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From TheDali.org, "Profanation of the Host possesses a number of sacrilegious connotations. The title alone is an irreverent and abusive blast at the Eucharist. At the very top of the structure to the right, a limp bearded sleeping face hangs above a chalice and the Eucharist. The Christ-like face is bleeding on these symbols of the mass, an act of religious desecration and contempt.
Dalí makes this painting even more astonishing by including a face he used in his other painting called The Great Masturbator. This reference of masturbation in relation to the body of Christ was intended to shock the viewer. Dalí said that this face is a self-portrait. The head is soft and appears to not contain a skull. Its source is a rock called “the Rock of Cullero” on Cape Creus which Dalí remembered from his childhood home near Cadaqués. The rock has the appearance of a man’s head balancing on his nose, an image mirrored in many of Dalí’s paintings.
Dalí and the Surrealists’ reactions to the church were blasphemous. After WWI many disillusioned men and women felt that religion had failed them. The Surrealists were anti-establishment and atheistic believing traditional philosophy was responsible for the horrific war. Much later in his career, Dalí tried to exonerate himself by saying that Profanation of the Host was a work of Catholic essence. "
To help scientists understand how the Penicillium stoloniferum virus interacts with its hosts, and how it replicates and matures over its lifecycle, the virus structure was solved at the very high-resolution of 7.3 angstroms. Running the automated AUTO3DEM software on a San Diego Supercomputer Center (SDSC) supercomputer, the full 3-D virus was reconstructed, starting with 2-D cryo-electron microscopy images. The software was developed by University of California, San Diego (UCSD), structural biologists Tim Baker and Xiaodong Yan, with SDSC computational scientist Robert Sinkovits. The National Science Foundation is the primary funding source for the SDSC. [Image taken from the SDSC Multimedia Gallery.] (Date of Image: 2008)
Credit: W.F. Ochoa, R.S. Sinkovits and T.S. Baker, UCSD; W.M. Havens and S.A. Ghabrial, U. Kentucky; M.A. Nibert, Harvard. Image: W.F. Ochoa, UCSD; Source: San Diego Supercomputer Center, UC-San Diego
This fourth CreativeMornings/Bogotá event was generously hosted by Casa LABLOOM.
Ana Sánchez was our speaker.
The event was sponsored by Brot Bakery and Café and SocialColectivo.
Photos by Laura Camila Vargas (LABLOOM student).
The video, soon on Vimeo, was filmed by Alberto Durán ( (ToolKit)).
Connect and share
Contáctanos
bogota@creativemornings.com
CreativeMornings/Bogotá
Mingle Media TV and Red Carpet Report host, Erin White, were invited to cover the taping of the Vh1 Blue Carpet for the 2012 Do Something Awards held in Santa Monica. The winner is a secret for now - but will be revealed on Tuesday the 21st of August! Be sure to visit our Red Carpet Report site for all the details on who won this year including photos and interviews here at www.redcarpetreporttv.com.
The official show will air on Tuesday, August 21st 2012, at 9 PM on VH1.
The 2012 Finalists vying for the $100,000 for their community project or charity are:
Manyang Reath Kher, 23, Richmond, VA: Humanity Helping Sudan
Meg Bourne, 22, Joplin, MO: Art Feeds
Danny Mendoza, 23, Chino, CA: Together We Rise
Katia Gomez, 24, San Leandro, CA: Educate2Envision
Seth Maxwell, 24, Los Angeles, CA: The Thirst Project
Amie Sider, 25, Kitchener, Ontario: NationWares
Sasha Fisher, 24, New York, NY: Spark Microgrants
Mark Arnoldy, 25, South Boston, MA: Nyaya Health
Jaclyn Murphy, 17, Hopewell Jct, NY: Friends of Jaclyn
Tyree Dumas, 23, Philadelphia, PA: DollarBoyz Academy
Scott Warren, 25, Boston, MA: Generation Citizen
Ryland King, 22, Goleta, CA: Environmental Education for the Next Generation
About VH1's Do Something Awards
Since 1996, DoSomething.org has honored the nation’s best young world-changers, 25 and under*. Do Something Award nominees and winners represent the pivotal "do-ers" in their field, cause, or issue. In 2012 (up to) five finalists will appear on the Do Something Awards on Vh1 and be rewarded with a community grant, media coverage and continued support from DoSomething.org. The grand prize winner will receive $100,000 during the broadcast.
For more of Mingle Media TV’s Red Carpet Report coverage please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
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Follow Erin on Twitter at www.twitter.com/ErinJWhite
Host Bruno Giussani at TEDGlobal Geneva - December 8, 2015, Bâtiment des Forces Motrices, Geneva, Switzerland. Photo: James Duncan Davidson/TED
Blogged this mosaic + link love + diy planner 2015. Thanks for inspiring me!
1. I just sat and watched, 2. I am -- paper blessing banner, 3. First theme for Little Art Book, 4. collage750, 5. #vscocam #fruit #red,
6. Washi Dress, 7. Box of Ephemera for Visual/Art Journaling., 8. via Instagram, 9. #wip over the horrible beige carpet , 10. Trying to tidy up my studio today....,
11. And what came of last night's wip, 12. Not only my new watercolor pencils set box, 13. cat 3d, 14. trip cat, 15. Foggy morning walk,
16. books of the Month, 17. Stencil printing on paper, 18. ivy, 19. I didn't know, 20. Oct 5 2014,
21. Do you know how hard it is to arrange leaves with dew, 22. Wheel, 23. October '14 Desktop Calendar, 24. How beautiful are these ranunculi?, 25. churra mondegueira
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Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.
In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.
Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.
Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.
ETYMOLOGY
Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".
ORIGNS
According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.
As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.
SIGNIFICANCE OF PUJA
In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:
Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;
O Indra, bring treaures with your right hand;
O Agni grant the enjoyments of a good household;
Give (us) vigor, wealth in cattle, and possession of good horses.
- ÄsvSü
In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.
Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.
Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.
TEMPLE PUJA
Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.
ELABORATE PUJA
A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:
1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.
2. Asana. The deity is offered a seat.
3. Padya. The deity’s feet are symbolically washed.
4. Water is offered for washing the head and body
5. Arghya. Water is offered so the deity may wash its mouth.
6. Snana or abhisekha. Water is offered for symbolic bathing.
7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.
8. Upaveeda or Mangalsutra. Putting on the sacred thread.
9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.
10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.
11. Dhupa. Incense is burned before the image.
12. Dipa or Aarti. A burning lamp is waved in front of the image.
13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.
14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.
15. Parikrama or Pradakshina. Circumambulation around the deity.
16. Taking leave.
Sometimes additional steps are included:
1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.
2. Acamanıya. Water is offered for sipping.
3. Aabaran. The deity is decorated with ornaments.
4. Chatram. Offering of umbrella.
5. Chamaram Offering of fan or fly-whisk (Chamara).
6. Visarjana or Udvasana. The deity is moved from the place.
There are variations in this puja method such as:
1. Pancha upachara pooja (puja with 5 steps).
2. Chatushasti upachara puja (puja with 64 steps).
The structure of elaborate puja also varies significantly between temples, regions and occasions.
QUICK PUJA
A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.
PUJA IN BALINESE HINDUISM
In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.
Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.
GURU PUJA
In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.
PUJA AS A SOCIAL, HUMAN RIGHTS EVENT
As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.
CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL
Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.
REGIONAL NAMES
Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.
WIKIPEDIA
The monster from the film The Host. I've never seen it but I have been aware of the film for ages. The film concerns a mutated monster that emerges from the Han River, so it makes sense that this is here.
by Emi Bell
March '15
Downtown Los Angeles, CA
Kodak Disposable
Matt Jaffe & The Distractions Music Video Shoot for "Stoned On Easter"
Hudsonville Public Schools School Bus # 69
The Michigan Association for Pupil Transportation (MAPT) State School Bus Driver Championship aka School Bus Roadeo was hosted by Hudsonville Public Schools at Baldwin Street Middle School on May 20, 2023.
Hosted by the Insalaco Center for Professional Development and Leadership, this fair allowed students to meet with local businesses within our community to discuss full-time, part-time, internship, and volunteer roles!
¿Qué tal un café en Montmartre a las 5:00? En esta habitación del Hostal Rooms Deluxe en Valencia puedes.
Reserva: www.roomsdeluxe.com/
*Habitaciones sujetas a disponibilidad. El hostal no garantiza la elección de la habitación.
Decided to scan the picture of some horror hosts from my copy of the fourth printing of Creature Features Movie Guide Strikes Again, which I got from author and Creature Features host John Stanley at Super-Con in May. Other than that, not much else to say, except read the description under the picture.
Para los/as que se adoran a si mismo, ésta es su habitación ideal, Diego también se quiere a si mismo. Descúbrela en el Hostal Rooms Deluxe en Valencia.
www.roomsdeluxe.com/la-habitacion-del-ego
Reserva: www.roomsdeluxe.com/
*Habitaciones sujetas a disponibilidad. El hostal no garantiza la elección de la habitación.
Hosted by: Cork Triathlon Club
www.corktri.com/events/the-lost-sheep-triathlon-kenmare-2...
Results:
sportstiming.racetecresults.com/results.aspx?CId=74&R...
Triathlon Ireland:
www.triathlonireland.com/index.php?id=107&nid=1463
Contact:
jancekphotography@gmail.com
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Mingle Media TV and Red Carpet Report host, Linda Antwi, were invited to cover the 2013 L.A. Comedy Shorts Film Festival (LACS) Awards ceremony and gala hosted by Wayne Brady with presenting Key & Peele at the opening the show. This year LACS broke several of its past records which included over 1000 film submissions, the largest number of international submissions received and well over 5000 attendees for the four-day event.
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About L.A. Comedy Shorts Film Festival
The L.A. Comedy Shorts Film Festival is the largest comedy film festival in the USA. Named one of the “Top Ten Film Festivals in the United States” by the Brooks Institute, LACS is dedicated to introducing the newest and hottest comedic talent to the public and entertainment industry in a four-day, fun-packed weekend of screenings, industry panels and star-studded red carpet events. LACS was founded in 2009 to celebrate and promote up-and-coming filmmakers and writers through the medium of comedic short films as well as screenplays for features, pilots and short comedies. LACS has been twice named one of the “Top 25 Festivals Worth the Fee” by Moviemaker magazine. www.lacomedyshorts.com Follow on Twitter at @lacomedyshorts and on Facebook at www.facebook.com/lacomedyshorts.
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