A grouping between matter and Atman is not considered a Skandha but is considered a Bandha (bondage). Each Paramanu has "intensity points" of aridness or cohesiveness that, because of transformation, can increase or decrease between one and infinity. These Paramanus can combine with each other to create Skandhas or Aggregates when there is a difference of two "intensity points", whether it is arid or cohesive or whether having even or odd "intensity points" except the minimum (one) "intensity point". For example, a paramanu with two points of cohesiveness can combine with a paramanu of four points of cohesiveness or aridness; and that of three points with that of five points and so on.
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Cangaço () was the banditism phenomenon of Northeast Brazil in the late 19th and early 20th centuries. This region of Brazil is known for its aridness and hard way of life, and in a form of "social banditry" against the government, many men and women decided to become nomadic bandits, roaming the hinterlands seeking money, food and revenge.
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Even when painting children in the midst of nature, as in Niños, a subject long associated with beauty and hope, his treatment of the landscape and the children's facial expressions suggest aridness and sadness. Ponce's desperate economic situation and unruly life matched the general socioeconomic situation of Cuba in the 1930s, and thus his paintings’ expressions of doom transcend the personal and may be said to symbolize the national mood of that time.
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Although, during the golden age of Orientalism the place of Central Asia in the world history was marginalized, contemporary historiography has rediscovered the "centrality" of the Central Asia. The history of Central Asia is defined by the area's climate and geography. The aridness of the region made agriculture difficult, and its distance from the sea cut it off from much trade. Thus, few major cities developed in the region; instead, the area was for millennia dominated by the nomadic horse peoples of the steppe.
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The film received wide critical acclaim and won several awards. It won three awards at the 43rd National Film Awards in 1995. The film was awarded the Best Film on Other Social Issues "for its depiction of poverty-stricken rural family consisting of two young sisters" and depicting "the agony of survival in a tradition bound hostile society and their subsequent liberation". Anjali Marathe was awarded the Best Female Playback Singer "for her melodious and heart rendering song ["Bhui Bhegalali Khol"] expressing the aridness of life" and Uttara Baokar won a Special Mention "for her sensitive portrayal of the agony of a mother in the midst of poverty and honour".
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Despite the aridness, the residents of the province are proud tillers of the earth and like most Bantu tribes in Southern Africa they practise animal husbandry to supplement their diets. In fact, like the rest of the country, their most prized possessions are cattle, which patriarchs demand as lobola, bride-price (dowry), in return for the hand of their daughters in marriage. The status of men in the villages in the province is assessed according to the number of cattle they possess - those with no cattle are not considered men. Cattle owners were dismayed during the drought of 1992 when then 90 percent of the cattle in the province died of famine.
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J. R. Stewart and C. B. Stringer, 'Human Evolution Out of Africa: The Role of Refugia and Climate Change', Science 225, 1317 (2012), p. 1320. In 2014 Christopher Stojanowski of Arizona State University summarised the three dominant explanations for Iwo Eleru man's atypical cranial shape: the first, that Iwo Eleru was a hybrid with archaic African populations; the second, that Iwo Eleru man was a member of a relict archaic population that was replaced by more modern humans upon the onset of the Holocene era; and the third, that Iwo Eleru man was part of a population that diverged from the rest of North Africa's populations during a time of acute aridness in the Sahara desert that made it impassable until the arrival of the African humid period.Stojanowski, 'Iwo Eleru's place among Late Pleistocene and Early Holocene populations of North and East Africa', p. 87. In 2014 Peter J. Waddell of Massey University argued that Iwo Eleru man descended from a lineage 200–400 kya and whose extinction may have been caused by humans.
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