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B. De Souza, M. M. The title of the show (art exhibition) is Unmaking History and it’s the first show that I’ve chosen to write on in this very independent platform as the work and the curation ‘poetically, historically and aesthetically’ penetrated and perforated my mind. Leila Rahman, Saher Sohail and Natasha Malik borrowed the research and publication center in the center of Lahore from its director Rashed Rahman for this curatorial optimum. The space felt like a land mine of explosive underlying narratives where one step on either side, left, right, forward or backward, would cause an explosion in the air and new, buried meanings would emerge, impatiently waiting to be exposed.
The degradation activation energies for scaffold materials ranged from 82.7 to 94.9 kJ mol’1. A prediction for degradation time was applied through a correlation between long term degradation studies at 37 C and short term studies at elevated temperatures (50 and 65 C) using the half life of mass loss (Time (M1/2)) parameter. However, the initial compressive moduli for LC18:2 and 9:1 scaffolds were 7 to 14 times higher than LC16:4 (see 0.27) which was suggested to be due to its higher CL content (20%).
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When Raj (Fasial Khan) and Nargis come face to face, nearly the entire story can at that moment be anticipated. History, pride, family honor, and nationalist feelings will all conspire ultimately unsuccessfully to keep the lovers apart. In Dilwale, Raj swore that he would not elope with Simran; here, too, though Nargis offers to stay back, fearful that her father will never permit her to return to India, Raj insists that his honor demands that he ask for her hand in marriage and that her father willingly comply with this request.