orbit. Perhaps nobody was really expecting fantastic gameplay here, but what's offered is just embarrassing. It's difficult to understand who this game was being made for, really. Any fans familiar with the Al Lowe era of Larry titles are likely going to be turned off by the shift in gameplay structure, any new players are going to be turned off by the hideous gameplay, and anyone who just wants to hear a bunch of dirty words and puns isn't going to find anything but a few chuckles here and there, and to get them you're forced to dig through layers of dreadful mechanics.
For the voice work, of which there's plenty, the game utilizes the talents of recognizable names like Jay Mohr, Shannon Elizabeth, Artie Lange, and Jeffrey Tambor. Most of it is delivered decently by videogame standards, though a lot of it sounds like it was recorded in a submarine. You'll also
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Electrolux Products - Upright Vacuum, Heavy Duty, Chrome Steel Hood/Black - Sold as 1 EA
Sanitaire Quiet Clean traditional upright commercial vacuum offers a two speed, high performance, long life, 7 amp motor for powerful cleaning results. A high filtration synthetic bag with a low noise rating of just 69db makes it fully CRI/LEED complaint. The Quiet Clean mode is ideal for keeping noise at a minimum during day cleaning. A quick change power cord eliminates down time caused by damaged cord replacement. Its quick change furniture guard won't mark and protects furniture and vacuum. Looped handle with fingertip on/off switch adds convenience and reduces damage from excess foot weight. Vacuum provides a 12" cleaning path, 6.1 dry quart capacity disposable dust bags and extra long three wire grounded 50' cord.
Sold as 1 EA
Total percentage of recycled content: 0
Post Consumer Waste: 0
Country of origin: MX
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