Coloured

ultraviolet irradiation with protective pigments. That was the case in our samples with the sheath of Calothrix pulvinata being sometimes shaded in orange, or the slime of Gloeocapsa sanguinea, G. violascea, Chroococcus lithophilus or Nostoc microscopicum coloured in red, violet or yellow-orange, those colours otherwise being often a cause for the blackish aspect of some samples. Concluding remarks Most of algae and cyanobacteria species described here are widespread and well-known from building façades

| |Sinwa | | | | | |Coloured | | |Namibie | | |Coniagui |

“The Oregon Trail“ (1936) © AKG-images. The Western has ensured our vision of the Indians as savages in search of scalps and tortures around totems. Séquence 2-AN01 51 © Cned – Académie en ligne “Indian hunting buffalos“ wood cut, coloured, after a painting by George Catlin (1796-1872) © AKG-images Buffalo Buffalo once roamed from Canada to Mexico, .............................. the great plains and the mountain ...................... Their number was so great that early ......

is indefensible, according to Nietzsche, and cannot be predicated with the attributes which Schopenhauer wishes to attach to the will, because37 in Janaway, 1989: 343): A totally obscure, inconceivable x is draped with predicates, as with bright coloured clothes which are taken from a world alien to it, the world of appearance. Then the demand is that we should regard the surrounding clothes, that is the predicates, as the thing itself. . . . In The Birth of Tragedy38 Nietzsche introduces Schopenhauer’s

CONTROL INPUT External input mode rotate in regular sequence. Switches the TV on from standby. Brightness Adjusts screen brightness. adjustment This returns to the default settings brightness by changing mode source. BACK EXIT MENU INFO i GUIDE Coloured These buttons are used for teletext (on TELETEXT buttons models only) or P r o g r a m m e e d i t. OK EXIT Clears all on-screen displays and returns to TV viewing from any menu. BACK Allows the user to move back one step in an interactive

qu'histoire d'apparence, représentant un rejet d'un seul des deux sexes et son ostracisation. L'on remarquera aujourd'hui que les féminicides qui démontrent l'apartheid des femmes atteignent des sommets dans le pays qui s'est extirpé de l'apartheid du "coloured" racisme. Il reste notable que le racisme est lourdement condamné et jamais le sexisme (qui n'existe que contre les femmes, soyons clairs), ou du bout des lèvres. L'humour raciste est sanctionné, la publicité raciste de même, mais jamais la publicité

behind the times? We cannot therefore claim to have formulated a convincing denial of the inequality of the human races, so long as we fail to consider the problem of the inequality or mendous advances with which we are civilizations of the coloured peoples cultures, which it is in fact — —however mind. associated with in the public II. THE DIVERSITY OF CULTURES how, and to what extent, the various from one another, and whether these differences confhct or

The Strange Legend of Jean Catherine Gilant The scene takes place in an exotic city: it was warm and the population lived in an old village without new technology. Everything was based on religion and the old principles. The birds were all coloured and the other animals were free. This city was named Decapulco. It was during the period of Christmas, the third of July since this people celebrated it in July. And they named it “Our Halloween”. The weather was so windy and warm too. So strange

massacres. Affiche du film “The Oregon Trail“ (1936) © AKG-images. The Western has ensured our vision of the Indians as savages in search of scalps and tortures around totems. Séquence 2-AN01 67 “Indian hunting buffalos“ wood cut, coloured, after a painting by George Catlin (1796-1872) © AKG-images Also in colour in the centre pages - Document II Buffalo Buffalo once roamed from Canada to Mexico, .............................. the great plains and the mountain .................

Street Scene illustrates the importance the artist placed on the relationship between architecture and people. It shows a city street leading to a large greyish building – a cotton mill – with clusters of people in the foreground, and smaller bright-coloured houses on both sides of the street. As always in Lowry’s paintings, the people are “matchstick men” – thin, quite dark, figures – both in the street and on the pavements. They are mostly men, but a woman can be seen on the left pushing a pram, and