View allAll Photos Tagged Visualisation-----
The air in any small room with dimensions 5.4 x 5.4 x 2.7 metres (17.5 x 17.5 x 9 feet) contains 9.4 litres (2.5 gallons) of man-made carbon dioxide. Some of that gas – equal to the volume of a soda can – is attributable to Chevron.
9.4 litres is about half the volume of a drinking water bottle. There is that much carbon pollution in every small room.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. The image shows the top 10 investor-owned or state-owned companies. Chevron has the largest share of emissions at 3.5% of all emissions ever. For details see: www.carbonmajors.org
The calculation for this visualisation assumes the concentration of carbon dioxide in the air is 400 parts per million by volume. See: www.co2now.org for the current concentration.
This is the metric version of this visualisation. A US version (calibrated to a 12 oz can) is also available.
The pendant visualises EEG attention (red) and meditation (green) data and visualises it on this LED matrix in real time. Using a Mindwave Mobile, Bluetooth dongle and Shrimp microcontroller.
I've built this for use in excruciating social situations such at conferences, networking, bars, etc. I'm interested in extending our emotive state by displaying if we're paying attention to whom we're speaking to or if our thoughts / attention is drifting off to the canapes or our to-do list. It's a mischievous device, read more about it here rainycatz.wordpress.com/2013/05/27/eeg-data-visualising-p...
The air in any small room with dimensions 18 x 18 x 9 feet (5.6 x 5.6 x 2.7 metres) contains 2.7 gallons (10 litres) of man-made carbon dioxide. Some of that gas – equal to the volume of a soda can – is attributable to Chevron.
2.7 gallons is about half the volume of a drinking water bottle. There is that much carbon pollution in every small room.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. Chevron has the largest share of emissions for investor owned or state owned companies at 3.5% of all emissions ever. For details see: www.carbonmajors.org
The calculation for this visualisation assumes the concentration of carbon dioxide in the air is 400 parts per million by volume. See: www.co2now.org for the current concentration.
This is the US version of this visualisation. A metric version (calibrated to a 330 ml can) is also available.
On the left You can see a photo of old town in Fenghuan County taken by chensiyuan in 2012. On the right you can see a 3d visualisation that was inspired by this photo. This scene (and more oriental scenes) is included in Evermotion Archexteriors vol. 17, available here: bit.ly/12b0nHY
By Wikipedia: "Fenghuang County is located in Xiangxi Prefecture, Hunan Province, People's Republic of China.
It has an exceptionally well-preserved ancient town that harbors unique ethnic languages, customs, arts as well as many distinctive architectural remains of Ming and Qing styles. The city is revered in Miao traditions and funeral rites and is the location of the Southern China Great Wall."
The air in any small room with dimensions 18 x 18 x 9 feet (5.6 x 5.6 x 2.7 metres) contains 2.7 gallons (10 litres) of man-made carbon dioxide. Some of that gas – equal to the volume of a soda can – is attributable to Chevron.
2.7 gallons is about half the volume of a drinking water bottle. There is that much carbon pollution in every small room.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. The image shows the top 10 investor-owned or state-owned companies. Chevron has the largest share of emissions at 3.5% of all emissions ever. For details see: www.carbonmajors.org
The calculation for this visualisation assumes the concentration of carbon dioxide in the air is 400 parts per million by volume. See: www.co2now.org for the current concentration.
This is the US version of this visualisation. A metric version (calibrated to a 330 ml can) is also available.
The pendant visualises EEG attention (red) and meditation (green) data and visualises it on this LED matrix in real time. Using a Mindwave Mobile, Bluetooth dongle and Shrimp microcontroller.
I've built this for use in excruciating social situations such at conferences, networking, bars, etc. I'm interested in extending our emotive state by displaying if we're paying attention to whom we're speaking to or if our thoughts / attention is drifting off to the canapes or our to-do list. It's a mischievous device, read more about it here rainycatz.wordpress.com/2013/05/27/eeg-data-visualising-p...
My hard drive according to Disk Inventory X (http://www.derlien.com/). Strange how quickly it fills up. The software makes it quite easy to find out what occupies the space, but still I have to do the boring work of deleting stuff myself..
Visualisation par microscopie électronique à balayage d’une cellule ciliée des voies respiratoires infectée par le SARS-CoV-2. Le virus a détérioré les cils de la cellule visualisée ici, qui ont normalement une fonction de nettoyage des voies respiratoire (ils "balaient" le mucus piégeant les particules potentiellement pathogènes inhalées) . On observe quelques cils restants et des particules virales (colorisées en vert) dispersées au niveau de la membrane plasmique de la cellule.
© Vincent Michel, Rémy Robinot, MathieuHubert, Olivier Schwartz, et Lisa Chakrabarti/Institut Pasteur/Inserm.licence CC-BY-NC 4.0 international
Image accompagnant le communiqué publié le 21 juillet 2021 : "Le SARS-CoV-2 détériore les cellules ciliées et inhibe le mécanisme de clairance mucociliée dans les voies respiratoires" presse.inserm.fr/le-sars-cov-2-deteriore-les-cellules-cil...
En savoir plus :
La Covid-19 est une maladie d’origine virale qui cause des symptômes respiratoires pouvant aller jusqu’à une pneumopathie fatale. Comprendre comment le SARS-CoV-2 se propage dans les voies respiratoires peut aider à identifier les paramètres qui contrôlent la sévérité de l’infection. Des chercheuses et chercheurs de l’Institut Pasteur, du CNRS et de l’Inserm ont montré que le SARS-CoV-2 se multiplie efficacement dans les voies respiratoires, qu’il cible principalement les cellules ciliées de l’épithélium et détruit leurs cils. Cette détérioration est associée à une inhibition du mécanisme de clairance mucociliée qui permet d’évacuer les particules inhalées et protège les voies respiratoires des agents pathogènes. La perte des cils pourrait donc faciliter la propagation du virus plus profondément dans les voies respiratoires, jusqu’à ce qu’il atteigne les alvéoles pulmonaires et y déclenche une pneumopathie. Les résultats de cette étude on fait l’objet d’un article publié dans Nature Communications le 16 juillet 2021.
Admirable dedication to the task by my local primary school. Vaccination stats, regularly updated… in crochet!
The air in any small room with dimensions 5.4 x 5.4 x 2.7 metres (17.5 x 17.5 x 9 feet) contains 9.4 litres (2.5 gallons) of man-made carbon dioxide. Some of that gas – equal to the volume of a soda can – is attributable to Chevron.
9.4 litres is about half the volume of a drinking water bottle. There is that much carbon pollution in every small room.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. Chevron has the largest share of emissions for investor owned or state owned companies at 3.5% of all emissions ever. For details see: www.carbonmajors.org
The calculation for this visualisation assumes the concentration of carbon dioxide in the air is 400 parts per million by volume. See: www.co2now.org for the current concentration.
This is the metric version of this visualisation. A US version (calibrated to a 12 oz can) is also available.
..the pendant is now able to record EEG visualisations and play them back, for extra mayhem! More info here: rainycatz.wordpress.com/2013/05/27/eeg-data-visualising-p...
The air in any small room with dimensions 18 x 18 x 9 feet (5.6 x 5.6 x 2.7 metres) contains 2.7 gallons (10 litres) of man-made carbon dioxide. Some of that gas – equal to the volume of a soda can – is attributable to Chevron.
2.7 gallons is about half the volume of a drinking water bottle. There is that much carbon pollution in every small room.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. The image shows the top 5 investor-owned or state-owned companies. Chevron has the largest share of emissions at 3.5% of all emissions ever. For details see: www.carbonmajors.org
The calculation for this visualisation assumes the concentration of carbon dioxide in the air is 400 parts per million by volume. See: www.co2now.org for the current concentration.
This is the US version of this visualisation. A metric version (calibrated to a 330 ml can) is also available.
The air in any small room with dimensions 5.4 x 5.4 x 2.7 metres (17.5 x 17.5 x 9 feet) contains 9.4 litres (2.5 gallons) of man-made carbon dioxide. Some of that gas – equal to the volume of a soda can – is attributable to Chevron.
9.4 litres is about half the volume of a drinking water bottle. There is that much carbon pollution in every small room.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. The image shows the top 5 investor-owned or state-owned companies. Chevron has the largest share of emissions at 3.5% of all emissions ever. For details see: www.carbonmajors.org
The calculation for this visualisation assumes the concentration of carbon dioxide in the air is 400 parts per million by volume. See: www.co2now.org for the current concentration.
This is the metric version of this visualisation. A US version (calibrated to a 12 oz can) is also available.
Closeup of the delightful "Relationships among scientific paradigms" poster. See www.flickr.com/photos/7446536@N03/430561725/
and
A conurbation is a series of towns and cities which have merged into one unbroken urban landmass.
A a single conurbation can contain many towns and cities, each with their own distinct identities.
The largest by far is London - the cities are ranked in decreasing size, as you read out in a clockwise spiral.
To appear on this chart, the conurbation needs to be at least 100 km^2 in area.
=======================
These conurbations were derived from CORINE land cover data. I merged together all adjacent pixels with CORINE codes 1-13, so things like Docks, Industrial Areas etc will form part of a conurbation.
Urban Greenspace is also included. In Edinburgh, for example, Holyrood Park is included in the area (but Corstorphine Hill, which is woodland, is not)
Areas like woods, forests or farmland ('green belt') will act as a barrier to a conurbation.
========================
Done entirely in QGIS.
Inspired by these maps by Alasdair Rae. These go by official city boundaries, which makes the cities smaller, and make an interesting comparison.
www.flickr.com/photos/129567161@N06/16223708291/
www.flickr.com/photos/129567161@N06/15951061540/in/photos...
A mosaic of files currently on my laptop hard drive, generated using GrandPerspective.
More that a third of the space is taken up with my Lightroom Photo Catalogue, and nearly a quarter by iTunes media (see notes) — the easiest way to free up space would be to empty the 47GB in the trash…
I made this video for my blog to show the pendant being worn and working with the MindWave Mobile headset. The crowd atmos in the background is to give the impression of wearing in a crowded social situation eg networking.
The pendant visualises EEG attention (red) and meditation (green) data and visualises it on this LED matrix in real time. Using a Mindwave Mobile, Bluetooth dongle and Shrimp microcontroller.
I've built this for use in excruciating social situations such at conferences, networking, bars, etc. I'm interested in extending our emotive state by displaying if we're paying attention to whom we're speaking to or if our thoughts / attention is drifting off to the canapes or our to-do list. It's a mischievous device, read more about it here rainycatz.wordpress.com/2013/05/27/eeg-data-visualising-p...
A quieter year of travel than the last couple of years. Working on a travel startup means more time at my desk, less time travelling.
Narasimha (Sanskrit: नरसिंह IAST: Narasiṁha, lit. man-lion), Narasingh, Narsingh and Narasingha in derivative languages is an avatar of the Hindu god Vishnu and one of Hinduism's most popular deities, as evidenced in early epics, iconography, and temple and festival worship for over a millennium.
Narasiṁha is often visualised as having a human-like torso and lower body, with a lion-like face and claws. This image is widely worshipped in deity form by a significant number of Vaiṣṇava groups. Vishnu assumed this form on top of Himvat mountain (Harivamsa). He is known primarily as the 'Great Protector' who specifically defends and protects his devotees in times of need. Vishnu is believed to have taken the avatar to destroy the demon king Hiranyakashipu.
ETYMOLOGY
The word Narasimha means 'lion-man' which usually means 'half man and half lion'. His other names are:
- Agnilochana (अग्निलोचन) - the one who has fiery eyes
- Bhairavadambara (भैरवडम्बर) - the one who causes terror by roaring
- Karala (कराल) - the one who has a wide mouth and projecting teeth
- Hiranyakashipudvamsa (हिरण्यकशिपुध्वंस) - the one who killed Hiranyakashipu
- Nakhastra (नखास्त्र) - the one for whom nails are his weapons
- Sinhavadana (सिंहवदन) - the whose face is of lion
- Mrigendra (मृगेन्द्र) - king of animals or lion
SCRIPTURAL SOURCES
There are references to Narasiṁha in a variety of Purāṇas, with 17 different versions of the main narrative. The Bhagavata Purāṇa (Canto 7), Agni Purāṇa (4.2-3), Brahmāṇḍa Purāṇa(2.5.3-29), Vayu Purāṇa (67.61-66), Harivaṁśa (41 & 3.41-47), Brahma-Purāṇa (213.44-79), Viṣṇudharmottara Purāṇa(1.54), Kūrma Purāṇa (1.15.18-72), Matsya Purāṇa(161-163), Padma Purāṇa(Uttara-khaṇḍa 5.42), Śiva Purāṇa (2.5.43 & 3.10-12), Liṅga Purāṇa (1.95-96), Skanda Purāṇa 7 (2.18.60-130) and Viṣṇu Purāṇa (1.16-20) all contain depictions of the Narasiṁha Avatāra. There is also a short reference in the Mahābhārata (3.272.56-60) and a Gopāla Tapani Upaniṣad (Narasiṁha tapani Upaniṣad), earliest of Vaiṣṇava Upaniṣads named in reference to him.
REFERENCES FROM VEDAS
The Ṛg Veda contains an epithet that has been attributed to Narasiṁha. The half-man, half-lion avatāra is described as:
- like some wild beast, dread, prowling, mountain-roaming.
Source: (RV.I 154.2a).
There is an allusion to a Namuci story in RV.VIII 14.13:
- With waters' foam you tore off, Indra, the head of Namuci, subduing all contending hosts.
This short reference is believed to have culminated in the full puranic story of Narasiṁha.
LORD NARASIMHA AND PRAHLADA
Bhagavata Purāṇa describes that in his previous avatar as Varāha, Viṣṇu killed the asura Hiraṇayakṣa. The younger brother of Hirṇayakṣa, Hiraṇyakaśipu wanted revenge on Viṣṇu and his followers. He undertook many years of austere penance to take revenge on Viṣṇu: Brahma thus offers the demon a boon and Hiraṇyakaśipu asks for immortality. Brahma tells him this is not possible, but that he could bind the death of Hiraṇyakaśipu with conditions. Hiraṇyakaśipu agreed:
- O my lord, O best of the givers of benediction, if you will kindly grant me the benediction I desire, please let me not meet death from any of the living entities created by you.
- Grant me that I not die within any residence or outside any residence, during the daytime or at night, nor on the ground or in the sky. Grant me that my death not be brought about by any weapon, nor by any human being or animal.
- Grant me that I not meet death from any entity, living or nonliving created by you. Grant me, further, that I not be killed by any demigod or demon or by any great snake from the lower planets. Since no one can kill you in the battlefield, you have no competitor. Therefore, grant me the benediction that I too may have no rival. Give me sole lordship over all the living entities and presiding deities, and give me all the glories obtained by that position. Furthermore, give me all the mystic powers attained by long austerities and the practice of yoga, for these cannot be lost at any time.
Brahma said,
Tathāstu (so be it) and vanished. Hiraṇyakaśipu was happy thinking that he had won over death.
One day while Hiraṇyakaśipu performed austerities at Mandarācala Mountain, his home was attacked by Indra and the other devatās. At this point the Devarṣi (divine sage) Nārada intervenes to protect Kayādu, whom he describes as sinless. Following this event, Nārada takes Kayādu into his care and while under the guidance of Nārada, her unborn child (Hiraṇyakaśipu's son) Prahālada, becomes affected by the transcendental instructions of the sage even at such a young stage of development. Thus, Prahlāda later begins to show symptoms of this earlier training by Nārada, gradually becoming recognised as a devoted follower of Viṣṇu, much to his father's disappointment.
Hiraṇyakaśipu furious at the devotion of his son to Viṣṇu, as the god had killed his brother. Finally, he decides to commit filicide. but each time he attempts to kill the boy, Prahlāda is protected by Viṣṇu's mystical power. When asked, Prahlāda refuses to acknowledge his father as the supreme lord of the universe and claims that Viṣṇu is all-pervading and omnipresent.
Hiraṇyakaśipu points to a nearby pillar and asks if 'his Viṣṇu' is in it and says to his son Prahlāda:
O most unfortunate Prahlāda, you have always described a supreme being other than me, a supreme being who is above everything, who is the controller of everyone, and who is all-pervading. But where is He? If He is everywhere, then why is He not present before me in this pillar?
Prahlāda then answers,
He was, He is and He will be.
In an alternate version of the story, Prahlāda answers,
He is in pillars, and he is in the smallest twig.
Hiraṇyakaśipu, unable to control his anger, smashes the pillar with his mace, and following a tumultuous sound, Viṣṇu in the form of Narasiṁha appears from it and moves to attack Hiraṇyakaśipu. in defence of Prahlāda. In order to kill Hiraṇyakaśipu and not upset the boon given by Brahma, the form of Narasiṁha is chosen. Hiraṇyakaśipu can not be killed by human, deva or animal. Narasiṁha is neither one of these as he is a form of Viṣṇu incarnate as a part-human, part-animal. He comes upon Hiraṇyakaśipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and puts the demon on his thighs (neither earth nor space). Using his sharp fingernails (neither animate nor inanimate) as weapons, he disembowels and kills the demon.
Kūrma Purāṇa describes the preceding battle between the Puruṣa and demonic forces in which he escapes a powerful weapon called Paśupāta and it describes how Prahlāda's brothers headed by Anuhrāda and thousands of other demons were led to the valley of death (yamalayam) by the lion produced from the body of man-lion avatar. The same episode occurs in the Matsya Purāṇa 179, several chapters after its version of the Narasiṁha advent.
It is said that even after killing Hiraṇyakaśipu, none of the present demigods are able to calm Narasiṁha's wrath.So the demigods requested Prahlada to calm down the Lord,and Narasimha,who had assumed the all-powerful form of Gandaberunda returned to more benevolent form after that. In other stories,all the gods and goddesses call his consort, Lakṣmī, who assumes the form of Pratyangira and pacifies the Lord. According to a few scriptures, at the request of Brahma, Shiva took the form of Sharabha and successfully pacified him. Before parting, Narasiṁha rewards the wise Prahlāda by crowning him as the king.
NARASIMHA AND ADI SANKARA
Narasiṁha is also a protector of his devotees in times of danger. Near Śrī Śailaṁ, there is a forest called Hatakeśvanam, that no man enters. Śaṅkarācārya entered this place and did penance for many days. During this time, a Kāpālika, by name Kirakashan appeared before him.
He told Śrī Śaṅkara that he should give his body as a human-sacrifice to Kālī. Śaṅkara happily agreed. His disciples were shocked to hear this and pleaded with Śaṅkara to change his mind, but he refused to do so saying that it was an honor to give up his body as a sacrifice for Kālī and one must not lament such things. The Kāpālika arranged a fire for the sacrifice and Śaṅkara sat beside it. Just as he lifted his axe to severe the head of Śaṅkara, Viṣṇu as Narasiṁha entered the body of the disciple of Śaṅkarācārya and Narasiṁha devotee, Padmapada. He then fought the Kāpālika, slayed him and freed the forest of Kapalikas. Ādi Śaṅkara composed the powerful Lakṣmī-Narasiṁha Karāvalambaṁ Stotram at the very spot in front of Lord Narasiṁha.
MODE OF WORSHIP
Due to the nature of Narasiṁha's form (divine anger), it is essential that worship be given with a very high level of attention compared to other deities. In many temples only lifelong celibates (Brahmācārya) will be able to have the chance to serve as priests to perform the daily puja. Forms where Narasiṁha appears sitting in a yogic posture, or with the goddess Lakṣmī are the exception to this rule, as Narasiṁha is taken as being more relaxed in both of these instances compared to his form when first emerging from the pillar to protect Prahlāda.
PRAYERS
A number of prayers have been written in dedication to Narasiṁha avatāra. These include:
- The Narasiṁha Mahā-Mantra
- Narasiṁha Praṇāma Prayer
- Daśāvatāra Stotra by Jayadeva
- Kāmaśikha Aṣṭakam by Vedānta Deśika
- Divya Prabandham 2954
- Sri Lakshmi Narasimha Karavalamba Stotram by Sri Adi Sankara
THE NARASIMHA MAHA-MANTRA
- oṁ hrīṁ kṣauṁ
- ugraṁ viraṁ mahāviṣṇuṁ
- jvalantaṁ sarvatomukham ।
- nṛsiṁhaṁ bhīṣaṇaṁ bhadraṁ
- mṛtyormṛtyuṁ namāmyaham ॥
O' Angry and brave Mahā-Viṣṇu, your heat and fire permeate everywhere. O Lord Narasiṁha, you are everywhere. You are the death of death and I surrender to You.
NARASIMHA PRANAMA PRAYER
namaste narasiṁhāya,
prahlādahlāda-dāyine,
hiraṇyakaśipor vakṣaḥ,
śilā-ṭaṅka nakhālaye
I offer my obeisances to Lord Narasiṁha, who gives joy to Prahlāda Mahārāja and whose nails are like chisels on the stone like chest of the demon Hiraṇyakaśipu.
ito nṛsiṁhaḥ parato nṛsiṁho,
yato yato yāmi tato nṛsiṁhaḥ,
bahir nṛsiṁho hṛdaye nṛsiṁho,
nṛsiṁhaṁ ādiṁ śaraṇaṁ prapadye
Lord Nṛsiṁha is here and also there. Wherever I go Lord Narasiṁha is there. He is in the heart and is outside as well. I surrender to Lord Narasiṁha, the origin of all things and the supreme refuge.
DASAVATARA STOTRA BY JAYADEVA
tava kara-kamala-vare nakham adbhuta-śrṅgaṁ,
dalita-hiraṇyakaśipu-tanu-bhṛṅgam,
keśava dhṛta-narahari-rūpa jaya jagadiśa hare
O Keśava! O Lord of the universe. O Hari, who have assumed the form of half-man, half-lion! All glories to You! Just as one can easily crush a wasp between one's fingernails, so in the same way the body of the wasp-like demon Hiraṇyakaśipu has been ripped apart by the wonderful pointed nails on your beautiful lotus hands. (from the Daśāvatāra-stotra composed by Jayadeva)
KAMASIKHA ASTAKAM BY VEDANTA DESIKA
tvayi rakṣati rakṣakaiḥ kimanyaiḥ,
tvayi cārakṣāti rakṣākaiḥ kimanyaiḥ ।
iti niścita dhīḥ śrayāmi nityaṁ,
nṛhare vegavatī taṭāśrayaṁ tvam ॥8॥
O Kāmaśikhā Narasiṁha! you are sarva śakthan. When you are resolved to protect some one, where is the need to seek the protection of anyone else? When you are resolved not to protect some one, which other person is capable of protecting us?. There is no one. Knowing this fundamental truth, I have resolved to offer my śaraṇāgatī at your lotus feet alone that rest at the banks of Vegavatī river.
DIVYA PRABANDHAM 2954
āḍi āḍi agam karaindhu isai
pāḍip pāḍik kaṇṇīr malgi engum
nāḍi nāḍi narasingā endru,
vāḍi vāḍum ivvāl nuthale!
I will dance and melt for you, within my heart, to see you, I will sing in praise of you with tears in joy, I will search for Narasiṁha and I am a householder who still searches to reach you (to attain Salvation).
SYMBOLISM
Narasiṁha indicates God's omnipresence and the lesson is that God is everywhere. For more information, see Vaishnav Theology.
Narasiṁha demonstrates God's willingness and ability to come to the aid of His devotees, no matter how difficult or impossible the circumstances may appear to be.
Prahlāda's devotion indicates that pure devotion is not one of birthright but of character. Prahlāda, although born an asura, demonstrated the greatest bhakti to God, and endured much, without losing faith.
Narasiṁha is known by the epithet Mṛga-Śarīra in Sanskrit which translates to Animal-Man. From a philosophical perspective. Narasiṁha is the very icon of Vaiṣṇavism, where jñāna (knowledge) and Bhakti are important as opposed to Advaita, which has no room for Bhakti, as the object to be worshipped and the worshipper do not exist. As according to Advaita or Māyāvāda, the jīva is Paramātma.
SIGNIFICANCE
In South Indian art – sculptures, bronzes and paintings – Viṣṇu's incarnation as Narasiṁha is one of the most chosen themes and amongst [[Avatar] |Avatāra]]s perhaps next only to Rāma and Kṛṣṇa in popularity.
Lord Narasiṁha also appears as one of Hanuman's 5 faces, who is a significant character in the Rāmāyaṇa as Lord (Rāma's) devotee.
FORMS OF NARASIMHA
There are several forms of Narasiṁha, but 9 main ones collectively known as Nava-narasiṁha:
Ugra-narasiṁha
Kroddha-narasiṁha
Vīra-narasiṁha
Vilamba-narasiṁha
Kopa-narasiṁha
Yoga-narasiṁha
Aghora-narasiṁha
Sudarśana-narasiṁha
Lakṣmī-narasiṁha
In Ahobilam, Andhra Pradesh, the nine forms are as follows:
Chātra-vata-narasiṁha (seated under a banyan tree)
Yogānanda-narasiṁha (who blessed Lord Brahma)
Karañja-narasiṁha
Uha-narasiṁha
Ugra-narasiṁha
Krodha-narasiṁha
Malola-narasiṁha (With Lakṣmī on His lap)
Jvālā-narasiṁha (an eight armed form rushing out of the pillar)
Pavana-narasiṁha (who blessed the sage Bharadvaja)
Forms from Prahlad story:
Stambha-narasiṁha (coming out of the pillar)
Svayam-narasiṁha (manifesting on His own)
Grahaṇa-narasiṁha (catching hold of the demon)
Vidāraṇa-narasiṁha (ripping open of the belly of the demon)
Saṁhāra-narasiṁha (killing the demon)
The following three refer to His ferocious aspect:
Ghora-narasiṁha
Ugra-narasiṁha
Candā-narasiṁha
OTHERS
Pañcamukha-Hanumān-narasiṁha, (appears as one of Śrī Hanuman's five faces.)
Pṛthvī-narasiṁha, Vayu-narasiṁha, Ākāśa-narasiṁha, Jvalana-narasiṁha, and
Amṛta-narasiṁha, (representing the five elements)
Jvālā-narasiṁha (with a flame-like mane)
Lakṣmī-narasiṁha (where Lakṣmī pacifies Him)
Prasāda/Prahlāda-varadā-narasiṁha (His benign aspect of protecting Prahlad)
Chatrā-narasiṁha (seated under a parasol of a five-hooded serpent)
Yoga-narasiṁha or Yogeśvara-narasiṁha (in meditation)
Āveśa-narasiṁha (a frenzied form)
Aṭṭahasa-narasiṁha (a form that roars horribly and majestically strides across to destroy evil)
Cakra-narasiṁha, (with only a discus in hand)
Viṣṇu-narasiṁha, Brahma-narasiṁha and Rudra-narasiṁha
Puṣṭi narasiṁha, (worshipped for overcoming evil influences)
EARLY IMAGES
In Andhra Pradesh, a panel dating to third-fourth century AD shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṁha. Standing cult images of Narasiṁha from the early Gupta period, survive from temples at Tigowa and Eran. These sculptures are two-armed, long maned, frontal, wearing only a lower garment, and with no demon-figure of Hiraṇyakaśipu. Images representing the narrative of Narasiṁha slaying the demon Hiraṇyakaśipu survive from slightly later Gupta-period temples: one at Madhia and one from a temple-doorway now set into the Kūrma-maṭha at Nachna, both dated to the late fifth or early sixth century A.D.
An image of Narasiṁha supposedly dating to second-third century AD sculpted at Mathura was acquired by the Philadelphia Museum of Art in 1987. It was described by Stella Kramrisch, the former Philadelphia Museum of Art's Indian curator, as "perhaps the earliest image of Narasiṁha as yet known". This figure depicts a furled brow, fangs, and lolling tongue similar to later images of Narasiṁha, but the idol's robe, simplicity, and stance set it apart. On Narasiṁha's chest under his upper garment appears the suggestion of an amulet, which Stella Kramrisch associated with Visnu's cognizance, the Kauṣtubha jewel. This upper garment flows over both shoulders; but below Hiranyakasipu, the demon-figure placed horizontally across Narasiṁha's body, a twisted waist-band suggests a separate garment covering the legs. The demon's hair streams behind him, cushioning his head against the man-lion's right knee. He wears a simple single strand of beads. His body seems relaxed, even pliant. His face is calm, with a slight suggestion of a smile. His eyes stare adoringly up at the face of Viṣṇu. There is little tension in this figure's legs or feet, even as Narasiṁha gently disembowels him. His innards spill along his right side. As the Matsya purana describes it, Narasiṁha ripped "apart the mighty Daitya chief as a plaiter of straw mats shreds his reeds". Based on the Gandhara-style of robe worn by the idol, Michael Meiste altered the date of the image to fourth century AD.
Deborah Soifer, a scholar who worked on texts in relation to Narasiṁha, believes that "the traits basic to Viṣṇu in the Veda remain central to Viṣṇu in his avataras" and points out, however, that:
we have virtually no precursors in the Vedic material for the figure of a man-lion, and only one phrase that simply does not rule out the possibility of a violent side to the benign Viṣṇu.
Soifer speaks of the enigma of Viṣṇu's Narasiṁha avatāra and comments that how the myth arrived at its rudimentary form [first recorded in the Mahābhārata], and where the figure of the man-lion came from remain unsolved mysteries.
An image of Narasiṁha, dating to the 9th century, was found on the northern slope of Mount Ijo, at Prambanan, Indonesia. Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 A.D.). Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries AD.
CULTURAL TRADITION OF PROCESSION (SRI NRSIMHA YATRA)
In Rājopadhyāya Brahmins of Nepal, there is a tradition of celebrating the procession ceremony of the deity Narasiṁha avatar, in Lalitpur district of the Kathmandu Valley in Nepal. The Lunar fifth day of the waning phase of the moon, in the holy Soli-lunar Śrāvaṇa month i.e. on Śrāvaṇa Kṛṣṇa Pañcamī of the Hindu Lunar Calendar is marked as auspicious day for the religious procession, Nṛsiṁha Yātrā. This tradition of the holy procession has been held for more than a hundred years. This is one of the typical traditions of the Rājopadhyāya Bramhins, the Hindu Bramhans of the locality.
In this Nṛsiṁha Yātrā, each year one male member of the Rājopadhyāya community gets the chance to be the organizer each year in that particular day. He gets his turn according to the sequence in their record, where the names of Rājopadhyāya bramhins are registered when a brahmāṇa lad is eligible to be called as a Bramhan.
WIKIPEDIA
3D Structure visualisation of human 1HRY protein involved in sex determination created with Ambrosia, part of the Utopia toolset which gives you a full 3D interactive model of this 2D picture.
Bar graph illustrating the usage of an iPhone
(photos, apps, mp3 and other stuff)
related to the length of a cardbord tube
Materials
• A cardboard tube
• 4 coloured sheets of paper
• Some glue
I've been aware of several rather odd information visualisation mash-ups recently, and this is the latest one (brought to my attention by Marcus).
This bar chart-cum-clock is interesting for it's utter hijack of the basic interpretation of a bar chart for the purposes of conveying the time. Not sure what to think really.
My Lounge Room display
This a reflection in a mirror that I put in front of my gas heater, makes the room bigger.
sometimes you visualise a shot in your head but, no matter how hard you try, it just doesn't translate to a picture! well, that was my first attempt at todays challange for ODC- roll. i had pictures of pretty coloured sweets, lit up from beneath rolling across the frame... didn't come close to working. Today was a tuffie, nothing was working and my brain didn't want to think, let alone outside of any type of box!!!
i decided to vent all this frustration and tell my daughter my dilema and, as i was... 'lili,' i said 'can you still do that thing with your tongue?' after a minute of looking rather perplexed, she remembered and yes, as you can see, she still could... eureka!!!
so for todays challange... my wonderfully talented daughter, rolling her tongue ;-)
(oh, and the title is 'another talent' if you want to see what her other one is take a look!
www.flickr.com/photos/arrowlili/5001542791/in/set-7215762...
Pour une visualisation d’une page galerie, placez la souris sur le bouton en haut à gauche de la fenêtre flickr www.flickr.com/photos/sebastienduhamel/17553156243/in/pho...
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Albums... musiciens www.flickr.com/photos/sebastienduhamel/collections/721576...
[NB] Dans cette base flickr, les photos sont d’une résolution de 1000x667px.
Pour une visualisation optimale d’une page d’album, placez la souris sur le bouton du centre en haut à droite de la fenêtre flickr, puis cliquez sur le bouton.
Pour une visualisation pleine écran cliquez sur la photo et flèches de direction du clavier.
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Le New Morning est un club de jazz installé au 7-9 rue des Petites-Écuries dans le 10e arrondissement de Paris, dans les locaux de l'ancienne imprimerie du journal Le Parisien. Fondé en 1981 par Eglal Farhi, le club est dirigé depuis 2010 par sa fille Catherine Farhi. Il a une capacité de 500 places. fr.wikipedia.org/wiki/New_Morning_(club)
Le New Morning www.newmorning.com
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Dave Weckl Band au New Morning le 15 mai 2015 à Paris
www.newmorning.com/20150512-3159-the-dave-weckl-acoustic-...
Dave Weckl : batterie www.daveweckl.com
www.youtube.com/user/davewecklmusic/videos
fr.wikipedia.org/wiki/Dave_Weckl
Tom Kennedy : basse www.tomkennedymusic.com
en.wikipedia.org/wiki/Tom_Kennedy_(musician)
Makoto Ozone : piano www.makotoozone.com
en.wikipedia.org/wiki/Makoto_Ozone
Gary Meek : saxophone garymeek.net
en.wikipedia.org/wiki/Gary_Meek
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Performances de cet impressionnant batteur, Dave Weckl
• Dave Weckl/Tom Kennedy Project: "Espiritu del Songo" LIVE 2021 | décembre 2021 www.youtube.com/watch?v=dkWQ0Wqe7f0
• Steve Weingart and Dave Weckl "Child's Play" | mars 2021 www.youtube.com/watch?v=n5RhyLVkolo
• Dave Weckl plays CTA by Chick Corea Elektric Band | mars 2021 www.youtube.com/watch?v=K9aimzDuZME
• Dave Weckl/Steve Weingart "In 5" | mai 2020 www.youtube.com/watch?v=Hz7SI_VS-vc
• Dave Weckl & Oz Ezzeldin: 'Dis Kinda Place | mars 2019 www.youtube.com/watch?v=vcJtKP-PMxU
• Dave Weckl, Steve Weingart, Benjamin Shepherd "Village" | novembre 2018 www.youtube.com/watch?v=h-NB_X1NIYw
• Oytun Ersan - Mysterious Maze (Fusiolicious) I Ft. Dave Weckl, Dean Brown, Gerry Etkins | avril 2018 www.youtube.com/watch?v=BHTKKtdr2hA
• Dave Weckl "Steroids" Drum Solo | Décembre 2017 www.youtube.com/watch?v=S1BNRvPVGqY
• Dave Weckl with Oz Noy - Just Groove Me | Décembre 2017 www.youtube.com/watch?v=11Gw9VLNHOs
• Dave Weckl drum clinic at ACUSTICANAPOLI | juillet 2016 www.youtube.com/watch?v=dEocXwYxE8w
• Dave Weckl and Jay Oliver “Higher Ground” | juin 2014 www.youtube.com/watch?v=4RS5RsSPssw
• Montreal Drumfest 2012 www.youtube.com/watch?v=WCOP7dPlDtw
• Performance Spotlight 2012 www.youtube.com/watch?v=Rqdha2x18l4
• Mike Stern, Didier Lockwood, Dave Weckl & Tom Kennedy | Jazz à Vienne 2011 www.youtube.com/watch?v=8qIhSQXx3GU
www.youtube.com/watch?v=K-R9u-1R1FI
• Chris Minh Doky Band 2010 www.youtube.com/watch?v=ZJvXYgcARwU
• Festival Jazz San 2008 www.youtube.com/watch?v=hszXw2b2k8c&list=RDhszXw2b2k8...
• En el North Sea Jazz Festival 2003 - Chick Corea Elektric Band - Got a match www.youtube.com/watch?v=CEysTJJTGmU
• Time Check 1994 www.youtube.com/watch?v=Biyt63VCikE
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Photographie de Sébastien Duhamel www.sebastien-duhamel.com
Galerie www.flickr.com/photos/sebastienduhamel
Classeur www.flickr.com/photos/sebastienduhamel/collections
Album www.flickr.com/photos/sebastienduhamel/sets
____________________________________________________
[NB] Vous souhaitez partager cette photo sur vos réseaux ?
Copier-coller l'URL depuis la barre d'adresse.
Pour une visualisation d’une page galerie, placez la souris sur le bouton en haut à gauche de la fenêtre flickr www.flickr.com/photos/sebastienduhamel/17553156243/in/pho...
___________________________________________________
Albums... musiciens www.flickr.com/photos/sebastienduhamel/collections/721576...
[NB] Dans cette base flickr, les photos sont d’une résolution de 1000x667px.
Pour une visualisation optimale d’une page d’album, placez la souris sur le bouton du centre en haut à droite de la fenêtre flickr, puis cliquez sur le bouton.
Pour une visualisation pleine écran cliquez sur la photo et flèches de direction du clavier.
____________________________________________________
Le New Morning est un club de jazz installé au 7-9 rue des Petites-Écuries dans le 10e arrondissement de Paris, dans les locaux de l'ancienne imprimerie du journal Le Parisien. Fondé en 1981 par Eglal Farhi, le club est dirigé depuis 2010 par sa fille Catherine Farhi. Il a une capacité de 500 places. fr.wikipedia.org/wiki/New_Morning_(club)
Le New Morning www.newmorning.com
___________________________________________________
Dave Weckl Band au New Morning le 15 mai 2015 à Paris
www.newmorning.com/20150512-3159-the-dave-weckl-acoustic-...
Dave Weckl : batterie www.daveweckl.com
www.youtube.com/user/davewecklmusic/videos
fr.wikipedia.org/wiki/Dave_Weckl
Tom Kennedy : basse www.tomkennedymusic.com
en.wikipedia.org/wiki/Tom_Kennedy_(musician)
Makoto Ozone : piano www.makotoozone.com
en.wikipedia.org/wiki/Makoto_Ozone
Gary Meek : saxophone garymeek.net
en.wikipedia.org/wiki/Gary_Meek
___________________________________________________
Performances de cet impressionnant batteur, Dave Weckl
• Dave Weckl/Tom Kennedy Project: "Espiritu del Songo" LIVE 2021 | décembre 2021 www.youtube.com/watch?v=dkWQ0Wqe7f0
• Steve Weingart and Dave Weckl "Child's Play" | mars 2021 www.youtube.com/watch?v=n5RhyLVkolo
• Dave Weckl plays CTA by Chick Corea Elektric Band | mars 2021 www.youtube.com/watch?v=K9aimzDuZME
• Dave Weckl/Steve Weingart "In 5" | mai 2020 www.youtube.com/watch?v=Hz7SI_VS-vc
• Dave Weckl & Oz Ezzeldin: 'Dis Kinda Place | mars 2019 www.youtube.com/watch?v=vcJtKP-PMxU
• Dave Weckl, Steve Weingart, Benjamin Shepherd "Village" | novembre 2018 www.youtube.com/watch?v=h-NB_X1NIYw
• Oytun Ersan - Mysterious Maze (Fusiolicious) I Ft. Dave Weckl, Dean Brown, Gerry Etkins | avril 2018 www.youtube.com/watch?v=BHTKKtdr2hA
• Dave Weckl "Steroids" Drum Solo | Décembre 2017 www.youtube.com/watch?v=S1BNRvPVGqY
• Dave Weckl with Oz Noy - Just Groove Me | Décembre 2017 www.youtube.com/watch?v=11Gw9VLNHOs
• Dave Weckl drum clinic at ACUSTICANAPOLI | juillet 2016 www.youtube.com/watch?v=dEocXwYxE8w
• Dave Weckl and Jay Oliver “Higher Ground” | juin 2014 www.youtube.com/watch?v=4RS5RsSPssw
• Montreal Drumfest 2012 www.youtube.com/watch?v=WCOP7dPlDtw
• Performance Spotlight 2012 www.youtube.com/watch?v=Rqdha2x18l4
• Mike Stern, Didier Lockwood, Dave Weckl & Tom Kennedy | Jazz à Vienne 2011 www.youtube.com/watch?v=8qIhSQXx3GU
www.youtube.com/watch?v=K-R9u-1R1FI
• Chris Minh Doky Band 2010 www.youtube.com/watch?v=ZJvXYgcARwU
• Festival Jazz San 2008 www.youtube.com/watch?v=hszXw2b2k8c&list=RDhszXw2b2k8...
• En el North Sea Jazz Festival 2003 - Chick Corea Elektric Band - Got a match www.youtube.com/watch?v=CEysTJJTGmU
• Time Check 1994 www.youtube.com/watch?v=Biyt63VCikE
____________________________________________________
Photographie de Sébastien Duhamel www.sebastien-duhamel.com
Galerie www.flickr.com/photos/sebastienduhamel
Classeur www.flickr.com/photos/sebastienduhamel/collections
Album www.flickr.com/photos/sebastienduhamel/sets
____________________________________________________
[NB] Vous souhaitez partager cette photo sur vos réseaux ?
Copier-coller l'URL depuis la barre d'adresse.