View allAll Photos Tagged Cleansing
blog. | facebook. | portfolio. 11/52.
"But you were washed, you were sanctified, you were justified in the name of the Lord Jesus Christ and by the Spirit of our God." 1 Corinthians 6:11.
This was really fun to shoot. I seriously stood in a plastic container with towels all over the place, and a big container of water next to me. I had to keep pouring water on my head over and over again. Fun stuff!
Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013
Photos by Kyle Rober
The Ritual: The Xperience 2014:
www.facebook.com/events/415497831904495/
Links:
The Ritual 2013:
www.facebook.com/events/431476333570283
Logic Vision Collective:
www.logicvisioncollective.com/
www.facebook.com/groups/logicvisionrecs
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"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))
jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...
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The DIGITAL ALCHEMISTS are proud to present:
THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !
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Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.
Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.
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PROLOGUE :
Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.
We believe in the healing potential of intentional gatherings.
We have dedicated our lives for facilitating these opportunities for a collective evolution.
Our mission : to create the perfect transformation into Peace, Unity and Global Respect...
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4 days Open-Air Festival
International Music acts
International Deco concept
More info coming soon...
Pono Pono
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Logic Vision Collective est fier de vous présenter :
La Réunion des Tribus 2013
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Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.
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PROLOGUE :
Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.
Nous croyons aux guérisons et au potentiel des intentions.
Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.
Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...
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4 Jours de Festival en Plein-Air
Artistes internationaux
Concept Déco international
Bientôt d'autres nouvelles...
O Pono Pono
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International Artists:
✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia
✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance
✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance
✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub
✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance
✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance
✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia
✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance
✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance
✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic
✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic
✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending
✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog
✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive
✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic
✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy
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Local Heros
Live-Acts:
✔ 1,618 live! (Montreal) ::: Progressive Psytrance
✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive
✔ AURA live! (Aura Music - Montreal) ::: Psydub
✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism
✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal
✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque
✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal
✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark
✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi
✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance
✔ UBER live! (Indy - Montreal) ::: Progressive
✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance
✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque
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DJsets
✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog
✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub
✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance
✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog
✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu
✔ BENDALA (Space Gathering - Montreal)
✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves
✔ DIRTY HARRY (St Jerome) ::: Zenonesque
✔ EFFLUX (Montreal) ::: DMTechno
✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance
✔ FIELD EQUATION (Montreal) ::: Chillstep
✔ G-PI (Techno Agricole - Montreal) ::: Psyprog
✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive
✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan
✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance
✔ KISS of VENUS (New York) ::: Psychedelic Techno
✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub
✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance
✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance
✔ MYTHROPHAN (Toronto) ::: Progressive
✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass
✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance
✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance
✔ NIKOCH (Montreal) ::: Native Tribal Trance
✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive
✔ NISMO (Cyberloft - Montreal) ::: Progressive
✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub
✔ OGICHIDA (Organic Family - Toronto) ::: Forest
✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech
✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance
✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance
✔ PSYBERTH (Openmind Festival - Can) ::: Psybass
✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance
✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive
✔ RON JON (Logic Vision - Ottawa) ::: Psytrance
✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub
✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog
✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy
✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass
✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance
✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy
✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS
✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance
✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog
✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive
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Deco Artists:
✔ WIZART VISIONS (USA) ::: Decoration
WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.
www.facebook.com/pages/WizArt-Visions/444814318878170
✔ ORGANIC FAMILY (CAN) ::: DECO
✔ CESAR AR (CAN) ::: Visionnary ARt
✔ MYRKO (CAN) ::: Visionnary ARt
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SERVICES
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- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant
- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai
- Plage et baignade sur le site / Beach and swimming on the site
- Toilettes / WC
- Camping gratuit / Free camping
- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.
REGLEMENT / REGULATION
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- Respectez l’environnement / Respect the environment
- Aucun objet en verre sur le site / No glass on the site
- Les feux sont interdits / Fires are forbidden
- Baignade interdite la nuit / No swimming at night
- Aucun animal domestique sur le site / Pets are not allowed on the site
- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.
MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...
THANK YOU FOR RESPECTING THOSE RULES ! ...
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The INDIAN MARKET !
The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.
Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs
please email us at: theritual.festival@gmail.com
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。ॐ。*。ॐ。
ॐ。＼｜／。ॐ
--- PEACE ---
ॐ。／｜＼。ॐ
。ॐ。*。ॐ
With open minds and adventurous souls, there will always be sounds to move to and beats to feel.
We hope you are as excited as we are !
Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.
Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !
Info Contact : theritual.festival@gmail.com
COLLABORATORS & SPONSORS
Digital-Audio-Records-Kompany
Cybeloft
Kamino records
Tantruum recs
MAIA Brazil records
Osom records
Glitchy Tonic records
Organic FamilyThe DIgital ALchemists
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Timetables
Galactic Portal:
Vendredi / Friday
18:00 XONICA ::: OPENING Ceremony
19:00 Krikkitt djset :: Psychedelic
20:30 Pyrotrich djset ::: Forest Psychedelic Trance
22:00 Mohinia djset ::: Psychedelic
23:30 Shango & Nainita ::: Forest Psy
Samedi / Saturday
01:00 CAUSAI (Vancouver) ::: Psytrance
02:30 PREGAKORE (Portugal) ::: Psychedelic
04:00 VENSKER Djset! (USA) ::: Psychedelic
05:30 AXIS MUNDI live! (USA) ::: Psychedelic
07:00 Virtual Light djset ::: Morning Psy
08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky
10:00 SPACEY KOALA live :::Funky Psytrance
11:00 MISSKEY djset! (UK) ::: Progressive Trance
12:30 ATHERIA live ! (Toronto) ::: Psytrance
01:30 Dr Strangefunk live! ::: Zenonesque
02:30 Zentrix live!::: Zenonesque
03:30 Ygriega ::: Progressive Trance
05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive
06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque
07:30 FRACTAL PHONO (USA) ::: Zenonesque
09:00 LUNECELL live! (USA) ::: Psychedelic
10:30 Otkun (Montreal) ::: Psychedelic Moon
Dimanche / Sunday
00:00 KASHYYYK live! (MEXICO) ::: Hitech
03:00 INSECTOR live! (HUNGARY) ::: Hitech
06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic
08:30 BRANDON ADAMS (USA) :: Full Power
10:00 MANIPULATION live (USA) ::: Morning
11:30 HARDKOR NATE djset (USA) ::: Psytrance
13:00 ASCENTION liveset (USA) ::: Psytrance
14:00 A.C. LYON live! (USA) ::: Psychedelic
15:30 Dugong live! ::: Dark Tribal Minimalism
17:00 Florian live! ::: Dark Minimal
18:00 Der Denker ::: Dark Minimal
20:00 Anima vs Nt Shanti ::: Psygressive
21:30 Akshobhya ::: Psychedelic
23:00 Plan B ::: Psychedelic
Lundi / Monday
00:30 DEFTSPANK live (Venezuela) ::: Psychedelic
01:30 Ogichida vs Banjankari::: Forest Psytrance
03:00 PSYKOVSKY live ! (Russia)::: Psychedelic
07:30 DOG OF TEARS live! (USA) ::: Psychedelic
09:30 NAAZ ::: Psychedelic
11:00 CODE-AMA ::: Psychedelic
12:30 RONJON ::: Psychedelic
14:00 OTEZUKA ::: Psyprog
16:00 The DIGITAL ALCHEMISTS ::: CLOSING
Dream Catcher Portal
Friday / Vendredi:
08:00 Zaga (Toronto) ::: Dark Minimal
10:00 MAJESTER (British COlumbia) ::
Saturday / Samedi:
00:00 Elvira ::: Hitech
01:30 Koaluna ::: forestpsy
03:00 Play Different live! (Toronto) ::: Psytrance
04:30 Synthetik ::: psytrance
06:00 MACHINE ELF (Toronto) ::: Psy trance
08:00 MYTHROPHAN (Toronto) ::: Progressive Trance
10:00 TRANCISCO (Toronto) ::: Progressive Psytrance
12:00 Glitch (Quebec) :: Progressive
01:30 Red ELectric Earth ::: Progresive
03:00 G-Pi ::: Minimal
04:30 Uber live! ::: Progressive
06:00 Nismo & Franky-Owl::: Progressive
07:30 Alakazoo ::: Psyprog
09:00 SARA DOPSTAR (Toronto) ::: Progressive
11:00 1,618 live! :: Psytech
Sunday / Dimanche
00:30 ZENKAI ::: Psytrance
02h30 SPOONANI vs ZENTRIX ::: Progressive
04:00 FLICKER LIGHT (Brazil) ::: Progressive
05:30 Efflux ::: Minimal
07:00 Dirty Harry ::: Zenonesque
08:30 Joel Mac Duff ::: Progressive
10:30 AURA live! (Portugal) ::: Psybient
12:00 KHALIL ::: Gypsy PsyDub
02:00 KATNIP (British Columbia) ::: Psybreaks
03:30 NIKOLI (Ottawa) ::: Temple Step
05:00 SOURSWEET live!::: IDM
07:00 LUNECELL djset! ::: Temple Step
09:00 OBSIDIAN (Ottawa) ::: Temple Step
Monday / Lundi
00:00 SPOONANI (Quebec) ::: DnB
01:30 Pranapapa ::: Progressive Dub
03:00 Psyberth djset :: Progressive Dub
04:30 KISSofVenus (USA) ::: Minimalism
06:00 RED ELECTRICH ::: Zenonesque
07:30 Transurfer ::: Progressive
09:00 Sabi Non STop ::: Psydub
10:30 Bendala ::: Psybass
12:00 MAYA EFF ::: PsyBass
END OF THE VORTEX _/\_ AHO
Camera: Cosina Voigtlander Bessa R3M
Lens: Cosina Voigtlander 40mm 1.4 Single Coated Nokton
Film: Kodacolor 200
Developer: Unicolor C-41
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Sun.Cleanse.Soul
PICTURE DISCRIPTION
With arms spreading out to welcome the spiritual cleansing sun. How often have you done this? When was the last time you let out all your unwanted heap of troubles waiting to be lifted off your souls? This picture may not be very impressive on first sight. But stare longer at this and hopefully, capture the emotion and feel behind these two men.
HOW DID I TOOK THIS PHOTO
Truth is I stood and observed their cleanse for that entire minute and they simply wouldn't move. Time freeze, a good instance of it.
MY SHOUTOUT MESSAGE
Singapore's economy has exploded since independence. No matter how hard inflation hits us, we often or will fight back with our might and you'll just see growth rates stronger than other asian countries or even on a global level. You gotta admit our Monetary and Fiscal policies do work pretty strongly. By material yardsticks, we have succeeded almost beyond all expectations. However, the cost of success would be stress. Like being on a treadmill, many of us feel that we have to keep running just to stay in place. A survey by the Singapore 21 Committee found 37.5% of Singaporeans feeling that society was changing “too fast”,while another 26.6% rated the pace of change here as “fast”. That makes a total of 64.1% who feel keenly the pace of
change here.
I request you. No. I urge you. I beg you, be it pressured by Self-worth (fitting into societies or a community), parental roles, school, work, home etc. TAKE 5 to do your very own destress routine to keep your mental state intact. You never know this routine may just be a roundabout for diseases to be intimidated and keep their distance away from you. LET STRESS FIND THEIR POTHOLES NOW!
© 2018 Mike McCall
_Emerging Cleansed_
21st Annual Open-water Baptism
Neptune Park
St. Simons Island, Glynn County, Georgia USA
Two women preside over this man's ritual bath on the seawall at Kingston, Georgetown, Guyana, South America. This type of practice is part of the African religious tradition and is known as "spiritual work".
These practices are closely related to Comfa, which is the principal ritual of a folk religious complex (also called cumfa or cumfo) whose defining elements include ecstatic, trancelike dancing, and spirit possession, induced by drumming. It is practiced in Guyana, South America, mainly by the descendants of enslaved Africans. Comfa appears to have evolved from West African sacred performances remembered and reinterpreted by enslaved Africans, as they encountered European and Asian culture bearers in the New World. According to sociolinguist Kean Gibson, the foremost expert on Guyanese Comfa, the religion is currently practiced by about 10 percent of the country’s African-Guyanese population.... Cultural historian Brian Moore [ ] indicates that in postcolonial Guyana, the religious practices designated by the term Cumfo were also referred to as Watermama in honor of the river gods or Wind (pronounced wine), in reference to the kind of dancing that reportedly took place during these ceremonies. (taken from: www.bookrags.com/tandf/spirit-possession-dance-in-guyana-tf/ )
From a series of images showing the areas in Sydney affected by the outbreak of Bubonic Plague in 1900. Taken by Mr. John Degotardi, Jr., photographer from the Department of Public Works, the images depict the state of the houses and 'slum' buildings at the time of the outbreak and the cleansing and disinfecting operations which followed.
Title: Cleansing the streets
Dated: c. 17/07/1900
Digital ID: 12487_a021_a021000039
Rights: www.records.nsw.gov.au/about-us/rights-and-permissions
We'd love to hear from you if you use our photos/documents.
Many other photos in our collection are available to view and browse on our website using Photo Investigator.
All Souls Day
In a similar spirit to All Saints Day, the celebration of the previous day, this Catholic mass-celebration commemorates the souls of all the departed in one go, in this case with the hope that the devotions of the living will enable them to escape the chains that bind them to the Earth and their past sins.
The doctrinal basis of the observation is that departed souls who are for some reason imperfect, i.e. not perfectly cleansed of sins, are barred from entry into the celestial afterworld. The living can assist these disembodied penitents on their journey through the Pearly Gates through prayer and sacrifice, as well as with special Masses, read on this particular day.
The feast of this day is closely linked to the one preceding, the Day of All Saints, and represents a shift in perspective, as the living turn their attention away from those already in Heaven, the Saints, to those in Purgatory, the sinners.
Trying to motivate myself and get that creativity back so trying anything, even abusing myself with water for a shot lol.
Its really amazing how day after day you have ideas backed up in your mind of shots to do then life goes up shit creak then you cant seem to get it back.
Anyway I'll keep trying until it either comes back or I flog my gear.
Hope you are all enjoying the extreme heat we are having.
in a stock pot, bring water to a boil with tomatoes, carrots, a leek, garlic, and a half cup of vinegar. add lime leaves and lemongrass later.
in another pan, saute some oyster mushrooms in sesame oil, then add garlic, green onions, serano peppers, and coconut milk. combine the two dishes, add lime, and serve.
wednesday.
day 10 of cleanse.
met bubba and d'arcy after work at souen. we're all doing the cleanse together. i had steamed broccoli with tofu, some humus that tasted like paste, and some brown rice. it was good going down, but right when we were leaving i started feeling a little barfy. i took the R train home and cannot believe i didn't get sick on the train. it was a miracle of controlled breathing and meditation to not get sick. then the walk home from the train was a nightmare, and as soon as i got into my house i totally and completely hurled up my dinner. it was beyond gross. but i have to say that i felt SO much better after. i wonder was it was? i think just too much food.
Night and day transition of the contents of my mom's refrigerator since I did a "pantry cleanse" back in September! Great job mom!
This process is a total body detoxification , which provides a unique method for eliminating toxins from the body such as:
Heavy Metals
Partially Oxidized Fats
Unassimilated Protein
Cholesterol Deposits
Uric Acid
Plaque
Lactic Acid
Chemicals that penetrate our air, water and food supply
Read about more of the benefits Body Cleansing @ knoxvillereflexology.com/services-2/body-cleansing/
The black pot on the left was found in Mexico.
Japanese metal incense burner with a black patina, identical to another that I have with a green patina. This one is raised on a Chinese wooden base. At the bottom right corner is a cherry wood covered box which holds one of my old pocket watches.
Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.
Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.
Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.
HISTORY:
The word incense comes from Latin incendere meaning "to burn".
Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.
The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.
Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.
At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.
Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.
COMPOSITION:
A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.
Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.
COMBUSTIBLE BASE:
The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:
Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.
Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:
Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii) Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.
Jigit: a resin based binder used in India
Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.
Typical compositions burn at a temperature between 220 °C and 260 °C.
TYPES:
Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.
INDIRECT-BURNING:
Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.
Whole: The incense material is burned directly in raw form on top of coal embers.
Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odor.
Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.
DIRECT-BURNING:
Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.
Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.
Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.
Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".
Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.
Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.
Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.
Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.
Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.
Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.
PRODUCTION:
The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.
Certain proportions are necessary for direct-burning incense:
Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.
Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.
Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.
Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.
Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.
"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.
Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.
Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.
In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:
Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.
Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.
Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.
BURNING INCENSE:
Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.
In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).
For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.
CULTURAL VARIATIONS:
ARABIAN:
In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.
CHINESE:
For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.
Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.
Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,
Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.
Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.
Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.
INDIAN:
Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.
The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic
ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.
JEWISH TEMPLE IN JERUSALEM:
KETORET:
Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.
TIBETAN:
Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.
Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.
JAPANESE:
In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.
Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.
Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.
Some terms used in Japanese incense culture include:
Incense arts: [香道, kodo]
Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.
Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning
Charcoal: [木炭] – only the odorless kind is used.
Incense woods: [ 香木 ] – a naturally fragrant resinous wood.
USAGE:
PRACTICAL:
Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.
A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.
The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.
Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.
Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.
Incense is also used often by people who smoke indoors and do not want the smell to linger.
AESTHETIC:
Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.
RELIGIOUS:
Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.
Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.
Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.
Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.
HEALTH RISK FROM INCENSE SMOKE:
Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.
Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.
A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.
In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."
Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."
In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.
Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.
The aquatic anhinga is a very efficient swimmer using it's wings to glide through the water. Anhingas typically hunt in lakes, rivers, streams, and ponds which can become very mucky when swimming. Often they are seen sunbathing and cleaning themselves shortly afterwards.
From a series of images showing the areas in Sydney affected by the outbreak of Bubonic Plague in 1900. Taken by Mr. John Degotardi, Jr., photographer from the Department of Public Works, the images depict the state of the houses and 'slum' buildings at the time of the outbreak and the cleansing and disinfecting operations which followed.
Title: Cleansing the wharves
Dated: c. 17/07/1900
Digital ID: 12487_a021_a021000023
Rights: www.records.nsw.gov.au/about-us/rights-and-permissions
We'd love to hear from you if you use our photos/documents.
Many other photos in our collection are available to view and browse on our website using Photo Investigator.
As much as I love New York, having a stroll in Central Park is very good for the body and mind. People watching, not thinking about anything really, and not updating or connecting with friends on-line, just a quiet day to give the mind and brain a well-deserved rest.
At the east side of Central Park, roughly between E 73rd and E 75th Streets is this Conservatory Water, popular for remote-control sailboat hobbyists. There is even a Model Boathouse (not pictured).
Campbells getting in on the juice++ act with green tea and wheatgrass in this, and Gingko Biloba in another :)
The green tea powder creates fantastic trippy swirls when stirred up!
Campbell's V8 Plus: Cleanse is a delicious blend of fruit and vegetables with the added supplement of Wheatgrass & Green Tea. It has a great taste that you will love.
Nutrition Claims
* 1 serve of fruit and 1 serve of vegetables per 250ml glass
* No added sugar
* 100% Recommended Daily Intake of Vitamins a & c per 250ml glass
* 80%* RDI Vitamin A per 250ml glass
* Recommended Dietary Intake
* Some products may not be available in New Zealand
Photos:
- Front
- Back
SERVINGS PER PACKAGE: 4
SERVING SIZE: 250ml
AVERAGE QTY PER SERVING AVERAGE QTY PER 100g
ENERGY 421 kJ
(101 Cal) 168 kJ
(40 Cal)
PROTEIN 0.5 g 0.2 g
FAT - TOTAL 0.5 g 0.2 g
- SATURATED < 0.3 g < 0.1 g
CARBOHYDRATE - TOTAL 22.5 g 9.0 g
- SUGARS 19.8 g 7.9 g
SODIUM 43 mg 17 mg
DIETRY FIBRE 0.5 g 0.2 g
VITAMIN A 625 µg (80%)* 250 µg
VITAMIN C 40 mg (100%)* 16 mg
Music for Healing or What You Need # 2
Gabie Strong, Christopher Reid Martin, Ted Byrnes
February 12, 10pm-midnight
(Following by:
Incubation, 1am-9am
Dream analysis, 9-11am)
Baik Art
Please join us Friday, February 12 for an evening with Gabie Strong, Christopher Reid Martin, and Ted Byrnes. Themes of catharsis and cleansing will lead into a sonic space to prepare us to dream and, ideally, to heal. Between 10pm-midnight, Gabie Strong, Christopher Reid Martin, and Ted Byrnes will activate the space of Baik Art. For an optimal experience, be prepared to lie down.
An intrepid group will spend the night following the performance in the ancient Greek tradition of ‘incubation’. Your dreams will be interpreted the following morning by a professional. Please email Matt Wardell at shonufwardell@hotmail.com to reserve your spot. BYOB (Bring Your Own Bedding). Details of the overnight stay will follow. Space is very limited!!
Gabie Strong is a California artist and musician exploring spatial constructions of degeneration, drone and decay as a means to improvise new arrangements of self-reflexive meaning. Strong uses sound performance, radio broadcasting, environmental installation, photography and video as mediums for experimentation.
Her work has been presented on Kchung TV at the Hammer Museum’s Made in L.A. 2014 biennial exhibition, Pasadena Armory Center for the Arts, Knowledges at Mount Wilson Observatory, Pitzer Art Galleries, University Art Gallery UC Irvine, and LAXArt amongst others.
Strong has performed at MOCA, the wulf, Los Angeles Contemporary Archive, Printed Matter’s LA Art Book Fair, Art Los Angeles Contemporary, Human Resources, SASSAS, LACE, High Desert Test Sites, LACMA, the MAK Center for Art and Architecture, Jabberjaw, and with her all-female free-psych band Lady Noise for Dawn Kasper’s performances at the 2012 Whitney Biennial.
Strong’s work is an exploration of the affect of decay that is experienced from living in the spatial disorganization of the twenty-first century. This disorganization is the result of living in multiple non-places at once—both physical and virtual— where borders are both confining and permeable. I often collaborate with other artists, musicians and poets to create work that embodies the difference of lived experience.
Christopher Reid Martin is a multidisciplinary artist, currently residing in Los Angeles. He first began working with sound in Orange County in 2004, layering sounds from various field recordings of daily life which convey living truths and over processed instrumentation as the reactionary expression. These expressions came to birth the solo project known as of Shelter Death, as it has evolved into a project in which performance and sound interplay to make for a personal reactionary experience in a perpetually decaying world.
In 2010, Christopher had taken his creative endeavors into other avenues, releasing tracks under various formats under his shared Orange County based label Via Injection. Christopher's creative repertoire expanded when he began documenting his experience in countries outside the US, by taking field recordings, foreign radio recordings, and/or taking photographs. Photographs were either left unadulterated as they were taken or digitally manipulating and layered these with old scanned various schematics. This has lead to an ongoing body of work, which fuses reality in the form of photography, with corroded ideas in the form of chopped manipulated grids and manuals. Christopher has and continues to show work in a number of art shows and has performed live in a number of events in projects such as Bailouts, Via Injection, Shelter Death, and under his own name.
christopher-reid-martin.format.com/
Ted Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston, MA, he comes from a jazz background and has since made his home in the worlds of free improvisation, new music, electro-acoustic music, and noise.
Ted primarily works in ad hoc improvisational settings, but has standing improvisational groups including: a group with Ulrich Krieger, a duo with Jeff Parker, a duo with Chris Cooper (AQH), a duo with Nicholas Deyoe, a duo with John Wiese, a duo with Scott Cazan, a trio with Jacob Wick and Owen Stewart-Robertson, among others. Additionally, Ted has played in duo/trio/or ensemble settings with: Mazen Kerbaj, David Watson, Ingebrigt Haker Flaten, Charlemagne Palestine, Alfred 23 Harth, Tim Perkis, Jaap Blonk, Torsten Muller, Kim Myhr, Jim Denley, Lloyd Honeybrook, Chris Schlarb, Mike Watt, Paul Masvidal, the LAFMS (including Smegma, Airway, Ace Farren Ford’s Artificial Art Ensemble, Rick and Joe Potts, Fredrik Nilsen, Tom Recchion, Vetza, etc), Sissy Spacek (the band), Maher Shalal Hash Baz, and more.
Ted has also collaborated with / worked for a variety of visual artists: he has accompanied a Doug Aitken “happening”, collaborated with Olivia Booth to play her glass artworks, collaborated with Dani Tull on a sound performance, performed with John Knuth and Bret Nicely at an installation in an empty pool, and has performed for FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations.
Currently, Ted is delving further into the possibilities and realities of solo drumset performance in addition to continuing to work with his existing projects.
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EYE-DEE-QUE (Something Like an Asclepeion)
Matt Wardell
January 9 - February 13, 2016
Baik Art presents EYE-DEE-QUE (Something Like an Asclepeion), a solo installation and series of events by Los Angeles artist Matt Wardell.
For the exhibition, Wardell will present an immersive environment of images and objects by channeling ‘something like’ an ancient Greek temple of healing. Using Baik Art’s unique architecture, viewers experience a literal (and perhaps figurative) katabasis (‘to go down’ as in a descent of some type), but more importantly, and ideally, a catharsis (‘cleansing’ or ‘purification’).
Numerous objects, found and constructed, engage with the verticality of Baik Art’s shaft-like space, surrounded by an installation of wall works including drawings, collages, and repurposed images. Several fabric sculptures fill the gallery functioning as apotropaic totems. These Guardian Figures suggest a ‘presence’, ideally something beyond the object.
Daytime and evening events will further activate the gallery a space for healing. Practitioners from a variety of fields will be on hand for consultation. Music for Healing or What You Need will present a sonic cleansing. Incubation and Dream Analysis will be an overnight event of guided sleep followed by dream analysis with a professional. Utilizing the healing properties of dog saliva, An Event for Wound Licking will be a participatory event pairing wounds with dogs. For the date and time of each event, please contact the artist at shonufwardell@hotmail.com.
In ancient Greece and Rome, an asclepeion was a healing temple, sacred to Asclepius, the Greek God of Medicine. These temples were places in which patients would visit to receive either treatment or some sort of healing, whether it was spiritual or physical. Epidaurus was the first place to worship Asclepius as a god, beginning sometime in the 5th century BCE.
Starting around 350 BCE, the cult of Asclepius became increasingly popular. Pilgrims flocked to asclepieia to be healed. They slept overnight (“incubation”) and reported their dreams to a priest the following day. He prescribed a cure, often a visit to the baths or a gymnasium. Since snakes were sacred to Asclepius, they were often used in healing rituals. Non-venomous snakes were left to crawl on the floor in dormitories where the sick and injured slept.
Matt Wardell seeks to prolong a sense of wonder while placing the viewer in a lingering position of active assessment. He is interested in how we choose to live and in introducing work that facilitates these investigations. Wardell enjoys walking on fences, answering wrong numbers, and giving directions to places he does not know. Uncomfortable laughter, confusion, and irritation tend to be the byproducts of Wardell’s works.
Wardell has exhibited his work at venues throughout the United States and Mexico, including the Museum of Modern Art in San Francisco (SFMOMA), Claremont Museum of Art in Claremont, Los Angeles Contemporary Exhibitions (LACE), REDCAT, PØST, Human Resources, Black Dragon Society, Mark Moore Gallery, and Commonwealth and Council, all in Los Angeles. Wardell is a founding member of the artist collective 10lb Ape.
Baik Art
2600 S. La Cienega Blvd., Los Angeles, California 90034
310.842.3892
Syeda Amina Trust® is doing LIVE TV Appeals for the GAZA CRISIS on UMMAH TV Sky Channel 828 throughout Ramadan 2014.
The current death toll in Gaza has now at least 200+, and with no Israelis killed of which of 34 deaths were innocent children. Today the Israeli Commandos are planning a ground incursion into Gaza that will inevitably increase the killing.
We urge all people of humanity - no matter what creed, colour or religion to please stand up for the people of Palestine and end this genocide and ethnic cleansing.
For decades the Palestinians have been treat as sub-humans with a continuous blockade to stop humanitarian aid. Slowly the Israeli Government has bombed then starved the population to death.
The current situation is such that hospital beds are completely full, blood is short
Al Shifa Hospital in Gaza has made a plea to Al Jazeera to provide vital medical aid urgently. Al-Shifa Hospital is the largest medical complex and central hospital of Gaza, located in the district of North Rimal.
We are collecting donations on UMMAH Channel and on our website and we urgently require donations for the following short term relief:
Food Packs: £75
Medical Kits: £100
Temporary Shelter: £100
These are the minimum donations you can donate but if you can donate higher then Allah Subhanawatala will increase you rizq ten fold.
You can call or donate using the following details:
Bank Donation:
Make your donation to: Syeda Amina Trust
Bank: TSB
Account Number: 15641560
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@syedaaminatrust #solidaritypalestine
Male kestrel (Falco tinnunculus) preening on coastal cliffs after a meal. Isle of Purbeck, Dorset, UK.
The problem with rodents is: they get stuck in your bill.
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
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