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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.
Having obtained a rather good and large dataset from the recently instated Greek geodata portal, i was looking for a way to quickly visualise its extent.
I admit to having in my mind those images you sometimes see at doctors practices, where, for example, they would have posters of the muscular or circulatory system, trying (a bit harder than i would feel comfortable with) to convince you of their...interests.
Fortunately, each road segment had a characterisation field attached to it so it was relatively easy to "paint" the highways thicker than smaller streets within populated areas.
The slight detail here is that the thickness of the "arteries" is decreased following a power-law...a little trick that was inspired by the circulatory network itself.
This image appears in this blog post (in Greek, you have been warned :-) ) which talks briefly about road safety in Greece....Yeah, sometimes the street is literally bloody...
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.
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.
Mortality 2002 for various causes of death, organised hierarchically in a pie diagram (with constant area for each segment). Data originally from munnecke.com/papers/lse.htm
A PDF version can be found at www.aleph.se/andart/archives/images/death [Converted].pdf
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..
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.
Volume of air saturated each day by PM2.5 particles from heating boilers. This shows buildings that burn #6 oil (red); and buildings that burn #4 oil (pink); and emissions from buildings that have been converted to less polluting fuels BEFORE conversion (green).
www.carbonvisuals.com/work/mapping-local-air-pollution-in...
Around 8,000 buildings in New York City have been burning heavy heating oil. These contribute more soot pollution than all cars and trucks on the City’s roads. The NYC Clean Heat program seeks to improve air quality and save lives in New York by eliminating heavy oil use and accelerating the adoption of cleaner fuels.
Carbon Visuals was asked by Clean Heat project partner Environmental Defense Fund to look at ways to visualise the emissions of fine particulate matter (PM2.5) in order to encourage building owners and operators to sign up to the program.
Visualising quantities of particle pollution is not easy. The air that supports the particles plays a part in making them dangerous to health (by itself, a pile of powder is not a threat)! For that reason, we show the volume of air saturated to the legal maximum. The maximum density of PM2.5 pollution averaged over an annual period: 15 μg/m3.
Pour une visualisation optimale, tapez L sur le clavier ou visualisez la photo en format original!!!
__________________________________________________
© Tous droits réservés / Tutti i diritti riservati / All rights reserved
Please, don't copy and use this image on websites, blogs or
other media without my explicit and written permission
Don't claim as your own | NON-COMMERCIAL PURPOSE
heat map of OpenStreetMap tile usage for 25 May 2015.
Data copyright OpenStreetmap contributors (data from here).
Only shows tiles at zoom level 9... higher zoom levels (like 15-17) would give a better indication of possible editing activity.
Darker areas are more requested tiles. Done using deciles of the natural logarithm of number of tile requests
Used a short (<50 line) python script to convert the tile log (which is essentially a csv file) into another csv file with wkt for each tile's geometry added as a field. This was then brought into QGIS as a wkt delimited file. Simpler to do this than to mess around with creating shapefiles :)
Can see HOT humanitarian mapping hotspots in Nepal and the Phillipines.
There's a hotspot around (0,0), and an interesting great circle fragment over Russia, which might be someone panning on a globe?
Interesting to see that most of the inhabited parts of the world are being served
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 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.
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 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...
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...
The image shows the actual volume of CO2 emissions attributable to the top 10 extant investor-owned & state-owned fossil fuel companies with the United Kingdom for scale.
63% of all carbon emissions between 1850 and 2010 are attributable to just 90 producers of fossil fuels and cement. For details see: www.carbonmajors.org
Total emissions between 1850 and 2010:
Chevron: 51,096 Mt CO2e
ExxonMobil: 46,672 Mt CO2e
Saudi Aramco: 46,033 Mt CO2e
BP: 35,837 Mt CO2e
Gazprom: 32,136 Mt CO2e
Shell: 30,751 Mt CO2e
National Iranian Oil Co: 29,084 Mt CO2e
Pemex: 20,025 Mt CO2e
ConoccoPhillips: 16,866 Mt CO2e
Petroleos de Venezuela: 16,157 Mt CO2e
Density of carbon dioxide gas at 15 °C and standard pressure is 1.87 kg/m³
Each cube contains 5 billion metric tons of carbon dioxide gas.
The sides of the cubes are 13.9 km long (8.6 miles).
I’m hoping you remember today’s interviewee from his wonderful contributed article discussing the importance and impact of effective visualisation for film photographers. If you haven’t read it yet head on over, we’ll wait.
Back? Excellent. There’s no arguing that...
More at: emulsive.org/interviews/i-am-richard-pickup-and-this-is-w...
Filed under: #Interviews
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…
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.
My Lounge Room display
This a reflection in a mirror that I put in front of my gas heater, makes the room bigger.
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.
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."
There is 4.3917 million cubic kilometres of accessible fresh water. If you brought it all together in a single drop, it would form a sphere 203 km across.
There is 1,408.7 million cubic kilometres of water on Earth, but 97.25% of it is sea water. All the water in the world, including sea water, would form a sphere 1,391 km across.
There is 38.7 million cubic kilometres of non-ocean water:
Ice caps and glaciers: 74.93%
Deep groundwater (750-4,000 metres): 13.69%
Shallow groundwater (<750 metres): 10.85%
Lakes: 0.32%
Soil moisture: 0.17%
Atmosphere: 0.034%
Rivers: 0.0044%
Biosphere: 0.0016%
Shallow ground water, lakes, rivers and soil moisture makes up 11.35% of non-ocean water and just 0.31% of all water.
Water data:
Elizabeth Kay Berner and Robert A. Berner, 1987, The Global Water Cycle: Geochemistry and Environment, Prentice Hall, Inc., Englewood Cliffs, N.J, Table 2.1, p 13
By Carbon Visuals for South West Water
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.
North wall of Mogao Cave 45
High Tang dynasty
This sūtra tableau is based on the content of the Amitāyurdhyāna Sūtra (Sūtra of Amitābha-Mindfulness), a text about taking rebirth in the Paradise (Pure Land) of the West through the visualisation of Buddha Amitābha and his Paradise.
This painting is divided into three sections with the predominant middle section depicting the ‘Paradise of the West', flanked by strips of sūtra tales respectively known as ‘Enmity before Birth' and ‘Sixteen Visualisations'.
The principle section of the mural presents a scene of the Paradise of the West as described in the sūtra, featuring ponds decorated with the Seven Treasures, bedded with gold sand and filled with water embracing the Eight Good Qualities; a terrace paved with gold, silver, lapis lazuli and agate; trees displaying the Seven Treasures grown everywhere; rare animals and birds; beautiful music filling the air; and magnificent palatial buildings on railed terraces rising from the Seven-Treasure Ponds. Buddha Amitāyus (Amitābha), Lord of the Paradise of the West, is preaching in the centre of the scene, flanked by Bodhisattva Avalokiteśvara and Bodhisattva Mahāsthāmaprāpta, and other acolytes. Rows of musicians are performing on the terrace while dancers are tapping their feet below the terrace. Kalaviṅka the Exquisite Sounding Bird is plucking the pipa while singing and dancing.
Illustrated on the left margin of the preaching scene is the sūtra tale known as Enmity before Birth. The pre-birth enmity between Prince Ajātaśatru and his father King Bimbisāra is depicted. However, the causes of the enmity in their previous lives are not mentioned in Buddhist texts. Incited by a bad friend, Prince Ajātaśatru imprisons his father in a cell in the palace and tries to starve him to death. In order to save her husband from dying, Queen Vaidehī smuggles food into the prison by coating layers of flour paste and honey onto her own body, and fruit paste onto her garland-necklace. When the prince finds out this, he is furious and tries to kill her. Although the life of the queen is spared due to the intervention of two ministers, she is imprisoned. The extremely sad queen then prayed to the Buddha in the hope of finding out the source of the enmity in their previous lives and invoking blessings to eliminate her suffering. The Buddha preaches to her and teaches her how to visualise the Paradise of the West.
Illustrated on the right margin of the preaching scene is the sūtra tale known as Sixteen Visualisations. To relieve herself from sufferings brought by prebirth enmity, Queen Vaidehī decides to take refuge in Buddhism and hopes to be reborn in the Paradise of the West by means of 16contemplation methods. Each ‘visualisation' described in the sūtra is graphically represented according to the painter's own imagination.
莫高窟第45窟 北壁 盛唐
觀無量壽經變是根據《觀無量壽經》繪製的，這佛經是敘說如何觀想阿彌陀佛極樂世界，以求往生西方淨土。
此畫分為三部分，包括中央主體部分，繪畫了「西方極樂世界」；另外兩部分為兩側的「未生怨故事」和「十六觀」。
壁畫的中央主體部分刻畫了西方淨土世界的景象。此畫與經書所述的情景一致，圖中有七寶池，池中充滿八功德水，池底鋪以金沙；周圍又有以金、銀、琉璃和瑪瑙等砌成的台階，遍植七寶樹，奇禽異鳥，美音縈繞。七寶池中現出一片宮殿樓閣，曲欄平台，輝煌壯麗。無量壽佛，即阿彌陀佛，是西方極樂世界的主管者，正在說法，觀世音及大勢至菩薩分列左右，聖眾圍繞。平台上樂隊分列演奏；舞伎踏腳而舞；迦陵頻伽（美音鳥） 亦撥彈琵琶，載歌載舞。
經變圖左側為未生怨故事，敘述印度頻婆娑羅王在其太子阿闍世未出生前已與其結怨。佛經講述阿闍世太子受到壞朋友的教唆，將父親頻婆娑羅王囚禁深宮，斷其糧水，欲餓死其父。王后韋提希夫人為拯救丈夫，身抹酥蜜麵粉，在瓔珞裡盛果漿，偷偷獻給國王充飢，以延續性命。阿闍世發現後，盛怒之下欲殺母，幸被二大臣阻止。阿闍世因此將母親也囚在宮中。被幽閉的韋提希夫人非常傷心，向佛陀頌禱，請教她和國王與逆子的前世因緣，並祈求佛陀，以求解救；佛陀為其說法，講述如何觀想西方極樂世界。
經變圖右側為十六觀，表現了韋提希夫人因未生怨緣由，決心皈依佛法，採用16種觀想的方法，往生西方淨土。佛經中對每一「觀」都有所解釋，而畫家又按自己的想像繪畫出有關場景。
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
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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
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