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i wish they had constructed a university at his burrial place - a place oflearning for algebra -sciences and astronomy
Khayyám wrote a book entitled Explanations of the difficulties in the postulates in Euclid's Elements. The book consists of several sections on the parallel postulate (Book I), on the Euclidean definition of ratios and the Anthyphairetic ratio (modern continued fractions) (Book II), and on the multiplication of ratios (Book III).
The first section is a treatise containing some propositions and lemmas concerning the parallel postulate. It has reached the Western world from a reproduction in a manuscript written in 1387-88 AD by the Persian mathematician Tusi. Tusi mentions explicitly that he re-writes the treatise "in Khayyám's own words" and quotes Khayyám, saying that "they are worth adding to Euclid's Elements (first book) after Proposition 28."[13] This proposition[14] states a condition enough for having two lines in plane parallel to one another. After this proposition follows another, numbered 29, which is converse to the previous one.[15] The proof of Euclid uses the so-called parallel postulate (numbered 5). Objection to the use of parallel postulate and alternative view of proposition 29 have been a major problem in foundation of what is now called non-Euclidean geometry.
The treatise of Khayyám can be considered as the first treatment of parallels axiom which is not based on petitio principii but on a more intuitive postulate. Khayyám refutes the previous attempts by other Greek and Persian mathematicians to prove the proposition. And he, as Aristotle, refuses the use of motion in geometry and therefore dismisses the different attempt by Ibn Haytham too.[16] In a sense he made the first attempt at formulating a non-Euclidean postulate as an alternative to the parallel postulate,[17]
Geometric algebra[edit]
Whoever thinks algebra is a trick in obtaining unknowns has thought it in vain. No attention should be paid to the fact that algebra and geometry are different in appearance. Algebras are geometric facts which are proved by propositions five and six of Book two of Elements.
Omar Khayyam[18]
Omar Khayyám's geometric solution to the cubic equation x3 + 200x = 20x2 + 2000.
This philosophical view of mathematics (see below) has had a significant impact on Khayyám's celebrated approach and method in geometric algebra and in particular in solving cubic equations. In that his solution is not a direct path to a numerical solution and in fact his solutions are not numbers but rather line segments. In this regard Khayyám's work can be considered the first systematic study and the first exact method of solving cubic equations.[19]
In an untitled writing on cubic equations by Khayyám discovered in the 20th century,[18] where the above quote appears, Khayyám works on problems of geometric algebra. First is the problem of "finding a point on a quadrant of a circle such that when a normal is dropped from the point to one of the bounding radii, the ratio of the normal's length to that of the radius equals the ratio of the segments determined by the foot of the normal." Again in solving this problem, he reduces it to another geometric problem: "find a right triangle having the property that the hypotenuse equals the sum of one leg (i.e. side) plus the altitude on the hypotenuse.[20] To solve this geometric problem, he specializes a parameter and reaches the cubic equation x3 + 200x = 20x2 + 2000.[18] Indeed, he finds a positive root for this equation by intersecting a hyperbola with a circle.
This particular geometric solution of cubic equations has been further investigated and extended to degree four equations.[21]
Regarding more general equations he states that the solution of cubic equations requires the use of conic sections and that it cannot be solved by ruler and compass methods.[18] A proof of this impossibility was only plausible 750 years after Khayyám died. In this paper Khayyám mentions his will to prepare a paper giving full solution to cubic equations: "If the opportunity arises and I can succeed, I shall give all these fourteen forms with all their branches and cases, and how to distinguish whatever is possible or impossible so that a paper, containing elements which are greatly useful in this art will be prepared."[18]
This refers to the book Treatise on Demonstrations of Problems of Algebra (1070), which laid down the principles of algebra, part of the body of Persian Mathematics that was eventually transmitted to Europe.[19] In particular, he derived general methods for solving cubic equations and even some higher orders.
Binomial theorem and extraction of roots[edit]
See also: History of binomial theorem
From the Indians one has methods for obtaining square and cube roots, methods which are based on knowledge of individual cases, namely the knowledge of the squares of the nine digits 12, 22, 32 (etc.) and their respective products, i.e. 2 × 3 etc. We have written a treatise on the proof of the validity of those methods and that they satisfy the conditions. In addition we have increased their types, namely in the form of the determination of the fourth, fifth, sixth roots up to any desired degree. No one preceded us in this and those proofs are purely arithmetic, founded on the arithmetic of The Elements.
Omar Khayyam Treatise on Demonstration of Problems of Algebra[22]
This particular remark of Khayyám and certain propositions found in his Algebra book has made some historians of mathematics believe that Khayyám had indeed a binomial theorem up to any power. The case of power 2 is explicitly stated in Euclid's elements and the case of at most power 3 had been established by Indian mathematicians. Khayyám was the mathematician who noticed the importance of a general binomial theorem. The argument supporting the claim that Khayyám had a general binomial theorem is based on his ability to extract roots.[23]
Khayyám-Saccheri quadrilateral[edit]
Main article: Saccheri quadrilateral
The Saccheri quadrilateral was first considered by Khayyám in the late 11th century in Book I of Explanations of the Difficulties in the Postulates of Euclid.[24] Unlike many commentators on Euclid before and after him (including of course Saccheri), Khayyám was not trying to prove the parallel postulate as such but to derive it from an equivalent postulate he formulated from "the principles of the Philosopher" (Aristotle):
Two convergent straight lines intersect and it is impossible for two convergent straight lines to diverge in the direction in which they converge.[25]
Khayyám then considered the three cases (right, obtuse, and acute) that the summit angles of a Saccheri quadrilateral can take and after proving a number of theorems about them, he (correctly) refuted the obtuse and acute cases based on his postulate and hence derived the classic postulate of Euclid.
It wasn't until 600 years later that Giordano Vitale made an advance on Khayyám in his book Euclide restituo (1680, 1686), when he used the quadrilateral to prove that if three points are equidistant on the base AB and the summit CD, then AB and CD are everywhere equidistant. Saccheri himself based the whole of his long, heroic, and ultimately flawed proof of the parallel postulate around the quadrilateral and its three cases, proving many theorems about its properties along the way.
Astronomer[edit]
The Jalali calendar was introduced by Omar Khayyám alongside other Mathematicians and Astronomers in Nishapur, today it is one of the oldest calendars in the world as well as the most accurate solar calendar in use today. Since the calendar uses astronomical calculation for determining the vernal equinox, it has no intrinsic error, but this makes it an observation based calendar.[26][27][28][29]
Like most Persian mathematicians of the period, Khayyám was also an astronomer and achieved fame in that role. In 1073, the Seljuq Sultan Jalal al-Din Malik-Shah Saljuqi (Malik-Shah I, 1072–92), invited Khayyám to build an observatory, along with various other distinguished scientists. According to some accounts, the version of the medieval Iranian calendar in which 2,820 solar years together contain 1,029,983 days (or 683 leap years, for an average year length of 365.24219858156 days) was based on the measurements of Khayyám and his colleagues.[30] Another proposal is that Khayyám's calendar simply contained eight leap years every thirty-three years (for a year length of 365.2424 days).[31] In either case, his calendar was more accurate to the mean tropical year than the Gregorian calendar of 500 years later. The modern Iranian calendar is based on his calculations.
Heliocentric Theory[edit]
It is sometimes claimed that Khayyam demonstrated that the earth rotates on its axis[32] by presenting a model of the stars to his contemporary al-Ghazali in a planetarium.[33]
The other source for the claim that Khayyam believed in heliocentrism are Edward Fitzgerald's popular but anachronistic renderings[34] of Khayyam's poetry, in which the first lines are mistranslated with a heliocentric image of the Sun flinging "the Stone that puts the Stars to Flight".[35]
Calendar Reform[edit]
Khayyám is claimed to be a member of a panel that introduced several reforms to the Iranian calendar.[citation needed] On March 15, 1079, Seljuk Sultan Malik Shah I accepted this corrected calendar as the official Persian calendar.[36]
This calendar was known as the Jalali calendar after the Sultan, and was in force across Greater Iran from the 11th to the 20th centuries. It is the basis of the Iranian calendar which is followed today in Iran and Afghanistan. While the Jalali calendar is more accurate than the Gregorian, it is based on actual solar transit, similar to Hindu calendars, and requires an ephemeris for calculating dates. The lengths of the months can vary between 29 and 31 days depending on the moment when the sun crosses into a new zodiacal area (an attribute common to most Hindu calendars). This meant that seasonal errors were lower than in the Gregorian calendar.
The modern-day Iranian calendar standardizes the month lengths based on a reform from 1925, thus minimizing the effect of solar transits. Seasonal errors are somewhat higher than in the Jalali version, but leap years are calculated as before.
Poet[edit]
Main article: Rubáiyát of Omar Khayyám
Omar Khayyám was a notable poet during the reign of the Seljuk ruler Malik-Shah I and his contributions to the developments of mathematics, astronomy and philosophy inspired later generations.
He is believed to have written about a thousand four-line verses or rubaiyat (quatrains). In the English-speaking world, he was introduced through the Rubáiyát of Omar Khayyám which are rather free-wheeling English translations by Edward FitzGerald (1809–1883). Other English translations of parts of the rubáiyát (rubáiyát meaning "quatrains") exist, but FitzGerald's are the most well known.
A well decorated plaque containing poems from the Rubáiyát of Omar Khayyám.
Ironically, FitzGerald's translations reintroduced Khayyám to Iranians "who had long ignored the Neishapouri poet." A 1934 book by one of Iran's most prominent writers, Sadeq Hedayat, Songs of Khayyam, (Taranehha-ye Khayyam) is said to have "shaped the way a generation of Iranians viewed" the poet.[37]
Omar Khayyám's poems have been translated to many languages.[38] Many translations were made directly from Persian and more literal than translation by Edward Fitzgerald.[38]
The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit,
Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.
But helpless pieces in the game He plays,
Upon this chequer-board of Nights and Days,
He hither and thither moves, and checks… and slays,
Then one by one, back in the Closet lays.
And, as the Cock crew, those who stood before
The Tavern shouted— “Open then the Door!
You know how little time we have to stay,
And once departed, may return no more.”
A Book of Verses underneath the Bough,
A Jug of Wine, a Loaf of Bread—and Thou,
Beside me singing in the Wilderness,
And oh, Wilderness is Paradise enow.
Myself when young did eagerly frequent
Doctor and Saint, and heard great Argument
About it and about: but evermore
Came out of the same Door as in I went.
With them the Seed of Wisdom did I sow,
And with my own hand labour’d it to grow:
And this was all the Harvest that I reap’d—
“I came like Water, and like Wind I go.”
Into this Universe, and why not knowing,
Nor whence, like Water willy-nilly flowing:
And out of it, as Wind along the Waste,
I know not whither, willy-nilly blowing.
And that inverted Bowl we call The Sky,
Whereunder crawling coop’t we live and die,
Lift not thy hands to It for help—for It
Rolls impotently on as Thou or I.
Views on religion[edit]
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There have been widely divergent views on Khayyám. According to Seyyed Hossein Nasr no other Iranian writer/scholar is viewed in such extremely differing ways. At one end of the spectrum there are nightclubs named after Khayyám, and he is seen as an agnostic hedonist.[39] On the other end of the spectrum, he is seen as a mystical Sufi poet influenced by platonic traditions.
An Ottoman Era inscription of a poem written by Omar Khayyám at Morića Han in Sarajevo, Bosnia and Herzegovina.
Seyyed Hossein Nasr, after examining the philosophical works of Khayyám, maintains that it is really reductive to just look at the poems (which are sometimes doubtful) to establish his personal views about God or religion; in fact, he even wrote a treatise entitled "al-Khutbat al-gharrå˘" (The Splendid Sermon) on the praise of God, where he holds orthodox views, agreeing with Avicenna on Divine Unity.[5] In fact, this treatise is not an exception, and S.H. Nasr gives an example where he identified himself as a Sufi, after criticizing different methods of knowing God, preferring the intuition over the rational (opting for the so-called "kashf", or unveiling, method):[5]
"... Fourth, the Sufis, who do not seek knowledge by ratiocination or discursive thinking, but by purgation of their inner being and the purifying of their dispositions. They cleanse the rational soul of the impurities of nature and bodily form, until it becomes pure substance. When it then comes face to face with the spiritual world, the forms of that world become truly reflected in it, without any doubt or ambiguity. This is the best of all ways, because it is known to the servant of God that there is no reflection better than the Divine Presence and in that state there are no obstacles or veils in between. Whatever man lacks is due to the impurity of his nature. If the veil be lifted and the screen and obstacle removed, the truth of things as they are will become manifest and known. And the Master of creatures [the Prophet Muhammad]—upon whom be peace—indicated this when he said: “Truly, during the days of your existence, inspirations come from God. Do you not want to follow them?” Tell unto reasoners that, for the lovers of God, intuition is guide, not discursive thought."
—Omar Khayyám[40]
The same author goes on by giving other philosophical writings which are totally compatible with the religion of Islam, as the al-Risālah fil-wujūd (الرسالة في الوجود, "Treatise on Being"), written in Arabic, which begin with Quranic verses and asserting that all things come from God, and there is an order in these things. In another work, Risālah jawāban li-thalāth masāʾil (رسالة جوابان لثلاث مسائل, "Treatise of Response to Three Questions"), he gives a response to question on, for instance, the becoming of the soul post-mortem. S.H. Nasr even gives some poetry where he is perfectly in favor of Islamic orthodoxy, but expressing mystical views (God's goodness, the ephemerical state of this life, ...):[5]
Thou hast said that Thou wilt torment me,But I shall fear not such a warning.For where Thou art, there can be no torment,And where Thou art not, how can such a place exist?The rotating wheel of heaven within which we wonder,Is an imaginal lamp of which we have knowledge by similitude.The sun is the candle and the world the lamp,We are like forms revolving within it.A drop of water falls in an ocean wide,A grain of dust becomes with earth allied;What doth thy coming, going here denote?A fly appeared a while, then invisible he became.
Considering possible misunderstandings about Khayyám in the West and elsewhere, Hossein Nasr concludes by saying that if a correct study of the authentic rubaiyat is done, but along with the philosophical works, or even the spiritual biography entitled Sayr wa sulak (Spiritual Wayfaring), we can no longer view the man as a simple hedonistic wine-lover, or even an early skeptic, but a profound mystical thinker and scientist whose works are more important than some verses.[5] C.H.A. Bjerregaard earlier summarised the situation:
"The writings of Omar Khayyam are good specimens of Sufism but are not valued in the West as they ought to be, and the mass of english-speaking people know him only through the poems of Edward Fitzgerald which is unfortunate. It is unfortunate because Fitzgerald is not faithful to his master and model, and at times he lays words upon the tongue of the Sufi which are blasphemous. Such outrageous language is that of the eighty-first quatrain for instance. Fitzgerald is doubly guilty because he was more of a Sufi than he was willing to admit."[41]
A French orientalist named Franz Toussaint was so dissatisfied with Fitzgerald's translation (and with some works just translating Fitzgerald from English to French) that he wrote his own directly from the Persian texts, trying to express the spirit of the verses rather than to versify.[42] His translation was published from 1924 to 1979 uninterrupted by Editions d'Art Henri Piazza before that editor disappeared. That translation was itself translated in other languages on Internet sites.
Abdullah Dougan, a modern Naqshbandi Sufi, provides commentary[43] on the role and contribution of Omar Khayyam to Sufi thought. Dougan says that while Omar is a minor Sufi teacher compared to the giants – Rumi, Attar and Sana’i – one aspect that makes Omar’s work so relevant and accessible is its very human scale as we can feel for him and understand his approach. The argument over the quality of Fitzgerald’s translation of the Rubaiyat has, according to Dougan, diverted attention from a fuller understanding of the deeply esoteric message contained in Omar’s actual material – "Every line of the Rubaiyat has more meaning than almost anything you could read in Sufi literature".
Philosopher[edit]
Tomb of Omar Khayyám Neishapuri in Nishapur, Iran
Khayyám himself rejects to be associated with the title falsafī "philosopher" in the sense of Aristotelianism and stressed he wishes "to know who I am". In the context of philosophers he was labeled by some of his contemporaries as "detached from divine blessings".[44]
It is now established that Khayyám taught for decades the philosophy of Avicena, especially the Book of Healing, in his home town Nishapur, till his death.[5] In an incident he had been requested to comment on a disagreement between Avicena and a philosopher called Abu'l-Barakāt al-Baghdādī who had criticized Avicena strongly. Khayyám is said to have answered "[he] does not even understand the sense of the words of Avicenna, how can he oppose what he does not know?"[44]
Khayyám the philosopher could be understood from two rather distinct sources. One is through his Rubaiyat and the other through his own works in light of the intellectual and social conditions of his time.[45] The latter could be informed by the evaluations of Khayyám's works by scholars and philosophers such as Abul-Fazl Bayhaqi, Nizami Aruzi, and al-Zamakhshari and Sufi poets and writers Attar of Nishapur and Najm-al-Din Razi.
Mathematical philosophy[edit]
As a mathematician, Khayyám has made fundamental contributions to the philosophy of mathematics especially in the context of Persian Mathematics and Persian philosophy with which most of the other Persian scientists and philosophers such as Avicenna, Abū Rayḥān al-Bīrūnī and Tusi are associated. There are at least three basic mathematical ideas of strong philosophical dimensions that can be associated with Khayyám.
1.Mathematical order: From where does this order issue, and why does it correspond to the world of nature? His answer is in one of his philosophical "treatises on being". Khayyám's answer is that "the Divine Origin of all existence not only emanates wujud "being", by virtue of which all things gain reality, but It is the source of order that is inseparable from the very act of existence."[45]
2.The significance of axioms in geometry and the necessity for the mathematician to rely upon philosophy and hence the importance of the relation of any particular science to prime philosophy. This is the philosophical background to Khayyám's total rejection of any attempt to "prove" the parallel postulate, and in turn his refusal to bring motion into the attempt to prove this postulate, as had Ibn al-Haytham, because Khayyám associated motion with the world of matter, and wanted to keep it away from the purely intelligible and immaterial world of geometry.[45]
3.Clear distinction made by Khayyám, on the basis of the work of earlier Persian philosophers such as Avicenna, between natural bodies and mathematical bodies. The first is defined as a body that is in the category of substance and that stands by itself, and hence a subject of natural sciences, while the second, called "volume", is of the category of accidents (attributes) that do not subsist by themselves in the external world and hence is the concern of mathematics. Khayyám was very careful to respect the boundaries of each discipline, and criticized ibn al-Haytham in his proof of the parallel postulate precisely because he had broken this rule and had brought a subject belonging to natural philosophy, that is, motion, which belongs to natural bodies, into the domain of geometry, which deals with mathematical bodies.[45]
Tabgha (Arabic: الطابغة, al-Tabigha; Hebrew: עין שבע, Ein Sheva which means "spring of seven") is an area situated on the north-western shore of the Sea of Galilee in Israel. It is traditionally accepted as the place of the miracle of the multiplication of the loaves and fishes (Mark 6:30–46) and the fourth resurrection appearance of Jesus (John 21:1–24) after his Crucifixion. Between the Late Muslim period and 1948, it was the site of a Palestinian Arab village. source: en.wikipedia.org/wiki/Tabgha
iPhone 3G de 1.92 MP (1600x1200)
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1.92 MP (1600x1200) iPhone 3G
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Capteur APS-H de 16.1 MP ( 4896 x 3264 )
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Tabgha is the name of a site on the northwestern shore of the Sea of Galilee where Jesus appeared after his resurrection (John 21), and where he multiplied loaves and fishes to feed the crowds gathered to hear him teach.
The name, Tabgha, has its roots in the Greek term for “seven springs" (see it on a map here). The place used to be the site of a Palestinian village and was important from ancient times because of its fresh water; trees that grew near the springs gave shade. It is not hard to imagine why Jesus might have gathered followers here to teach them for a day.
The present church preserves within some of its walls remains of a church that stood here in the late 300s. When that earlier church was excavated in 1936, archeologists discovered a mosaic around a block of naked limestone. The mosaic depicted two fish and a basket of loaves. Ancient accounts identify the block of limestone as the place where Jesus broke and blessed the bread that was multiplied and shared with the crowds. The new, modern church preserves this rock below its altar (pictured above).
It is difficult to tell if this was actually the exact place where Jesus multiplied the loaves, but it is clear that at least since 425, Christians have thought so.
The modern church replicates the style of the Byzantine church that would have been built after St. Helen’s visit to the Holy Land, even using some of the same stones from the original church. The only imagery in the church is found in two icons stationed near the sanctuary—one of Mary and one of Jesus.
The story of the multiplication of the loaves is the only miracle (aside from Jesus’ resurrection) that is recorded in all four Gospels. The story has captured the imagination of the Christian community because it reveals a deep truth about our lives of faith: God feeds us abundantly
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So yeah, I got a package today from from Free Condoms, a Facebook app (ironically just about 15 minutes before on my way out of the college I picked up some more from the nurses office) and here they are and being the cheeky person I am, I deicded to make a quick still life out of this.
Basic College Math, yes, my math is at a fourth grade level and I really do need to relearn my multiplication tables, I kid you not.
This is also my second textbook of the same one, I lost my first one and had to buy this one for $80. Textbook prices, grr. I also had to drop out of this class because I was failing it for the most part.
Can you find the non-lubricated one!?
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3am - End of the 2014 Vernal Equinox Celebration
With your hosts Alex Grey & Allyson Grey:
Music Lineup
Random Rab
Emerging from his own distinct corner of the West Coast electronic music scene, Random Rab offers a powerful and unique contribution to sonic exploration. Often referred to as “The Master of Emotion” his music is patently beautiful and melodic. With diverse influences ranging from trip-hop, classical and Arabic to bass driven compositions, his songs are considered anthemic and timeless. As a multi-instrumentalist and singer, his tracks are organic, uplifting and stand on their own as a distinct genre. Listeners of all types of music can find something they can relate to in this sound. He has toured extensively across North America, including tours with Bassnectar, Shpongle, Beats Antique and headlined several festivals across the country.
There is no doubt that Rab understands a multitude of musical styles. He has been the front man of a heavy metal band, toured as a classical trumpet player, played bass in a country music band, was a scratch DJ for a jazz fusion project, was the singer for a rock band in Mexico and has collaborated with countless musicians of all styles. From acoustic performances in the Himalayas to rocking packed clubs in New York, Random Rab has found a way to connect with people of all kinds.
With a dedicated fanbase born from the San Francisco underground, Random Rab has become a Burning Man legend known for his sunrise sets that have now become one of his most sought after performances. His current popularity can often be traced to his breakout album, The Elucidation of Sorrow.. This album firmly established him as a recognizable force in the electronic music scene. His 4th album aRose, catapulted him into the state of momentum that is now taking hold internationally. His latest studio effort, Visurreal debuted in the iTunes Top 10 Electronic Charts as well as in the CMJ RPM Top 5 with several #1′s on radio stations across the country.
Sometimes performing solo and at other times featuring collaborative musicians, the live experience is focused on a high quality translation of sound that is simultaneously sexy and psychedelic.
OFFICIAL WEBSITE: randomrab.com/
SOUNDCLOUD: soundcloud.com/random-rab
FACEBOOK: www.facebook.com/randomrabofficial
Govinda
Govinda is the alter-ego of Austin based producer/composer Shane Madden. He began studying violin and composition at the age of eight and went on to study classical violin at the University of Texas where he fell in love with electronic music production. It was in Madden’s pursuit of his gypsy roots that he opened his ears to music from around the world. From experiences learning violin with mysterious masters on his journeys across the globe and his passion for modern design and technology, the current sound of Govinda was born.
Govinda has played with Thievery Corporation, Tipper, Bassnectar, Shpongle, Cheb I Sabbah, STS9 and many more and been featured on over 25 compilations such as Buddha Bar II, Asian Travels II, and Nirvana Lounge selling a combined 400,000 copies. Govinda has played at numerous festivals throughout North America including Coachella, Lightning in a Bottle, Sea of Dreams, SXSW and more.
Govinda's music has been licensed on shows like WB's “Roswell," MTV's “Road Rules,” and Bravo's “Queer Eye for the Straight Guy” as well as many independent films.The Govinda live show immerses the audience with a textured atmosphere of exotic, dubby vibrations interwoven with cosmic visual projections, world class dancers and mesmerizing vocals- all to the magic of his live electronics and violin.
OFFICIAL WEBSITE: govindamusic.com/
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Kalya Scintilla
Traversing the cosmos, gliding across dimensions beyond time and space, Kalya Scintilla brings universal shamanic journeys through his music to planet earth straight from his heart. His music paints sacred soundscapes with world fusion beats from ancient futures hidden amongst our forgotten memories to bring forth lush healing vibrations to activate the dormant codes within us. Infusing his love for nature, tribal healing, sacred geometry, and Hathor wisdom; Kalya is able to birth heart opening crescendos that open doorways into our personal and collective awakening. Audiences across the world have successfully received his musical transmissions enabling his ability to travel and play at festivals across continents. His vision for the future holds his devotional intention to plant more seeds of galactic sound alchemy to be felt and experienced by all.
www.facebook.com/pages/Kalya-Scintilla/121242094567692
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Supersillyus
Supersillyus (aka Rob Uslan) is a musician and producer based in Allston, MA. He has been tickling minds with his brand of psychedelic electronic music since 2008. His extensively layered soundscapes feature instrumentation ranging from tribal drums, swirling synths, to the occasional marimba solo.
Supersillyus' most recent EP Interabang has been downloaded over 5,000 times since it's release October 31, 2013. Over the last several years, Supersillyus has performed his unique brand of psychedelic music with luminaries like Tipper, Hallucinogen, and Ott and showcased at festivals throughout the US and Canada.
www.ektoplazm.com/free-music/supersillyus-interabang
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Infinite Geometry
Infinite Geometry (Andy Reed) has been an audio alchemist for the past 10 years. His main focus has been his visionary art for the past few years (www.facebook.com/infinitegeometryart), but another passion of his has been electronic music.
He is currently based out of Asheville, NC and plays shows occasionally around the southeast US, as well as doing special timeslots in the Vision Lab multi-sensory art dome or early sunrise sets at renegade stages at music festivals.
He first began attending electronic events and raves in NYC at age 14, when living in northern NJ. He quickly drew very fond of the subculture that revolves around these highly intelligent and somewhat alien soundscapes. At age 17, he bought belt-drive Numark turntables and a 6 channel mixer from Radioshack. Everyone needs to start somewhere, right? His gear has been updated a lot since those days, having Technic 1210 M5G turntables and a vast collection of vinyl. Most of his recent music is in digital/mp3 format, but he is known from breaking the mold and dropping those warm vibrant analog sounding beats and bass.
Over time, he grew a deeply fond love of liquid jazzy drum and bass, in which he still plays regularly at shows now and again. As time progressed, so did his love of different genres. Currently, his sets include multi-genres including psybient downtempo, psydub, templestep, IDM, dreambass, post-dubstep, 2step & future garage, minimal atmospheric dnb, funky tribal house, and many others.
soundcloud.com/infinitegeometry
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Jon Ohia
CoSM, NYC
Psylander
CoSM
Space Demon
CoSM
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Live Painting
Alex Grey & Allyson Grey
Joness Jones
Martin Bridge & Carl Bridge
Olga Klimova
www.facebook.com/olga.vici.art
Paul Crisafi
Seth Leibowitz
www.facebook.com/sethleibowitz77
Adam Psybe
Visuals
Deciduous Pupils
As a way to further explore the world of visual arts, Keith Tokarski(Takyon) and Benjamin Cooke(Silent Stream) teamed together in 2012. After performing separately for many years, Takyon and Silent Stream solidified a 2-man visual performance group, Deciduous Pupils. Deciduous Pupils has had the opportunity to perform for a multitude of different talented artists and bands such as Ott , LTJ Bukem , Immortal Technique, Jumbie Art, Abakus, Phutureprimitive, Space Jesus and Lazy Rich…just to name a few. They have performed the visuals for the Disco Biscuits New Year’s run after party, the Silent Disco at Camp Bisco 2013 as well as several other festivals throughout the east coast. With the utmost experience and mastery of their craft, and a focus on creating all original artwork with live improvised performance, Deciduous Pupils is continuing to shock the minds of those around them as they bring the viewers visual perception to a new dimension throughout the East Coast.
vimeo:
Fabric Installation:
WizArt Visions - Olga Klimova
Fire Performance:
-Fayzah-Fire
Fayzah Fire is a multidisciplinary international performer. Her own “World + Street Styles Dance Method©” blends elements of World Dance styles, Popping, Waving, Hip Hop, & Groove theory. She is an accredited Tribal-Fusion dancer, Fire performer, Argentine Tango dancer, innovator of Tango-Bellydance Fusion, and DJ. She also works with healing arts & trance dance, & is influenced by ocean creatures, (both real and fantasy).
More info: DanceSpiral.com
Matalvin's Firewerks
Www.facebook.com/matalvin youtu.be/6K995kVyi94
Freyja
Phantomime
Bellydance:
Sarah Jezebel
CoSM, Chapel of Sacred Mirrors, 46 Deer Hill Road, Wappingers Falls, NY 12590