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The Netherlands was the birthplace of the world's first public water supply and sanitation infrastructure, and it continues to provide exceptional service to its citizens. The Netherlands is also a leading country in water efficiency, recycling, renewable energy and action against climate change.
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Erika Lust Film Film Room 33

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Room 33 ist ein erotischer Kurzfilm der schwedischen Regisseurin Erika Lust. Der Film erschien im Jahr 2011 und ist eine Fortsetzung ihres Kurzfilms Handcuffs. Room 33 ist ein Beitrag für den experimentellen Film Hotel, bei dem sechs Regisseure im Hotel Casa Camper in Barcelona 24 Stunden Zeit hatten, an ein und demselben Ort einen Film nach ihren persönlichen Vorstellungen zu drehen.
Erika Lust (born 1977) is a Swedish erotic film director, screenwriter and producer. Since the debut of her first indie erotic film The Good Girl in 2004, Lust has been cited as one of the current leading participants in the feminist pornography movement,[2][3] asserting that an ethical production process sets her company apart from mainstream pornography sites. Lust has stated that she finds no issue in calling her films porn, since she expects viewers to be sexually aroused, unlike other directors of erotic films who make a distinction between their work and porn even when both types contain sexually explicit scenes.[4] In addition to directing and producing a number of award-winning films, she has written several books.[5]
She went to Lund University, where she studied Political Sciences.[8][9] While there, she came across Linda Williams' 1989 book Hard Core: Power, Pleasure, and the "Frenzy of the Visible", which would influence her filmmaking later.[9] She graduated with a BA in 1999, with a specialization in human rights and feminism.[10] After graduation she moved to Barcelona in 2000 and started studying filmmaking.[8][9]
Lust shot her first film, the explicit short The Good Girl in 2004, which became an instant hit.[11] Released online for free under a Creative Commons license, it was downloaded millions of times in several days[12] and two million times in two months.[13] The film was shown at the Barcelona International Erotic Film Festival the next year and won a Ninfa Award.[14]
In 2005, after this initial success, she founded her video production company Lust Films.[8] The company has produced erotic short films and compilations steadily from then on. Five Hot Stories For Her, an anthology of five vignettes including The Good Girl, won the Barcelona International Erotic Film Festival's 2007 Best Spanish Screenplay award,[15] the Venus Berlin Fair's 2007 Eroticline Award for Best Adult Film for Women,[16] and the 2008 Feminist Porn Award for Movie of the Year.[17] Since then she has been a regular on the adult cinema festival circuit, and in 2020 one of her films came to the cinema on a regular basis for the first time.[18]
Lust's films are characterized by carefully cast actors and high standards of production in adult film. Lust believes explicit film can be an educational tool besides being pleasurable and can help us better understand our sexuality, to live more freely and naturally. She hopes to influence viewers' conceptions of gender roles in sexuality.[19] She considers pornography to be the "most important discourse on gender and sexuality".[8]
In 2010, Lust opened an online erotic cinema called Lust Cinema, exhibiting her own films and those of other authors of the new wave of explicit films.[8] She started the first crowdsourced project in the history of adult cinema in 2013, calling it XConfessions.[8] It has become her main source of work in the years thereafter.[20]
Her film Cabaret Desire (2011) won her the Feminist Porn Award for Movie of the Year in 2012 and the CineKink Audience Choice Award for Best Narrative Feature. It was cited as an example of the diversity of porn at the 2013 Berlin Porn Film Festival providing a space for rethinking sex, sexuality, and pornography.[28]
In 2020, her film The Intern received three film nominations for the XBIZ Europa Awards including Feature Movie of the Year, Best Acting (won) and Best Sex Scene in a Feature Movie. Her film Super Femmes was also nominated for Best Lesbian Sex Sce

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Below are 1,929 Texas zip codes sorted by population from largest to smallest. The population data are from the 2021 American Community Survey. You can copy and paste this list directly into your favorite spreadsheet program. Don't you just adore lovely numbers listed nicely in columns & rows? We do!
Some of these zips may be mostly within a neighboring state and only slightly within Texas. We follow the US Census Bureau's lead here and if any portion of the zip code intersects Texas (no matter how small), we include that zip code both in the Texas list below as well as in the neighboring state's list of zip codes.
Not having the right zip code for your postal mail would mean your letters will not reach their destination. Click the location on the map to find your needed postal code or choose the city in the US state Texas zip code list.
The official zip+4 for ALL of Texas State University (except Admissions) is 78666-4684. Refer to Mail Stop Codes below for the unique code to identify your department and the sample as to how they are to be used.
Note: Download the Excel files below to your computer. Do not open them within the browser window or your browser's cache may open a previously viewed version of the file. Please email chs-info@dshs.texas.gov for the most recent files if you do not find them below.
To refer a child, up to 36 months of age, please contact the ECI program in your area. ECI contracts with different organizations to provide ECI services throughout Texas. Some urban areas with large populations have several ECI programs. Each ECI program provides services to families living in specific areas identified by ZIP code.
In order to document and understand this health indicator, UT System Population Health has calculated zip-code level infant mortality rates using data from Texas Vital Statistics Linked Birth and Death Records from 2011-2014 (1,543,167 births). Zip-code level infant mortality rates were calculated if there were more than 400 births to mothers living in that zip code. Of the 2,455 zip codes in Texas, infant mortality rates for 842 were calculated. While only 34% of the zip codes in the state could be calculated, these zip codes contained 93% of all the births in Texas over this four year period.
Zip code level infant mortality rates were also calculated based on maternal race/ethnicity for groups with more than 400 births in the zip code between 2011-2014. These data showed that there was also substantial geographic variation in rates within racial/ethnic groups (Figure 2). All racial/ethnic groups had zip codes with infant mortality rates at or near zero. All groups also had zip codes with rates greater than 10 deaths per 1,000 births. Babies born to Black mothers had the highest rates of infant mortality. They also, however, had the largest zip code level variation across the state.
Mapping these rates reveals that the variation that is seen across the state is also seen within cities. Babies born to non-Hispanic white women in Texas have a relatively low risk of dying within the first year after birth, but this risk varies significantly within cities. The highest mortality rates for infants of white mothers were found outside the major metro areas. For example, Longview had more than one zip code with a mortality rate for infants of white mothers that was more than double (11.4 and 12.3 deaths per 1,000 in zip codes 75647 and 75605, respectively) the overall infant mortality rate for the state.
Babies born to Hispanic women have the lowest rate of infant mortality of the three major racial/ethnic groups in Texas. However, as for infants of white mothers, mortality rates for infants of Hispanic mothers varied greatly depending on where the mothers lived when they were pregnant. For example, in San Antonio, adjacent zip codes 78203 and 78220 had Hispanic infant mortality rates (16.0 and

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In the new book Bystander, iconic photographer Joel Meyerowitz and leading photography expert Colin Westerbeck explore the development of one of the most interesting and dynamic of photographic genres, street photography.
In Bystander, the story of street photography is brought up to present day with a complete re-evaluation of historical material as well as the inclusion of contemporary photographers and a new and exclusive discussion of the ongoing rise of digital photography. Available from Laurence King.
Throughout the history described in this book, there have been key periods when a group of street photographers have come together to share their work, their ideas, and in some cases a sense of social purpose. From fellowships like the Photo-Secession at the turn of the last century through the Farm Security Administration during the Depression to the group that formed around Garry Winogrand in New York in the early sixties and was influenced by Robert Frank's The Americans, street photography has often had more than just a history. It has represented a culture in the true sense of people bound to one another by common interests, beliefs, and practices. Of all these groups both formal and informal, the only one still in existence today is Magnum, the cooperative for photojournalists founded in 1947 by Henri Cartier-Bresson, Robert Capa, and a few others. Although current members, such as Gilles Peress, were discussed earlier, the addition of this new afterword to the original text provides an opportunity to bring the assessment of Magnum's history up to date. Magnum recently celebrated its fiftieth anniversary with an exhibition and a book that are startling evidence of how utterly the photography by the members has changed since the organization's early days. The photographers themselves are probably not so different, but the worlds in which they both work and show their work are. It is worth taking a look at what has happened to Magnum in the last few decades because it tells us much about the recent history of street photography in general. When this book was published seven years ago, the idea of ending with the period of the late sixties and early seventies seemed a good one, since photo history had thereafter become preoccupied with other issues and a different notion of what history itself was, or should be. Except perhaps at Magnum, street photography has undergone a kind of diaspora in the last quarter century. Certainly there are many good photographers still working in this genre, and talented new ones come along all the time. The ultimate purpose of this discussion is to identify some of the best work being done today. Yet most of these photographers are working essentially alone, on the margins of both photojournalism and the art world, in a way that their immediate predecessors did not. It is by beginning with Magnum that we can best understand why this has happened. Magnum's fiftieth-anniversary exhibition that was installed in late 1999 on several floors of the Bibliotheque Nationale in Paris was a show devoted to the inhumanity of man to man. It was a kind of anti-"Family of Man," as if it were intended to repudiate Edward Steichen's famous 1955 exhibition showcasing an earlier generation of Magnum. Michael Ignatieff feels that Steichen's show expressed the "core belief" of Magnum's founders. Writing in the introduction to Magnum, the book that accompanied the fiftieth-anniversary exhibition, Ignatieff makes an astute observation that the spirit in which Magnum was founded was the same in which the Universal Declaration of Human Rights was drafted in the aftermath of World War II. "Magnum's task," Ignatieff contends, "was providing the iconography of a liberal moral universalism" unique to that time. Magnum's first major project in 1947 was entitled "People Are P

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Part 2 of tri somehow turns infected monsters taking over the world into a slice of life drama. The main conflict in this part isn't really even about the infected digimon and more about problems in the group of humans, while this is an important part of digimon they focus on it a little too much and not enough on the digimon. This movie does serve to make part 3 more impact, when watched together.
Five movies have lead up to this epic finale. And while the stakes are high, they are needlessly complex. To make matters worse we never even get to meet one of the main villains of the series, and the 02 cast and just shoved to the sidelines as not even full cameos. Not to mention this part has a lot of power scaling issues as well with character inconsistencies. The series had a lot of potential but the ending fails to deliver on some of the key points earlier parts set up. If you made it this far in the series it's worth the watch, but prepare for disappoint.
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Kambole Cambell from IGN gave the film a 9/10, stating, "An impressively bold and mature final installment, Digimon Adventure: Last Evolution Kizuna realizes the full potential of its cast and the power of a definitive ending, driven by an inventive visual sensibility, exciting set-pieces, and heart-wrenching emotional stakes."[19] Common Sense Media gave the film a 4/5, stating, "This is a bittersweet coming-of-age story that manages to transcend the expected anime battles and action. For those coming into the movie without knowing all of the ins and outs of this particular anime universe, the movie's heady themes of life and death, growing up and moving on, and making your own way in the world are poignant, universal, and relatable."[43]
The film drew comparisons to Mamoru Hosoda's previous works on Digimon, as well as drawing comparisons to Toy Story 3.[18][44][43][19][45] Polygon stated, "Like Toy Story 3, Kizuna goes for a bittersweet conclusion that waves goodbye to childhood while suggesting that eventually, we all learn to find a balance between our responsibilities and our desires...Digimon Adventure: Last Evolution Kizuna manages to be the best addition to the Digimon franchise since Mamoru Hosoda was at the helm. Its references to previous franchise installments, its surprising cameos, and its emotional story all help put a bow on 20 years of adventures, while providing a nice returning point for fans who may have skipped the underwhelming Tri series of films." IGN stated, "The hallmarks of Mamoru Hosoda (who directed the first Digimon movie along with a number of short films) are still in play, with simple yet creative visual distinctions between the digital world and in the real world, clean red lines used to draw characters while moving about the former, sometimes flattening their coloring as the space around them changes. The conclusion recalls the likes of Toy Story 3 and How to Train Your Dragon: The Hidden World, as a film that trusts its audience to be able to let go, though here with a more definitive and perhaps even more heart-wrenching finality."
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Purpose of review:  There is growing recognition that eating disorder (ED) symptoms, particularly those of a muscularity-oriented nature, are more common in men than previously understood. The purpose of the current review is to describe contemporary directions and implications of research on traditional and muscularity-oriented ED symptoms among males.
Recent findings:  Evidence indicates that ED symptoms occur in a substantial minority of men. Importantly, recent research has focused on muscularity-oriented body image and disordered eating in males, demonstrating the prevalence, correlates, and consequences of maladaptive muscularity-oriented attitudes and behaviors. A growing number of assessments are available to measure these constructs in males, and preliminary treatment considerations have begun to be addressed in the literature. Research on male EDs and body image is increasingly focusing on muscularity-oriented manifestations. Continued empirical work will be critical to improve our understanding of the onset, maintenance, and treatment of muscularity-oriented disordered eating in males.
Objective:  Body dissatisfaction is intricately linked to the development of disordered eating. However, as male body dissatisfaction appears more oriented toward muscularity, versus thinness per se, existing measures of eating disorder psychopathology may lack sensitivity in capturing disordered eating that is muscularity-focused. The aim of the present study was to develop a specific measure of muscularity-oriented disordered eating-the muscularity-oriented eating test (MOET).
Discussion:  The MOET represents a psychometrically sound, novel measure of muscularity-oriented disordered eating. Future research should examine its utility in clinical samples and research into muscularity-oriented disordered eating.
The drive for muscularity behaviors are very common in male athletes, especially in male bodybuilders. Studies have related drive for muscularity behaviors to body dissatisfaction, eating disorders and muscle dysmorphia.
The motivational mechanisms explaining the development of drive for muscularity behaviors might be better understood through complementary analyses of motivational profiles. Such investigations would guide the design of programs to lower the risks associated with these behaviors.
The strengths of the study include the application of the trans-contextual model of motivation to the drive for muscularity behaviors of male bodybuilders at risk of developing muscle dysmorphia. In this model, motivations for sport influence drive for muscularity behaviors through the mediating roles of attitude to gain muscle mass, perceived behavioral control related to gain muscle mass, and intention to gain muscle mass. The findings were that both autonomous and controlled motivations for sport were associated with drive for muscularity behaviors through direct and indirect pathways. Complementary analyses of motivational profiles would provide more in-depth insight into the motivational mechanisms underlying drive for muscularity behaviors. These investigations would help to develop programs to reduce the risks associated with these behaviors.
Athletes practicing bodybuilding display drive for muscularity behaviors (DM) and are at risk of developing deviant behaviors that can impair health [1], a notable example being the development of eating disorders [2]. Although several psychological factors have been shown to be related to DM, few studies have been based on recent socio-cognitive theories. The purpose of this study was to gain deeper insight into the psychological mechanisms underlying DM in male bodybuilders from the perspective of the trans-contextual model of motivation (TCM) of Hagger and Chatzisarantis (2009) [3].
A growing body of literature has examined various applications of the trans-contextual model to healthy behaviors such as healthy eating [3

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