movement+of+money

1. verb

1) to crowd full:

2) to squeeze, press or wedge tightly or firmly:

3) to stick and (cause to) be unable to move:

4) (of a radio station) to cause interference with (another radio station's broadcast) by sending out signals on a similar wavelength.

2. noun

1) a crowding together of vehicles, people etc so that movement is difficult or impossible:

2) a difficult situation:

1. preposition

1) higher than; above in position, number, authority etc:

2) from one side to another, on or above the top of; on the other side of:

3) covering:

4) across:

5) about:

6) by means of:

7) during:

8) while having etc:

2. adverb

1) higher, moving etc above:

2) used to show movement, change of position:

3) across:

4) downwards:

5) higher in number etc:

6) remaining:

7) through from beginning to end, carefully:

3. adjective

4. noun

5. (as part of a word)

1) too (much), as in overdo.

2) in a higher position, as in overhead.

3) covering, as in overcoat.

4) down from an upright position, as in overturn.

5) completely, as in overcome.

   Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.

   Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).

   During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.

   In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.

   The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.

   In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.

   From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome.

φορά, [dialect] Ion. [full] φορή, ἡ: ([etym.] φέρω):—A. as

A an act,

I (from [voice] Act.) carrying, φορᾶς.. φθόνησις οὐ γενήσεται there shall be no refusal to carry thee, S.Tr. 1212; ἐν φορᾷ, i. e. in their arms, Id.Fr. 327; θυρώτοιν φορᾶς payment for carrying.., IG42(1).102.305 (Epid., iv B. C.); ψήφου φ. casting one's vote, E.Supp. 484, cf. Pl.Lg. 949a; ἡ φ. καθάπερ πεττῶν movement as of the men in draughts, ib. 739a.

b gestation, τριετὴς φ. cj. in IG42(1).121.10 (Epid., iv B. C.).

2 bringing in of money, payment,

χρημάτων Th.1.96

; δασμοῦ, δασμῶν, Pl.Lg. 706b, X.Cyr.8.6.16; αἱ ὑπόλοιποι φοραί the remaining instatments, Lys.Fr.1.4, cf. Ostr.Bodl. iii 280 (i A. D.), al.

b φ. ἐργάτου, = latura, perh. a workman's pay, Gloss. (latura is also glossed φόρετρον, ibid.; also onus, sarcina, ibid.).

c fare, freight,

πόση τις ἡ φ.; Eup.271

, cf. Ar.Fr. 300.

3 bringing forth, productiveness,

καρποῦ Thphr.CP3.14.5

; opp. ἀφορία, Pl.R. 546a, cf. Arist.GA 750a23; of animals, Ael.NA17.40;

πτηνῶν Gp.1.8.9

.

II (from [voice] Pass. φέρομαι) being borne or carried along, motion, of the universe and heavenly bodies.

ἡ.. θεία τοῦ ὄντος φ. Pl.Cra. 421b

, cf. Ti. 39b, 81a;

ἡ σύμπασα οὐρανοῦ ὁδὸς καὶ φ. Id.Lg. 897c

;

ἡ τῶν ἄστρων φ. καὶ ἡλίου Id.Grg. 451c

;

ἄστρων φοραί Id.Smp. 188b

;

χειρῶν φ. Hp.Prog.4

;

σφαίρας φοραί Pl.Lg. 898b

;

ἡ φ. καὶ κίνησις Id.Cra. 434c

, Tht. 152d;

χρόνος.. μέτρον φορᾶς Id.Def. 411b

; τύχη φ. ἀδήλου εἰς ἄδηλον ibid.; defined by Arist. as = κίνησις κατὰ τόπον, Ph. 243a8, cf. GC 319b32;

κίνησίς ποθέν ποι Id.EN 1174a30

;

γένεσίς ποθέν ποι Id.Cael. 311b33

;

φορᾷ ἰέναι Pl.R. 617b

; κυκλεῖσθαι.. τὴν αὐτὴν φ. ib.a;

μίαν φορὰν κινεῖται Id.Plt. 269e

;

τό τάχος τῆς φ. Epicur.Ep.1p.10U.

2 range,

φ. ἀκοντίου Antipho 3.2.5

.

3 rapid motion, rush, πινέτω κατὰ φορὰν ἡμικοτύλιον let him drink half a cotyle at a draught, Hp.Int.35;

γαστρὸς φοραί Thphr.Fr.10.3

.

4 of persons, impulse,

ἡ τοῦ πλήθους φ. Plb.10.4.3

;

ἄλογος φ. Id.30.2.4

;

ἀκολουθήσομεν ἀλόγως ταῖς τῶν πολλῶν φ. Epicur.Nat. 127

G.;

πρὸς τὸν νεωτερισμόν Plu.Galb.4

;

παῖς.. φορᾶς μεστός Id.Them.2

;

στρατηγὸς μεστὸς φορᾶς Lib.Or.49.19

: pl., ib.1.2; also, forceful flow of narrative, Luc.Dem.Enc.7.

b tendency, line of thought or action, κατὰ τὰς φ. τῶν Στωϊκῶν on Stoic lines, Phld.Rh.2.296 S., cf. Id.Herc.1251.19, Luc.Par.29.

5 φ. πραγμάτων force of circumstances, D.18.271: forceful quality,

ἡ τοῦ οἴνου [ὑγρότης] φ. ἔχει πολλὴν καὶ δύναμιν Plu.2.132e

; φορᾶς σωματικῆς εἰς ἡμᾶς γιγνομένης, of the influences of the stars, Plot.2.3.2; ἄχρις οὗ φ. γένηται, of a favourable wind, Plu.Mar. 37; favour,

τοῦ βασιλέως Philostr.VS2.32

.

6 time, occasion,

πέντε ἢ ἓξ φορὰς τὸν μῆνα Dsc.Eup.2.2

(interpol.), cf. Tz.H.13.58.

B as a thing, that which is borne, esp.,

1 load, freight, burden,

μίαν φ. ἐνεγκεῖν Plu.Ant.68

.

2 rent, tribute, X.Cyr. 3.1.34: pl., contributions, D.21.101;

φέροντα σωτηρίας φορὰν πλήρη τῇ πατρίδι Id.25.21

; of the contribution to an ἔρανος, Antiph.124.9, Hyp.Ath.11; of contributions in kind,

οἴνου φορὴ ἐς τὰ ψυκτήρια SIG57.44

(Milet., v B. C.).

3 that which is brought forth, fruit, produce, crop,

κατανοήσας ἐλαιῶν φορὰν ἐσομένην

a large crop,

Arist. Pol. 1259a11

, cf. HA 553a22, b23;

σίτου φ. καὶ τῶν ἄλλων καρπῶν SIG 589.30

(Magn.Mae., ii B. C.);

ἡ τοῦ Νείλου φ. τε καὶ αὔξησις CPHerm. 6.4

(iii A. D.): metaph., φορὰ προδοτῶν a large crop of traitors, D.18.61, D.S.16.54;

ῥητόρων Aeschin.3.234

;

φ. γάρ τίς ἐστιν ἐν τοῖς γένεσιν ἀνδρῶν

a succession of crops,

Arist.Rh. 1390b25

.

flow chart or flow diagram

a graphic representation of the stages in a process or system, or of the steps required to solve a problem. A flow chart is commonly used to represent the sequence of functions in a computer program or to model the movement of materials, money, or people in a complex process. Two primary symbols used in flow charts are the process box, indicating a process or action taking place, and the decision lozenge, indicating the need for a decision.

flow chart or flow diagram

a graphic representation of the stages in a process or system, or of the steps required to solve a problem. A flow chart is commonly used to represent the sequence of functions in a computer program or to model the movement of materials, money, or people in a complex process. Two primary symbols used in flow charts are the process box, indicating a process or action taking place, and the decision lozenge, indicating the need for a decision.

SUBJECT AREA: Chemical technology, Mining and extraction technology, Weapons and armour

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The son of a barber-surgeon who deserted his family to serve in the Swedish army, Nobel showed little interest in academic pursuits as a child and was sent to sea at the age of 16, but jumped ship in Egypt and was eventually employed as an architect by the pasha. Returning to Sweden, he won a scholarship to the Stockholm School of Architecture, where he studied from 1821 to 1825 and was awarded a number of prizes. His interest then leaned towards mechanical matters and he transferred to the Stockholm School of Engineering. Designs for linen-finishing machines won him a prize there, and he also patented a means of transforming rotary into reciprocating movement. He then entered the real-estate business and was successful until a fire in 1833 destroyed his house and everything he owned. By this time he had married and had two sons, with a third, Alfred (of Nobel Prize fame; see Alfred Nobel), on the way. Moving to more modest quarters on the outskirts of Stockholm, Immanuel resumed his inventions, concentrating largely on India rubber, which he applied to surgical instruments and military equipment, including a rubber knapsack.

It was talk of plans to construct a canal at Suez that first excited his interest in explosives. He saw them as a means of making mining more efficient and began to experiment in his backyard. However, this made him unpopular with his neighbours, and the city authorities ordered him to cease his investigations. By this time he was deeply in debt and in 1837 moved to Finland, leaving his family in Stockholm. He hoped to interest the Russians in land and sea mines and, after some four years, succeeded in obtaining financial backing from the Ministry of War, enabling him to set up a foundry and arms factory in St Petersburg and to bring his family over. By 1850 he was clear of debt in Sweden and had begun to acquire a high reputation as an inventor and industrialist. His invention of the horned contact mine was to be the basic pattern of the sea mine for almost the next 100 years, but he also created and manufactured a central-heating system based on hot-water pipes. His three sons, Ludwig, Robert and Alfred, had now joined him in his business, but even so the outbreak of war with Britain and France in the Crimea placed severe pressures on him. The Russians looked to him to convert their navy from sail to steam, even though he had no experience in naval propulsion, but the aftermath of the Crimean War brought financial ruin once more to Immanuel. Amongst the reforms brought in by Tsar Alexander II was a reliance on imports to equip the armed forces, so all domestic arms contracts were abruptly cancelled, including those being undertaken by Nobel. Unable to raise money from the banks, Immanuel was forced to declare himself bankrupt and leave Russia for his native Sweden. Nobel then reverted to his study of explosives, particularly of how to adapt the then highly unstable nitroglycerine, which had first been developed by Ascanio Sobrero in 1847, for blasting and mining. Nobel believed that this could be done by mixing it with gunpowder, but could not establish the right proportions. His son Alfred pursued the matter semi-independently and eventually evolved the principle of the primary charge (and through it created the blasting cap), having taken out a patent for a nitroglycerine product in his own name; the eventual result of this was called dynamite. Father and son eventually fell out over Alfred's independent line, but worse was to follow. In September 1864 Immanuel's youngest son, Oscar, then studying chemistry at Uppsala University, was killed in an explosion in Alfred's laboratory: Immanuel suffered a stroke, but this only temporarily incapacitated him, and he continued to put forward new ideas. These included making timber a more flexible material through gluing crossed veneers under pressure and bending waste timber under steam, a concept which eventually came to fruition in the form of plywood.

In 1868 Immanuel and Alfred were jointly awarded the prestigious Letterstedt Prize for their work on explosives, but Alfred never for-gave his father for retaining the medal without offering it to him.

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