Hand painted wooden owl and it's mirrored reflection.

 

A vowel is a syllabic speech sound pronounced without any stricture in the vocal tract. Vowels are one of the two principal classes of speech sounds, the other being the consonant. Vowels vary in quality, in loudness and also in quantity (length). They are usually voiced and are closely involved in prosodic variation such as tone, intonation and stress.

 

The word vowel comes from the Latin word vocalis, meaning "vocal". In English, the word vowel is commonly used to refer both to vowel sounds and to the written symbols that represent them (a, e, i, o, u, and sometimes y).

 

Eunoia is the shortest English word containing all five main vowel graphemes.

 

In rhetoric, eunoia, in ancient Greek 'well mind; beautiful thinking' is the goodwill a speaker cultivates between themselves and their audience, a condition of receptivity. In Book VIII of the Nicomachean Ethics, Aristotle uses the term to refer to the kind and benevolent feelings of goodwill a spouse has which form the basis for the ethical foundation of human life. Cicero translates εὔνοιᾰ with the Latin word benevolentia.

It is also a rarely used medical term referring to a state of normal mental health.

 

Euouae, at six letters long, is the longest English word consisting only of vowels, and, also, the word with the most consecutive vowels. Euouae : medieval musical term which indicates the vowels of the syllables of "seculorum Amen," which ends the "Gloria Patri."

 

Owls are birds from the order Strigiformes which includes over 200 species of mostly solitary and nocturnal birds of prey typified by an upright stance, a large, broad head, binocular vision, binaural hearing, sharp talons, and feathers adapted for silent flight. Exceptions include the diurnal northern hawk-owl and the gregarious burrowing owl.

 

Owls hunt mostly small mammals, insects, and other birds, although a few species specialize in hunting fish. They are found in all regions of the Earth except the polar ice caps and some remote islands.

 

Owls are divided into two families: the true (or typical) owl family, Strigidae, and the barn-owl family, Tytonidae.

Source Wikipedia.

 

TD : 0.4" f/8 ISO 100 @50mm

Associated sensation

Manifestation of spirit

Conceptual abstraction

 

With my synesthesia ["grapheme → color"] I see the month of April as green, since the letter "A" is green- so a green portrait to start the penultimate month of 366 portraits...

My alternate idea for My Face Is My Canvas' Emulation #26, the first idea I had looked really weird so I scrapped it and went with this idea that came to me last night on our drive home.

 

All in all the trip to Victoria was really great. We got to explore the southern island, visit some cool places and eat great food. But with all of that good stuff there was one thing constantly tugging at my brain.

 

A while ago I mentioned that I have something called Color Synesthesia , where words, names, personalities, places all have a clear and distinct colour in my mnd. Normally I don't even notice it I just think of a word and the colour appears with it, like a little movie screen in my mind. But I've noticed that it becomes tricky when I've been in an environment or place only once before and attached a colour to it, only to have a new colour attach itself if I come back. It sounds confusing I know....

 

A few years ago I visited Victoria for the first time at the end of one of my 2 month bike trips. Emotions were high since it was the final stop and I had always wanted to visit the city. My first experience of Victoria was excellent and all the places we went to had very clear and vivid colours attached in my brain. When Scott and I visited those same places last week the colours were different and it bothered me a lot. I felt like I wasn't in the same spot, like it wasn't as good as it was before and that we were missing out on something because things weren't the same colour. It seems kind of ridiculous and I tried not to let it weigh me down but it was constantly nagging at me, it was weird because we've travelled to different places together and I've never really had that happen....should be interesting to see what happens next time we're there...

 

TOTW & The Vent: Messy

MFIMC Emulation #26

«Men who fear demons see demons everywhere»― Brom

 

One of the two Nio statues guarding the gate of the Yakuo-In temple of Takao mountain. Hachihoji, Tokyo, Japan. © Michele Marcolin, 2023. K1ii + DFA24-70.

 

Ungyo & Agyo, collectively the Nio, are the two fearsome and muscular temple guardians you see standing at the main gates of many Japanese temples. They’re usually portrayed with Agyo bearing his teeth wit open mouth, representing the vocalization of the first grapheme of Sanskrit Devanāgarī (अ) which is pronounced "a", and carrying a weapon; the unarmed Ungyo keeps his mouth closed, representing the vocalization of the last grapheme of Devanāgarī (ह [ɦ]) which is pronounced "ɦūṃ" (हूँ). Inso doing these two characters together (a-hūṃ/a-un) symbolize the birth and death of all things; the late Greek 'alpha & omega'. Though it does vary, as it can be seen for the Takao's Nio. They were dharmapala manifestations of the bodhisattva Vajrapāṇi, the oldest and most powerful of the Mahayana Buddhist pantheon. According to scriptures originally they travelled with Gautama Buddha to protect him.

«Men who fear demons see demons everywhere» ― Brom

 

One of the two Nio statues guarding the gate of the Yakuo-In temple of Takao mountain. Hachihoji, Tokyo, Japan. © Michele Marcolin, 2023. K1ii + DFA24-70.

 

Ungyo & Agyo, collectively the Nio, are the two fearsome and muscular temple guardians you see standing at the main gates of many Japanese temples. They’re usually portrayed with Agyo bearing his teeth wit open mouth, representing the vocalization of the first grapheme of Sanskrit Devanāgarī (अ) which is pronounced "a", and carrying a weapon; the unarmed Ungyo keeps his mouth closed, representing the vocalization of the last grapheme of Devanāgarī (ह [ɦ]) which is pronounced "ɦūṃ" (हूँ). Inso doing these two characters together (a-hūṃ/a-un) symbolize the birth and death of all things; the late Greek 'alpha & omega'. Though it does vary, as it can be seen for the Takao's Nio. They were dharmapala manifestations of the bodhisattva Vajrapāṇi, the oldest and most powerful of the Mahayana Buddhist pantheon. According to scriptures originally they travelled with Gautama Buddha to protect him.

agyō (open-mouthed) & ungyō (closed-mouthed) are two guardians of the buddha. the right statue is called misshaku kongō (密迹金剛) or agyō and has his mouth open, representing the vocalization of the first grapheme of sanskrit devanāgarī which is pronounced "a". the left statue is called naraen kongō (那羅延金剛) or ungyō and has his mouth closed, representing the vocalization of the last grapheme of devanāgarī which is pronounced "ɦūṃ". these two characters together (a-hūṃ/a-un) symbolize the birth and death of all things. men are supposedly born speaking the "a" sound with mouths open and die speaking an "ɦūṃ" and mouths closed. they signify "everything" or "all creation". the contraction of both is aum, which is sanskrit for the absolute.

  

Dylan's Restaurant is on a block of land that originally had two street frontages, Stirling Terrace and Frederick St. It is thought that the original owner was John McKail and Co, as indicated on the façade at that time. This was later covered up by the verandah.

 

Early photographs indicate that the building had some association with the merchant company Drew, Robinson & Co based on advertising for the company on the eastern side of the building.

 

A later 1890s photograph shows a sign for the Adelaide Steamship Company on the eastern face.

 

An even later photograph advertises Offerd's Engineering.

 

Source: Heritage Council - inherit.stateheritage.wa.gov.au/Public/Inventory/Details/...

Repost from my collection

From SERBIA (via ITALY)

on the back. Several graphemes. P.M. 154 9-3-943-XXI Ragusa di Montenegro Ai miei cari con affetto Tanuzzo , sole 22 anni,

DATE: 1943.

 

I am impressed by this graffiti more so given the location.

Consuming Consonants - Alphabet Soup

 

Copyright © 2011 - 2013 Tomitheos Photography - All Rights Reserved

 

 

>>> LIGHTBOX <<<

 

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Author: Ángel Manuel Rodríguez

What biblical symbolism is associated with the four cardinal directions?

Cardinal compass points in the Bible are rich in meaning. Knowing their symbolism can help interpret some biblical passages. We often orient ourselves by facing north. In the ancient world the point of orientation was east. The east was before them, the west behind, the south to the right, and the north to the left. The future wasn’t in front, but behind, that is to say invisible. 1. The East: The importance of the east as the main point of orientation may be related to the rising of the sun and its importance in the religions of the ancient Near East. In the Bible its symbolism emerges for the first time in Genesis. The Garden of Eden was placed in the East (chap. 2:8), and its entrance faced the east (chap. 3:24). After sinning, Adam and Eve left the garden and went toward the east (chap. 3:24). This eastward movement continued with Cain (chap. 4:16) and culminated in the movement of the human race toward the east (chap. 11:2-4). Within this context the east is symbolically ambivalent. The garden placed there symbolized safety and security. After sin, when it was the direction of the exile, it represented a condition of alienation from God. It was also the place of the wilderness, from which destructive winds came, threatening life (Ps. 48:7; Eze. 27:26). To the prophets the east was a symbol of Babylonian exile and the saving presence of God. He traveled to Babylon and ultimately redeemed His people (Eze. 10:18, 19; 11:22, 23). The east became a place where God intervened on behalf of His people, bringing them salvation (cf. Rev. 16:12). 2. The West: The west symbolizes both negative and positive elements. To the west of the land was the sea, representing evil and death (Dan. 7:2, 3). In fact, the term “sea” often referred to the west (Num. 3:23). It is also the place of darkness because that’s where the sun sets (Ps. 104:19, 20). The positive meaning is its association with the Israelite tabernacle/Temple. Although it faced east, access to it required movement toward the west. In that sense the west pointed toward restored unity with God; a return to the Garden of Eden. When the Israelites traveled to and worshipped in the Temple they faced the west and had the rising sun behind them. This movement to the west began with Abram, who left the east and went to Canaan in the west in obedience to God (Gen. 11:31). It is a symbol of divine blessing. Once the exiles were liberated from their enemies in the east, they traveled west, to the land of Israel. In that journey, the Lord Himself traveled with them (Eze. 43:2-5). 3. The North: Bible students have suggested that the north is a symbol of the permanent or the eternal, perhaps because the polar stars were permanently visible in the sky. It is the place of God’s celestial dwelling (Isa. 14:13) and from which His glory descends (Job 37:22) with blessings or judgments (Eze. 1:4). He is the true King of the North. But the north—represented by the left hand—is also a symbol of disaster. The enemy of God’s people came from the north (Jer. 1:14, 15; Eze. 38:6), bringing destruction. In a sense, the enemy was the false king of the north who tried to usurp God’s role and is finally destroyed by the Lord (Zeph. 2:12; Dan. 11:21-45).

4. The South: The south is primarily a negative symbol. But the fact that it is represented by the right hand makes it also a positive one. It is negative because to the south of Israel was the wilderness, a region where life does not prosper (Isa. 30:6). To the south was Egypt, which opposed God’s power and oppressed His people. But the south was also the place where the Lord appeared to Moses, went with Him to Egypt, liberated His people, and appeared to them on Mount Sinai (e.g., Deut. 33:2). The ambivalent nature of the symbols of the four cardinal directions seems based on the fact that evil was perceived to be present everywhere and that God’s saving presence was always accessible to His people from any corner of the world (Ps. 139:7-12). In a sense they pointed beyond the points of the compass to the cosmic conflict between good and evil. Copyright: Copyright © Biblical Research Institute General Conference of Seventh-day Adventists® The Four Symbols were given human names after Daoism became popular. The Azure Dragon has the name Meng Zhang (孟章), the Vermilion Bird was called Ling Guang (陵光), the White Tiger Jian Bing (監兵), and the Black Turtle Zhi Ming (執明). In 1987, a tomb was found at Xishuipo (西水坡) in Puyang, Henan. There were some clam shells and bones forming the images of the Azure Dragon, the White Tiger, and the Big Dipper. It is believed that the tomb belongs to the Neolithic Age, dating to about 6,000 years ago. The Rongcheng Shi manuscript recovered in 1994 gives five directions rather than four and places the animals quite differently: Yu the Great gave banners to his people marking the north with a bird, the south with a snake, the east with the sun, the west with the moon, and the center with a bear.

Cardinal directions in Chinese language: their cultural, social and symbolic meanings.Introduction In his discussions of dominant Ndembu ritual symbols, Victor Turner points out that one major property of symbols is polarization of meanings. That is to say symbols possess two clearly different poles of meanings - the physical and physiological (the sensory pole), and the abstract and ideological (the ideological pole) (Turner, 1967, p.28). At the sensory pole, the meanings represent "the natural and physiological phenomena and processes" and "arouse desires and feelings." At the ideological pole, the meanings represent "components of the moral and social orders, to principles of social organization, to kinds of corporate grouping, and to the norms and values inherent in structural relationships" (Turner, 1967, p.28).

 

The same kind of polarization of meanings can be detected in cardinal directions of the Chinese symbolic system. However, Turner did not focus his discussions on the interrelations between the sensory and the ideological poles of symbolic meanings. Durkheim's and Mauss's Primitive Classification represented one school of thought on this issue. They argued that the origin of logical classification was a result and an aspect of social classification (Durkheim and Mauss, 1963, p.84). In the case of cardinal directions, more evidence has indicated that the sensory pole of meanings determines the ideological pole rather than the other way around. In this article the author first applies etymological method to study the meanings of direction words in Chinese language. The author believes such analyses help to understand how directions have been perceived in the history of the written language. The latter part of the article discusses how cardinal directions and other orientation concepts are used as part of traditional Chinese symbolic system. Following Jung's definitions of "signs" vs. "symbols" (Turner, 1963), we can say the directional words are signs of the known meanings of directions, whereas directions and other orientation concepts are symbols of the unknown universe.Etymological studies of directional words allow us to trace the evolution of the Chinese characters, whose hieroglyphic nature is particularly conservatory of the ideological evolution of the words. The etymological data are mostly collected from a variety of well-recognized dictionaries and online dictionary sites in both English and Chinese. The semantic units in Chinese language arc words and characters. However, graphemes and phonemes of the characters have been studied in some cases in order to understand the origin of meanings. In addition, idioms and phrases are also informational sources as it usually takes a long time for them to be established. Hence, they are used to trace ancient meanings of the words as well. Space and time are two of the most fundamental concepts in all cultures, the essential reality of human life. Like the air we breathe and the water we drink every day, they are the daily necessity we could never do without but usually take for granted. Perception of space and time defines the essence of a culture's worldview, which differs in geography and in periods of history. It is especially so in Chinese culture, as cardinal directions have become an integrative part of its symbolic classification system that defines the physical and the social reality. Studying perception of space and time would allow us to tap into the depth of a culture's worldview. The Chinese Characters Before starting the discussions of the direction words, the author would like to give a brief introduction of some major etymological and linguistic principles of the Chinese writing system. This will provide the theoretical foundation for some later discussions. If we are to divide the writing systems in the world into three types: the logographic system (in which the minimal complete unit is a logogram), the syllabic system (in which the minimal complete unit is a syllable) and the alphabetic system (in which the minimal complete unit is an alphabet) (Writing system, Wikipedia), the Chinese writing system is a typical logographic system. According to Shuowen Jiezi, one of the earliest and most well recognized etymological dictionaries in Chinese, the ancient Chinese characters can be divided into six different categories in terms of how they were developed or formed (Xu, Shuowen Jiezi online; Shuowen Jiezi, Wikipedia; Zhongwen.com, online). The first category is the pictographs (xiangxing, [??]) (1), which are direct graphical depiction of the objects they denote. Examples include [??] (ri; the archaic form [??]) meaning the sun. The second category is ideographs (zhishi, [??]; or xiangshi, [??]) that represent abstract notions. For instance, the concepts of "above" and "below" are expressed as (shang, [??]) and (xia, [??]). They use signs like the dashes and dots to express abstract ideas. The third category is called logical aggregates (huiyi, [??]; or xiangyi, [??]) in which two or more parts are combined to indicate the meanings. One example would be the character for brightness (ming, [??]), which is a combination of the characters of the sun ([??]) and the moon (yue, [??]). The fourth group is phonetic complexes (xingsheng, [??] or xiangsheng, [??]), which are composed of phonetics that are indicative of the pronunciation and radicals that are indicative of the semantic category. An example of this category is (bei, [??]), which means the back of the body. It is a combination of a phonetics (bei, [??]) and a radical (yue, [??]), which indicates flesh. The fifth type of characters is called transferences (zhuanzhu, [??]) in which more abstract and complicated meanings are derived from the original concrete meanings of words. For an example, the word [??] (bei, the back of the body) gradually adopts the meanings of "turn one's back" and "betray and desert somebody or something." The last principle that Chinese characters developed is false borrowing (jiajie, [??]) in which words take on totally unrelated meanings from the original either intentionally or accidentally. There are two major writing systems used by Chinese language speakers in modern days. One of them is the simplified writing system currently used in Mainland China, which has been adopted as the standard writing system of the People's Republic of China since 1956. The other is the traditional and comparatively more complex writing system that is used by Chinese language speakers in Taiwan, Hong Kong, Macau and other Chinese diasporas around the world. The simplified Chinese is a further evolution over the traditional Chinese, and is therefore less preservatory of the original meanings. All Chinese characters used in this article are simplified unless stated otherwise. Direction Words in Chinese Cardinal directions are some of those abstract concepts that do not lend themselves easily to pictorial representations. In Chinese, the meanings of direction words are mostly combinations of graphemes and phonemes, although some parts of the words are pictographs. The author believes the relations between the formation and the meaning of the direction words could be of cultural significance and indicative of some cognitive characteristics of the culture. Traditionally there are three sets of orientation terms in Chinese culture: si mian and ba fang , which are two-dimensional' and liu he , which is three-dimensional. Si mian, literally four sides, designates the four cardinal directions and is sometimes thought of as including a fifth point, the center. Ba fang, on the other hand, denotes eight directions, the four cardinal compass points plus northeast, southwest, northwest and southeast. In addition to the two dimensional systems is the three dimensional concept of liu he, which literally means unity of six. It is the four cardinal directions and up (heaven) and down (earth) and is used to refer to the universe.

The simplified Chinese characters for the five cardinal points are (east, south, west, north and the middle) or (east, west, south, north and the middle), in the particular orders of the five. (dong, the east). is the simplified character for the east that is currently used in mainland China. The script no longer shows its original connections with the meaning of east. However, its comparatively older form does. is an example of a logical aggregate, which can be broken up into two graphemes - (ri, the sun) and (mu, a tree). The combination of the two pictographs depicts vividly the sun rising behind a tree (Karlgren, 1923, p.324; Xu, Shuowen Jiezi online; zhongwen.com, online). In contemporary Chinese there are at least three characters that are formed by different combinations of the same two graphemes (the sun) and] (a tree). In addition to the cardinal direction word (the east), the other two are (gao ) and (yao). The character (gao) represents the sun above a tree, hence its meaning being bright and being high. (yao), which is the sun below a tree, means being deep and far, losing contact with somebody. Its more archaic meaning is darkness as implied by the combination of the graphemes. The two examples prove that the relative positions between the pictorial components of (the sun) and (a tree) is significantly indicative of the semantic meanings of the characters. In the character (the east) the position of the sun is between the root and the top of the tree, indicating the sun is rising. The composition of the logogram strongly indicates that the concept of east in the language is associated with the observation of the sun's movements in the environment. (xi, the west). The ancient form of this character is , showing a bird roosting on its nest (Karlgren, 1923, p.234; Xu, Shuowen Jiezi online; zhongwen. com, online). According to Shuowen Jiezi, the pictograph indicates that "when the sun is in the west, the birds perch over the nest" (Xu, Shuowen Jiezi online). The explicit meanings of the script are "being at home" and "being at rest." In Chinese idioms "birds returns to their nests" is usually associated with the meanings of dusk and sunset. Here the concept of sunset is borrowed to indicate the concept of the direction of sunset, the west. It is the concept of time that makes the logical link between this pictograph and its directional meaning. In many civilizations, the movements of celestial bodies define the concepts of time and space. Ancient people must have observed how the movement of the sun influences things in their environment. The sun creates days and nights, light and shadow, the seasons, and cycle of life, which all have great impact on people's livelihood. Records from all early civilizations show that ancient people established the first measurements of passage of time based on the movements of celestial bodies. For an example, the ancient Chinese read the positions of the shadow of a dial to tell the hours of a day. Our current 365 days solar calendar relies on the movements of the sun. The earliest Egyptian calendar depended on the movements of the moon. The Mayans of the Central America developed their 260 days calendar according to the movements of the Sun, the Moon and the Venus. In Chinese, the spatial division of east and west both contain some implications of time. East is connected to the beginning of a day, a year, and a life, whereas west to the end of work, a day, and a life. The Chinese character for the sun also means a day, daytime, and years. It also appears in many compound words and idioms with indications of time. Connecting east with sunrise and dawn and west with sunset and evening are common in many other languages as well. The English word east comes from Eastre, the name of a pagan dawn goddess whose festival was celebrated at vernal equinox almost at the same time as the Christian Easter (Weiner, 1989, p.36; Flexner and Hawk, vol. 5, 1993, p.615; Webster, 2002, p.716). In Latin and Greek among some other old Indo-European languages, the stem for east means dawn (Weiner, vol. 5, 1989, p.36). In English "go west" means "to die." There is exactly the same phrase in Chinese that means exactly the same thing. (nan, the south). is composed of a radical [??] and a phonetic [??] (Karlgren, 1923, p.203; Xu, Shuowen Jiezi online; zhongwen.com, online). The archaic form of [??] (bo) is [??], a picture of lianas indicating abundant and tangled vegetation. Living in the North hemisphere, ancient Chinese have observed that the southern side of a mountain, a tree, and a house receives more sunshine than the northern side. Vegetation is therefore more flourishing and abundant on the southern side. South is the direction where vegetation grows more luxuriantly. The phonetics [??], pronounced as (ren), is used as the phonetic in several other tree names (Karlgren, 1923, p.203). (bei, the north). The older form of this character is which indicates two persons positioned back to back (Karlgren, 1923, p.216; Xu, Shuowen Jiezi online; zhongwen.com, online). The picture strongly points to the meaning of back. In modern Chinese, another phonetic complex (bei) is used for the meaning of the back of human body, in which [??] (north) functions as the phonetic and ((flesh) as the radical. In some dictionaries the word it has two pronunciations, bei and bei (Guoyu Cidian, online; Xu, Shuowen Jiezi online). The meaning associated with the first pronunciation is "an equivalence to the back of human body." North and back in Chinese share the same pronunciation and the same meaning in archaic Chinese. The meaning associated with the second pronunciation can be an adjective "being disagreeable and harsh," or a verb "to flee," or "to be defeated, to turn back on." The pictograph of north is linked to the observer-centered concept of back. In Chinese, back means being opposite to front, being the back of or being in the shadow. North is linked to back in all three senses. North is opposite to the sun and the south. That is why it is in the shadow and darkness. This is similar to the back of a person. In Chinese culture, the north side of a building is usually its back, for gates and doors are opened on the south to receive more sunshine. Light and shadow are the major dichotomous concepts associated with north and south in Chinese. The characters of north and south indicate that north is the shadowed side whereas south is the lit side. The geography and landscape of the country stresses the dichotomous divisions. All major rivers and mountains in China run west-and-eastward, which divide the land into parallel stripes. The ancient Chinese have learned to tell directions by looking at the positions of light and shadow. The saying goes "the shadowed side of a mountain is north and the shadowed side of a river is south." The two characters for being in shadow and being lighted by the sunlight are (shadow; Yin) and (light; Yang) respectively. The two words are also used for the dialectic philosophical concepts of yin-yang, which classify things, phenomena, and their traits into dichotomy in many eastern cultures. The two concepts are often represented by two signs,--(a broken line, yin)--(a solid line, yang). The symbols are stacked together to create eight trigrams like . Legend has it that one ancient Chinese king developed the eight trigrams into a system of sixty-four hexagrams to represent different processes in divination. His theory was written in a well-known book, Yi Jin (I Ching), another classic work of the ancient Chinese symbolic system. (the middle or the center, zhong). The ideograph could be interpreted as a vertical line bisecting an enclosure or an arrow hitting the center of a target (Karlgren, 1923, p.360; Xu, Shuowen Jiezi online; zhongwen.com, online). It denotes the meaning of the center or in between.

The fact that the concept of the center or the middle is depicted by an ideograph instead of a pictograph indicates to some extent that it is comparatively more abstract than the other four cardinal directions. A boundary is required before the center could be defined. Limited geographical boundary was not uncommon among ancient people who had no efficient way of transportation to travel widely. The center is a concept relative to the periphery. When the center or the middle is present, the four directions become the relative periphery or the frontiers. In Chinese, China means the Middle Kingdom. The name comes from the country's geographical position in early history when the core territory was surrounded by frontiers on all directions. The Five Elements System In addition to the Yin-Yang and the eight diagrams, another major part of the primitive Chinese symbolic system is the Five Elements System (Wu Xing, Wikipedia). The five elements refer to metal, wood, water, fire and earth. Each of these elements is matched to many other aspects of the material world (See table 1). For example, five planets, five colors, seasons of the year, organs of the body, sense organs, flavors, and animals to mention just a few. The four cardinal directions plus a center are an integral part of the system, which is critical and widely applied in many areas of traditional Chinese culture. Traditional Chinese medicine is one area in which the Five Elements System plays a pivotal role. Five major blood circulation organs, five major digestion organs, and other parts of the human bodies are corresponded with the five elements based on similar attributes. Things belonging to the same category are considered as related with each other. For an example, patients suffering from liver problem usually have weaker sight, crave sour food, are easy to get angry, sometimes show unhealthy dark greenness in skin tone and more likely fall victim of the disease in springtime.The Five Elements System is also a fairly sophisticated symbolic system that uses the concrete relationships between the five material elements in nature to represent and explain the abstract interactions and relationships of all phenomena . In general the system specifies four kinds of relationships. Two of the four relationships create a positive balance state. They are called generating (mothering) relationship (Sheng), and restraining or counterbalancing (fathering) relationships (Ke, . The other two exist when there is a negative out-of-balance state either because one element is too strong or too weak. In a restraining relationship, if the restraining element overpowers and hence over-limits the restrained element, there is an over-restraining relationship (Cheng, . On the other hand, if the restrained overpowers the restraining, it could not be contained but instead controls the restraining element. This would break the balance of the system and create a humiliating relationship (Wu) The picture illustrates the four relationships among the five elements. Clockwise, each element in the circle is generated by the previous element and in turn generates the following one, restricts the third one and is restrained by the fourth one. For instance, fire is fueled (created) by wood, creates earth (ashes), melts (restrains) metal, and is extinguished (restrained) by water. Orders of Cardinal Directions The juxtaposition of the four Chinese cardinal directions, sometimes five, is an idiom in itself, a synonym to "everywhere" and "direction." This idiom has two forms, east-south-west-north and east-west-south-north. When present, the word for the middle is the last character in both arrangements. The orders of the four cardinal directions are different from that in English, which is usually north, south, east and west. Statistically speaking, there are twenty-four permutations for four cardinal directions. It is culturally significant that only one or two orders are used. It is not known why these particular orders exist to the exclusion of the other possibilities. The first order is clockwise starting from the east, which happens to imitate the movement of the sun in the sky. It represents a continuous cycle in both time and space. In the ancient Chinese classificatory system, the directions are matched with the seasons, east to spring, south to summer, west to autumn, and north to winter. The clockwise order of the cardinal directions also coincides with the chronological order of the four seasons. Again, space and time are inseparable from each other. East, a spatial concept standing out originally as the place where the sun rises, takes on the meaning of a start in time. The day starts at the east. The east wind from the seas brings warmth and rain, an indication of the advent of spring. Spring is taken as the beginning of a year, which starts the annual farming cycle. The Chinese New Year is called the Spring Festival. The matching between directions and seasons results in substitution between the two sets of concepts. East wind is almost a synonym of spring wind, spring fanning is called east activities, and East Emperor is a literate alias of the god of spring. Correspondingly, west harvest means autumn harvest, and west wind usually refers to autumn wind that sweeps away leaves from the trees. The matching is certainly related to China's geographical and climatic situations. Warm and damp wind comes from the east and the south, and cold and dry wind from the north and the west. The former brings spring, the latter the winter. It's interesting to compare the Chinese classification with a similar one in the Zuni culture. The Zuni also attributes seasons, colors and animals to spatial divisions (Durkheim and Mauss, 1963, p.43). They also add the center to the four cardinal directions, and have zenith and nadir in their basic spatial divisions. Also like the Chinese, the Zuni associate winter with north, and fire and summer with south. This is reasonable as both peoples live in the northern hemisphere. However, the Zuni "attributed water, the spring and its damp breezes, to the west; ... the earth, seeds, the frosts which bring the seeds to maturity and end the year, to the east." (Durkheim and Mauss, 1963, p.43) This is exactly the opposite to the Chinese's. For the Zuni, who lived in Zuni Pueblo, New Mexico, damp breezes and rain come from the west and frosts come from the east. The differences and similarities of the two systems provide strong evidence for how people's perceptions of spatial divisions are shaped by their environments. In the second Chinese order the cardinal directions are organized into two dimensions: east-west and south-north. The east-west dimension always comes before the south-north dimension in such an order. Southeast and Northwest are * Eastsouth and * Westnorth in Chinese. [??] (east-west) also means things in Chinese. That is because, as is explained in an ancient Chinese book, "things are produced in the four cardinal regions but are called briefly as east-west; that's similar to history being called briefly as spring-autumn though it records four seasons." (Guoyu Cidian, Online) In this case east and west stand for all the four cardinal points. This points to the comparative prominence of the east-west axis over the north-south axis. Within the axis, east always comes before west and south before north. Chinese has plenty of idioms with the structures of "east ... west ..." and "south ... north. ..." There are exceptions, of course, but the proportion is too small to be cognitively significant. The comparatively more dominant status of east and south can also be understood from a political and economic perspective. Due to its geographical features, the western parts of the country were mainly deserts and barren plateaus, and the north was associated with bitterly cold weather and infertile frozen lands while in the southeast parts the fertile rice fields that were the grain barn of the country. The north and the west were important only in terms of military defense. In a culture with a long history of agricultural civilization, it is understandable that the east and the south were more preferred and more important economically, politically, and culturally.

Social Orders of Cardinal Directions Facing south adopts cultural and social significance over time in ancient China. The general pattern of traditional Chinese building complexes and room arrangements look like a square, with the front gates facing the south in order to be warmed and lighted by the sun. This pattern can be seen in residential houses, palaces and temples. The southern side of buildings has front gates, doors and wide open windows. On the north side, there are merely walls and small windows. In a building complex the main rooms face south with the wings facing east and west. There are back doors on the north sides of buildings in a complex, but they are for convenience of connection between rows of buildings. Some units do have doors facing north, but these are called the reversed houses (daoxia) (Cao, 1996, pp.29-59) and are considered atypical. The arrangement of furniture is confined and determined by this architectural pattern and so is the order of seating. In this way the practicality of facing south becomes symbolically important.

The north seat that faces south is reserved for persons with the highest social status. In the imperial court the emperor's "dragon chair" was not only significantly elevated but also invariably facing south. Court officials stood underneath his feet on the east and the west sides of the hall. Because the emperors' thrones always faced south, the phrase "facing south" came to be used as a proper noun designating an emperor. "To face south" means to become the emperor or the king. Accordingly, to face north meant to be a subject of an emperor or a king. Being bright was an adjective to praise the rule of a good emperor. As the saying goes "a good emperor faces south to listen to the discussions of national affairs and rules brightly." Such seating arrangements were copied in military and civil courts at all levels, in schools, and even in family lineages. The person who dominated the group took the north seat that was usually elevated but not as significantly as was the imperial throne. In military and civil courts it was for the official with the highest rank. In a lineage this south-facing seat was reserved for the eldest and most influential male or female member of the lineage. In schools the south-facing chair was for the teacher. The expression "facing north to somebody/something" was a figurative expression meaning to submit oneself as a subordinate, or, in the context of schools, to be a student. The phrase "the white-haired still face the north" indicates an old person who is still a student. The person with the second highest rank was positioned on the east side. The individual ranked third in the gathering was located on the west side facing the second ranking person. Then, back and forth, east and west, all the way down through for all present. In Chinese, the east is a synonym of the host whereas the west also means the guest. Custom had it that when the host and his guests entered a house, the host used the eastern stairway while the guest entered by the stairway on the west. Hence, the host is called "dong dao" (east road). The landlord is "fang dong" (east of the house); the master, "dong jia" (east family); and the hotel owner, "dian dong" (east of the hotel). To be one's treat is "zuo dong" (being the east) in Chinese. In "xi xi" (west seat) and "xi bin" (west guest, west is related to the meaning of guest. This usage, still prevailing in contemporary common language, can be traced back to an ancient custom that the host sat on the east and the guest on the west. In the system the relative spatial concepts of left and right are also interwoven with the absolute system of directions and became substitutes for east and west. The Chinese characters for left and right are [??] (zuo) and [??] (you). In older manuscripts, these are written as and . The two icons represent a hand facing different directions. Thus left and right are related to the two hands and indirectly to the two sides of the body. This substitution is no longer active in contemporary Chinese culture. However, traces of this tradition are still found in a few idioms and place names. "You di" (right lands) means west lands. "Shan zo" (left of the mountains) and "shan you" (to the right of the mountains) refers to Shandong and Shanxi provinces that are located on the east and the west sides of the Taihang Mountains respectively. In like fashion "he you" and "jiang you" (both meaning to the right of the river) designate the area west of the Huanghe River (the Yellow River) in the first case and to the west of Changjiang River (the Yangtze River) in the second. Conversely, "he zo" and "jiang zo" (both meaning to the left of the river) are the areas east of these two rivers. Like east and west, left and right are also social status indicators. Facing south, the right side is the east and the left side the west. The right seat was considered more respectable than the left one. "Lu zo" (left side of the street) is equivalent to the other side of the tracks in Anglo culture of North America. In older times, the wealthy lived on the right side of the street and the poor inhabited the left. "You xing" (right surnames), "You qi" (right relatives) and "You zhi" (right positions) referred to the aristocracy, the imperial families and the high-ranking official positions (Contemporary Chinese Dictionary, 1996). The right has also taken on the meaning of being better as is in the idiom "no one is on his right," which means no one is better than he. An exception to the prominence of right is encountered in carriage where the person with the highest social status occupies the seat on the left. That is the source of the idiom "waiting with the left seat empty," which is a signal of showing respect to someone not yet present. Another pair of directional concepts are up and down. The two characters for up and down are [??] (shang) (Karlgren, 1923, p.251) and [??] (xia) (Karlgren, 1923, p.69). They are iconic signs. The long dash, the base line, represents the horizon (zhongwen.com, online). The short stroke to the right is above the horizon for shang and below it for xia. Up symbolizes high social status and down the reverse. To reinforce the imperial authority, feudal rulers elevated their thrones in the audience halls. Last but not least, the cultural significance of [??] (zhong, the center or the middle). The long history of highly centralized feudal regime stressed the cultural significance of centralization in the culture. The centralized pattern of feudal political regime is clearly embodied in the design of the capital cities and the imperial palaces. Beijing and its Forbidden City, the best-preserved imperial capital and palace, best illustrates the idea of centralization. The old city of Beijing is a fortified square with well-aligned grids running along the two axis of north-south and east-west. The imperial palace, the Forbidden City, occupies the central area of the city proper. The major palaces inside the Forbidden City line up in a row, forming a north-to-south line dividing the city into two symmetrical parts of east and west. Being at the middle is also an important philosophical concept in Chinese culture. Confucianism highly advocates the doctrine of being at the middle, or not going to the extremes, in attitudes as well as in actions. Conclusion These etymological analyses of Chinese direction terms show how observation of the celestial bodies and their impact on natural environment underlies the initial ancient Chinese definition of the cardinal directions. Comparisons with similar primitive classification systems originating in different natural environments also provide some evidence of how perception of time and space are significantly determined by the geography and landscape of the motherland. The limitations and definitions by the environment gradually come to impact other aspects of ancient Chinese livelihood as the culture developed. For instance, the environmental influences helped to define the architectural styles and structures in ancient China, which over time influenced social behavioral norms. As directions were integrated as an important part of the symbolic system, they become dominant symbols in the culture, which can be seen in the usage of directional terms in a variety of idioms and phrases as well as in many areas of the traditional culture. Medicine and divinations are two examples. Data from the study provide further evidence to support Victor Turner's theory that symbols possess bipolar meanings - one clusters around the physical and concrete, and the other the abstract and ideological. Durkheim and Mauss refuted Frazer's argument that the social relations of mean are based on logical relations between things, and argued that it is the social relations that have provided the prototype for the latter. (Durkheim and Mauss, 1963, p.82) In their article Durkheim and Mauss stressed the role of social organizations and social relations in human cognition. They believed the essential cognitive characteristics underlying the primitive classification are the same as that of the modern scientific classification, which both result from human tendencies to unify knowledge, to know as social beings and groups, and to extend the unity of knowledge to the universe. (Durkheim and Mauss, 1963, pp.81-84) In the case of cardinal directions, the Chinese characters clearly indicate the influences of the natural phenomena on people's understanding of them. The ancient Chinese architectural styles and structures were influenced by the environment, which in turn influenced the social lives of people. However, the study does not intend to deny that human beings see things from their own perspectives and understand the universe within the limitations of their perceptions. The limitations also exist for any anthropological interpretation of cultures, just as Victor Turner discussed in Forest of Symbols. It is the case in this current study as well. Generally speaking, the modern views of orientation terms are not often the same as what was originally meant in antiquity. Our understanding of the direction concepts must have drifted away from the empirical perceptions of the ancient people. Therefore, when trying to make sense of why things become what they are, sometimes it is inevitable that our understanding is limited by our perception of here and now. This is a paradox for all anthropological studies of the "other" cultures (both culture of the others, and the other culture of ourselves). Ancient Chinese culture is baffling to modern Chinese who are confronted with a similar paradox - try to understand the perceptions of the ancient Chinese but have to do it from the perspective of a modern Chinese. In this article, the author uses the four cardinal direction words and the fifth, the centrum, to present an outline of the primitive Chinese classification system. Yet it must be said that the Chinese classification system is far more complicated than what can be explained in this essay. Concepts of the Yin-Yang dichotomy, the eight trigrams, and the Five Element System are all phenomena worthy of an independent study. However, as an interesting and inseparable part of the symbolic system, the orientation words help to show the interconnections between the several important concepts of the ancient Chinese symbolic system. COPYRIGHT 2009 Institute of General Semantics

 

Copyright 2009 Gale, Cengage Learning. All rights reserved.

      

Enochian is an angelic language used by angels in Heaven. They communicate over angel radio using this language, though in more recent years, they began communicating in English predominately. The angels, the Knights of Hell, and the Men of Letters are also familiar with an archaic dialect of the angelic language called "Pre-Enochian" or "Old Enochian". Castiel used sigils from this Enochian dialect to bind Alastair in a devil's trap he made. The Knights of Hell like Abaddon used the old Enochian sigil associated with them as their crest, leaving it behind in areas where they strike. Belphegor reveals that very few demons like Lilith, Crowley, and Abaddon have been known to understand Enochian. Enochian sigils are powerful glyphs that can be used against angels and demons and protect an area from angelic and demonic interference. Throughout Season 5, Castiel uses one to conceal Sam, Dean, and Adam from every angel in creation by carving it into their ribs.

www.supernaturalwiki.com/Enochian

 

Enochian has also been used in reciting various spells that can be used against some of the most dangerous creatures in all creation. Lily Sunder became a practitioner of Enochian Magic after Ishim taught her all their secrets, using spells that burn off pieces of her soul in exchange for longevity and access to angelic powers until it's completely burned away. The Whore of Babylon uses what appears to be an Enochian spell to harm Castiel. Lucifer's Cage can be opened and closed with the rings of the Four Horsemen of the Apocalypse and an Enochian phrase. When angels are reverted to their "factory settings", they relay any information hidden in their minds encrypted in Enochian.

  

The Two of Swords shows a blindfolded woman, Pamela Smith has become an impetrant, she begins her initiation into Enochian magic, the artist is dressed in a white dress, holding two crossed swords. The blindfold tells us that Pamela is confused about her inner light and cannot clearly see either the problem or the solution. She may also be missing relevant information that would make her decision much clearer if she were to get it. The swords she holds are in perfect balance, suggesting that she is weighing her thoughts and addressing both sides of the situation to find the best resolution.

Behind the woman is a body of water dotted with rocky islets. Water represents emotions, and while the costume of swords is traditionally associated with the mind and intellect, its presence shows that Pamela must use both her head and her heart to weigh her options. The islands represent obstacles in his path and suggest that his decision is not as clear cut as it seems. It will have to consider the situation as a whole. The crescent moon to her right is a sign that Pamela should trust her intuition to make her choice. Pamela is also alone on the beach. His eyes are blindfolded, his arms are tied. Eight swords planted in the ground form a prison around her. However, the circle is not completely closed. So there is an exit that the blindfold prevents you from seeing. The Two of Swords indicates that you are faced with a difficult decision, but you do not know which option to take. Both possibilities may seem equally good – or equally bad – and you don't know which will lead you to the better result. You need to be able to weigh the pros and cons of each choice and then make a conscious judgment. Use both your head (your mind and intellect) and your heart (your feelings and intuition) to choose the path that is most in alignment with your Higher Self.

 

Pamela Smith represented in this card wears a blindfold, indicating that she cannot see the entirety of her circumstance. You may lack the information you need to make the right decisions. You may be missing something, such as the threats or potential risks, alternative solutions or critical pieces of information that would help guide you in a particular direction. Once you remove the blindfold and see the situation for what it really is, you will be in a much better position to find your best path forward. Research your options more, seek outside opinions and feedback and ask yourself what you might be missing.`` Alone, far from the city and its ramparts, this woman seems very isolated. The sky is gray, the landscape is bleak. There emerges from the Card a feeling of uncertainty and absence of hope. The Eight of Swords symbolizes the feeling of helplessness of the Consultant. Lost, disoriented, the Consultant does not know what to do to overcome the obstacles or challenges of his environment. The Consultant experiences the very unpleasant feeling of being “stuck”, trapped. However – and this is important to stress – the Eight of Swords is not a fatalistic card. On the Map, the young woman could free herself from her fabric ties and remove the blindfold covering her eyes. She could regain the comfort and safety of the city behind her. The blockage, the "prison" of these Swords planted in a circle therefore symbolize first of all a situation created by the Consultant himself. Quite logically, he or she could get rid of it and get by on his own. The blockage is notably due to limiting beliefs on the part of the Consultant. These limiting beliefs go on and on: “You are not capable of…”; “A man like that, caring about you!? Do not even think about it ! » ; "Returning to training at your age to change paths will never work..." These limiting thoughts end up defining our possibilities and therefore we are no longer able to do otherwise, innovate or find solutions. It also happens that the feeling of helplessness is generated by external circumstances. The Consultant “wakes up”, dissatisfied with his environment and his life and wonders how he or she could have come to this.The Eight of Swords reveals that you feel trapped and restricted by your circumstances. You believe your options are limited with no clear path out. You might be in an unfulfilling job, an abusive relationship, a significant amount of debt or a situation way out of alignment with your inner being. You are now trapped between a rock and a hard place, with no resolution available. However, take note that the woman in the card is not entirely imprisoned by the eight swords around her, and if she wanted to escape, she could. She merely needs to remove the blindfold and free herself from the self-imposed bindings that hold her back. When the Eight of Swords appears in a Tarot reading, it comes as a warning that your thoughts and beliefs are no longer serving you. You may be over-thinking things, creating negative patterns or limiting yourself by only considering the worst-case scenario. The more you think about the situation, the more you feel stuck and without any options. It is time to get out of your head and let go of those thoughts and beliefs holding you back. As you change your thoughts, you change your reality. Replace negative thoughts with positive ones, and you will start to create a more favourable situation for yourself. The Eight of Swords assures you there is a way out of your current predicament – you just need a new perspective. You already have the resources you need, but it is up to you to use those resources in a way that serves you. Others may be offering you help, or there may be an alternative solution you haven’t yet fully explored. Be open to finding the answer rather than getting stuck on the problem. The Eight of Swords is often associated with a victim mentality. You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will. You may feel like the victim, waiting to be rescued, but is this energy serving you? If not, it is imperative you take back your power and personal accountability and open your eyes to the options in front of you. The fact is you do have choices, even if you do not like them. You are not powerless. At times, the Eight of Swords indicates that you are confused about whether you should stay or go, particularly if you are in a challenging situation. It is not as clear-cut as you would like, making the decision very difficult. You have one foot in, hoping things can work out, but your other foot is out the door, ready to leave. The trouble is that you worry either option could lead to negative consequences, and so you remain stuck where you are. Again, this card is asking you to get out of your head and drop down into your gut and your intuition so you can hear your inner guidance. Your thoughts are not serving you right now, but your intuition is. Trust yourself. In any case, it is necessary to "take back control" of the circumstances and to remember that in life, we always have a choice. The possibilities in front of you may not be ideal, easy or desired… but they exist! You have to be able to look them in the face, and choose the best… or the least bad.

 

www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...

 

www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...

 

In 1903 Waite succeeded Yeats as Grand Master of the Golden Dawn. His first act under his new status was a reform of the fundamental principles of the Order: he proclaimed the primacy of spiritual achievement (emphasis on esoteric knowledge and the search for Truth) over material fulfillment (which occultism in general, and magic in particular, presupposes). Seeing in this act of negating the very foundation of the Golden Dawn (namely the practice of the occult sciences) the outright annihilation of the Order, former Grand Master Yeats strongly opposed Waite.

Two camps were then formed: one bringing together the supporters of the reform and represented by William Alexander Ayton, (relatively fearful in terms of operability), Waite's right-hand man, and the other bringing together, alongside the former Grand Mr. Yeats, the curators. The feud lasted two years, after which the Yeats camp ended up going on to found its own order (La Stella Matutina, the "Morning Star")—a perfect transposition of the Golden Dawn before Waite's reform, seceding from what took then the name of Holy Order of the Golden Dawn ("Holy Order of the Golden Dawn"; the expression "holy order" illustrating more the new mystical tendencies instilled by Waite) and which continued to be shaken by internal strife until disbanded in 1915, following Waite's departure.

 

After this "schism of 1905", which was the real coup de grace for the Hermetic Order of the Golden Dawn, certain initiates who had remained neutral in the struggle between Camp Yeats and Camp Ayton preferred to go and found, alone or in groups, their own brotherhood.

 

Arthur Edward Waite (1857-1942), wanted to be a true scholar in occultism. He wrote, among other things, "The Holy Kaballah" and "The Key to the Tarot", published in London in 1910. For Waite, symbolism is the key to the Tarot. In "The Key to the Tarot" he says, "True tarot is symbolic; it uses no other languages or other signs". One of the unique characteristics of the Arthur Edwart Waite tarot and one of the main reasons for its popularity is that all the cards, including those of the Minor Arcana, depict scenes complete with figures and symbols. The images of all Pamela Coman-Smith's cards lend themselves to an interpretation based on the conscious and unconscious reading of the scene, without the need to consult explanatory texts.

What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.The Tarots of Wirth and Knapp Hall are to be considered to be Tarots based on "hermetic science". A science which will be strongly included in the broad fields of esoteric exploration to which the golden dawn will give access...The first decks that can be designated as decks born from the ideologies of the Golden Dawn and created according to their cosmogony is undoubtedly the Tarot Rider-Waite... It is the result of a long and meticulous research on esoteric symbols and their correspondence.

 

But the first member of the Hermetic Order of the Golden Dawn to have designed a Tarot is obviously doctor Gérard Encausse, Papus, who joined the members of the Hermetic Order of the Golden Dawn in 1895. The Papus tarot would have been designed around 1899... At the beginning, it was certainly reserved for a few insider circles only... It was seen for the first time in illustration in the works of Papus, among others in "Le Tarot des Bohémiens , absolute key to the occult sciences" (1889), but the book will only be really known and accessible to the general public from its 3rd edition published in 1926. Then will follow the work "The divinatory tarot. Key to card printing and fates" (1909), reissued in large circulation also the same year of 1926. From then on, the Tarot of Papus will gain much popularity and the public will seek to obtain it... The Tarot of Papus will be diffused little by little print from the 1930s.

 

While the tarots of Papus, Wirth and the Knapp Hall were appearing almost simultaneously, the renowned house of Grimaud, for its part, was preparing to publish the Tarot which would become the reference for the general public, it was this famous modified reproduction of the Conver, proposed by Paul Marteau. It will appear in 1930 and will become the most fashionable tarot... Despite the modifications made to this Tarot, it has no affiliation with occult groups and is intended to be a Tarot in the tradition of the Tarot de Marseille.

 

That said, the Tarot which will set the tone and which will be the reference for the members of the Golden Dawn is undoubtedly the Tarot developed by Rider and Waite.

 

There are already a hundred decks that derive directly from the tarot originally designed by Rider-Waite. Not to mention pirated copies, clones, etc... This tarot has long been a reference for budding occultists and kabbalists... It still is...

 

So, in fact, there are many tarots that were designed in the ideology of the Golden Dawn!!!

 

It will first be the Tarot of Aleister Crowley which, following the Rider-Waite, will stand out and bring modifications to the "esoteric" Tarot, always with reference to the Golden Dawn, to the Kabbalah, to ancient Egypt initiates, etc... With in addition, references to sexual magic...The members of the Golden Dawn mainly used the Tarot of Waite, but during the 1950s, 1960s, they put a lot of effort into creating a Tarot that could finally be directly linked to the precepts and esoteric teachings of the Golden Dawn... A Tarot which originally wanted to be, once again, a Tarot exclusively reserved for members of the Order. This is the famous "Tarot of the Golden Dawn", so the Tarot which wants to be "officially" attested by the order...

 

But beware !! This name known as "Tarot of the Golden Dawn" is confusing... Several Tarots are decked out with the label "of the Golden Dawn"...

 

In truth, of all these tarot cards there is only one that is truly recognized by the Hermetic Order of the Golden Dawn and as such, and that is the one developed by Israel Regardie and Robert Wang from esoteric works of Samuel Liddel Matthers.

 

Robert Wang will also create the "Jungian Tarot", very appreciated also by the followers of the Golden Dawn; and perhaps even more by those interested in "modern theosophy" and in the principles elaborated by Jung.

 

The "Jungian Tarot" is quite similar to the so-called "Golden Dawn" Tarot, but is intended more for "personal evolution" than for the initiatory journey of the Order, strictly speaking... In truth these two tarots are the results of extensive research in matters of esotericism, research that has been carried out by the study centers of the Hermetic Order of the Golden Dawn. Its construction, on the basis of the four elements, the celestial phenomena, the Holy Kabbalah, and a highly evolved psychology, can apparently lead its followers into the inner recesses of psychic and intuitive awareness.

 

Above all, this tarot can be used as a basis for occult study, in order to learn to possess all the aspects of the traditional "center-wisdom", and "high-science" kabbalistic... (There are many Rosicrucian references , and also references to Freemasonry and alchemy).

 

Originally, the Golden Dawn Tarot was only reserved for members of the official Order. It began to be broadcast from 1975.

 

Despite the claim of these creators, it should still be known that the vast majority of members of the Hermetic Order of the Golden Dawn, will study the Tarot from the "Tarot B.O.T.A.", or the original Rider-Waite. What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.

THE TAROT B.O.T.A.

 

It is actually a very special version of the Rider-Waite Tarot presented in a "black and white" version, and the members were invited to color their own tarots... The study of symbolism esoteric was first done using this Tarot Rider-Waite in its original version (in black and bench). Indeed, the Waite-Rider Tarot in its black and white version is the most used by Golden Dawn followers and should be considered the official Golden Dawn Tarot.

 

A nearly similar version is still used by members of the B.O.T.A. and followers of hermetic schools. (The initials B.O.T.A. mean "Builders of the Adytum", it is a traditional and fraternal association founded by Paul Foster Case, continued and extended by Ann Davies...

 

A popular theory is that author William Walker Atkinson co-wrote the legendary "Kybalion" tome with Paul Foster Case. This theory is often defended by members of the "Builders of the Adytum". B.O.T.A. offers courses and techniques based on the study of the mystical teachings of the Holy Qabalah and TAROT. In fact, this confusing story about the Tarot B.O.T.A. and writing the "Kybalion", seems to have started with a breakaway group from the B.O.T.A., "The Brotherhood of Hidden Light" (which emphasizes the "secret (or lost) knowledge of the sages of Atlantis") .

 

The members of the Golden Dawn like the members of the B.O.T.A., consider that the Rider-Waite tarot is the ultimate "reference"...

secretsdutarot.blogspot.com/2013/01/les-tarots-dits-de-la...

This dissertation seeks to define the importance of Waite’s interpretation of mediaeval and Renaissance esoterica regarding the contacting of daemons and its evolution into a body of astrological and terrestrial correspondences and intelligences that included a Biblical primordial language, or a lingua adamica. The intention and transmission of John Dee’s angel magic is linked to the philosophy outlined in his earlier works, most notably the Monas Hieroglyphica, and so this dissertation also provides a philosophical background to Dee’s angel magic. The aim of this dissertation is to establish Dee’s conversations with angels as a magic system that is a direct descendant of Solomonic and Ficinian magic with unique Kabbalistic elements. It is primarily by the Neoplatonic, Hermetic, Kabbalistic, and alchemical philosophy presented in the Monas Hieroglyphica that interest in Dee’s angel magic was transmitted through the Rosicrucian movement. Through Johann Valentin Andreae’s Chymische Hochzeit Christiani Rosencreutz anno 1459, the emphasis on a spiritual, inner alchemy became attached to Dee’s philosophy. Figures such as Elias Ashmole, Ebenezer Sibley, Francis Barret, and Frederick Hockley were crucial in the transmission of interest in Dee’s practical angel magic and Hermetic philosophy to the founders of the Hermetic Order of the Golden Dawn.

Enochian Angel Magic: From John Dee to the Hermetic Order of the Golden Dawn www.academia.edu/921740/Enochian_Angel_Magic_From_John_De...

 

The rituals of the Golden Dawn utilized Dee’s angel magic, in addition to creative Kabbalistic elements, to form a singular practice that has influenced Western esoterica of the modern age. This study utilizes a careful analysis of primary sources including the original manuscripts of the Sloane archives, the most recent scholarly editions of Dee’s works, authoritative editions of original documents linked to Rosicrucianism, and Israel Regardie’s texts on Golden Dawn practices."In Whose hands the Sun is as a sword, and the Moon as a through- thrusting fire." An elegant equation, defining the parameters of the. creation. The god declares dominion over planetary forces (Sun-Moon) and elemental forces (fire-air). He also declares control over the two types of dualities: those in which one pole is projective and the other responsive (Sun-Moon) and over those in which two forces of similar polarity are balanced (fire-air). Within the area of creation, the positive pole is attributed to the element of swords, Air, and the anti-positive pole is attributed to the element of Fire. This is reflected in the precedence followed by the elements throughout the Tablets and Calls: Air first, then Water, Earth, and Fire. "Which measure your garments in the midst of my vestures..." The word translated here as "garments" is used uniformly to mean "creation" or "being" elsewhere in the Keys. Another word is used for

"garments" in the next sentence of this same Key. Another word is also used for "midst" further on in this Key. So the translation here is questionable. A magickal image given to define this phrase shows the scene through the god's eyes as he pulls endless threads of living light out of a lamen on his chest.

Enochian magic is a system of ceremonial magic based on the 16th-century writings of John Dee and Edward Kelley, who wrote that their information, including the revealed Enochian language, was delivered to them directly by various angels. Dee's journals contain the record of these workings, the Enochian script, and the tables of correspondences used in Enochian magic. Dee and Kelley believed their visions gave them access to secrets contained within Liber Logaeth, which Dee and Kelley referred to as the "Book of Enoch".In the early 1580s, John Dee had become discontented with his progress in learning the secrets of nature. Dee wrote: I have from my youth up, desired and prayed unto God for pure and sound wisdom and understanding of truths natural and artificial, so that God's wisdom, goodness, and power bestowed in the frame of the world might be brought in some bountiful measure under the talent of my capacity... So for many years and in many places, far and near, I have sought and studied many books in sundry languages, and have conferred with sundry men, and have laboured with my own reasonable discourse, to find some inkling, gleam, or beam of those radical truths. But after all my endeavours I could find no other way to attain such wisdom but by the Extraordinary Gift, and not by any vulgar school, doctrine, or human invention. Enochian magic involves the evocation and commanding of various spirits.He subsequently began to turn energetically towards the supernatural as a means to acquire knowledge. He sought to contact spirits through the use of a scryer or crystal-gazer, which he thought would act as an intermediary between himself and the angels. Dee's first attempts with several scryers were unsatisfactory, but in 1582 he met Edward Kelley (1555–1597/8), then calling himself Edward Talbot to disguise his conviction for "coining" or forgery, who impressed him greatly with his abilities.Dee took Kelley into his service and began to devote all his energies to his supernatural pursuits. These "spiritual conferences" or "actions" were conducted with intense Christian piety, always after periods of purification, prayer and fasting. Dee was convinced of the benefits they could bring to mankind. The character of Kelley is harder to assess: some conclude that he acted with cynicism, but delusion or self-deception cannot be ruled out. Kelley's "output" is remarkable for its volume, intricacy and vividness. Through Kelley, the angels laboriously dictated several books in this way, some in a previously unknown language which Dee called Angelical — now more commonly known as Enochian.The two pillars of modern Enochian magic, as outlined in Liber Chanokh, are the Elemental Tablets (including the "Tablet of Union") and the Keys of the 30 Aethyrs. The Enochian model of the universe is depicted by Dee as a square called "The Great Table" (made up of the 4 Elemental Tablets and incorporating the Tablet of Union), surrounded by 30 concentric circles representing the 30 Aethyrs or Aires. The Angelical Keys:

The essence of Enochian magic involves the recitation of one or more of nineteen Angelical Keys, which are also referred to as Calls. These keys are a series of rhetorical exhortations which function as evocations when read in the Enochian language. They are used to effect the "opening of 'gates' into various mystical realms." The first eighteen keys are used to 'open' the realms of the elements and sub-elements, which are mapped onto the quadrants and sub-quadrants of the Great Tablet.[clarification needed][citation needed]. The nineteenth key is used to 'open' the Thirty Aethyrs. The Aethyrs are conceived of as forming a map of the entire universe in the form of concentric rings which expand outward from the innermost to the outermost Aethyr. The Great Table: The angels of the four quarters are symbolized by the Elemental Tablets — four large magical word-square Tables (collectively called "The Great Table"). Most of the well-known Enochian angels are drawn from the Elemenal Tablets of the Great Table. Each of the four tablets (representing the Elements of Earth, Air, Fire and Water), is collectively "governed" by a hierarchy of spiritual entities which runs (as explained in Crowley's Liber Chanokh) as the Three Holy Names, the Great Elemental King, the Six Seniors (aka Elders) (these make a total of 24 Elders as seen in the Revelation of St. John), the Two Divine Names of the Calvary Cross, the Kerubim, and the Sixteen Lesser Angels. Each tablet is further divided into four sub-quadrants (sometimes referred to as 'sub-angles') where we find the names of various Archangels and Angels who govern the quarters of the world. In this way, the entire universe, visible and invisible, is depicted as teeming with living intelligences. Each of the Elemental tablets is also divided into four sections by a figure known as the Great Central Cross. The Great Central cross consists of the two central vertical columns of the Elemental Tablet (the Linea Patris and Linea Filii) and the central horizontal line (known as the Linea Spiritus Sancti). In addition to the four Elemental Tablets, a twenty-square cell known as the Tablet of Union (aka The Black Cross, representing Spirit) completes the representation of the five traditional elemental attributes used in magic - Earth, Air, Water, Fire and Spirit. The Tablet of Union is derived from within the Great Central Cross of the Great Table. The Thirty Æthyrs : The 30 Aethyrs are numbered from 30 (TEX, the lowest and consequently the closest to the Great Table) to 1 (LIL, the highest, representing the Supreme Attainment. Magicians working the Enochian system record their impressions and visions within each of the successive Enochian Aethyrs. Each of the 30 Aethyrs is populated by "Governors" (3 for each Aethyr, except TEX which has four, thus a total of 91 Governors). Each of the governors has a sigil which can be traced onto the Great Tablet of Earth.

The Holy Table: a table with a top engraved with a Hexagram, a surrounding border of Enochian letters, and in the middle a Twelvefold table (cell) engraved with individual Enochian letters. According to Duquette and Hyatt, the Holy Table "does not directly concern Elemental or Aethyrical workings. Angels found on the Holy Table are not called forth in these operations."

The Seven Planetary Talismans: The names on these talismans (which are engraved on tin and placed on the surface of the Holy Table) are those of the Goetia. According to Duquette and Hyatt, "this indicates (or at least implies) Dee's familiarity with the Lemegeton and his attempt, at least early in his workings, to incorporate it in the Enochian system."] As with the Holy Table, Spirits found on these talismans are not called forth in these operations. The Sigillum dei Aemeth, Holy Sevenfold Table, or 'Seal of God's Truth': The symbol derives from Liber Juratus (aka The Sworn Book of Honorius or Grimoire of Honorius, of which Dee owned a copy). Five versions of this complex diagram are made from bee's wax, and engraved with the various lineal figures, letters and numbers. The four smaller ones are placed under the feet of the Holy Table. The fifth and larger one (about nine inches in diameter) is covered with a red cloth, placed on the Holy Table, and is used to support the "Shew-Stone" or "Speculum" (crystal or other device used for scrying). Scrying is an essential element of the magical system. Dee and Kelly's technique was to gaze into a concave obsidian mirror. Crowley habitually held a large topaz mounted upon a wooden cross to his forehead. Other methods include gazing into crystals, ink, fire or even a blank TV screen.Little else became of Dee's work until late in the nineteenth century,[citation needed] when it was incorporated by a brotherhood of adepts in England. The rediscovery of Dee and Kelley's material by Samuel Liddell MacGregor Mathers of the Hermetic Order of the Golden Dawn in the 1880s led to Mathers developing the material into a comprehensive system of ceremonial magic. Magicians invoked the Enochian deities whose names were written on the tablets. They also traveled in their bodies of light into these subtle regions and recorded their psychic experiences. The two major branches of the system were then grafted on to the Adeptus Minor curriculum of the Golden Dawn.

 

According to Aleister Crowley, the magician starts with the 30th aethyr and works up to the first, exploring only so far as his level of initiation will permit. According to Chris Zalewski's 1994 book, the Golden Dawn also invented the game of Enochian chess, in which aspects of the Enochian Tablets were used for divination. They used four chessboards without symbols on them, just sets of colored squares, and each board is associated with one of the four elements of magic. Florence Farr founded the Sphere Group which also experimented with Enochian magic.Aleister Crowley's work with Enochian magick generally follows the Golden Dawn system. He is known primarily for his explorations of the 30 Aethyrs, published in "The Vision and the Voice". This work established the idea that Aethyr might represent a means of initiation, and set a standard for methodical exploration, which few have equaled. It also fixed Crowley's particular perspective on the process of transcendence in the minds of many students of the occult. Crowley envisioned the Aethyr as being related to the sephiroth of the tree of life in groups of three. He also mentions that each Aethyr "bends" into the next Aethyr above it, in a way, so that in progressing through the Aethyrs from the last to the first, one also withdraws one's being from the lower levels and already experienced (this is parallel to the technique he describes in the Liber Yod, in which the magician achieves union with the deity by gradually banishing all other levels and powers.Under this conception the Aethyrs ZAX, whose parts have names formed from the cross of union, is the highest of the three attributed to Chesed. Thus, it is the last Aethyr encountered before entering the Supernal Triad and achieving transcendence. Crowley envisioned this movement as crossing an "abyss" or space, during which the magician encounters an Enochian devil named Choronzon dwelling therein. Crowley's other contribution to Enochian magick was adapting the pyramid system of the GD for use with the sex magick of the O.T.O. In this technique, physical representations of the pyramids are made for an angel's name, but inverted to form the square "cups". These serve as talismans, which are charged using the end product of the sex magick operation.

 

Paul Foster Case (1884–1954), an occultist who began his magical career with the Alpha et Omega, was critical of the Enochian system. According to Case, the system of Dee and Kelley was partial from the start, an incomplete system derived from an earlier and complete Qabalistic system, and lacked sufficient protection methods. Case believed he had witnessed the physical breakdown of a number of practitioners of Enochian magic, due to the lack of protective methods. When Case founded his own magical order, the Builders of the Adytum (B.O.T.A.), he removed the Enochian system and substituted elemental tablets based on Qabalistic formulae communicated to him by Master R.The first Enochian Key or Call is a recapitulation of the steps by which the creator of the system brought it into being. The Key follows the same macrocosmic-to-microcosmic progression used in the example consecration ritual, but then supplements this with a response from the microcosm directed at the macrocosm. Note that the description of the downward current contains seven significant phrases, suggesting the planets and sun, the macrocosm, while the description of the response contains five significant phrases, suggesting the four elements and elemental spirit, the microcosm."...and trussed you together as the palms of my hands." The magickal image continues by showing the god gathering the fibers of light into a bundle or cable. The god concentrates the energies within the area of work in preparation for shaping."Whose seats I garnished with the fire of gathering, which beautified your garments with admiration." Having generated the positive or spiritual pole of the creation, the god now looks to the anti-positive or material pole. The "seats" are the squares of the tablets in their two-dimensional form. The god embodies a part of his will in the Tablets, defining the order and place to which the spiritual energies will be attracted and attached. When the energies are attached to the Tablets, the pattern of will embodied in the Tablets extends back along their path to the positive pole, conditioning all the perceptible expressions (the "garments") of the energies.. The usual assumption of later magicians (which is not universally accepted) is that the remaining Calls refer to the "Minor Angles" within the Tablets.

 

The Golden Dawn method of associating the Callings with the tablets and Lesser Angles has become the accepted "standard". Donald Tyson recently proposed an alternative method which has received some attention

en.wikipedia.org/wiki/Enochian_magic

 

SUMMARY OF PATH POSITIONS IN ACHAD'S TREE OF LIFE

Path Trump Connects with:

Aleph The Fool Malkuth Yesod

Beth The Magician Malkuth Hod

Gimel The Priestess Yesod Hod

Daleth The Empress Malkuth Netzach

Heh The Emperor Tiphereth Geburah

Vav The Hierophant Hod Netzach

Zain The Lovers Hod Tiphereth

Cheth The Chariot Yesod Netzach

Teth Strength Netzach Tiphereth

YodT he Hermit Hod Geburah

Kaph The Wheel of Fortune Kether Chokmah

Lamed Justice Netzach Chesed

Mem The Hanged Man Yesod Tiphereth

Nun Death Geburah Chesed

Samek Temperance Chesed Chokmah

AyinThe DevilTiphereth Binah

PehThe Tower Geburah Binah

Tzaddi The Star Binah Chokmah

Qoph The Moon Tiphereth Chesed

Resh The Sun Tiphereth Chokmah

Shin Judgement Kether Tiphereth

TauT he Universe Kether Binah

"To whom I made a law to govern the holy ones," The word translated as "holy ones" appears to derive from the same root as the enochian words for "fire", suggesting that the holy ones are those who possess the spiritual will. The god specifies the manner in which his creation will respond to the mages and adepts."Moreover, you lifted up your voices and sware obedience and faith..."The connection between the two poles having been made, and the conditions of their interaction being set, the angels of the creation voice their response to the god, swearing to continue to follow the god's will. "...to him that liveth and triumpheth," The spirits of the Tablets affirm the existence of their creator by saying that he lives, and affirm the success of the act of creation by saying that he triumphs. The echoing of the god's statements by the spirits of the tablets also suggests that the conditions the god laid on the creation as a whole

are reflected in miniature within the creation. It shall be shown that this is the case with the Tablets as we proceed.In the remainder of the Key, the magician using it calls upon the

spirits to respond to him fully and openly. The word translated here as "servant" might be better rendered as "minister" or "representative". The magician asserts that he has a right to demand a response from the spirits because his acts are in accord with the will of their creator.

www.sacred-texts.com/eso/enoch/1stkey.txt

 

Angelic chatter, but very little solid information. Additionally, the reader must deal with forays into apocalyptic religion, Elizabethan politics, Dee's and Kelly's personal issues, and the various irrelevant issues Dee insisted on inserting into the work. Chronologically, Dee and Kelly's work falls into three highly productive periods separated by months when nothing of particular value was received. The material received in each period generally stands on its own, and is only loosely related to that of the other periods. but the term is often applied to all work. First Period: The Heptarchia Mystica. Equipment: Ring, Lamen, and Holy Table The angels claimed that the ring they designed for Dee was the same one used by Solomon to control demons. The ring had a full band, to which was attached a rectangular plate. The letters PELE (coming from Latin for "he will do miracles") were inscribed in the four corners. In the center was a circle crossed by a horizontal line, with the letter "V" inscribed above and the letter "L" below. Two different lamens were given to Dee. The first bears a generic resemblance to various sigils of goetia being an assortment of free-form lines and oddly placed letters. The giving being indicated that it was to be made of gold and worn every time and place for the purpose of protection. given by an evil spirit. During the spring session of 1583, the angels indicated that a session had been scheduled in which detailed instructions would be given for the use of Heptarchic magick. If this session took place, it is not in the records that have survived; but some idea of the general technique can be gathered from the comments in other parts of the recording. The magician would be seated at the Holy Table, wearing the ring and lamen. table in front of him. He would hold an appropriate Heptarchic king's talisman in one hand, with a talisman of the names of the king's ministers placed beneath his feet. The magician would then invite the king with petition and prayer, followed by petitions to his prince, and invocations of the six chief ministers. They would appear in the stone of clairvoyance, whereupon the magician would instruct them to accomplish the task he desired.The Liber Loagaeth is the most mysterious part of Dee and Kelly's work. It is also known by different names like

book of Enoch and the Liber Mysteriorum Sextus et Sanctus. So far no one has seriously attempted to use it, or to understand its nature, beyond what is found in the diaries. According to the angels, "loagaeth" means "speech of God", this book is supposed to be, literally, the words by which God created all things. It is supposed to be the language in which the "true names" of all things are known, giving power over them. As described in the Liber Mysteriorum Quintis, the book was to consist of 48 "leaves", of which each contains a 49x49 grid. Infact, the book actually presented to Kelly is somewhat different. It contains 49 "invocations" in an unknown language, 95 square tables filled with letters and numbers, 2 similar tables not filled, and 4 drawn tables twice the width of the others. 2 "leaves" are recorded, but these are not included in the final book, and apparently serve as an introduction or prologue to the work. this term. There is no translation by which this could be judged in detail, but the text lacks the logical repetitions and word placements which are characteristic of the 48 Enochian invocations given in later years. There is no apparent grammar in the text. Donald Laycock remarks that the language is strongly alliterative and repetitively rhyming, while Robert Turner calls it "glossolalic". many "languages", all being spoken immediately. The purpose of the Loagaeth has been said to be the unleashing/introduction of a new age on earth, the last age before the end of all things. Instructions for use for this purpose were never given; the angels continually put it off, saying that only God could decide when the time has come. During the presentation of the two leaves of the Liber Mysteriorum Quintis, in the stone of clairvoyance an angel moved successively towards letters, and Kelly pronounced the names of the angelic character. Dee transcribed a version using the Roman alphabet, apparently with the intention of redoing it in angelic characters at a later date. of Kelly; this light was seen by both of them. Once the light entered Kelly's head, his consciousness was transformed so that he could understand the text as he read it. He was strongly commanded not to provide a translation, explaining that God would choose the time for it to be revealed. He provided the translation of a few of the words, but it was insufficient to capture the meaning of the text as a whole. When the light withdrew from Kelly's head, he immediately ceased to understand the text, and could no longer see it in the stone. On a few occasions, the light continued to work within him for a short time after the session ended, and at those times Dee noticed that Kelly said many wonderful (and unrecorded) things about the nature of the texts. But the moment the light went out, Kelly couldn't understand it anymore, nor remember what he had said during the previous moment. The record indicates that the 23rd line of the first leaf was a preface to the creation and distinction of the angels, and the 24th line a pleasant invitation to the good angels. Nothing else is recorded concerning the purpose of this book.

Enochian Magic and the Apocalypse

There are 2 major threads of thought in Christian millennialism. One thread, called postmillennialism, is largely utopian in nature. He sees the millennium as the beginning of a period of progressive perfection of conditions on Earth; the basic principle is that the world must be perfected and the city of God built on earth before Christ returns, and only after Christ returns will the world end. Two decades after Dee, this form of millennialism was the driving force behind the religious groups shoeing the English colonization of America. Dee's own thought contains many post-millennial ideals in the search for Enochian magick, one of his goals was to gain means to bring earthly governments and societies to God's design, thereby bringing the return of Christ closer. quickly. The other thread, called premillennialism, is the more catastrophic variety. In this version, the typical scenario is the return of Christ, and then mankind's current "evil" societies will be destroyed in worldwide disasters, while the elect are preserved from evil. After the world is destroyed, Christ will join the faithful in a city built by God to rule over the earth for a thousand years. While there is a strong millennial flavor to the angel's statements, they are almost uniformly of the postmillennial variety. The angels divided the world into four ages. The first of these ages began with the creation and ended with the flood; the second ended with the appearance of Christ. The revelation of Liber Loagaeth ended the third age and triggered the final age, in which the world would be brought to perfection before Christ's return. . A particular passage makes this clear.

The Enochian Magical System of Golden Dawn

Regardie, Israel, The Golden Dawn, Llewellyn Publications, 1971, St Paul, MN. Reprinted at regular intervals. Contains detailed descriptions of the Enochian Magical System developed from GD. Zalewski, Pat. Golden Dawn Enochian Magic, Llewellyn Certainly there are influences of the Qabalah (the Sigillum Dei Aemeth, the communications of Uriel, Michael...) but this is not the originality and the strength of the system. Some practitioners of Enochian magic said that it was a Qabala (when I hear a Qabala I tend to write Kabbalah, like in the theater) that put into action the world of Atziluth, the highest of the four Qabalah classic. It's quite difficult to verify...even ! (See the introduction to the Necrono-micon at Belfond Editions).

 

But back to Enochian magick proper. The successors of the G.. D.. today reorganize its system and Schueler in his Enochian Magic) gives the material and the rituals "step by step" ("step by step"). Americans (and us too) like to practice if it is simple and impressive... The investigation by Enochian magic generally gives results, we cannot really say that they are controllable since they do not correspond to any standard of experiences already lived by the inventors of this practice.

 

Be that as it may, the Enochian, this language with its grammar and its syntax, this magical system and its original Theogony, remains a mystery that should not be taken for a simple variant of this or that traditional system already known. It is therefore useful when approaching it to master the fundamental elements which are used for its use without being subservient to the rituals of the pentagrams and hexagrams, to their signs, to the notions of Qabala of the G., D.., etc. This will make it possible to know what is original or what is borrowed in the Enochian, and what one can think of such or such contemporary development. A culture that will provide some points of reference in our consumer society where the practice of magic has much in common with video games or the daily television session.

 

In this, the most honorable goal (if it can be a question of honour) is the success of the experience known as the "Knowledge and Conversation of the Holy Guardian Angel", i.e. contact with one's true will, devoid of intention, in other words his heart. But it also applies to solving the various problems of life. After all, a magic is white or black only according to the use that is made of it... Let's say that we are still far from the religious John Dee. In fact not, for if Dee's conscious aims and methods were very far from those of our contemporaries, would ultimately the adventures and misadventures of his life, the problem of his relationship with Kelly evidently culminating in the ritually ordered exchange what they did with their wives would not be indications that this practice was beginning to ferment the elements of their consciences into a quintessential non-conformist?

 

MATTHEW LEON.

 

This text constitutes the introduction to the "Book of the gathering of forces" Editions RAMUEL 1994

 

Today we can no longer answer, lacking the benchmarks of a conventional morality no longer existing in the heart of the modern magician. But what is left? On what do we base ourselves if our practice has not yet allowed us an unambiguous contact with our heart, if our magical training lets us wander in the imagination that we have shaped? Publications 1990, St Paul, MN.

 

Synesthesia (American English) or synaesthesia (British English) is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes. Awareness of synesthetic perceptions varies from person to person. In one common form of synesthesia, known as grapheme–color synesthesia or color–graphemic synesthesia, letters or numbers are perceived as inherently colored.In spatial-sequence, or number form synesthesia, numbers, months of the year, or days of the week elicit precise locations in space (e.g., 1980 may be "farther away" than 1990), or may appear as a three-dimensional map (clockwise or counterclockwise). Synesthetic associations can occur in any combination and any number of senses or cognitive pathways. Little is known about how synesthesia develops. It has been suggested that synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time. This hypothesis—referred to as semantic vacuum hypothesis—could explain why the most common forms of synesthesia are grapheme-color, spatial sequence, and number form. These are usually the first abstract concepts that educational systems require children to learn. The earliest recorded case of synesthesia is attributed to the Oxford University academic and philosopher John Locke, who, in 1690, made a report about a blind man who said he experienced the color scarlet when he heard the sound of a trumpet. However, there is disagreement as to whether Locke described an actual instance of synesthesia or was using a metaphor. The first medical account came from German physician Georg Tobias Ludwig Sachs in 1812. The term is from the Ancient Greek σύν syn, 'together', and αἴσθησις aisthēsis, 'sensation'.

en.wikipedia.org/wiki/Synesthesia

When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. In July 1908, an article appeared in The Strand Magazine entitled "Pictures in Music." The article included six black and white images of her music paintings (see below) and provided a long quotation by her which described how her art was created. A pertinent excerpt from that article is as follows: Do you see pictures in music? When you hear a Beethoven symphony or a sonata by Schumann, do mystic human figures and landscapes float before your eyes ? It is by no means new or uncommon for a composer to have a distinct picture in his mind when he sets himself to create a work. Schumann saw children at play in an embowered wood, dancing merrily until, lo ! the sudden advent of a satyr sent them shrieking to their homes. Few, however, have been able to delineate their hallucinations born of music.

Mendelssohn, who was no mean draughtsman, was often asked to do so, but always refused. "It is like asking a sculptor to paint a portrait of his statue," he once said. " All art is one, just as the human body is one, but each of the members has its functions. It is the function of music to hear, not to see." Nevertheless, it is highly interesting to see music translated in the terms of a sister art, and this is what a clever artist, Miss Pamela Colman Smith, has done, in pictures which are published now for the first time in The Strand Magazine. Many of the compositions selected by the artist will instantly be recognized as conveying, in quite a surprising way, a vivid idea of the music as a whole. Every reader can ascertain for himself whether he possesses this peculiar psychic gift—this power of conjuring up music pictures. When you next hear a famous sonata, close your eyes and see what, if any, "pictures" pass before the eye of your brain. Under the magical influence of music the soul has glimpses of wondrous shapes, lit by the light that never was on sea or land. "You ask me how these pictures are evolved," said Miss Colman Smith. "They are not pictures of the music theme — pictures of the flying notes—not conscious illustrations of the name given to a piece of music, but just what I see when I hear music—thoughts loosened and set free by the spell of sound. "When I take a brush in hand and the music begins, it is like unlocking the door into a beautiful country. There, stretched far away, are plains and mountains and the billowy sea, and as the music forms a net of sound the people who dwell there enter the scene; tall, slow-moving, stately queens, with jewelled crowns and garments gay or sad, who walk on mountain - tops or stand beside the shore, watching the water - people. These water-folk are passionless, and sway or fall with little heed of time; they toss the spray and, bending down, dive headlong through the deep. "There are the dwellers, too, of the great plain, who sit and brood, made of stone and motionless; the trees, which slumber till some elf goes by with magic spear and wakes the green to life ; towers, white and tall, standing against the darkening sky— Those tall white towers that one sees afar, Topping the mountain crests like crowns of snow. Their silence hangs so heavy in the air That thoughts are stifled. "Then huddling crowds, who carry spears, hasten across the changing scene. Sunsets fade from rose to grey, and clouds scud across the sky. "For a long time the land I saw when hearing Beethoven was unpeopled; hills, plains, ruined towers, churches by the sea. After a time I saw far off a little company of spearmen ride away across the plain. But now the clanging sea is strong with the salt of the lashing spray and full of elemental life; the riders of the waves, the Queen of Tides, who carries in her hand the pearl-like moon, and bubbles gleaming on the inky wave. "Often when hearing Bach I hear bells ringing in the sky, rung by whirling cords held in the hands of maidens dressed in brown. There is a rare freshness in the air, like morning on a mountain-top, with opal-coloured mists that chase each other fast across the scene. "Chopin brings night ; gardens where mystery and dread lurk under every bush, but joy and passion throb within the air, and the cold moon bewitches all the scene. There is a garden that I often see, with moonlight glistening on the vine-leaves, and drooping roses with pale petals fluttering down, tall, misty trees and purple sky, and lovers wandering there. A drawing of that garden I have shown to several people and asked them if they could play the music that I heard when I drew it. They have all, without any hesitation, played the same. I do not know the name, but— well, I know the music of that place."

 

pcs2051.tripod.com/synesthesia.htm

  

beinecke.library.yale.edu/digitallibrary/asgo.html

Two peculiarities of German lettering, spotted on a box with pulp mags:

1. Hook (or bar) on u to distinguish the letter from n

2. Two forms for s. The long one (ſ) is the default, the short (or round) one is used only in final position of graphemes – it’s aus·suchen (“pick out”).

 

Both have fallen out of fashion around the 1950s.

This summary graphic from the Royal Society shows the long-range neuronal sprouting that occurs with psilocybin; the untreated brain on the left shows a number of regions with the synaptic connections arranged in a ring of nearest-neighbor connectivity. On the right, you can see the dramatic change, with new spanners across formerly disconnected regions. Instead of a mental model of brain damage, imagine the neuronal sprouting that we associate with fetal development or neural plasticity.

 

Researchers Robin Carhart-Harris and team also found that that some of these changes in neuronal wiring were permanent.

 

The effect of this is a more flexible and open mind and visual hallucinations of colored words, numbers or sounds... much like the fascinating condition called synaesthesia.

 

I first learned of this condition from V.S. Ramachandran, and so I read his book Phantoms in the Brain. Some tidbits from his Bio-X symposium: 1 in 50 people have it. It's 8x as prevalent among artists, poets, novelists and creative people. Shakespeare was a master: “Juliet is the sun.”

 

“A word is just a penumbra of associations… a syntactic juggling in the head.”

 

Often blamed on drugs: “The incidence does go up on LSD, and there are more cases in Berkeley than Stanford.”

 

Suspected to be a cross wiring in the fusiform gyrus that has a genetic basis given its hereditary pattern in families. The typical synaptic pruning is interrupted by some mutation.

 

Why doesn’t it disappear from genetic drift? Why would it persist? “They are the outliers in the population. They are more creative. They may be gaining, but evolution moves slowly.” [cue Apple Ad]

 

At the time, I thought that the mastery of evocative metaphor, in written or visual form, seems like a touch of synaesthesia. Great artists can tap into their internal cross talk, and synaesthesia is the extreme example of what might lie along a spectrum from rationalist to artiste.

 

It also seems that young children are better at this than the average adult. Given the 10x reduction in synaptic connections at the age of 2 to 3 years, perhaps the benefits of crosstalk are lost in the carvings of maturity.

 

Here are summary quotes from the new mushroom research:

“The two pictures are simplified cartoons of the placebo (a) and psilocybin (b) scaffolds. The nodes are organized and coloured according to their community membership in the placebo scaffold. This is done in order to highlight the striking difference in connectivity structure in the two cases.

 

One possible by-product of this greater communication across the whole brain is the phenomenon of synaesthesia, which is often reported in conjunction with the psychedelic state. Synaesthesia is described as an inducer-concurrent pairing, where the inducer could be a grapheme or a visual stimulus that generates a secondary sensory output—like a colour for example. Drug-induced synaesthesia often leads to chain of associations, pointing to dynamic causes rather than fixed structural ones as may be the case for acquired synaesthesia. Broadly consistent with this, it has been reported that subjects under the influence of psilocybin have objectively worse colour perception performance despite subjectively intensified colour experience .

 

The results show that the homological structure of the brain’s functional patterns undergoes a dramatic change post-psilocybin, characterized by the appearance of many transient structures of low stability and of a small number of persistent ones that are not observed in the case of placebo.

 

A simple reading of this result would be that the effect of psilocybin is to relax the constraints on brain function, ascribing cognition a more flexible quality, but when looking at the edge level, the picture becomes more complex…these functional connections support cycles that are especially stable and are only present in the psychedelic state. This further implies that the brain does not simply become a random system after psilocybin injection, but instead retains some organizational features, albeit different from the normal state.

 

To summarize, we presented a new method to analyse fully connected, weighted and signed networks and applied it to a unique fMRI dataset of subjects under the influence of mushrooms. We find that the psychedelic state is associated with a less constrained and more intercommunicative mode of brain function, which is consistent with descriptions of the nature of consciousness in the psychedelic state.”

“Did Druidic get Levitate the Stones into Place?

 

The pyramid stones used to make Pyramid are enormous and weigh, on average, about 15 tons each. Two very large stone monoliths are each 25 feet in height. All of the stones are carefully set together and held in place by gravity instead of mortar. The attention to detail and the craftsmanship is impressive…it is impossible to catch a glimmer of light between each stone because they fit so tightly together. From early one, Nostradamus was fascinated by magnets. In fact, he claimed to have contracted terminal tuberculosis as a young adult but was completely cured through the power of magnets. One of the legends surrounding the Pyramid hints that Nostradamus used reverse magnetism to move the heavy rocks. Leedskalnin even told people that he had an in-depth understanding of the laws of gravity, leverage and weight and that he had “discovered the secrets of the pyramids,” implying that magnetism was used by the ancient Egyptians to construct the Great Pyramid of Giza.

 

In the meantime years that Druids or Giant cyclopean Masson worked to build the Pyramid , he never allowed anyone to see him work. In fact, he did most of his work after dark. One time, a few local teens spied on Giants one night. They reported that Giants was able to make giant stones float in the air and move into place by levitation. When Lolo Mauron was asked what kinds of tools he used, he only ever referred to something he called a “perpetual motion holder.” This is exactly how Druidic divination works. The oral tradition explains this concept using a sequence of stories involving streams, stones, floating sticks, and flowers. The stream represents the time continuum, thrown stones illustrate the event ripples, and the floating sticks and flowers demonstrate the passage of time. It isn't possible for me to do the same without p snos muu making this section a much too lengthy instruction manual. This may be an appropriate moment to reflect on why the tradition has always been taught on a one-to-one contextual learning basis, involving an intimate relationship between teacher and learner and using the gifts of nature and the dynamic elements as learning tools. Being able to use the written word and line drawings is a very useful means of communicating, and I hope to have used them effectively in my explanation, but I am left feeling very aware of the difference in the two styles and disappointed that the reader cannot enjoy the same personal, natural experience that I benefited from in my early days. Unfortunately, this is not possible. What we need. then, is a methodologv for training our senses to carrying the philosopher stone?

  

“Plato’s motto “God geometrises” was accepted by both Aryans and Jews [SD3, 63]

“Moses was an initiated priest, versed in all the mysteries and the Occult knowledge of the Egyptian temples - hence thoroughly acquainted with primitive Wisdom. It is in the latter that the symbolical and astronomical meaning of that “Mystery of Mysteries,” the Great Pyramid, has to be sought. And having been so familiar with the geometrical secrets that lay concealed for long aeons in her strong bosom - the measurements and proportions of the Kosmos, our little Earth included - what wonder that he should have made use of his knowledge?” [SD3, 66]

“Moses utilised his knowledge of cosmogonical mysteries of the Pyramid, to build upon it the Genesiacal Cosmogony in symbols and glyphs.” [SD3, 67]

“When Josephus declares that Abraham taught Mathematics he meant by it “Magic,” for in the Pythagorean code Mathematics mean Esoteric Science, or Gnosis.” [SD3, 45]

 

Cyclopean masonry is a type of stonework found in Mycenaean architecture, built with massive limestone boulders, roughly fitted together with minimal clearance between adjacent stones and with clay mortar or no use of mortar. The boulders typically seem unworked, but some may have been worked roughly with a hammer and the gaps between boulders filled in with smaller chunks of limestone. Before publication of The Secret Doctrine in 1888, the most part of its concepts were kept secret, as those which in former times and still are preserved by Hindu pundits, Egypt hierophants, Druids, Mayan priests, etc.

“Professor Wilder remarks: The Essenes of Judea and Carmel made similar distinctions, dividing their adherents into neophytes, brethren and the perfect ... Ammonius obligated his disciples by oath not to divulge his higher doctrines, except to those who had been thoroughly instructed and exercised [prepared for initiation]. [New Platonism and Alchemy, 1869. pp. 7.9.] One of the most powerful reasons for the necessity of strict secrecy is given by Jesus Himself, if one may credit Matthew. For there the Master is made to say plainly: Give not that which is holy unto the dogs, neither cast ye your pearls before swine; lest they trample them under their feet, and turn again and rend you.[ vii.6.]” [SD3, 45]

 

The famous examples of Cyclopean masonry is found in Saint-Remy-de-Provence, and the style is characteristic of earth’s acupuncture . Similar styles of stonework are found in other cultures and the term has come to be used to describe typical stonework of this sort, such as the old menhir. “Ammonius, speaking of his philosophy, taught that their school dated from the days of Hermes, who brought this wisdom from India. It was the same mystical contemplation throughout as that of the Yogin: the communion of the Brahman with his own luminous Self - the “Atman.” [SD3, 111]

“And when we say, indiscriminately, "India," we do not mean the India of our modern days, but that of the archaic period. In those ancient times countries which are now known to us by other names were all called India. There was an Upper, a Lower, and a Western India, the latter of which is now Persia-Iran. The countries now named Thibet, Mongolia, and Great Tartary, were also considered by the ancient writers as India. We will now give a legend in relation to those places which science now fully concedes to have been the cradle of humanity. [IU1, 589]

“Unwilling that his chosen people - chosen by him – should remain as grossly idolatrous as the profane masses that surrounded them, Moses utilised his knowledge of cosmogonical mysteries of the Pyramid, to build upon it the Genesiacal Cosmogony in symbols and glyphs. This was more accessible to the minds of the hoi polloi than the abstruse truths taught to the educated in the sanctuaries. He invented nothing but the outward garb, added not one iota; but in this he merely followed the example of older nations and Initiates. If he clothed the grand truths revealed to him by his Hierophant under the most ingenious imagery, he did it to meet the requirements of the Israelites; that stiff-necked race would accept no God unless He were as anthropomorphic as those of the Olympus; and he himself failed to foresee the times when highly educated statesmen would be defending the husks of the fruit of wisdom that grew and developed in him on Mount Sinai, when communing with his own personal God - his divine Self. Moses understood the great danger of delivering such truths to the selfish, for he understood the fable of Prometheus and remembered the past. Hence, he veiled them from the profanation of public gaze and gave them out allegorically...” [SD3, 67]

 

The term comes from the belief of Classical Greek that only the mythical Cyclopes had the strength to move the enormous boulders that made up the walls of Mycenae and Tiryns. Pliny's Natural History reported the tradition attributed to Aristotle, that the Cyclopes were the inventors of masonry towers, giving rise to the designation " Probably cyclops was atlantean people.

The walls are usually founded in extremely shallow beddings carved out of the bedrock. "Cyclopean", the term normally applied to the masonry style characteristic of Mycenaean fortification systems, describes walls built of huge, unworked limestone boulders which are roughly fitted together. Between these boulders, smaller chunks of limestone fill the interstices. The exterior faces of the large boulders may be roughly hammer-dressed, but the boulders themselves are never carefully cut blocks. Very large boulders are typical of the Mycenaean walls at Mycenae, Tiryns, Argos, Krisa (in Phocis), and the Acropolis of Athens. Somewhat smaller boulders occur in the walls of Midea, whereas large limestone slabs are characteristic of the walls at Gla. Cut stone masonry is used only in and around gateways, conglomerate at Mycenae and Tiryns and perhaps both conglomerate and limestone at Argos.

«Apart from this, every cosmogony, from the earliest to the latest, is based upon interlinked with, and most closely related to numerals and geometric figures. Questioned by an Initiate, these figures and

numbers will yield numerical values based on the integral values of the Circle - “the secret habitat of the ever invisible Deity” as the Alchemists have it – as they will yield every other Occult particular connected with such mysteries, whether anthropographical, anthropological, cosmic, or psychical. “In reuniting Ideas to Numbers, we can operate upon Ideas in the same way as upon Numbers, and arrive at the Mathematics of Truth,” writes an Occultist, who shows his great wisdom in desiring to remain unknown.

Any Kabalist well acquainted with the Pythagorean system of numerals and geometry can demonstrate that the metaphysical views of Plato were based upon the strictest mathematical principles. “True mathematics,” says the Magicon, “is something with which all higher sciences are connected; common mathematics is but a deceitful phantasmagoria, whose much praised infallibility only arises from this - that materials, conditions and references are made to foundation.”

The cosmological theory of numerals which Pythagoras learned in India, and from the Egyptian Hierophants, is alone able to reconcile the two units, matter and spirit, and cause each to demonstrate the

other mathematically. The sacred numbers of the universe in their esoteric combination can alone solve the great problem, and explain the theory of radiation and the cycle of the emanations. The lower orders, before they develop into higher ones, must emanate from the higher spiritual ones, and when arrived at the turning-point, be reabsorbed into the infinite. [IU1, 6]

“It is upon these true Mathematics that the knowledge of the Kosmos and of all mysteries rests, and to one acquainted with them, it is the easiest thing possible to prove that both Vaidic and Biblical structures are based upon “God-in-Nature” and “Nature-in-God,” as the radical law. Therefore, this law – as everything else immutable and fixed in eternity - could find a correct expression only in those purest transcendental Mathematics referred to by Plato, especially in Geometry as transcendentally applied. Revealed to men - we fear not and will not retract the expression - in this geometrical and symbolical garb, Truth has grown and developed into additional symbology, invented by man for the wants and better comprehension of the masses of mankind that came too late in their cyclic development and evolution to have shared in the primitive knowledge, and would never have grasped it otherwise...” [SD3, 63]

“As Pythagoras showed, Kosmos was produced not through or by number, but geometrically, i.e., following the proportions of numbers. [SD3, 364]

“Plato’s motto “God geometrises” was accepted by both Aryans and Jews [SD3, 63]

 

Historical accounts

Pausanias described the Cyclopean walls of Mycenae and Tiryns:

 

There still remain, however, parts of the city wall [of Mycenae], including the gate, upon which stand lions. These, too, are said to be the work of the Cyclopes, who made for Proetus the wall at Tiryns. (2.16.5) Going on from here and turning to the right, you come to the ruins of Tiryns. ... The wall, which is the only part of the ruins still remaining, is a work of the Cyclopes made of unwrought stones, each stone being so big that a pair of mules could not move the smallest from its place to the slightest degree. Long ago small stones were so inserted that each of them binds the large blocks firmly together.(2.25.8)

 

Difference between ashlar masonry (left) and Cyclopean masonry (right), shown in the blue rectangle; Lion Gate, Mycenae, 13th century BCE

Modern archaeologists use "Cyclopean" in a more restricted sense than the description by Pausanias; while Pausanias attributes all of the fortifications of Tiryns and Mycenae, including the Lion Gate, to the Cyclopes, only parts of these walls are built in Cyclopean masonry. The accompanying photograph shows the difference between Cyclopean masonry (shown in the blue rectangle), and the ashlar masonry of the Lion Gate.

 

Locations of Cyclopean structures

The entrance of a Mycenaean citadel in the Bronze Age, Lion Gate. It demonstrated the monumentalizing occurring in Greece and showed the power of the citadel.

 

Apart from the Tirynthian and Mycenaean walls, other Cyclopean structures include some beehive tombs in Greece and the fortifications of a number of Mycenean sites, most famously at Gla.

 

In Sicily there are many Cyclopean structures especially in Erice, in the western part of the island.

 

cura.free.fr/13+/1709sergey.pdf

 

In Cyprus, the Kition archaeological site in present-day Larnaca, has revealed cyclopean walls. In the ancient city of Rājagṛha (now Rajgir, Bihar, India), cyclopean walls can be seen.

 

The Nuraghe of Bronze age Sardinia also are described as being constructed in cyclopean masonry, as are some of the constructions of the Talaiot culture abounding on Menorca and present to a lesser extent on Mallorca.

 

One of the largest and least known is the "acropolis" in Alatri, an hour south of Rome. It also seems to have a portal the summer solstice sun shines and some think it is also has a number of other astronomical significant points to it. It is thought to be the second largest in Europe after Athens.

 

It is typical for scholars to consider quite narrow classes of artefacts that may be related to Stone Portals. As a result, there exists neither a common terminology, nor a classification even for the objects of similar types, for example – for labyrinths. Meanwhile, an introducing of terminology and classification of artefacts of the respective types should not be considered as an end in itself, but as an instrument for analysis of Stone Portals. From this point of view it makes sense to classify the artefacts associated with the Stone Portals by taking into account their functional, geometric, astronomical and other types of properties.

This approach allows us to consider a great scope of heterogeneous characteristics and order them (and thus – the classes) as it is required for a specific study, though in some cases this approach may cause an object to appear in several classes – as in a classed catalogue in a library presenting an example of non- excluding classification.

With this in mind, we propose a hierarchical classification that divides the Stone Portals into classes and sub-classes, starting with the most distinctive features and proceeding with more peculiar characteristics. In parallel, we systematize the terminology.

* Classes of artefacts that are considered in this study relative to their generalized exterior For the initial distinctive feature we single out the generalized exterior of Stone Portals. This

characteristic defines the following three principal types of artefacts.

 Edifice – a Semi-buried stone construction with a roof and subsurface room(s); for example: pyramid

(as a rule – with internal passages), passage mound, cave temple, etc.

 Dike – a distributed roofless stone structure on the ground – a kind of barrier in which the stones are disposed in rows that follow definite linear pattern. As a particular case, dike presents a petroform; but the latter term assumes too wide spectrum of meanings, since apart from boulder outline the p

and etroforms can also include a rock cairn, an upright monolith

slab, a medicine wheel, a fire pit, sculpted boulders, or simply rocks lined up or stacked for various reasons. Old World petroforms include the Carnac stones many other megalithic monuments.

 

The size of the stones may vary, but in general, these are used the detached megaliths (in cromlechs), boulders that touch one another without mortar (in labyrinths, stone circles and medicine wheels), and pebbles (in concentric stone circles and medicine wheels).

In the kindred types of dikes the barrier may be marked by a ditch or rampart.

A linear pattern, in which the lines of stones of dike are allocated, is called grapheme (e.g. a spiral). It is assumed that this pattern may contain several points which stand for detached objects; e.g. – for cairns.

Notice, that the geometrical and metrological aspects of mapping of artefact design in a linear pattern present an important problem which is considered in Caps.5, 8, and 9.

 Image (symbol) – a portable (e.g. pendant) or solitary stationary object which presents a linear pattern which mimics a grapheme of some dike. It may be represented by a painting, carving, mosaic, etc. The most ancient and thus the most important specimens among them are petroglyphs – the images that are created by removing part of a rock surface by engraving or carving.

The main types of these graphemes present the well-known esoteric symbols being inherent in different cults; for distinctness these specific images are also called symbols.

 Spirc. Essentially, the dikes, and thus – the images, which are considered in this study have the graphemes that are predominantly characterized by the patterns which, to a first approximation, present a composition of Spirals, radii and (concentric) circles. For this reason these patterns were given the collective name Spircs.

Therefore, as far as each non-edifice artefact is uniquely specified by its grapheme, the considered types of dikes and images, although they present different types of physical objects, may jointly be classified by their graphemes, and more exactly – by spircs which distinguish them from artefacts of cognate types. As well, a dike or image may also be called spirc if it is considered from the viewpoint of its geometry.

***

With this approach, we obtain an efficient tool for subsequent classification of Stone Portals like dikes and images since they may further be divided into classes (spirals, circles, double spirals, etc.) so that each class is characterized by a definite grapheme. In this case a grapheme serves as a geometrical (or rather – topological) identity card for the respective classes of both dikes and images. Further on, the artefacts of these classes are classified with respect to their geometric and other peculiarities.

Moreover, if a grapheme has some esoteric significance, this meaning is attributed to all artefacts of the respective class, regardless whether it is a dike or image; in other words, the symbolic property of an artefact as a whole is specified by its grapheme.

In such a way, both geometrically and symbolically, a grapheme presents an important characteristic of all types of artefacts which we consider as Stone Portals. All together this justifies the use of the collective name “spirc” in relation to all types of Stone Portals, with the exception of the edifices.

Besides, it is important that this approach does not present a thing in itself, since the topological peculiarities correspond to Esoterical features of the Portals and, together with the geometrical and metrological properties, show the unity of these models for different cultures and even continents. Namely, it will be shown below that the considered types of artefacts (including edifices) were used as Portals – mostly for the same purposes and within the same system of Esoterical concepts.

Furthermore, these three classes of artefacts are associated not only with the physical cult objects, but also with the respective abstract concepts of world view and religious nature; for describing these correlations it is required to specify more exactly those aspects of the ancient cults which we have to take into consideration in study of Portals, and how the typical material forms in which those cults were embodied correlate with the principal classes of Stone Portals.

 

For the most of advanced ancient cultures the knowledge that may be related to scientific attainments was inseparable from spirituality; from this point of view these two aspect of those cultures should rather be considered as a single whole – a world view. From this point of view disregarding of either of these aspects of a world view in study of Stone Portals is devoid of sense.

 

Indeed, on the one hand, an analysis of even smaller forms (like labyrinths and stone circles) shows that their designs were not random: neither geometrically, nor metrologically. Much more nontrivial mathematical and astronomical models were integrated in the greater forms like passage mounds and pyramids, and in various continents.

On the other hand, it is known that a significant part of analytical properties was associated with various spiritual considerations – religious (for masses) or Esoterical (for initiates) ones. An analysis of records, myths, legends and other sources, as well as the direct evidences show it undoubtedly that all over the world the handmade Stone Portals were the attributes of various cults, within the rituals of which they were used by the priests as the means that contributed to getting in contact with the creatures and forces of “other world” for achieving both spiritual and pragmatic goals. At this, some of the artefacts of this type were used as the places for conducting the rituals (Temples and Shrines), and others – as the cult images that assisted in carrying the rituals into effect or were intended for personal use (e.g. amulets).

From Esoteric point of view, this means that the Portals were virtually used as the occult “instruments” for accomplishing an interaction with the beings and energies of subtle planes (astral, et al.).

As far as these basic notions are used in the subsequent consideration, define their meaning more exactly.

 

en.wikipedia.org/wiki/Cyclopean_masonry

‘Arabic Calligraphy’ is a hybrid English term. ‘Calligraphy’, taken from the Greek kallos (beauty) and graphe (writing), is literally understood in the western perception as ‘beautiful (hand) writing’ of the Arabic language. Yet the Arabic term for what we call calligraphy invites closer inspection. Within the Arabic language the transliterated word ‘Khatt’ (خط) is derived from ‘line’, ‘design’, and ‘construction’. The philological connotations get lost in the translated term ‘calligraphy’. From a type design perspective I think this rather an astonishing difference.

 

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Jul 10 2008 [comment]

Arabic calligraphy as a typographic exerciseBy Julia Kaestle

‘Arabic Calligraphy’ is a hybrid English term. ‘Calligraphy’, taken from the Greek kallos (beauty) and graphe (writing), is literally understood in the western perception as ‘beautiful (hand) writing’ of the Arabic language. Yet the Arabic term for what we call calligraphy invites closer inspection. Within the Arabic language the transliterated word ‘Khatt’ (خط) is derived from ‘line’, ‘design’, and ‘construction’. The philological connotations get lost in the translated term ‘calligraphy’. From a type design perspective I think this rather an astonishing difference.

    

Western type is related to calligraphy, but not in the same way. The artistic practice of western calligraphy is nowadays clearly remote from the technical construction of digital type on screen. Still, calligraphy has come a long way, as has the development of type. In the beginning traditional type design took its cue from the calligraphic writing techniques that punchcutters were imitating in the fifteenth and sixteenth centuries (see Fred Smeijers’ Counterpunch). Then, much later, came the counter-movement: a palette of non-calligraphic influenced typefaces that distanced themselves from the influence of the pen stroke; ultimately finding their expression in the Sans Serif types. And today we observe anew the calligraphic influences in Sans Serifs of the twentieth century (see Keith Tam on typeculture.com).

 

Typography nowadays enjoys a considerable public awareness, and numerous typographic techniques are accessible through scores of applications, but the calligraphic origins are differentiated. Still, we have a choice of calligraphic or non-calligraphic influences on typefaces. In cultures that have a writing system based on cursive scripts (and graphemes, such as Chinese characters) the calligraphic practice is the model for type design. These cultures have little choice to distance themselves from the scribes. Arabic, as one of the Semitic languages, is part of these cultures. Yet, at least the philological indication of Arabic’s terminology on calligraphy is marked by design and construction and a determining pre-step to Arabic type. Recognizing these distinguishing philological connotations illuminates the western traditional view on calligraphy’s significance in typeface development.

 

Within the Islamic culture the art of Khatt is understood as the art of the pen and an expression of the sacred. Though the common perception is connected with handwriting, the practice of Arabic calligraphy resembles, in many ways, more a type of lettering. Khatt is inspired and driven by religious contemplation and reverence. Figural representation of shapes in any form was ‘religiously’ banned, and so creative expression streamed forth in alternative forms — mostly concentrated on the word — decorating any kind of object.

 

Historically Arabic script has undergone different reformations, as well as influences of regional and epochal writing styles — mainly as the result of conquests, and conversions to Islam. Today the main styles have been categorized into six types. Details on the styles’ development can to be found here: islamicart.com, sakkal.com, and in the book Arabic Typography by Huda Smitshuijzen Abifares.

 

The modern market of global branding is today claiming the different calligraphic styles for reasons of typographic hierarchy. Thus the writing styles are not just calligraphic styles anymore, but have been absorbed into typography and are now also type classifications. At the same time the religious traditions of Islam still motivate and support the practice of decorating the holy word of the Qur’an.

 

***

The Kufic script (the name comes from Kufa, a city in Iraq) developed in the late 8th century, marking a clear traceable typographic approach within Islamic history. Kufic is still a common script, geometrically constructed with compass and ruler. Since it needs very accurate planning its calligraphers were and still are more like architects of the layout, the lettering and decoration — similar to the letter artists in Europe at the beginning of the 19th century who painted posters and facades.

 

HomeSearchTagsContactFreeAboutFont GameTypenutsShopWLTTwitterSubscribe

Jul 10 2008 [comment]

Arabic calligraphy as a typographic exerciseBy Julia Kaestle

‘Arabic Calligraphy’ is a hybrid English term. ‘Calligraphy’, taken from the Greek kallos (beauty) and graphe (writing), is literally understood in the western perception as ‘beautiful (hand) writing’ of the Arabic language. Yet the Arabic term for what we call calligraphy invites closer inspection. Within the Arabic language the transliterated word ‘Khatt’ (خط) is derived from ‘line’, ‘design’, and ‘construction’. The philological connotations get lost in the translated term ‘calligraphy’. From a type design perspective I think this rather an astonishing difference.

    

Western type is related to calligraphy, but not in the same way. The artistic practice of western calligraphy is nowadays clearly remote from the technical construction of digital type on screen. Still, calligraphy has come a long way, as has the development of type. In the beginning traditional type design took its cue from the calligraphic writing techniques that punchcutters were imitating in the fifteenth and sixteenth centuries (see Fred Smeijers’ Counterpunch). Then, much later, came the counter-movement: a palette of non-calligraphic influenced typefaces that distanced themselves from the influence of the pen stroke; ultimately finding their expression in the Sans Serif types. And today we observe anew the calligraphic influences in Sans Serifs of the twentieth century (see Keith Tam on typeculture.com).

   

Typography nowadays enjoys a considerable public awareness, and numerous typographic techniques are accessible through scores of applications, but the calligraphic origins are differentiated. Still, we have a choice of calligraphic or non-calligraphic influences on typefaces. In cultures that have a writing system based on cursive scripts (and graphemes, such as Chinese characters) the calligraphic practice is the model for type design. These cultures have little choice to distance themselves from the scribes. Arabic, as one of the Semitic languages, is part of these cultures. Yet, at least the philological indication of Arabic’s terminology on calligraphy is marked by design and construction and a determining pre-step to Arabic type. Recognizing these distinguishing philological connotations illuminates the western traditional view on calligraphy’s significance in typeface development.

 

Within the Islamic culture the art of Khatt is understood as the art of the pen and an expression of the sacred. Though the common perception is connected with handwriting, the practice of Arabic calligraphy resembles, in many ways, more a type of lettering. Khatt is inspired and driven by religious contemplation and reverence. Figural representation of shapes in any form was ‘religiously’ banned, and so creative expression streamed forth in alternative forms — mostly concentrated on the word — decorating any kind of object.

 

Historically Arabic script has undergone different reformations, as well as influences of regional and epochal writing styles — mainly as the result of conquests, and conversions to Islam. Today the main styles have been categorized into six types. Details on the styles’ development can to be found here: islamicart.com, sakkal.com, and in the book Arabic Typography by Huda Smitshuijzen Abifares.

 

The modern market of global branding is today claiming the different calligraphic styles for reasons of typographic hierarchy. Thus the writing styles are not just calligraphic styles anymore, but have been absorbed into typography and are now also type classifications. At the same time the religious traditions of Islam still motivate and support the practice of decorating the holy word of the Qur’an.

 

***

The Kufic script (the name comes from Kufa, a city in Iraq) developed in the late 8th century, marking a clear traceable typographic approach within Islamic history. Kufic is still a common script, geometrically constructed with compass and ruler. Since it needs very accurate planning its calligraphers were and still are more like architects of the layout, the lettering and decoration — similar to the letter artists in Europe at the beginning of the 19th century who painted posters and facades.

   

Kufic is still considered a script of lettering, known for the lengthy time to ‘write’ it. Fourteen centuries ago, with the rise of Islam, a script was needed to fit the pace of conversions, and the cursive and more handwritten scripts developed. Yet one should not believe that the cursive, rounder scripts are written so much faster than the constructed Kufic. If one is a trained master calligrapher the writing might flow quickly and easily, but the training to be one can easily take ten to twenty years.

 

Nashker

Developed in the 9th century:

It is known as the script of the Qur’an and is the most ubiquitous; therefore, at times it is mistakenly referred to as the Arabic script. Writing this requires a round thin device, such as a point pen. A medium expansion of the hand movement follows above and below the writing line.

 

The script has voweling dots and all the letters follow beside each other from right to left.

 

Riq’a

Derived from a mixture of Thuluth and Nashker, 9th century:

It is a handwritten style still commonly used. The writing occurs only above the writing line. Certain consonants are written above each other before they hit the baseline.

 

The writing device should be wider and flatter than the one used for Naskher. Voweling lines, though no dots, indicate the pronunciation, but the letter shapes can alter significantly from Naskher.

 

Thuluth

Developed in the 10th century, is still common:

This script (philologically related to ‘one third’) was an offspring of Nashker, and was developed as a display script to decorate in particular scriptural objects. Its most important letter is the Alif, the letter dedicated to Allah. The script has an x-height of one third of the reoccurring patterns of the long stems/verticals (Alif).

 

The letters are placed mostly beside each other, with accompanying broad letter spacing. A medium size bamboo pen and a patient hand will lead to true Thuluth shapes.

 

Diwanii

Developed in the 10th century, its peak was in the 17th century:

It peaked owing to the Ottomans, who highly admired it and used it extensively. It is easily recognized by its distinguished curves. This script is not written with dots, but rather it shapes different forms for each letter’s recognition. The consonants can be arranged beside each other or on a tilted axis of 45°.

 

A beautiful curviness contributes to the extended flexibility. A slim reed or bamboo pen works well with this script.

 

Tal’iq | Farsi

Developed in the 9th century, had its peak in the 14th / 15th century:

Tal’iq came from Persian culture (having a whole history before the influence of Islam), and was absorbed through religious conversion. Tal’iq has the most significant recognition in the long drawn letter shapes extending the word image. Tal’iq (meaning ‘hanging’) is written tilted towards the right along a baseline, only rarely crossing it.

 

Another hallmark of the script is its rhythmic pattern of wide-shaped horizontals and slim and narrow-drawn verticals. The writing tool should be a broad-nip pen or bamboo pen.

 

***

My motivation to study Arabic calligraphy was solely a typographical one — in a sense a typographic exercise. I exposed myself to a foreign script, language, and reading habit to train the eye, challenge my perception and examine the outcome. I focused mostly on the essential: the practicing of Arabic scripts. I studied the historic and scholarly aspects of Khatt a little, but I learned the different writing styles and measurements of letters, and found myself quite capable of reproducing these. The experience was unique: I was able to observe consciously the type of learning process a preschool child would go through. In order to learn the handwriting I had to copy letterforms whose meanings and sounds I understood only afterwards.

 

The interesting fact about Arabic writing, as I experienced it, is that although the script is so flexible (see Calligrams), it is many times precisely measured with equivalents of drawn dots in between the white space of the letter forms. Too little white space between the letters will be considered illegible and therefore not a valid shape. The slowness of calligraphic writing is equally caused by the many moments of lifting the pen to draw a transition, outlining the shape first, and filling in the ink later (especially in the case of Farsi) — reminiscent of lettering design.

 

Calligraphic writing is not just a contemplative art or simply an historical and psychological exercise. It requires not just an accuracy of measurements and the knowledge of alphabets. Calligraphic writing leads to the understanding of shapes and forms. Following the fact that one sees only what one knows, the calligraphic practice certainly causes one to look closely.

 

My typographic exercise made me look from the Arabic calligraphic practice to the European interrelationship of calligraphy and type. The outcome has left me with an interest in other calligraphy traditions and their influences on inter-linguistic type.

 

In the Islamic culture the respect for calligraphers is, by far, greater than its awareness of type designers. Similarly so in the Chinese culture. Likewise a related phenomenon occurred in Europe in the fifteenth and sixteenth centuries, when the transition from calligraphic handwriting to punchcutting and letterpress printing occurred. I see Arabic type design in a similar context to the interwoven development of type design and calligraphic influence.

 

Arabic Typography, which ultimately builds upon calligraphic writing styles, nowadays receives more attention. Though the broad public shows little awareness, the modern development of Arabic type has caused a new interest in the future state of its typography. Having a remarkable relation to its cultural embedment in design and construction, the shift and merge from traditional calligraphy to a mature typography will be a most interesting development to observe.

    

when words disintegrate

just graphemes are at drift

that's the cradle of unrestrained thoughts

that's the home of true ardor

lay down beside me

close your eyes

and submerge your self

 

©boris2008

 

btw need new camera, dropped this one in the water by accident :-)

La Grotta dei Cervi di Porto Badisco, poco distante da Otranto, è la più grande pinacoteca neolitica del Vecchio Continente: distribuite sulle pareti di un chilometro e mezzo di corridoi contorti, fanno bella mostra di sè oltre tremila raffigurazioni pittoriche realizzate in guano e argilla dagli artisti di seimila anni fa.

Ma la particolarità di questa grotta consiste - cosa molto rara altrove - nella coesistenza dei tre principali stilli pittorici protagonisti dell'evoluzione dell'arte figurativa - naturalismo, schematismo, astrattismo. Ciò ha consentito l'interpretazione di molti degli enigmatici grafemi che precludono all'invenzione della scrittura.

Era una grotta sacra. Le donne non vi erano ammesse, ed anche le raffigurazioni pittoriche sono quasi esclusivamente di maschi. Un'iperandria quasi paranoica. Una celebrazione della potenza sessuale e dell'aggressività tale da lasciare sconvolti.

Qui, tra il baluginare delle torce e le danze degli stregoni, i bambini diventavano guerrieri.

  

The “Deers Cave” of porto Badisco, near Otranto (Italy) is the greatest and most important Neolithic picture gallery of the old-country. Over three thousand pictures, made in bat guano and red clay by the artists of six thousand years ago, are on the walls of its gangways, which are long over a mile.

It is extraordinary that in this cave all three pictorial styles (natural, sketch and abstract art) in the evolution of figurative art exist together. So, it was possible to decipher a lot of the worldwide, enigmatic graphemes which precede the invention of writing.

It was a holy cave. No women admitted. Almost all pictures are of males. A unsettling celebration of sexual power and aggressiveness.

Here, in the shimmer of the torches and the dances of the sorcerers, the kids became warriors.

 

Chapter 1: Dani s’ Introduction to Harappan Ciphers

Ahmad Hasan Dani , Nazeer Ahmad Chaudhry , Sony

 

Section 1.1: Sample Draft

Section2.2:Pre-Historical Perspective

Section2.3:Pre- Harappan Culture.

Section2.4:Harappan Culture

Section2.5:Harappan Civilization

Section2.6: Confirmation of Conclusions

Section2.7:Terminal Symbols

Section2.8: Bibliography

Summary | Full Text: PDF (Size: 3924K)

Chapter1: Dani s’ Introduction to Harappan Ciphers

Dr. Prof. Ahmad Hasan Dani , Nazeer Ahmad Chaudhry( Researcher) , Sony

 

Interview with Dani

Dani (1-9) had confirmed most of our conclusions after a detailed interview(10). Nazeer Ahmad Chaudhry( Researcher) and author extends thanks to Farah Dani and all others including Sony(11) . Dani gave detailed account of his life and research work that is on the record hence it is not being repeated. He also gave account of his meeting with Parpola regarding his decipherment (12). We were lost in the ruins of Mohenjodaro available at Mark(13-14) and Omar (1984) IVC sites. Sony is giving the narrative .

The horse hoax was being debated at internet and Author asked the comment from Dani. He said smiling that we are actually Vani from Central Asia and Brahmans hence we support them then he became serious and said that there is no government support and we have limited number of scholars doing this work at their own hence we might complement them , however an agreement is historical evidence.

 

South Asia is a land of many different cultures and traditions with thousands of sites. The prehistoric scripts , motifs and symbols found during Kot Diji Culture (Khan(1965) are quite different from matured Harappan Scripts 1900-1300 B.C . We are interested in the symbols, signs , pictorials and motifs , logos like 1, 2, and 3 or 33 , some symbols, signs and pictorials used in other civilizations imported from other civilizations during 1500-1300 B.C. period for this decryption.

Harappan Scripts

 

Table-1 shows a mixture of roughly over 26 symbols with many variants but we are mostly interested for terminal symbols over 11 starting from right to left like Arabicc alphabets. Dani narrated his meeting with Asko Parpola about his effort of decipherment He , B.B. Lal , Russian Professors and many others had rejected this decipherment. One of the questions frequently asked about the Indus script whether it represents any systematic writing of any language at all is not relevant to our decryption. Dani an eminent Pakistani archaeologist , historian and linguistic is expert on 35 languages and dialects. He is authority on Central Asia , South Asia and Harappan Civilization. He is particularly known for archaeological work on Pre-Harappan Culture. We have no disagreement with even with those who agree that the writings of the Harappan Civilization are not a haphazard arrangement of signs and are at variance with one another. Our purpose in this decryption is to carry out frequency analysis of the script of Matured Harappan Civilization in the last stage 1500-1300 B.C. in order to bring out the statistical structure of the cipher-texts.

Many of sites remain hidden under the ruins of Mohenjodaro , Harappa and other sites. It seems to be the culture of another mythology with tradtions of burial , sacrifices and the motif of bull is found that is not a pictorial . The major diety seems to be horned buffalo and buffelo horned yougi . Mehrgarh 7000 B.C site in Gedrosia pertains to the seventh and third millennium B.C. It covers Neolithlic 6500- 4500 B.C. and Chalcolithic4500- 2600 B.C era. We have tablets , tools , figurines of women with heavy jewelry and ceramics of very fine quality . The motif of fish , scorpian , goat and many others including the mythology are different in matured Harappa civilization Some of the scripts , symbols and signs pertaining to Harappan culture 2600-1900 B.C. are different from previous Kot Diji .

We compliment efforts in decipherment of Indus scripts as written language . Anything before 1900 B.C. including the sign-board from Dholavira consisting of 10 large signs, each sign approximately 37cm by 27cm, embedded in semi-precious stones on a wooden board and an innovate addition of many seals and tablets and even horses is wonderful contribution. Our scope in decryption is limited to Matured Harappan Ciphers in 1500-1300 B.C. those were found from upper layers .

Tablets

    

The tablet shown above has five symbols. The 1st two from right the inverted boa or jar with logo2 on top and lance below is one symbol. , The 4th boa with logo3 inside is third symbol. Vertical 4 line written in bottom line is 4th symbol at number 5 and last 6th position symbol of comb is 5th symbol called the terminal symbol. We have special problem with this terminal symbol and comb inside the bangle or encircled comb in frequency analysis. We require an ethno-archaeological model for frequency analysis of these symbols. Tablets is a standard form of issuing orders like present day deeds , written orders and other transactions sent as encrypted messages or cipher-texts. It had been common practice in all ancient civilizations to issue the orders as tablets . The amulets and tablets also served as identity documents and trade deals. The direction of the writing of scripts on the amulets , artifices and tablets is from right to left like Arabic ,Persian and Urdu and the local languages Punjabi and Pothwari languages spoken in the oldest culture Samma the Sowan Valley 0.5 million years old culture of stone age . We are not saying that Dravidian in IVC or Naga tribe in Snake Valley Taxila adopted the writing system from the creatures of stone age .

 

Let us consider a sample of ten tablets in Table -2 . The frequency count of boa left and diamond the right symbol in tablet-1, The left symbol bearer in tablet-2 , the right symbol harrow or saw in tablet -5, the left symbol leveling tool (KRAH) , left symbol comb in bangle in tablet-8 or comb are terminal symbols. We can not carry out any frequency analysis for such a limited data but we would count the symbols using statistical methods and use an ethno-archaeological model to regenerate more data .

Seals

 

The direction of the writing on the seals is from right to left like English language in s1 Table-3 . Stamping the seal gives the writing from left to right as shown above in the tablet discussed above and in table-2. The seal ‘s2’ above when stamped gives the seal impression as ‘t2’.The seals being used in present day environments for signatures is different from the use of Indus seals that pertains to the level of security in modern concept . The amulet as identity document was given to the officials but messengers or speedy system of communication in IVC were given tablets or it may be tablet as stamped seal impression. Let assume a trained bird or racing camel or buffalo or trained tiger or trained crocodile or rhenocerous for swamps and rivers as communication systems. They may be insecure for special purposes as like any of the modern system in cryptology.

 

The use of impression of a seal as tablet may be compared with a book code as example of a more secure algorithm . The priest on both ends had same seals like the sender and the receiver of the modern code each having a copy of the same book. During encoding, each word in the plaintext is replaced with a code group that indicates where that same word appears in the book. Different occurrences of the same word in the plaintext may be represented by different code groups in the encoded message. With this method, the key is the book itself. Although a person who intercepts a message may guess that a book code is being used, the messages cannot be decoded unless the interceptor can determine what edition of what book is being used. In IVC system special staff priest trained at Priest College Mohenjodaro were present in other states and foreign countries with set of tablets and seals. The orders as seal impression tablet could give the actual tablets to be issued to specific staff to execute the orders.

The security , public policy and prevention of fraud in modern concept as given by Camp (15-21) has to be linked with ancient methods in an ethno-archaeological model. Giving Tablet as actual secret message through any of the communication channels in use during 1500-1300 B.C. was equally insecure like the modern cipher systems that involve transmitting or storing the key with each message. If an unauthorized person can recognize the key, then the next step is to recognize, guess at, or figure out the algorithm. Even without the key, the code breaker can guess the algorithm, and then, by trying all the possible keys in succession, can conceivably recover the plaintext. For example, in Caesar's alphabetical cryptosystem being discussed in next chapters , the cryptanalyst could simply try each of the 25 possible values of the key. The security of transmissions can therefore be increased by increasing the number of possible keys and by increasing the amount of time it takes to try each key. If the same key is used for multiple messages, the cryptanalyst only has to figure out one key; but by varying the key from one message to another, the cipher clerk has used a different procedure for encoding each one. The use of seal impressions as tablets in IVC ciphers is like using a complicated algorithm that may have a very large number of possible keys. The decryption in modern system if the basic algorithm is known or guessed is made difficult due to the time and effort required to try all possible keys that may take years for finding the plaintext.

 

IVC cipher remain as unbreakable system during the century like the most secure encryption method known was the one-time pad. The pad is a long list of different randomly chosen keys. Two and only two identical copies of the list of keys exist . The one for the person enciphering the message like the priest issuing the seal impression as tablet and another for whoever is deciphering it like the priest at the other end who knew the message coded as tablet. In OTP, a key is discarded and never used again after being used for one message but in IVC the same seal can be used again because the ciphers are only taught to specific priests and not the users. In OTP the next message will use the next key on the list. If the algorithm is even moderately complicated and the keys are long enough, cryptanalysis is practically impossible. In IVC ciphers the seal impression as tablet may be same but the tablets issued at other end might be different .

Terminal Symbols

 

The 1st symbol on the right side of seals and the leftmost symbol on the left the last one are called the terminal symbols We have selected after frequency analysis not given here about 11 terminal symbols shown in line-1 of table-3 appearing as 1st symbol on the right side of the seals.

We may call them as boa the 1st on right , diamond or coin , bearer , comb in bangle or encircled comb , comb , lance or spear , harrow or saw , wheel , level tool ( KRAHA) and riding stripe ( RUKAB).

 

We assumes the senate of priests holding important duties as VPs assisted by AVPs the headmen of tribes and supervisors from technical workforce from respective fields at execution level. . Dani confirms our conclusions for terminal symbols Mahadevan s’ analysis (1982:316) confirms the concept of priest for our ‘boa’ an his ‘jar’ symbol1 but with Sanskrit equivalent.

We do not require any confirmation in mathematical solution of cryptanalysis. The experts in frequency analysis have empirical solutions accepted by all cryptologists and cryptanalysts. The boa Symbol is confirmed as English letter E according to empirical solutions in cryptanalysis. The priest ruler in our analysis is confirmed by Dani our Sanskrit expert and he said that it had nothing to do with Sanskrit. Mahadevan s’ analysis ( 1982:316) confirms the concept of priest but with Sanskrit equivalent

 The symbol 2 has largest frequency occurrence after boa symbol and it is termed as symbol of coin or diamond.

Dani confirms coin or diamond symbol 3 an priest VP with financial duties with no Sanskrit equivalent. Mahadevan s’ analysis ( 1982:316) also confirms symbol 3 as officer with priest duties but with Sanskrit equivalent.

The ciphers, crypto systems , and codes in cryptology or Harappan ciphers 1500-1300 B.C. being considered for our cryptanalysis are just like a mule. Every one agrees that a mule cannot generate a daughter. The mule might be forced to adopt a daughter as unique case after brutal attack for training as we call it brutal attack in cryptanalysis for code breaking The concept of spoken language equivalent like Sanskrit or others may be valid for earlier scripts and we have no objection to such adopted daughters.

  

Bull Pictorials

   

The seal on the left becomes tablet in the right side but inscription may be different for seal impression hence above is only an example just to show the direction of terminal symbols. We have large variety of bulls like Zebu or bhahmi bull , short horned bull , humped bull and humpless bull beside the unicorns. Many of the animal systems are used as nick names as a fun in our area of the oldest culture of stone age like bull and Ass for girls .I have retrieved old English Teacher books serial 190-191 from my childhood library that had very interesting (22) history.

Nixon mentioned in his book The Leaders

 

Boa Motif

  

Animal Motifs

  

Conclusions

Long interview with Dani reflecting the confirmation of conclusions by Dani, B.B. Lal, Russian Professors, Tosi, Durani Mughal, Mark and other scholars is not being discussed. We are mentioning some of the conclusions also confirmed or partially confirmed by Asko Parpola and I. Mahadevan through their published work.

The direction of writing on amulets, tablets, and seal impressions is from right to left like Arabic, Persian and Urdu and reversed on the seals like English. Conclusion is agreed by all scholars

Indus ciphers and codes represent system like logo-syllabic writing. This doesn’t constitute a closed system of single-valued graphemes as the syllabic and alphabetic scripts, which could be cracked as wholes. The conclusion is confirmed by Asko Parpola, Dani , Mark and other scholars

The individual symbols may be interpreted one by one, and some of the ciphers may remain eternal mysteries. The conclusion is confirmed by Asko Parpola, Dani, Mark and other scholars.

The Indus Ciphers were essentially similar to the other pictographic ciphers evolved by priests in China , Egypt and others .Many scholars like Dani , Fairservis , Mark and others confirm the conclusion

The Indus Ciphers are like a mule unable to adopt any of ancient language as daughter hence decipherment based on languages was rejected by scholars like Dani, B.B. Lal, and Russian Profs. and many others

The spoken language of the Indus people was Dravidian confirmed by Asko Parpola, Dani, Mark and other scholars. Our cryptanalysis shows that it not found in Script ciphers. This was the system like Liner A codes but no Linear B codes were required.

Harappan professed different religion in Kot Diji culture era that may be genetically related to the religions of both the ancient West Asia and the later India. The mythology of matured Harappan Civilization is different from any other mythology and mythology in ancient India.

 The terminal symbols appearing at the left of the writing on amulets, tablets and seal impression are most important in frequency analysis. The right symbol on the seals is the terminal symbol on seal impressions.

 

Let me complement Possehl , Tosi (1993), Walter, Fairservis, Shaffer ,), B.B.Lal, Durani(1981), Jacobson, Terome(1986), Kenoyer (1985), Ratnagar(1991) and many others who contributed to Indus Valley research. Iravatham Mahadevan seems to be greater scholar when he sys that he could n't decipher the scripts inpite of his over 40 yeras research work. Ahmad Hassan Dani , B.B. Lal and Russian professors are the greates who disagreed to excellent research work by Asko Parpola. Being student of topsecret science Cryptology since childhood , I was associated with code and ciphers. After long discussion with Dani about above researchers and scholars and his work with some of them , we came to the claim of decipherment by Jha N and Rajaram (2000) that I thought the broken seal by Mackay showing rear portion of bull being called hoof of a horse. Dani said smiling , " We am actually Vani from Central Asia hence I would like to apprecite the work by Brahamans ". Then added that government funding is very limited and any effort like the effort of Jha N and Rajaram has to be appreciated but we mightn't agree with decipherment if it is not correct. Then he narrated all the conversation with Parapola and finally he disagreed.

Dried Up River Hakra

Let us run an ethno-archaeological model on the Scripts during 1500-1300B.C. period. We have no comments on any of the efforts of deciphering efforts of IVC scripts as spoken language. IVC existed from Kot D.G era before 2600 B.C. , Harappa 2600-1900 B.C. and matured Harappa 1900-1300 B.C . The direction of shifting from Harappa to Mohenjodaro, and Lothal during 1500-1300 B.C. is assumed . Gedrosia and Kalibangan might have been left due to Aryans but Dholavera, the sites in Cholistan ( Mughal (1997) and Kot D.G. vanished earlier due to heavy floods and climatic changes and the final drying up of the Hakra /Kangra/ Sarasvati in 1900 B.C.

IVC script is found on amulets, tablets and seals. Some of symbols, signs, numerals , pictorials and motif seem to be universal or imported from other civilizations of China , Egypt and in cuneiform texts from Mesopotamia as well as in the ancient Iran. Scholars had been trying to link the scripts to any of the pre-historic languages like Indo-European They provide a reliable basis for this decipherment. The main conclusion is as follows: the Proto-Indian language is the Proto-Indo-Aryan () one. The direction of the writing is right to left like Arabic on amulets and tablets and it may be reversed for seal impressions. Signs depicted on seals and tablets have basically the left-right orientation. It is well to bear in mind that the direction of the reading of a record depends on the context, too. In this work all the texts are transformed so that they have a common direction from left to right. This report contains a number of quasi-bilingual sources that can be the base of the decipherment (Rjabchikov 2006a; 2006b) (1).

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42.L. Jean Camp, “Privacy: from abstraction to applications”, Computers & Society, Sept. 1994, Vol. 24, No. 3, 8-15.

43.L. Jean Camp & Marvin Sirbu, “Critical issues in Internet commerce”, IEEE Communications, May, 1997

44.Marshall, John 1931. Moenjodaro and the Indus Civilization. 3 Vols. London.

45.Ahmad Hasan Dani, New Light on Central Asia, Sang-e-Meel Publication,1996

46.Ihsan H. Nadiem, Moenjodaro , The Heritage of Mankind, Sang-e-Meel Publication,2002

47.Asko Parpola, Deciphering the Indus Script, Cambridge, Cambridge University Press, 1994

48.Mohammed Rafique Mughal ,Ancient Cholistan Art and Architecture, Ferozsons Ltd., Lahore, 1997

49.Asko Parpola ,Deciphering the Indus Script: methods and select interpretations, Occasional Papers Series, Center for South Asia, University of Wisconsin-Madison, 1997

50.Gregory Possehl , The Indus Age: The Writing System , U. of Pennsylvania Press, 1996,

51.Richard Meadow , Harappa Excavations 1986-1990: A Multidisciplinary Approach to Third Millennium Urbanism, Prehistory Press, 1991,

52.Raymond and Bridget All chin, The Rise of Civilization in India and Pakistan,

Cambridge Univ. Press, 1982

53.Gregory Possehl, Harappa Civilization, Science Pub., 1993

54.Naida Kirkpatrick, The Indus Valley Understanding People in the Past,

Heinemann Library, April 2002

55.Iravatham Mahadevan, Terminal Ideograms in the Indus Script, in Gergeory L. Possehl, Harappan Civilization: A Contemporary Perspective, Oxford & IBH Publishing Co., 1982

56.Gregory Possehl ,The Indus Civilization A Contemporary Perspective,

Altamira Press, January

57.Ardeleanu-Jansen, Alexandra 1983. Stone sculptures from Moenjodaro. Interim Reports, Vol. I. ISMEO- Aachen University Mission. Aachen.pp.139-157.

58.Joshi J.P. & Asko Parpola 1987. Corpus of Indus Seals and Inscriptions (=CISI). Vol. I: Collections in India. Helsinki.

59.Knorozov Y.V. et al 1981. Proto-Indica 1979. Moscow.

60.Lal B.B. 1960. From Megalithic to the Harappa: tracing back the graffiti on pottery. Ancient India, 16, pp. 4-24.

61.Mahadevan I. 1977. The Indus Script: Texts, Concordance and Tables (=ISTCT). Archaeological Survey of India. New Delhi.1998.

  

Evolution of Ethno-Archaeological Model

1.Nazeer Ahmad Chaudhry, Integration of TCP/IP Protocol Suites with Cryptographic Security approved Ph. D. Electrical & Electronics Engg.) In Total Technology thesis at University of Bradford U.K.

2.Nazeer Ahmad , Secure MIS book draft sent to Artic House Norwood

3.Nazeer Ahmad, Secure MIS in Business Communication, B.M.A. Preston University Research Paper in MIS subject.

4.Nazeer Ahmad ,Protection of Radio Tele-printing Circuits, The Qasid Magazine ,Military College of Signals , NUST Campus Rawalpindi, 1987,pp 25-29

5.Nazeer A. Chaudhry ,Protection of Speech and Data Communication Circuits , The Qasid Magazine ,Military College of Signals , NUST Campus Rawalpindi, 1988,pp 52-56

6.Nazeer Ahmad ,Neo-Communication Security Environments, The Qasid Magazine ,Military College of Signals , NUST Campus Rawalpindi, 1990,pp 25-29

7.Nazeer Ahmad Chaudhry ,Communication Systems , MS Thesis MUET Jamshoro 1990-1992,

8.N. A. Chaudhry , Protection of Electronics & Electrical Equipment, The Hilal Magazine , ISPR Publication , volume 22 , 22-29 December 1994

9.N. A. Chaudhry , Tele-computers and Security Beyond Year 2000, The Hilal Magazine , ISPR Publication , January 1995

10.N. A. Chaudhry , Tele-computers and Security Beyond Year 2000, The Qasid Magazine ,Military College of Signals , NUST Campus Rawalpindi, 1994

11.N. A. Chaudhry , Tactical Nuclear Operations : Indian Option for 21st Century, Pakistan Defence Review, Volume 6, 1994, pp 80-92

12.N. A. Chaudhry , Integrated National Defence , Pakistan Army Green Book, 1991, pp343-346

13.N. A. Chaudhry , Safety Equipment for Nuclear Operations , T.S.O. Research Paper , E.M.E. College NUST Campus Rawalpindi, 1985

14.Nazeer Ahmad. Chaudhry , Pre- Evolution History Corps of Signals 1847-1947, SRC Publishers Hyderabad, 1992

15.Nazeer Ahmad. Chaudhry, Design and Development of Secrecy Electronics Communication System, M. Phil. ( Electronics Engg. ) thesis at MUET Jamshoro, 1993-1995

16.Nazeer Ahmad. Chaudhry , Electronics Warfare Doctrine Under Hostile Environments , Pakistan Army Green Book, 1991, pp 287-290

17.N. A. Chaudhry , Cryptographic and Computer Security , The Hilal Magazine , ISPR Publication , volume 24 , 19 January 1995

18.N. A. Chaudhry ,Evolution of Codes and Ciphers , The Hilal Magazine , ISPR Publication , 8 February 1995

19.N. A. Chaudhry , Cryptographic Security Systems , The Hilal Magazine , ISPR Publication , volume 20 , 15 December 1994

20.N. A. Chaudhry , Protection of Electronics & Electrical Equipment, The Hilal Magazine , ISPR Publication , volume 22 , 22-29 December 1994

21.N. A. Chaudhry , Axiomatic Educational Strategy for 21st Century , Research Paper presented at IEEEP Lahore ,1995 and published in local press

22.Nazeer Ahmad , Quality Education , Pakistan Observer Daily, 18 November 1998

23.Nazir Ahmad Chaudhry, Education System & National Development , The Jung Daily, 6 February 1995

24.Nazir Ahmad Chaudhry , A Short History Of Lahore & Its Monuments, 2000, Sang-e-Meel Publisher Lahore

25.Nazeer Ahmad, Legal Settlement of Kashmir Problem , Pakistan Army Journal , U.N. and Kashmir Issue , Pakistan Observer Daily, 15 November 1994

26.Nazeer Chaudhry , Islamic Requirements of Justice System, , Daily Markaz, 22 February1998 Islamabad

27.Nazeer Chaudhry , Islamic System of Saudi Arabia , Daily Markaz, 8 September 1998 Islamabad

28.Nazeer Ahmad , Face Reading : Integration of Forecasting and Prediction Technologies for Solution of Problems , Bazem –i- Alm –o-Fun Islamabad 2000

29.Nazeer Ahmad , Solution to National Problems , Daily Markaz, 21 September,1998

30.Nazeer Chaudhry, How to Reduce Budget Deficit , Daily Markaz, 3 April,1999, 4 April,1999, 11 April,1999, Islamabad

31.Nazeer Ahmad , Solution to Public Problems , The Exclusive Weekly, Islamabad, 26 September 1996

32.Nazeer Chaudhry, Budget and Unemployment , Asas Daily , 20 June 1999

33.Nazeer Ahmad , Time to Shake Hands With India , The Exclusive Weekly, Islamabad, 16 July 1991

34.Nazeer Ahmad , Face Reading : Integration of Forecasting and Prediction Technologies for Solution of Problems , Defense Digest Monthly, October 1992, pp 53-87

35.Nazeer Ahmad, Constitution of Pakistan and Peoples’ rights , 2004

36.Nazeer Ahmad , We can’t Progress Without Science Education, Pakistan Observer Daily, 2 November 1994

37.Nazeer Chaudhry, South Asian Economy and Kashmir , Al Akhbar Daily, 16 October 1999

38.Nazir Ahmad Chaudhry, Peace, Security &Development, Daily Markaz, 17 Agust,1998, Islamabad

39.Nazir Ahmad Chaudhry, Harappa : the cradle of our civilization , Sang-e-Meel Publication,2002

40.N. A. Chaudhry , Modern Technology Impacts of Defence , Pakistan Army Journal , 1994, pp62-74

41.N.A. Chaudhry , Tourism Development , The Parwaz Monthly Islamabad, June 1999

42.Nazir Ahmad Chaudhry, Multan :glimpses, Sang-e-Meel Publication,2002

43.N.A. Chaudhry , Tourism Development in Pakistan , Friday News Weekly, 6 July 1999

44.N.A. Chaudhry , Tourism Development , The Parwaz Monthly Islamabad, September 1999

45.N.A. Chaudhry , Tourism Development , The Parwaz Monthly Islamabad, June 1999

46.Nazir Ahmad Chaudhry, Basanat :a cultural festival of Lahore , Sang-e-Meel Publication,2001

47.Nazir Ahmad , Academic libraries in a developing society ,1984, Sang-e-Meel Publication

48.Nazeer Ahmad , 21st Century Challenges for Our Engineers, Pakistan Observer Daily, 11 December 1994

49.Nazir Ahmad , University library practices in developing countries ,1984, Sang-e-Meel Publication

50.Nazeer Ahmad , New Trends in Energy Generation, Pakistan Observer Daily, 2 November 1994

51.Nazir Ahmad, Oriental presses in the world ,1985, Sang-e-Meel Publication

52.Nazir Ahmad Chaudhry, Eastern Science of Medicine, Pakistan Observer Daily, 18 March 1995

53.N.A. Chaudhry, Kala Bagh Dam , Niwa –i- Waqat Daily, 14 July 1998

54.Nazir Ahmad Chaudhry , Ghulam Rasul Chaudhry , Irrigated Agriculture in Pakistan , Sang-e-Meel Publication,1988

55.Nazeer Chaudhry, Pakistan –US Relations, Markaz Daily 22 July 1998, Islamabad

56.Nazeer Chaudhry, Pakistan –US Relations, Markaz Daily 28 July 1998, Islamabad

57.Nazir Ahmad Chaudhry, Anarkali, archives and tomb of Sahib Jamal : a study in perspective , Sang-e-Meel Publication,2002,

58.Nazir Ahmad Chaudhry, Ground Water Resources in Pakistan, Sang-e-Meel Publication, 1974.Nazeer Chaudhry, Expected Attack on Atomic Instillations Pakistan , Osaf Daily 5June 1998, Islamabad

59.Nazeer Chaudhry, Regional Cooperation and Pakistani Forces, Markaz Daily 30 June 1999, Islamabad

60.Nazeer Chaudhry, Circulation of Money Al Akhbar Daily 17 February 2003, Islamabad

61.Nazeer Chaudhry, Solution of Unemployment Problem , Daily Subha, , 17 April 2004, Islamabad

62.Nazeer Chaudhry, Inflation, Unemployment and Terrorism, Daily Subha, , 9 August 2004, Islamabad

63.Nazeer Chaudhry, Social and Economic Welfare of Society , Daily Ehsas , 6 April 1999, Islamabad

64.Nazeer A. Chaudhry, Strategic Dimension of Pakistan, Submitted to Pakistan Defence Review, 2005

65.Nazeer A. Chaudhry, Solution to Kashmir Problem, Submitted to Pakistan Defence Review

66.Nazeer Chaudhry, How to End Terrorism, Daily Markaz , 8 November 1998 , Islamabad

From: N.A. Chaudhry : My thanks to A. Times for registration . Decrypted Secrets of Harappan Civilization 19oo-1300 B.C. can be used for peace and security in Asia and end of terrorism.Global trade through IVC ( Indus Valley Civilization) worth $7.5 billions and trading of largest oil & gas reserves worth over $ 15 Trillions from central Asia is being blocked because , presnt Asians are not so civlized as compared with the Senate of tragers of Harappan States : Harappa , Mohenjodaro, Dholavera , Lothal and Gedrosia . Dani said during very long interview with me for approval of conclusions on 1st cryptanalysis model on IVC script. ,"South Asia was termed as golden sparrow and every one got the job at his door step . Grains and water was protected and we find best model of social security and protection of human rights.Many scholars tried the kicking mule ( IVC scripts ) to accept the daughter ( any of ancient language like Dravidian , Brahvi, and many others ) or at least to adopt it. Many scholars including Dani, B. B. Lal , Russian Professors , Steve Farmer and Michael from Harvard University , Fairservis and others who confirm our conclusions that we might stop forcing the mule to accept the given daughter. Sunskrit literature evolved in Ganga valley even ignores events like attack by Alender in Indus Valley but the literature evolved in1300-1000 B.C. era according to new dating was made to mention the dried up river Hakrra/ Kangra or Srawati( Mughal -1997) in 1990B.C. as flowing big river. After extensive travelling and research work and spending in 5 years including 7 day journey on helicopter , I conclude that this was excessive floods over 18 recorded by Mark & Possehl and change of coarse by indus that shifted Harappa culture to 2600-1900 B.C. to matured Harappan civilzation. Kot Diji culture (Khan -1965) 3500-2600B.C. was quite diffent culture with differnt mythology motifs and symbols having burials sacrfices and divine god like others. Matured Harappan civilization is different adopting global cult of sun god and King Priest was not a divine god. We are not including methimatical cryptanalysis and we ware not diagreeing to anything.. Dravidian the sopken language was not required to be in written form. Do we have any of local languages in written scripts. The answer on record is no . The oldest culture of stone age is Suma ( Sownan Valley ) 0.5 -2.5 million yera old along with bone of Peking man 0.5 m , Iwaja in Japan , a city under the sea at Indian Gujrat coast , oldest city near dead sea in Jordan and Mehrgarh in Gedrosia of 8000 B.C. We had history as sing subject in oldest culture of the world till 1960s and we have elders using counting system of 20s till 1970s in Suma. According to the research by General Kungham Aryan had left Suma ( the salt range & Kashmir in 1426 B.C. and it was being ruled by Anavas tribe. Aran started arriving around 2500 B.C. in small grups as cattle grazers but they had evolved sunskrit before 1900 B.C. seening a big flowing river Hakra. Dani, Mughal and others call it a seperate river but we call it previous alignment of Indus. The concept of roads and rivers is different for people like us actually moving the troops and their suppies. Let us consider my claim that global trading route and attacking route in South Asia before Grand Trunk road was rougly 10 km wide on both sides of G.T. road. Any one who disagree is posted as logistic commader. I ask him to move the treasure of Alender 7 tons of god and silver. Eva our VP on control desk give him published data that this treasure required 26000 mules and 5000 camels. One unit is 33 men and you require over dozen units for many purposes . Two camel load is required for one man. Muhammad of Ghazni attack for Somnat had 30000 troops and 2 camels were required for one soldier for water and rations. We requre the grazing grounds for cattle, local labour , water replenshment and replacement for sick animals . We require a herd of cattles for ration. It may requre few months to get the convoy moved after prepration of many months.

The terms Block Cipher and Stream Cipher are borrowed from modern cryptanalysis (1). The methods and maxims of cryptology were reviewed to find the decrypted secrets of Let us take a very simple example of a message to be encrypted 46 words and 252 characters with spaces and 204 without spaces.

 

“His Excellency The King Priest of Harappa State as Chairman of Senate for Global Trading Coordinator in South Asia is pleased to order the new seal and signatures to be taken as final orders for all priests to be enforced from 1 January 1900 B.C. “

 

Let me complement Marshal (1931) , Wheeler (1956), Mackay , Magan, Ghosh, Wolley , Ghosh, Roy (1953), Possel , Tosi (1993), Walter, Fairservis, Sfaffer , Vats(1940), B.B.Lal, Durani(1981), Jacobson, Terome(1986), Kenoyer (1985), Khan F.A.(1965), Ratnagar(1991) and many others who contributed to Indus Valley research. Iravatham Mahadevan seems to be greater scholar when he sys that he could n't decipher the scripts inpite of his over 40 yeras research work. Ahmad Hassan Dani , B.B. Lal and Russian professors are the greates who disagreed to excellent research work by Asko Parpola. Being student of topsecret science Cryptology since childhood , I was associated with code and ciphers. After long discussion with Dani about above researchers and scholars and his work with some of them , we came to the claim of decipherment by Jha N and Rajaram (2000) that I thought the broken seal by Mackay showing rear portion of bull being called hoof of a horse. Dani said smiling , " We am actually Vani from Central Asia hence I would like to apprecite the work by Brahamans ". Then added that government funding is very limited and any effort like the effort of Jha N and Rajaram has to be appreciated but we mightn't agree with decipherment if it is not correct. Then he narrated all the conversation with Parapola and finally he disagreed

   

Synesthesia 5.

Bisgràfic Store

First of all... this is how I look at home when it's getting chilly. lol

 

25 things meme! I've mentioned a lot of these before, but I have plenty of new friends on flickr recently, so time for a reshare! :)

 

1.) I'm completely deaf in my right ear. This makes sleeping in noisy areas easier for me than for people with both ears functional. ;)

 

2.) I experience color synesthesia related to numbers, letters, and some hiragana (called grapheme-color synesthesia). I have experienced this consistently since childhood, but never thought much of it, didn't think it was odd or different. I only discovered it was "different" and what it was called recently. I have never been formally tested for this (but now that I know, I'd like to be), but I can easily relate to all of the information I've looked up, and most of the anecdotes I've read.

 

3.) I have abnormally small hands and feet for a woman of my physical type, height, and age. Size small gloves, women's size 5~5.5 feet, and size 4.25 ring finger. This is burdensome because I cannot easily find many shoe styles that I like, I also cannot enjoy using "one size its all" items for hands and feet. The only places that sells socks and gloves that fit me properly are children's clothing stores.

 

4.) I have lived in five different states over the course of my life. Three different in my adult life.

 

5.) I'm going to Japan for the first time very soon. I've wanted to see Japan for well over 15 years, and never got to go until now.

 

6.) I'm one of those people who is sufficient and moving forward in life without having gone to college. My wits and "equivalent experience" in my field has served me well in my current career. I am doing about average for other people my same age and gender who are in my field. I am been with my company for about three years, and I am very happy. This job has changed my life in many positive ways, and because of that I'll be forever linked to it, and have fond memories even if I eventually choose a different path later on. :)

 

7.) I used to be very frugal (my hobbies are cheap, simple, and solitary and I don't put much stock in expensive makeup, waredrobe or fancy foods) and tucked away dutifully into savings... that is, until this doll hobby came along!! lol

 

8.) Politically I'm some sort of mixture of Independent / Libertarian / Objectivist. If this interests you at all, ask me and we can talk :). The basic idea (for me) is "mine is mine, yours is yours, and we leave each other alone... except for if we decide we would like to help each other by our own free wills, or strike up a deal that benefits us." Socially Liberal, Fiscally Conservative. There's obviously more to it than that, but that's the simplest way to put it.

 

9.) I'm also labeled as an atheist (this means simply that don't believe in supernatural or unscientific explanations for things, if there is no proof I will not accept an uneducated or "faith based" guess or folk tale as a valid theory or answer). I have always been an atheist, I never prescribed to the notion of a God or gods, apart from a very short period of time in which I was too young to think literally and abstractly (children are incapable of abstract thought until a certain age... and are thus prone to believe what trusted adults tell them until they are able to think for themselves). Luckily as soon as I realized that none of it made any sense my parents said we didn't have to go to church anymore. I think they did it purposefully so that I COULD arrive at the answer on my own, and not simply be told what was right from the outset. I really appreciate that learning experience. :)

 

10.) I can't stand it when people make judgements based on their personal emotions rather than what is rational. People sometimes dislike this about me, and insist "everyone is different" ... well that is exactly why you should never use your own emotions to make a judgement. BECAUSE everyone is different, and wonderfully individual, it is only fair to collect facts and rational truths, and try to make your decisions using those as best you can.

 

11.) I'm addicted to caffeine (mostly from drinking coffee/espresso and diet pepsi). I used to be addicted to cigarette smoking as well, but I quit successfully (cold turkey) over three years ago. I actually quit at a very stressful point in my life. I was surprised I was able to do it!

 

12.) My brain finds a high level of satisfaction in collecting things, especially colorful and/or rare objects. I love to organize my collections, and a psycho-analyst could potentially have a field day analyzing the way the items in my office are arranged on the shelf. For example... you can tell I'm right handed, because most of my items are organized with the more important items at center or to the right... less important items are to the left. My mother said I used to (without being told) sequence and organize m&ms by color before eating them on my highchair tray.

 

13.) I think Japanese writing is the most attractive language in the world. I find it extremely pleasing to look at. Hindi and Thai are also pretty to look at, but I find Japanese to seem more varied and interesting.

 

14.) While I love many feminine things, my personality type is extremely masculine. I am unable to relate to and understand other women unless they are willing to sit down and be completely literal, open, and honest with me. I am honestly not able to maneuver around the cloaked language and the manipulative silences and gestures of many of the women I've come to know in my life (and some of the men too). I much prefer the company of men who are open, obvious, blunt, and honest more naturally... I don't think I have met many, if any, women who are like this. Trust me, I am open to finding some, but they are a rare beast.

 

15.) I dislike people who base their opinion of other's based on jealousy. I used to do that when I was an early teen. Now that I'm older I see that it's ridiculous and lame... and I'm utterly surprised that there are people out there who have never grown out of that.

 

16.) I have never been a victim (in my opinion, anyway). I have never been told I couldn't do something I set my mind to doing (if anyone said it, I didn't hear it... maybe cause of the deaf in one ear thing? lol). I have never allowed anyone to walk over me, and very few try (because I am a bitch to deal with, it's just not worth trying). If you bite me, I will bite back harder and spit in your wounds. I sometimes feel like I might have made a great lawyer if I cared more about people and was able to hold my tongue better.

 

17.) When I was younger, before I fell into internet-land, I wanted to be a veterinarian, an animal behaviorist, or a geneticist. If I wasn't in my current field of web development and design, that is the field I wold be striving to get into. In college I was more attracted to languages... but lack of mentors caused me to fall back on what I already had experience in (web). It has served me well, but I could have been doing something "greater." I have the mind for it... perhaps not the ambition or drive though.

 

18.) I used to play piano. I sucked at it. I wanted to learn drums but was never given the opportunity. Then I wanted to learn bass and haven't yet... and now I want to learn to play the violin. I love music, and desperately want to make my own... but again, my lack of ambition fails me.

 

19.) I've been planning and designing websites since I was 12~13 years old. My father told me I could have a domain name if I learned to code HTML by myself... which is how this whole thing started. lol I also started teaching myself Japanese at the same time. :) My first paid website design was when I was 16 years old.

 

20.) Despite loving colorful things, a lot of my clothing is gray or black.

 

21.) My bodyshape is "tomboy"-ish. I have a decent amount in the chest department, but not very much to speak of in the hips or backside... as a result the only jeans that look attractive on me are made for men. I recently bought a pair of Lucky Brand jeans for men (low rise, mens) and they look shapely, FANTASTIC, and sexy on me. The low rise jeans made for women make me look like a lumpy shapeless, walrus. So ladies... if you hate women's jeans... try shopping in the men's section!

 

22.) I LOVE WALKING WITH MY IPOD. I can walk or even just pace for hours listening to my ipod and daydreaming.

 

23.) 80% of the music I listen to is Japanese. It's kind of great to be able to still like a song even if the lyrics are dumb. Most of the time, I can ignore lyrics in Japanese if they suck. If a song in English has shitty lyrics... I might not beable to listen to that song because of it. : /

 

24.) I'm a hopeless procrastinator. I've gotten better about this as I age.

 

25.) My next goal in life is to have a baby. I look forward to making the winter holidays for them, as how I got to enjoy when I was little. Fall leaves, wreaths, pumpkins, colorful trees with lights, holly... all that stuff.

 

I feel like I am forgetting something... aaaaah... I hate when this happens.

 

I TAG: panda♫pop, Dani, Tia, Cakewalk Queen, ccandy17... unless they already did this recently? lol

  

edit: dang... I need to learn how to do short, light, less intense ones of these... LOL. I am way too wordy for my own good.

Fuji Acros 100 // Hasselblad 500CM

Vancouver, Canada.

 

WEBSITE | BLOG | BEHANCE | 500PX

1. Sugar Candy Pink. 2. Mellow Lemon Sorbet. 3. Cherry Smoothy.

4. Ice Blast Mint. 5. Red Hot (Sweet :-)) ) Chilli. 6. Deep Purple Blackcurrant.

7. Orange Frothy Kiss Sherbet. 8. Bubblegum Blueberry. 9. Luscious Lime Lolly.

  

Edit;

Now the boring bit, sorry!

In a strange twist of synchronicity, mother of divine Jaysus posted something today after I'd been playing with these lips pix. They had me thinking of my perceptual kinks.

 

Synaesthesia in it's basic form is a perceptual aberration, not a malfunction, and not associated with manic behaviours. However, those predisposed to the latter can also exhibit synaesthesia. It is thought to be a re-wiring of the brain, a slightly different development of neural responses than the norm. Can be a hindrance for some and a help for others, for me it's both and neither!

 

en.wikipedia.org/wiki/Synesthesia

en.wikipedia.org/wiki/Synesthesia#Grapheme_.E2.86.92_colo...

serendip.brynmawr.edu/exchange/node/1882

 

Some famous people who have/had some form of synaesthesia;

Wassily Kandinsky,David Hockney,Vladimir Nabokov,Jimi Hendrix, Duke Ellington, Pharrell Williams, John Mayer ( www.youtube.com/watch?v=uPOBMzMTP4U love this track! ), Vincent Van Gogh, Piet Mondrian and Rene Magritte to name a few..

 

David Tammett, a high-functioning autistic savant notably wrote an autobiography Born on a Blue Day. The title is an illustration of his synaesthesia (grapheme type which Nabokov had, and which is the type I have also.).

For 15 days, from March 16 to my birthday, March 31, I am planning to answer questions given to me by the viewers of this photostream. I am copying my friend Todd, who is doing it on Flickr and his blog on live journal. I think it’ll be fun, and interesting, hopefully others will think so, too.

  

Secret #23: I have Synesthesia

 

Question 10: What’s your favorite color?

 

I am a designer, so answering that question is both difficult and easy. I like all colors and use them as desired in whatever my creative work is, whether costumes, interior design, or some other crafty/artsy project. I especially like jewel tones, and the glint of silver and gold- I really like ruby red. I also like contrast of metallic tones against organic ones- very cool.

 

But- I have to say I like the color green most of all to surround myself with- I love the greens of forest glades, and spread-out lawns, of mossy walls and luxurious carpets. I like to see the sun shine through a broad leaf; I have painted my study forest green because I find it such a soothing color.

 

Mint greens, avocado greens, chartreuse- they have their value, but they aren’t favorites

 

Now I have a condition known as “Grapheme → color synesthesia,” whereby in my mind colors are associated with numbers and letters, so that adds an extra gloss on the colors question. I have been planning to write about that for a long time as one of my “30 Secrets in 30 Days” (that I have been writing for nearly two years now), so there is no time like the present:

 

As long as I can remember, I have associated colors with numbers and letters. I thought it was because when I was a baby, we had a play pen with letters and numbers around the edge and I supposed that the numbers and letters had been those colors in plastic, but as I grew older I realized the colors didn’t match what would be on a play pen.

 

The colors associated with numbers and letters are always the same- I can ignore it, but if I consider it closely in my mind it always comes back. The photo chart for this entry approximates what I "see" when I see the letter or number. 1s are white, 2s green; 3s yellow; 4s blue; 5s red; 6s brown; 7s orange; 8s, black; 9s ochre; 0s white or clear. 15 is white and red, 27 green and orange, 82 black and green.

 

Letters have many more duplicates and subtleties in shading: A green; B blue; C yellow; D red; E pale yellow; F brown; G dark green; H dark ochre; I white; J lighter ochre/tan; K tan or sand color; L light orange; M maroon/magenta; N brown, O light orange or white; P purple; Q off white, like eggshell; R orange; S black; T tawny/tan; U flesh/peach; V light purple or vermillion; W orange/rust; X black; Y pale tan, like a “k;” Z black, but lighter than “X” or “S”.

 

Because of these letters I “see” (sense) the months of the year in certain colors, too: January, July and June are all ochre-colored, with hints of white or yellow; February and November are brown; March and May are maroon and magenta, respectively, April is a lighter shade of green than August, September is black (with some blue from the “b”), October is orange (Halloween?), December is red. When I kept an online diary in html from 1999 to 2005, the color backgrounds for the months were always slight variations of the same colors because using any other color for a month's background just didn't seem to "fit."

 

Do I use this personal color symbolism in my design work? No, at least not so far- it usually doesn’t intrude upon my design demands. For a long time I thought I was the only person who “saw” colors in letters and numbers, but now I see it is quite common, especially among families. Though when I explained it to my immediate family they all had blank looks on their faces, except my brother who thought I was simply crazy!

 

Is anyone else out there a synesthete, too? You will know what I mean about letters and numbers immediately. Or do a search on everyone's downloads about synesthesia- about 1 in 23 people have the condition in some form!

   

These are the colors of my numbers. As these digits combine to form larger numbers, they each retain their original color. So 24 would be magenta-purple, 56 would be blue-green, and 99 would be a resounding yellow. :)

well this covers the good the bad and the hmmmmm

 

1) I am NOT a reader, yup I said it. Despite being a teacher reading has just never been my thing. Books are kinda like high heels in my world, they look pretty but can be painful...

2) I'm short so those books I never read do get used to prop things or me up

3) That isn't gobbledy gook on my leg, it's my name written in American Sign Language graphemes

4) I have the best career in the world - I teach at a school for the Deaf so I use sign language ALL day long, it's funny because there are times where I go for 2 or 3 days without "talking" to anyone. But what makes it really fun are the kids, the jumping bear hugs and one of the few rules in my class " only teachers and EAs can start the pillow fights." Or when other teachers ask me why all the desks are in the corner and I say "cause we have a pretty carpet with pillows to sit on...."

5) I have my sister's green eyes, even though my dad says they are blue

6) I bought my first house last spring, this is the little house that lives in my back yard

7) I bought a house for me, myself and the occasional friend who needs to crash, no hubby, and only my "kids" from work

8) I live in London Ontario, the snow this year seems like it will NEVER stop, back in December we had about 1.5 meters in 3 days - "snowmagedon"

9) I moved to London from Toronto 3 1/2 years ago, with the exception of when I had roommates I have never had cable TV, It was actually almost 2 years before I owned a TV. The only TV I watch is on my computer or at the gym.

10) Before I started teaching I worked in a photolab for 5 years... that is where I learned everything I know about photoshop

11) Todays photo only got edited cause I hit my old laptop several time and miraculously it decided to work

12)I would have stopped using flickr last year but I use it to "secretly" spy on my big sis Elizabeth, shhhh don't tell

13) 13 is my favourite number

!D04KA* # The Artist's Unborn[Fushō]** Daughter

 

www.saatchiart.com/print/New-Media-The-Artist-s-Unborn-Da...

  

Christopher Lambert as Jimi Dini Quote from Nirvana 1997 ‧ Sci-fi/Thriller ‧ 1h 54m

 

“What is Lisa doing here? __

The blood is thickening at suspension. All thoughts dropped to the ground, like fallen birds.”

 

________________

  

Graham Masterton

www.grahammasterton.co.uk/biog.html

© Graham Masterton Official Site

 

Resonant Evil | «Figures of Fear» 2014 by © Graham Masterton

 

drive.google.com/file/d/1keNN1462LwEYutMCqYEeCQmhq_RH57Fd...

 

Martin stayed in the house on Oliver Road for the next five years. He wrote

numerous papers on various forms of synaesthesia, such as grapheme

synaesthesia, in which letters and numbers appear to some people to have

colours; and chromesthesia, in which music and other noises can produce

the effect of waves, spots or even fireworks; and lexical-gustatory

synaesthesia, in which words have distinctive tastes, like honey, or rust, or

green.

However, he kept his most advanced research to himself – his

continuation of the work that had been started by Vincent Grayling. He

hated Vincent Grayling with a dark, bitter rage that would never diminish as

long as he lived, but his records and notebooks were the only way in which

he could back up something of what had been taken away from him.

He was writing up the results of his latest acoustic experiment when there

was a tapping at his study door.

‘What is it?’ he asked.

A blonde-haired girl of five years old came into the room, wearing a pink

knitted sweater and red OshKosh dungarees. Her hair was tied up with two

red ribbons.

‘Dadd-ee,’ she said coyly, ‘can we go out to the park, and have a slide on

my sledge?’

Martin pushed his chair back and the little girl climbed on to his knee.

‘Not today, sweetheart,’ he told her. ‘The roads are real icy, and we don’t

want history repeating itself.’

‘What does that mean?’

Martin shook his head. ‘You really don’t want to know, believe me.’

At that moment, a voice called from downstairs, ‘Sylvia? Are you

bothering Daddy again?’

‘No, Mommy!’ the little girl called back. Then she turned to Martin and

said, ‘I’m not bothering you, am I, Daddy?’

‘No, of course you’re not. Not at all.’

She frowned at him seriously and touched his left cheek with her

fingertip.

‘If I’m not bothering you, then why are you crying?’

 

_____________________________

  

Sergey Aleksandrovich Yesenin

Russian poet

www.britannica.com/biography/Sergey-Aleksandrovich-Yesenin

©2020 Encyclopædia Britannica, Inc.

  

Sergey Yesenin

Collection of Poems

Translated from the Russian

By Alec Vagapov ***

 

A Letter to the Woman

zhurnal.lib.ru/w/wagapow_a/yesen.shtml#A_letter_to_thr_woman

 

My love!

I worried you, oh my!

Your tired eyes revealed dejection, ...

 

Forgive me please,

I know that you have changed.

You live with an intelligent,

Good husband;

You don"t need all this fuss and all this pledge,

And you don"t need me either, such a hazard.

 

Live as you do

Lead by your lucky star

Under the tent of fern, if there"s any.

My best regards,

You"re always on my mind, you are,

Yours, faithfully,

S e r g e y Y e s e n i n.

1924

 

© Copyright Yesenin Sergey

*** vagalec@rambler.ru

 

________________________

  

Zelazny & Amber - Kolvir

www.roger-zelazny.com/

© Official Zelazny Site

  

My Lady of the Diodes

by Roger Zelazny

 

drive.google.com/file/d/1j0_FNYl-JjrsG_pXx6_M-eGHERbDnPy8...

 

“Maxine, baby, did you catch that? The machine we’re going to steal is out to get us.”

 

“So what?” said Maxine.

 

“That’s the attitude,” I replied. “Anything it can do, you can do better. Sixty-four hundred pounds! Huh!”

 

“You knew I was under the bed and turned on, but you did it anyway!”

 

“Did what?”

 

“You made love to that—that woman… Right above me! I heard everything!”

 

“Well… Yes.”

 

“Have you no respect for me?”

 

“Of course I do. But that was something between two people, that—”

 

“And all I am is the thing you feed the facts to, is that it? The thing that plans your crimes! I mean nothing to you as an individual!”

 

“That’s not true, Max baby. You know it. I only brought that woman up here to find out what Seekfax was up to. What I did was necessary, to obtain the data I needed.”

 

“Don’t lie to me, Daniel Bracken! I know what you are. You’re a heel!”

 

“Don’t be that way, Maxie! You know it’s not so! Didn’t I just buy you a nice new alligator case?”

 

“Hah! You got off cheap, considering all I’ve done for you!”

 

“Don’t, Max…”

 

“Maybe it’s time you got yourself another computer.”

 

“I need you, baby. You’re the only one who can take on the 5000 and beat it.”

 

“Fat chance!”

 

“What’ll I do now?”

 

“Go get drunk.”

 

“What good’ll that do?”

 

“You seem to think it’s the answer to everything. Men are beasts!”

 

I poured myself a drink and lit a cigarette. I should never have given Maxine that throaty voice. It did something to her, to me——I gulped it and poured another.

 

==========

 

It was three days before Maxine came around. She woke me up in the morning, singing “The Battle Hymn of the Republic,” then announced, “Good morning, Danny. I’ve decided to forgive you.”

 

“Thanks. Why the change of heart?”

 

“Men are weak. I’ve recomputed things and decided you couldn’t help it. It was mainly that woman’s fault.”

 

“Oh, I see——”

 

“… And I’ve planned the next crime, to perfection.”

 

“Great. Let me in on it?”

  

Maxine was only a machine——

 

Still—she was the most sophisticated machine in the world, complete with random circuits which permitted emotion analogues.

  

“Who’s jealous? I know computers, and I don’t see how you can tell anything that way.”

 

“There is a point, Danny, where science ends and art begins. This is that point. Leave it to me.”

 

“All right. I’ll probably regret it, but that’s the way we’ll do it.”

 

“And don’t worry, Danny. I can compute anything.”

 

==========

 

I looked ahead and knew I couldn’t make the curve. I slammed on the brakes and they started to scream. I began to burn rubber, but I wasn’t slowing enough. “You bitch. You betrayed me!” I yelled.

 

“You know it, Danny! And you’ve had it, you heel. You can’t even slow enough to jump!”

 

____________________________________________

 

Nirvana 1997 Directed by Gabriele Salvatores

letterboxd.com/film/nirvana/

© Letterboxd Limited. Made by fans in Auckland, New Zealand. Film data from TMDb. Mobile site.

 

Blue-Haired-Girl Mnemonic: Italian Sci-Fi Nirvana

ROBERTA TABANELLI

www.gendersexualityitaly.com/wp-content/uploads/2015/07/3...

 

"Naima is an ideal post-ocular creature, able to challenge the limits and the dichotomies of posthuman, morphing visions."

“She is the complex, not fully understandable machine that Robert Pepperell describes in The Posthuman Manifesto*: “A complex machine is a machine whose workings we do not fully understand or control.”45 She is the hybrid product of a post-ocular era that aims to disrupt pre-ordered systems and visions. “Naima is on line” and she can see you.”

 

Themed Section

gender/sexuality/italy 2 (2015)

 

The Posthuman Manifesto*

Robert Pepperell

 

dpya.org/en/images/6/63/The_Posthuman_Manifesto_by_Robert...

 

robertpepperell.com/

© 2015 Robert Pepperell | Design by Oliver Norcott

  

Nirvana 1997 film entirely

(L) Nirvana (1997, Gabriele Salvatores) (i.: -16 anos)

www.youtube.com/watch?v=YhXmU6vWgqU&ab_channel=ShihTz...

 

1:31 / 1:53:32

  

____________

Yes, you remember, ...me?

 

Delete Nirvana

 

iNLy, Boh@Dan α|(α CHERO®

 

about.me/chekanart

 

P.S.| NB: the artist expresses his gratitude to the photographer for his photo from the magazine England - which I know and love since childhood:

 

«What is a toy?» Article. Page 73.

 

drive.google.com/file/d/1YYlx-TUVFFPlUw6OIn8qPcLH1LK6_o4h...

  

!D04KA*

Hebrew name Ida & Daughter - my play on words in Russian recorded in Leetspeak ("1337")

www.shemli.co.il/hebnames/name_details.seam?nameID=310

en.wikipedia.org/wiki/Leet

  

The unborn : the life and teaching of Zen Master Bankei, 1622-1693 = [Fushō]**

archive.org/details/unbornlifeand00bank

by Bankei, 1622-1693; Waddell, Norman

 

Publication date 2000

Topics Rinzai (Sect)

Publisher New York : North Point Press

Collection inlibrary; printdisabled; internetarchivebooks; china

Digitizing sponsor Internet Archive

Contributor Internet Archive

Language English

Life @ Simon and David's. Ready for the next bush fire.

haha look how funny...I used to think all the time about that I have never ever been tagged by someone here on flickr.NEVER!My friends are tagged all the time and i stay here like "uh,nobody wants to know anything here?huh?:("

These dayse I have been thinking about this and now look!I've been tagged!And I realized that I don't know what to write HAHA anyway, wooot!I've been tagged HAHAH ok.so..let's do it now.

 

10 random facts:

1- I spend my day saying things in english around the my home.I finished my english course some years ago and started complaining to my parents that i had no way to practice my english, so they said I could talk all day long in english that they wouldn't care.The first days it was a little strange, but I really wanted to do this, and now I do, and i enjoy it.hahaha

2- One day I was reading what boy wonder writes in his flickr and I found out I have something called Color Synesthesia where words, names, personalities, places all have a clear and distinct colour in my mind.Since i was a kid I used to think this was strange and ask my same if others people think the same way,and I found out NOT!I'm the only person I know [here where I live] that have this.

3- I have a serious "problem", I forget to breath all the time.My mom have the same problem, it's like if we didn't know that we have to breath, and we have to do this, the body don't do this automatically.So, lot's of times i see i'm not breathing and start breathing again as fast as I can.

4- I've had short hair during 6 years.Most of my friends have never seen me with long hair and now I'm letting it grow, what makes lots of people come say something about how different I look now.

5- I used to feel like One million dollar baby when I was boxing.I've learned a lot about life and myself too.I could see how strong I was.I really wanna start boxing again, but there are lots of reasons that I don't do this. unfortunately.

6- I used to HATE taking pictures of myself, but being "alone" and loving photography made me change my mind.

7- I care so much about smell.I can not remember someone's face but I surely remember this person's smell.

8- I don't remember anything about my life until I was 6.Like I said in number 7, only smells make me remember some moments,sometimes.

9- I can go out with horrible clothes but NEVER without black eyeliner.I feel ugly and my eyes looks look a fish eye, or looks like i'm sleepy, or that i cried or someone punched me hahaha seriously.

10- I'm completely mad.I have crazy thoughts and i have to keep it to myself cause most part of the time, people don't understand it.I have crazy dreams, i see crazy things, I laugh all the time and most part about my thoughts.My mind is a big messy funny colorful black and white trip.oh yeah.

In professor Mitsuyasu Miyazaki's last lecture (Translation as Communication) he performed a translation of a Japanese novel, writing on the blackboard as he did so claiming that his use of the chalk and his hands would extend his powers of comprehension and expression. There is research (Sasaki & Watanabe, 1984) to show that he is right, about Japanese and Chinese at least.

 

If you observe Japanese in conversation, or even performing some linguistic talks on their own, you may see them making strange movements in the air. They are generally tracing kanji (Sino-Japanese ideograms) in　order to clarify a homonym to an interlocutor, or to remember a kanji for themselves. When asked to interpret kanji written in the air, it helps if they write the kanji themselves also in the air.

 

And in a cross cultural study, twelve English words that are taught at Japanese middle school, with some of their letters missing, were shown to Japanese and non kanji using subjects. It was found that those Japanese that were allowed to write in the air, or think with their fingers, were more successful in interpreting the incomplete words, than those who were forbidden from writing in the air. The reverse effect was found among those from countries that do not use ideographic characters. In other words, the Japanese think visually using their fingers. Furthermore, of relevance to conversations teachers like myself, this research demonstrates that Japanese remember English words morphologically as graphemes. No wonder I have such a tough time teaching them to speak.

 

Japanese also think with their fingers when performing visual checks such as of bullet trains, as discussed elsewhere. It is found that it is particularly the point of the "finger point and call" tests that decreases reaction times (Shinohara, Morimoto & Kubota, 2009).

 

Image based upon figure 2 in

佐々木正人, & 渡辺章. (1984). 「空書」 行動の文化的起源. The Japanese Journal of Educational Psychology, 32(3), 182–190. Retrieved from jlc.jst.go.jp/DN/JST.JSTAGE/jjep1953/32.3_182?from=Google

篠原一光, 森本克彦, & 久保田敏裕. (2009). 指差喚呼が視覚的注意の定位に及ぼす影響. 人間工学, 45(1), 54–57. doi:10.5100/jje.45.54

"One day," I said to my father, "I realized that to make an 'R' all I had to do was first write a 'P' and then draw a line down from its loop. And I was so surprised that I could turn a yellow letter into an orange letter just by adding a line."

- Patricia Lynne Duffy, on experiencing grapheme-colour synesthesia at an early age.

A letter is a grapheme in an alphabetic system of writing, such as the Greek alphabet and its descendants. Letters compose phonemes and each phoneme represents a phone (sound) in the spoken form of the language.

Written signs in other writing systems are best called syllabograms (which denote a syllable) or logograms (which denote a word or phrase).

 

>>Photos for Sale - just contact me<<

 

Follow me on FACEBOOK

Here is the way I see the alphabet through my synesthesia. Each letter has a distinct color and position along my letter-line. Though I view the letters in this spatial sequence, trying to transfer it to a 2-dimensional plane is really difficult. =/

Bellerophon was a hero of Greek mythology. He was "the greatest hero and slayer of monsters, alongside Cadmus and Perseus, before the days of Heracles", and his greatest feat was killing the Chimera, a monster that Homer depicted with a lion's head, a goat's body, and a serpent's tail: "her breath came out in terrible blasts of burning flame." en.wikipedia.org/wiki/Bellerophon

 

Phonics is a method for teaching people how to read and write a alphabetic language, such as English or Russian. It is done by demonstrating the relationship between the sounds of the spoken language (phonemes), and the letters or groups of letters (graphemes) or syllables of the written language. In English, this is also known as the alphabetic principle or the alphabetic code.

en.wikipedia.org/wiki/Phonics

 

CC BY SA image of Bellerophon, Pegasus and Athena. Fresco of the 3rd style from Pompeii (Caupona-house of Lucius Betucius (Vetutius) Placidusvia First half of the 1st century, via Sergey Sosnovskiy on Wikimedia Commons w.wiki/6ocx

this is a very rough sketch of how i view the days of the week via my spatial-sequence synesthesia. it's a circle, where saturday and sunday are farther away and wednesday is closest to me. it's really hard to depict this properly. =/

 

the days are also colored based on how they are colored to me (via my grapheme-color synesthesia). this is not necessarily how the actual words look to me, just the DAYS.

Educational #Magnetic #Grapheme #Letter #Magnet Memo #Magetic #Button #SHINee #Minho #Taemin #Jonghyun #Onew #Locksmith #Keys #Lock#Lockout

#LocksmithServices #Locks #Rekey #TaeminDanger #Shawol #CarKeys #TaeminSoloDebut #Ignition #Diamond #EngagementRing #Jewelry #Engagement #DiamondRing

#WeddingRings #Wedding #Gold #Earrings #Cardiff #Silver #DiamondEngagementRing,http://magnetforever.en.made-in-china.com/product/aXgQNMdcfuWq/China-Educational-Magnetic-Grapheme-Letter-Magnet-Memo-Magetic-Button.html

The name of Ptolemy in Egyptian hieroglyphics and classical Greek (Ptolemaios = Πτολεμαῖος).

Rosetta Stone was commissioned by Ptolemy V (Epiphanes = Πτολεμαῖος Ἐπιφανής) in 196 BCE. Jean-François Champollion solved the Egyptian mystery in 1822, as eloquently explained in Carl Sagan's book Cosmos and PBS television series.

The hieroglyphic solution involved the discovery that a cartouche spelling out Ptolemy's name phonetically had symbols in common with Cleopatra's cartouche on an obelisk from Philae erected by Ptolemy IX (Lathyros = Πτολεμαῖος Σωτήρ Λάθυρος).

this background is a nightmare to get the colour balance right on.

pah.

synesthesia alphabet , '07

grapheme

Robert Seidel

permanent video installation at Museum Wiesbaden, Germany

2013

 

Photos by Robert Seidel, except photo 3 & 13 by Clara Sawatzki

 

For more information visit www.robertseidel.com

From Wikipedia, the free encyclopedia

 

Bengali /bɛŋˈɡɔːli/[5] or Bangla /bɑːŋlɑː/ (বাংলা Bangla [ˈbaŋla] ( listen)) is the language native to the region of Bengal, which comprises present-day Bangladesh and the Indian states West Bengal, Tripura and southern Assam. It is written using the Bengali script. With about 220 million native and about 250 million total speakers, Bengali is one of the most spoken languages, ranked seventh in the world.[6][7] The National Anthem of Bangladesh, National Anthem of India, National Anthem of Sri Lanka and the national song of India were first composed in the Bengali language.

 

Along with other Eastern Indo-Aryan languages, Bengali evolved circa 1000–1200 CE from eastern Middle Indo-Aryan dialects such as the Magadhi Prakrit and Pali, which developed from a dialect or group of dialects that were close, but not identical to, Vedic and Classical Sanskrit.[8] Literary Bengali saw borrowings from Classical Sanskrit, preserving spelling while adapting pronunciation to that of Bengali, during the period of Middle Bengali and the Bengali Renaissance. The modern literary form of Bengali was developed during the 19th and early 20th centuries based on the dialect spoken in the Nadia region, a west-central Bengali dialect. Bengali presents a strong case of diglossia, with the literary and standard form differing greatly from the colloquial speech of the regions that identify with the language.[9] Standard Bengali in West Bengal and Bangladesh are marked by some differences in usage, accent, and phonetics. Today, literary form and dialects of Bengali constitute the primary language spoken in Bangladesh and the second most commonly spoken language in India.[10][11] Also with a rich literary tradition arising from the Bengali Renaissance, Bengali language binds together a culturally diverse region and is an important contributor to Bengali nationalism.

 

The Bengali Language Movement was a popular ethno-linguistic movement in the former East Bengal (today Bangladesh), which was a result of the strong linguistic consciousness of the Bengali people to gain and protect spoken and written Bengali script's recognition as a state language of the then Dominion of Pakistan. On the day of 21 February 1952 several students and political activists were killed during protests near Dhaka University campus. The day has since been observed as Language Movement Day in Bangladesh, and was proclaimed the International Mother Language Day by UNESCO on 17 November 1999 marking Bengali language the only language in the world to be also known for its language movements and people sacrificing their life for their mother language Bengali. There was a similar Bengali language movement in Assam which was a protest against the decision of the Government of Assam to make Assamese the only official language of the state even though a significant proportion of the population were Bengali speaking.

  

Like other Eastern Indo-Aryan languages, Bengali arose from eastern Middle Indo-Aryan dialects of Magadhi Prakrit and Pali. The earliest recorded spoken languages in the region and the language of Gautama Buddha, evolved into the Jain Prakrit or ôrdhômagôdhi "Half Magadhi" in the early part of the first millennium CE.[12][13] ôrdhômagôdhi, as with all of the Prakrits of North India, began to give way to what are called ôpôbhrôngshô ("Corrupted grammar") languages just before the turn of the first millennium.[14] The local ôpôbhrôngshô language of the eastern subcontinent, Purbi ôpôbhrôngshô or Abahatta ("Meaningless Sounds"), eventually evolved into regional dialects, which in turn formed three groups of the Assamese-Bengali languages, the Bihari languages, and the Oriya languages. Some argue that the points of divergence occurred much earlier—going back to even 500[15] but the language was not static: different varieties coexisted and authors often wrote in multiple dialects. For example, Magadhi Prakrit is believed to have evolved into Abahatta around the 6th century which competed with the ancestor of Bengali for a period of time.[16]

  

Shohid Minar, or the Martyr's monument, in Dhaka, commemorates the struggle for the Bengali language.

Usually three periods are identified in the history of Bengali language:[14]

 

Old Bengali (900/1000–1400)—texts include চর্যাপদ Chôrjapôdô, devotional songs; emergence of pronouns আমি Ami, তুমি tumi, etc.; verb inflections -ইলা -ila, -ইবা -iba, etc. The scripts and languages during this period were mainly influenced by the Kamarupi Prakrit as the entire region- Assam, Bengal and parts of Bihar and Orissa[citation needed] was under the Kamrup kingdom (now known as Assam).

Middle Bengali (1400–1800)—major texts of the period include Chandidas's Shreekrishna Kirtana; elision of word-final অ ô sound; spread of compound verbs; Persian influence. Some scholars further divide this period into early and late middle periods.

Modern Bengali (since 1800)—shortening of verbs and pronouns, among other changes (e.g. তাহার tahar → তার tar "his"/"her"; করিয়াছিল kôriyachhilô → করেছিল korechhilo he/she had done).

Bengali also saw an increase in Sanskrit influence during the Middle Bengali (Chaitanya Mahaprabhu era) and also during the Bengal Renaissance.[17] The modern Bengali vocabulary contains the vocabulary base from Magadhi Prakrit and Pali, also borrowings & reborrowings from Sanskrit and other major borrowings from Arabic, Austroasiatic languages and other languages in contact.

 

Until the 18th century, there was no attempt to document Bengali grammar. The first written Bengali dictionary/grammar, Vocabolario em idioma Bengalla, e Portuguez dividido em duas partes, was written by the Portuguese missionary Manuel da Assumpção between 1734 and 1742 while he was serving in Bhawal Estate.[18] Nathaniel Brassey Halhed, a British grammarian, wrote a modern Bengali grammar (A Grammar of the Bengal Language (1778)) that used Bengali types in print for the first time.[6] Ram Mohan Roy, the great Bengali reformer,[19] also wrote a "Grammar of the Bengali Language" (1832).[20]

 

During this period, the চলিতভাষা Chôlitôbhasha form of Bengali using simplified inflections and other changes, was emerging from সাধুভাষা Sadhubhasha (Proper form or original form of Bengali) as the form of choice for written Bengali.[21]

  

Pages from the Chôrjapôdô.

Bengali was the focus, in 1951–52, of the Bengali Language Movement (ভাষা আন্দোলন Bhasha Andolôn) in what was then East Bengal (today Bangladesh).[22] On 21 February 1952, protesting students and activists were fired upon by military and police in the University of Dhaka and three young students and several other people were killed.[23] Later in 1999, UNESCO declared 21 February as the International Mother Language Day in recognition of the deaths and people sacrificing their life for their mother language Bengali.[24][25] In a separate event on 19 May 1961, police in Barak Valley in Assam killed eleven people who were demonstrating against legislation that mandated the use of the Assamese language.[26]

 

Geographical distribution[edit]

 

Bengali with native speakers holds sole official and national language status

Bengali with native speakers holds one of the official languages status

Large diaspora of Bengali speakers (100,000+)

Smaller diaspora of Bengali speakers (10,000+)

Bengali language is native to the region Bengal, which comprises present-day nation of Bangladesh and the Indian states of West Bengal, Tripura and southern Assam.

 

Besides the native region it is also spoken by the majority of the population in the Indian union territory of Andaman and Nicobar Islands. There are also significant Bengali-speaking communities in Middle East, Japan, United States, Singapore,[27] Malaysia, Maldives, Australia, Canada and United Kingdom.

 

Official status[edit]

See also: States of India by Bengali speakers

Bengali is the national and official language of Bangladesh, and one of the 23 official languages recognised by the Republic of India.[28] It is the official language of the Indian states of West Bengal, Tripura and Assam.[29][30] It is also a major language in the Indian union territory of Andaman and Nicobar Islands.[2][3]

  

Kazi Nazrul Islam, the National Poet of Bangladesh at Sitakunda, Chittagong

 

The Nobel Laureate Rabindranath Tagore, the National Poet of India

Bengali is a second official language of the Indian state of Jharkhand since September 2011. It is also a recognized secondary language in the City of Karachi in Pakistan.[31][32][33] The Department of Bengali in the University of Karachi also offers regular programs of studies at the Bachelors and at the Masters levels for Bengali Literature.[34] In December 2002, Sierra Leone’s then President Ahmad Tejan Kabbah also named Bengali as an "official language" in recognition of the work of 5,300 troops from Bangladesh in the United Nations Mission in Sierra Leone peacekeeping force.[35][36]

 

The national anthems of both Bangladesh and India were written in Bengali by the Bengali Nobel laureate Rabindranath Tagore.[37] In 2009, elected representatives in both Bangladesh and West Bengal called for Bengali language to be made an official language of the United Nations.[38]

 

Dialects[edit]

Main article: Bengali dialects

Regional variation in spoken Bengali constitutes a dialect continuum. Linguist Suniti Kumar Chatterjee grouped these dialects into four large clusters—Rarh, Banga, Kamarupa and Varendra;[6] but many alternative grouping schemes have also been proposed.[39] The south-western dialects (Rarh or Nadia dialect) form the basis of modern standard colloquial Bengali. In the dialects prevalent in much of eastern and south-eastern Bangladesh (Barisal division, Chittagong division, Dhaka division and Sylhet division of Bangladesh), many of the stops and affricates heard in West Bengal are pronounced as fricatives. Western alveolo-palatal affricates চ [tɕɔ], ছ [tɕʰɔ], জ [dʑɔ] correspond to eastern চ [tsɔ], ছ় [sɔ], জ [dzɔ~zɔ]. The influence of Tibeto-Burman languages on the phonology of Eastern Bengali is seen through the lack of nasalized vowels. Some variants of Bengali, particularly Chittagonian and Chakma Bangla, have contrastive tone; differences in the pitch of the speaker's voice can distinguish words. Rajbangsi, Kharia Thar and Mal Paharia are closely related to Western Bengali dialects, but are typically classified as separate languages. Similarly, Hajong is considered a separate language, although it shares similarities to Northern Bengali dialects.[40]

 

During the standardization of Bengali in the 19th century and early 20th century, the cultural center of Bengal was in the city of Calcutta (now Kolkata), founded by the British. What is accepted as the standard form today in both West Bengal and Bangladesh is based on the West-Central dialect of Nadia District, located next to the border of Bangladesh.[41] There are cases where speakers of Standard Bengali in West Bengal will use a different word from a speaker of Standard Bengali in Bangladesh, even though both words are of native Bengali descent. For example, the word salt is নুন nun in the west which corresponds to লবণ lôbôn in the east.[42]

 

Spoken and literary varieties[edit]

Bengali exhibits diglossia, though largely contested notion as some scholars proposed triglossia or even n-glossia or heteroglossia[43] between the written and spoken forms of the language.[44] Two styles of writing, involving somewhat different vocabularies and syntax, have emerged:[41][45]

 

Shadhubhasha (সাধুভাষা ← সাধু shadhu='chaste' or 'sage' + ভাষা bhasha='language') was the written language, with longer verb inflections and more of a Pali and Sanskrit-derived tôtsômô vocabulary. Songs such as India's national anthem Jônô Gônô Mônô (by Rabindranath Tagore) were composed in Shadhubhasha. However, use of Shadhubhasha in modern writing is uncommon, restricted to some official signs and documents in Bangladesh as well as for achieving particular literary effects.

Cholitobhasha (Bengali: চলিতভাষা ← চলিত chôlitô='current' or 'running' + ভাষা bhasha='language') known by linguists as Manno Cholit Bangla (Standard Colloquial Bengali), is a written Bengali style exhibiting a preponderance of colloquial idiom and shortened verb forms, and is the standard for written Bengali now. This form came into vogue towards the turn of the 19th century, promoted by the writings of Peary Chand Mitra (Alaler Gharer Dulal, 1857),[46] Pramatha Chowdhury (Sabujpatra, 1914) and in the later writings of Rabindranath Tagore. It is modeled on the dialect spoken in the Shantipur region in Nadia district, West Bengal. This form of Bengali is often referred to as the "Nadia standard", "Nadia dialect", "South-western/Western-central dialect" or "Shantipuri Bangla".[39]

While most writing is in Standard Colloquial Bengali, spoken dialects (defeated language of the captive speaker[47]) exhibit a greater variety. South-eastern West Bengal, including Kolkata, speak in Standard Colloquial Bengali. Other parts of West Bengal and western Bangladesh speak in dialects that are minor variations, such as the Medinipur dialect characterised by some unique words and constructions. However, a majority in Bangladesh speak in dialects notably different from Standard Colloquial Bengali. Some dialects, particularly those of the Chittagong region, bear only a superficial resemblance to Standard Colloquial Bengali.[48] The dialect in the Chittagong region is least widely understood by the general body of Bengalis.[48] The majority of Bengalis are able to communicate in more than one variety—often, speakers are fluent in Cholitobhasha (Standard Colloquial Bengali) and one or more regional dialects.[21] For some counter-views, one may browse some different articles.[49][50]

 

Even in Standard Colloquial Bengali, the words may differ based on the speakers's religion. Due to religious traditions Hindus and Muslims might use respectively, Sanskrit-derived and Arabic-derived words.[51] Some examples of lexical alternation between these two forms (here S=derived from Sanskrit, A=derived from Arabic):[42]

 

hello: নমস্কার nômôshkar (S) corresponds to সালাম আলাইকুম salam-alaikum (A)

invitation: নিমন্ত্রণ nimôntrôn (S) corresponds to দাওয়াত daoat (A)

water : জল jôl (S) corresponds to পানি pani (A)

Phonology[edit]

Main article: Bengali phonology

The phonemic inventory of standard Bengali consists of 29 consonants and 7 vowels, including 6 nasalized vowels. The inventory is set out below in the International Phonetic Alphabet (upper grapheme in each box) and romanization (lower grapheme).

 

en.wikipedia.org/wiki/Bengali_language

 

Custom fonts Pimkie in use from Spain (I've designed this typeface in 2006 for Graphèmes agency). Thanks to my friend Jean-François Porchez to send me this picture. See more at my web site about Pimkie custom fonts

This is the way the IPA looks to me. I recommend viewing it in the 'original' size in order to take in some of the subtlety of the colors. I left out the diacritics because they do not have individual colors for me.

my fav beverages are in ice cream versions...ahhhhhh

 

Contrary to common belief the name is not Scandinavian; it is simply two made-up words meant to look Scandinavian to American eyes (In fact, the letter combinations "äa" and "zs" are impossible in all Scandinavian languages). This is known in the marketing industry as foreign branding. Mattus included an outline of Denmark on early labels to reinforce the Scandinavian theme — ironically, although Häagen-Dazs operates in 54 countries around the world, none of the company's 700 stores are in any Scandinavian country.

 

wikipedia.org

 

The playful spelling devices in the name invoke the spelling systems used in several European countries. "ä" (an 'a' with an umlaut) is used in the spelling of the German, Estonian, Finnish, Slovak and Swedish languages, doubled vowel letters spell long vowels in Estonian, Finnish, Dutch, and occasionally German; and zs corresponds to /ʒ/ (as in vision) in Hungarian. None of these spelling conventions is used in pronouncing the name of the American product, which has a short a, hard g, and a final s sound. The closest real name to the fake Häagen is Hagen (Danish/Norwegian/German surname, German first name, and German town name). Dazs could be a possible word in Hungarian due to the "zs" grapheme, but does not have any meaning and sounds unfamiliar even to be a name.

 

A further step in branding is the renaming of the Teatro Calderón in Madrid, Spain to Teätro Häagen-Dazs Calderón.[1] There is no ä in the Spanish alphabet.

Fuji Acros on 500CM