How to remove makeup naturally : How to do face make up : Eye make up secrets.
How To Remove Makeup Naturally
- In a natural manner, in particular
- As a natural result
- In a normal manner; without distortion or exaggeration
- through inherent nature; "he was naturally lazy"
- according to nature; by natural means; without artificial help; "naturally grown flowers"
- as might be expected; "naturally, the lawyer sent us a huge bill"
- (How To’s) Multi-Speed Animations
- Providing detailed and practical advice
- A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.
- Practical advice on a particular subject; that gives advice or instruction on a particular topic
- degree of figurative distance or separation; "just one remove from madness" or "it imitates at many removes a Shakespearean tragedy";
- remove something concrete, as by lifting, pushing, or taking off, or remove something abstract; "remove a threat"; "remove a wrapper"; "Remove the dirty dishes from the table"; "take the gun from your pocket"; "This machine withdraws heat from the environment"
- A degree of remoteness or separation
- remove from a position or an office
- Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
- an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"
- constitution: the way in which someone or something is composed
- The combination of qualities that form a person's temperament
- cosmetics applied to the face to improve or change your appearance
- The composition or constitution of something
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Philosophy, science and art differ principally according to their subject-matter and also the means by which they reflect, transform and express it. In a certain sense, art, like philosophy, reflects reality in its relation to man, and depicts man, his spiritual world, and the relations between individuals in their interaction with the world. We live not in a primevally pure world, but in a world that is known and has been transformed, a world where everything has, as it were, been given a "human angle", a world permeated with our attitudes towards it, our needs, ideas, aims, ideals, joys and sufferings, a world that is part of the vortex of our existence. If we were to remove this "human factor" from the world, its sometimes inexpressible, profoundly intimate relationship with man, we should be confronted by a desert of grey infinity, where everything was indifferent to everything else. Nature, considered in isolation from man, is for man simply nothing, an empty abstraction existing in the shadowy world of dehumanised thought. The whole infinite range of our relationships to the world stems from the sum-total of our interactions with it. We are able to consider our environment rationally through the gigantic historical prism of science, philosophy and art, which are capable of expressing life as a tempestuous flood of contradictions that come into being, develop, are resolved and negated in order to generate new contradictions. No scientifically, let alone artistically, thinking person can remain deaf to the wise voice of true philosophy, can fail to study it as a vitally necessary sphere of culture, as the source of world-view and method. Equally true is the fact that no thinking and emotionally developed person can remain indifferent to literature, poetry, music, painting, sculpture and architecture. Obviously, one may be to some extent indifferent to some highly specialised science, but it is impossible to live an intellectually full life if one rejects philosophy and art. The person who is indifferent to these spheres deliberately condemns himself to a depressing narrowness of outlook. Does not the artistic principle in philosophical thought deserve the attention of, and do credit to, the thinking mind, and vice versa? In a certain generalised sense the true philosopher is like the poet. He, too, must possess the aesthetic gift of free associative thinking in integral images. And in general one cannot achieve true perfection of creative thought in any field without developing the ability to perceive reality from the aesthetic standpoint. Without this precious intellectual prism through which people view the world everything that goes beyond the empirical description of facts, beyond formulae and graphs may look dim and indistinct. Scientists who lack an aesthetic element in their makeup are dry-as-dust pedants, and artists who have no knowledge of philosophy and science are not very interesting people either, for they have little to offer above elementary common sense. The true artist, on the other hand, constantly refreshes himself with the discoveries of the sciences and philosophy. While philosophy and science tend to draw us into "the forest of abstractions", art smiles upon everything, endowing it with its integrating, colourful imagery. Life is so structured that for a man to be fully conscious of it he needs all these forms of intellectual activity, which complement each other and build up an integral perception of the world and versatile orientation in it. The biographies of many scientists and philosophers indicate that the great minds, despite their total dedication to research, were deeply interested in art and themselves wrote poetry and novels, painted pictures, played musical instruments and moulded sculpture. How did Einstein live, for example? He thought, wrote, and also played the violin, from which he was seldom parted no matter where he went or whom he visited. Norbert Wiener, the founder of cybernetics, wrote novels, Darwin was deeply interested in Shakespeare, Milton and Shelley. Niels Bohr venerated Goethe and Shakespeare; Hegel made an exhaustive study of world art and the science of his day. The formation of Marx's philosophical and scientific views was deeply influenced by literature. Aeschylus, Shakespeare, Dante, Cervantes, Milton, Goethe, Balzac and Heine were his favourite authors. He responded sensitively to the appearance of significant works of art and himself wrote poetry and fairy-tales. The radiance of a broad culture shines forth from the work of this genius. Lenin was not only acquainted with art but also wrote specialised articles about it. His philosophical, sociological and economic works are studded with apt literary references. And what a delight he took in music! In short, the great men of theory were by no means dry rationalists. They were gifted with an aesthetic appreciation of the world. And no wonder, for art is a pow
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