The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

There is nothing abnormal about this wrestling match. Except that they are friends and shouldn't fight.

Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013

 

Photos by Kyle Rober

www.Fractaltribe.net

www.facebook.com/Fractaltribe

 

The Ritual: The Xperience 2014:

www.facebook.com/events/415497831904495/

 

Links:

The Ritual 2013:

www.facebook.com/events/431476333570283

 

Logic Vision Collective:

www.logicvisioncollective.com/

www.facebook.com/groups/logicvisionrecs

 

------------------------------------

 

"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))

 

jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...

 

------------------------------------

 

The DIGITAL ALCHEMISTS are proud to present:

 

THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.

Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

PROLOGUE :

 

Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.

 

We believe in the healing potential of intentional gatherings.

We have dedicated our lives for facilitating these opportunities for a collective evolution.

 

Our mission : to create the perfect transformation into Peace, Unity and Global Respect...

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

4 days Open-Air Festival

International Music acts

International Deco concept

 

More info coming soon...

Pono Pono

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

Logic Vision Collective est fier de vous présenter :

 

La Réunion des Tribus 2013

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

PROLOGUE :

 

Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.

 

Nous croyons aux guérisons et au potentiel des intentions.

Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.

 

Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

4 Jours de Festival en Plein-Air

Artistes internationaux

Concept Déco international

 

Bientôt d'autres nouvelles...

O Pono Pono

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

International Artists:

 

✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia

 

✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance

 

✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance

 

✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub

 

✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance

 

✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance

 

✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia

 

✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance

 

✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance

 

✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic

 

✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic

 

✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending

 

✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog

 

✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive

 

✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic

 

✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance

 

✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance

 

✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy

 

:::::::::::::::::::::::

 

Local Heros

 

Live-Acts:

 

✔ 1,618 live! (Montreal) ::: Progressive Psytrance

 

✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive

 

✔ AURA live! (Aura Music - Montreal) ::: Psydub

 

✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism

 

✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal

 

✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque

 

✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal

 

✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark

 

✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi

 

✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance

 

✔ UBER live! (Indy - Montreal) ::: Progressive

 

✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance

 

✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque

 

::::::::::::::::::::::::::::

 

DJsets

  

✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog

 

✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub

 

✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance

 

✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog

 

✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu

 

✔ BENDALA (Space Gathering - Montreal)

 

✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves

 

✔ DIRTY HARRY (St Jerome) ::: Zenonesque

 

✔ EFFLUX (Montreal) ::: DMTechno

 

✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance

 

✔ FIELD EQUATION (Montreal) ::: Chillstep

 

✔ G-PI (Techno Agricole - Montreal) ::: Psyprog

 

✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive

 

✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan

 

✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance

 

✔ KISS of VENUS (New York) ::: Psychedelic Techno

 

✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub

 

✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance

 

✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance

 

✔ MYTHROPHAN (Toronto) ::: Progressive

 

✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass

 

✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance

 

✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance

 

✔ NIKOCH (Montreal) ::: Native Tribal Trance

 

✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive

 

✔ NISMO (Cyberloft - Montreal) ::: Progressive

 

✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub

 

✔ OGICHIDA (Organic Family - Toronto) ::: Forest

 

✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech

 

✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance

 

✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance

 

✔ PSYBERTH (Openmind Festival - Can) ::: Psybass

 

✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance

 

✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive

 

✔ RON JON (Logic Vision - Ottawa) ::: Psytrance

 

✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub

 

✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog

 

✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy

 

✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass

 

✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance

 

✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy

 

✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS

 

✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance

 

✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog

 

✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive

 

::::::::

 

Deco Artists:

 

✔ WIZART VISIONS (USA) ::: Decoration

WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.

www.facebook.com/pages/WizArt-Visions/444814318878170

 

✔ ORGANIC FAMILY (CAN) ::: DECO

 

✔ CESAR AR (CAN) ::: Visionnary ARt

 

✔ MYRKO (CAN) ::: Visionnary ARt

  

:::::::::::::::::::::::::::::::::::::::::::::::

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

SERVICES

----------------------------------------

 

- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant

- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai

- Plage et baignade sur le site / Beach and swimming on the site

- Toilettes / WC

- Camping gratuit / Free camping

- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.

  

REGLEMENT / REGULATION

---------------------------------------------

 

- Respectez l’environnement / Respect the environment

- Aucun objet en verre sur le site / No glass on the site

- Les feux sont interdits / Fires are forbidden

- Baignade interdite la nuit / No swimming at night

- Aucun animal domestique sur le site / Pets are not allowed on the site

- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.

 

MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...

THANK YOU FOR RESPECTING THOSE RULES ! ...

  

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

  

The INDIAN MARKET !

 

The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.

 

Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs

 

please email us at: theritual.festival@gmail.com

  

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

  

。ॐ。*。ॐ。

ॐ。＼｜／。ॐ

--- PEACE ---

ॐ。／｜＼。ॐ

。ॐ。*。ॐ

 

With open minds and adventurous souls, there will always be sounds to move to and beats to feel.

We hope you are as excited as we are !

 

Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.

Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !

 

Info Contact : theritual.festival@gmail.com

  

COLLABORATORS & SPONSORS

 

Digital-Audio-Records-Kompany

Cybeloft

Kamino records

Tantruum recs

MAIA Brazil records

Osom records

Glitchy Tonic records

Organic FamilyThe DIgital ALchemists

 

:::::::::::::::::::::::::::::::::::::::::::::::::

Timetables

 

Galactic Portal:

 

Vendredi / Friday

 

18:00 XONICA ::: OPENING Ceremony

19:00 Krikkitt djset :: Psychedelic

20:30 Pyrotrich djset ::: Forest Psychedelic Trance

22:00 Mohinia djset ::: Psychedelic

23:30 Shango & Nainita ::: Forest Psy

 

Samedi / Saturday

 

01:00 CAUSAI (Vancouver) ::: Psytrance

02:30 PREGAKORE (Portugal) ::: Psychedelic

04:00 VENSKER Djset! (USA) ::: Psychedelic

05:30 AXIS MUNDI live! (USA) ::: Psychedelic

07:00 Virtual Light djset ::: Morning Psy

08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky

10:00 SPACEY KOALA live :::Funky Psytrance

11:00 MISSKEY djset! (UK) ::: Progressive Trance

12:30 ATHERIA live ! (Toronto) ::: Psytrance

01:30 Dr Strangefunk live! ::: Zenonesque

02:30 Zentrix live!::: Zenonesque

03:30 Ygriega ::: Progressive Trance

05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive

06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque

07:30 FRACTAL PHONO (USA) ::: Zenonesque

09:00 LUNECELL live! (USA) ::: Psychedelic

10:30 Otkun (Montreal) ::: Psychedelic Moon

 

Dimanche / Sunday

 

00:00 KASHYYYK live! (MEXICO) ::: Hitech

03:00 INSECTOR live! (HUNGARY) ::: Hitech

06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic

08:30 BRANDON ADAMS (USA) :: Full Power

10:00 MANIPULATION live (USA) ::: Morning

11:30 HARDKOR NATE djset (USA) ::: Psytrance

13:00 ASCENTION liveset (USA) ::: Psytrance

14:00 A.C. LYON live! (USA) ::: Psychedelic

15:30 Dugong live! ::: Dark Tribal Minimalism

17:00 Florian live! ::: Dark Minimal

18:00 Der Denker ::: Dark Minimal

20:00 Anima vs Nt Shanti ::: Psygressive

21:30 Akshobhya ::: Psychedelic

23:00 Plan B ::: Psychedelic

 

Lundi / Monday

 

00:30 DEFTSPANK live (Venezuela) ::: Psychedelic

01:30 Ogichida vs Banjankari::: Forest Psytrance

03:00 PSYKOVSKY live ! (Russia)::: Psychedelic

07:30 DOG OF TEARS live! (USA) ::: Psychedelic

09:30 NAAZ ::: Psychedelic

11:00 CODE-AMA ::: Psychedelic

12:30 RONJON ::: Psychedelic

14:00 OTEZUKA ::: Psyprog

16:00 The DIGITAL ALCHEMISTS ::: CLOSING

 

Dream Catcher Portal

 

Friday / Vendredi:

08:00 Zaga (Toronto) ::: Dark Minimal

10:00 MAJESTER (British COlumbia) ::

 

Saturday / Samedi:

 

00:00 Elvira ::: Hitech

01:30 Koaluna ::: forestpsy

03:00 Play Different live! (Toronto) ::: Psytrance

04:30 Synthetik ::: psytrance

06:00 MACHINE ELF (Toronto) ::: Psy trance

08:00 MYTHROPHAN (Toronto) ::: Progressive Trance

10:00 TRANCISCO (Toronto) ::: Progressive Psytrance

12:00 Glitch (Quebec) :: Progressive

01:30 Red ELectric Earth ::: Progresive

03:00 G-Pi ::: Minimal

04:30 Uber live! ::: Progressive

06:00 Nismo & Franky-Owl::: Progressive

07:30 Alakazoo ::: Psyprog

09:00 SARA DOPSTAR (Toronto) ::: Progressive

11:00 1,618 live! :: Psytech

 

Sunday / Dimanche

 

00:30 ZENKAI ::: Psytrance

02h30 SPOONANI vs ZENTRIX ::: Progressive

04:00 FLICKER LIGHT (Brazil) ::: Progressive

05:30 Efflux ::: Minimal

07:00 Dirty Harry ::: Zenonesque

08:30 Joel Mac Duff ::: Progressive

10:30 AURA live! (Portugal) ::: Psybient

12:00 KHALIL ::: Gypsy PsyDub

02:00 KATNIP (British Columbia) ::: Psybreaks

03:30 NIKOLI (Ottawa) ::: Temple Step

05:00 SOURSWEET live!::: IDM

07:00 LUNECELL djset! ::: Temple Step

09:00 OBSIDIAN (Ottawa) ::: Temple Step

 

Monday / Lundi

 

00:00 SPOONANI (Quebec) ::: DnB

01:30 Pranapapa ::: Progressive Dub

03:00 Psyberth djset :: Progressive Dub

04:30 KISSofVenus (USA) ::: Minimalism

06:00 RED ELECTRICH ::: Zenonesque

07:30 Transurfer ::: Progressive

09:00 Sabi Non STop ::: Psydub

10:30 Bendala ::: Psybass

12:00 MAYA EFF ::: PsyBass

 

END OF THE VORTEX _/\_ AHO

 

goran.splinder.com

goranfactory.com

When I survey the wondrous Cross by Isaac Watts 1674-1748.

 

Isaac Watts

 

1674-1748

 

The singing of God's praise is the part of worship most

clearly related to heaven; but its performance among us

is the worst on earth. (I.W.)

   

Watts wrote them superbly, yet he wrote eversomuch more than his 697 hymns. A textbook on logic, for instance, that was used for years at Oxford, Cambridge, Harvard and Yale. Not to mention his two books on geometry and astronomy. Upset at the inability of students to handle the English language creditably, he penned The Art of Reading and Writing English. It was followed by his Philosophical Essays (with its appendix, "A brief Scheme of Ontology", ontology being that branch of philosophy that discusses being), then by Improvement of the Mind (this was actually a "how-to-study" book, and even A Discourse on the Education of Children and Youth. A minister for virtually all of his adult life, Watts also published ten volumes of sermons and scores of theological treatises.

 

Isaac Watts was born in 1674, the eldest of eight children, six of whom survived. The last quarter of the 17th century was a troubled time in England. Dissenters (those who refused to conform to the established church) were not only denied access to suitable employment and the universities; Dissenters were liable to prosecution and imprisonment for no greater "crime" than persisting in worshipping God according to their conscience. Watts's father, a Dissenter, was imprisoned one year after he was married. His wife, Watts's mother, gave birth to Isaac while her husband was in jail. She regularly nursed her infant son on the jail steps in the course of visiting her husband. (When Isaac was nine years old his father was jailed a second time -- for six months -- for the same offence: refusing to conform to the worship-practices of the established church.)

 

Young Isaac was plainly precocious. He had learned Latin by age four, Greek at nine, French at eleven, and Hebrew at thirteen. French was not usually studied in English elementary schools during the 1600s, but Watts was raised in Southampton, and Southampton was a city of refuge to hundreds of refugees who were fleeing persecution in France. The youngster thought he should know French so that he could converse with his neighbours.

 

A physician recognized the boy's intellectual gifts and offered to finance his education at either Oxford or Cambridge. But regardless of his brilliance Watts would be admitted to either university only if he were willing to renounce Dissent and conform to Anglicanism. He wasn't willing. (Had his father suffered for nothing?) He would never surrender conviction to expediency. As a result he went to a Dissenting Academy, the post-secondary institution for those barred from the universities. While completing his formal education Watts wrote much poetry, most of it in Latin. Upon leaving the Academy at age 20 he wrote his first hymn, "Behold the Glories of the Lamb" -- yet did so only when challenged sharply by his father.

 

The writing of his first hymn was significant in view of the fact that hymns weren't sung in English churches. German Lutherans had been singing hymns for over 100 years. Calvinists in Switzerland and France, however, had not. The Calvinists disdained hymns as unscriptural and popish. Calvin had wanted his people to sing only the psalms of scripture. English Protestants of Calvinist parentage had adopted the practice of singing only metrical psalms in worship. The texts of these metrical psalms were poetically crude and frequently ludicrous; for instance,

 

Ye monsters of the bubbling deep,

Your Master's praises spout,

Up from the sands ye coddlings peep,

And wag your tails about.

 

The texts were ludicrous, the mood was ponderous, the tone of the entire service dreary, and one day Watts discovered he couldn't endure any of it a minute longer. Returning from the service one Sunday morning he complained vehemently to his father about the psalm-singing that put people off worship. "Why don't you write a hymn suitable for congregational singing?", his father retorted. In the course of the afternoon Watts did just that, and the congregation sang hymn #1 the same evening.

 

Yet it must not be thought that Watts disesteemed the psalms. Far from it. So highly did he value them, in fact, that he immediately set about rewriting the metrical versions in a smoother idiom. Compare the metrical version of Psalm 20 with Watts's version:

 

In chariots some put confidence,

Some horses trust upon;

But we remember will the name

Of our Lord God alone. (Metrical)

 

Some trust in horses train'd for war,

And some of chariots make their boasts;

Our surest expectations are

From Thee, the Lord of heav'nly hosts. (Watts)

   

(As relatively smooth as Watts's hymn-line was, it would be made even smoother by 18th century poets such as Charles Wesley.)

 

Not everyone thanked Watts for his efforts. Some of his contemporaries complained that his hymns were "too worldly" for the church. One critic fumed, "Christian congregations have shut out divinely inspired psalms and have taken in Watts's flights of fancy!" His hymns outraged many people, split congregations (most notably the congregation whose pastor, years earlier, had been John Bunyan, himself the author of an English classic), and got pastors fired. Still, Watts knew what his preeminent gift was and why he had to employ it.

   

Needless to say we of Streetsville United Church, having been thoroughly exposed to the genius of Charles Wesley, cannot help comparing the hymnwriting of Wesley and Watts.

 

Wesley's hymns concern themselves chiefly with God and the individual human heart: their relations, their estrangement, their reconciliation, their union. Watts writes of this too, but with a major difference: the backdrop of God's intercourse with the human heart is the cosmos in its unspeakable vastness. Watts sees the drama of the incarnation and the cross, the dereliction and the resurrection, as apparently small events that are in fact possessed of cosmic significance. Watts's universe is simply more immense than anything Wesley imagined. For Watts nature is more prodigious, time more extensive, eternity more awesome. (This is not to say that Wesley is inferior. Indeed no one would rate Watts a better poet. Wesley had more poetic skill than Watts, and more thorough training in the forms of classical poetry. It is simply to say that Watts's universe was larger.) It is said of Milton that he is the English poet who, above all others, makes the reader aware of the sky. In the same way Watts, with his fondness of astronomy, singularly makes the reader aware of the hugeness of the firmament.

 

There are technical comparisons as well of the poetry of Watts and Wesley. Wesley preferred a six-line stanza, but when writing a four-line stanza usually rhymed first and third lines as well as second and fourth. Watts preferred a four-line stanza and usually rhymed only the second and fourth lines. As a result Watts's stanzas tend to read less compactly than Wesley's. While Wesley combined Anglo-Saxon expressions (they are customarily blunt, one-syllable words like "hit") with Latin expressions (usually multi-syllable words like "transported" or "ineffable"), Watts wrote page after page of hymns lacking even one word with a Latin derivation (despite the scores of Latin poems that he wrote). Watts evidently preferred to write hymns in words of one syllable.

   

Watts was a man with limitless appreciation of the passion of God. He himself was possessed of the profoundest experience of God. Listen to him:

 

Here at the cross, my dying God

I lay my soul beneath thy love.

 

*

 

The mount of danger is the place

Where we shall see surprising grace.

 

*

 

Turn, turn us, mighty God,

And mould our souls afresh;

Break, sovereign grace, these hearts of stone,

And give us hearts of flesh.

 

(Note that the last line, "And give us hearts of flesh", consists of six words of one syllable each.)

   

Watts was accorded the recognition he deserved. By age 50 he was a national figure, esteemed by Anglicans and Dissenters alike. John Wesley had long acknowledged the genius, discipline and piety of Watts, and when Wesley came to publish his first hymn book, one-third of its hymns were Isaac's. When John Wesley published his tract, The Doctrine of Original Sin, he incorporated 44 pages of Watts's earlier work, Ruin and Recovery.

   

The poetic genius of Watts is evident. Yet since few poets (if any) have made a living from poeticizing, how did Watts manage to survive?

 

Upon graduating from the Academy Watts eked out a living as tutor to the son of a well-to-do English merchant. He never thought for a moment, however, that this was his vocation. In 1702, when he was 27 years old, he was called to a pastorate in London. The next ten years were spent fruitfully and happily as Watts immersed himself in the relentless round of responsibilities that every pastor must attend to -- at the same time as he wrote books, treatises, poems and hymns.

 

The easygoing ten years were ended abruptly by a major illness from which he never recovered fully. While he was unable to work during his illness he asked the congregation to discontinue his salary. The congregation refused, and instead raised it so that he could pay his medical bills.

 

The illness incapacitated him for four years. When the worst of it abated he was left frail, fragile, sickly. In addition there was an apparently non-specific psychiatric component to his now-chronic weakness. On the one hand he wasn't sick enough to die for another 38 years; on the other hand, he wasn't sickness-free enough to be well. A wealthy benefactor, Thomas Abney, invited him to his home to assist his recovery. He gratefully accepted, and went on to live there for the rest of his life.

 

Watts preached whenever he could. There were periods when he could preach with little interruption, as well as periods when he was simply deranged and couldn't function at all.

 

In 1739, at age 65, Isaac suffered a stroke that left him able to speak but unable to write. A secretary was provided for his dictated poems and hymns.

 

He died on 25th November, 1748.

   

Isaac Watts was unusual in many respects. A short man (five feet tall), his frail body was capped with a disproportionately large head. Virtually all portraits of him depict him in a large gown with large folds, an obvious attempt at having him appear less grotesque.

 

Unusual? How many working pastors write a textbook on logic that is used for decades by the preeminent universities of the English-speaking world?

 

Unusual? Who among us can write a book on metaphysics that probes ontology, and at the same time write a book of children's poetry that goes through 95 editions within 100 years of its publication?

 

Unusual? Who has written hymns that have been translated into dozens of languages from Armenian to Zulu?

 

Unusual? What modern thinker has published a learned tome on astronomy and also published graded catechisms (one for five-year olds, another for nine-year olds, another for twelve-year olds)?

 

Watts was unusual: he regularly gave away one-fifth of his income, deploying his tithe locally yet also sending it as far afield as Germany and Georgia to help beleaguered people there.

 

Yet surely he was most unusual in that the jockey-sized man, ugly as well, handicapped by a thin voice and a history of psychiatric illness, could appear in a pulpit whenever sanity overtook him and draw hundreds who hung on words rising from a heart that hearers knew to be wrapped in the heart of God.

   

Watts was not unusual in one important respect. Like all Christians he knew that God is to be loved with the mind, and therefore reason must never be discounted in the exercising of faith or the discipline of the Christian life. Yet he knew too that the mystery of God himself, while never irrational, is oceans deeper than reason can fathom. Who among us would say anything else? Then it is proper for us to conclude with a four-line stanza Isaac Watts wrote concerning the fathomless mystery of God.

 

Where reason fails,

With all her pow'rs,

There faith prevails

And love adores.

   

Victor A. Shepherd

October 1994

High Score Studios

Me consta que mi amiga Gemma visita mi Flickr y que le han gustado las últimas fotos de arco iris que he subido. También me han chivado que las fotos treneras no gozan especialmente de su predicamento...

 

Así que voy a desempolvar esta foto para dedicársela a esta buena amiga esperando compensarla por todas las fotos ferroviarias con las que ha tenido que comulgar pese a no ser lo que venía buscando cada vez que entraba en Flickr.

 

Esta foto la tomé "de aquella manera" ya que iba en el coche, no había arcén donde aparcar y la tomé desde el asiento del conductor bajando la ventanilla del copiloto. Lógicamente, me hubiera gustado evitar los cables pero no hubo manera....

Fun stuff.

Logic Studio and iMac 24"

La luce del mattino saettava fresca sotto i portici; dopo le prime decine di metri Krueger aveva rotto il fiato e correva spedito in corso Duca Degli Abruzzi, sentiva il corpo scattante e la mente pronta al ragionamento, o meglio, a quella pratica di meditazione che aveva imparato a mettere in atto correndo: prendere un pensiero, librarlo a mezz'aria, e poi aspettare che fossero le intuizioni a sorgere dal profondo ad illuminarlo senza forzare il ragionamento logico.

Quel mattino aveva due pensieri all'ordine del giorno: l'elastico e il colloquio con il vice-ispettore.

Cominciò con l'elastico, cioè con questo concetto che ormai aveva elaborato da tempo sull'equivalenza tra la quantità di momenti positivi e negativi che si hanno nella vita, e della necessità di prepararsi ai momenti positivi quando le cose vanno male e viceversa; vedeva nei periodi forti in una direzione o nell'altra il caricamento di un elastico con un masso all'estremità, tanto più carico quanto più fosse negativo, o positivo, il periodo. Se si è a conoscenza di questo processo basta prepararsi: in questo modo si attutiranno i grandi dolori e potranno essere esaltate le gioie, per avere una vita migliore.

Era un ragionamento al quale la vita l'aveva portato, e lo mise lì, a mezz'aria, sentendo i passi veloci correre in sequenza.

Una illuminazione lo raggiunse subito: pensò di essere uno stupido ad aver concepito in questo modo l'elastico. Se equilibrio ci deve essere, che equilibrio sia: attutire i dolori o esaltare le gioie non porta ad un equilibrio, ma a spostarlo verso la positività il che a sua volta... richiede una negatività per ristabilirlo, che quindi continua a caricare l'eleastico.

La seconda illuminazione sull'argomento fu ancora più chiara della prima: vivere con questo concetto in testa porta a sentirsi 'giusti', equilibrati, anestetizzando l'effetto dell'elastico, soprattutto quando si presenta dal lato negativo. Ma questo ne pregiudica l'effetto; i colpi 'negativi' non sono capricci del destino ma occasioni di crescita senza le quali la persona risulta mancante di una parte. Altro che anestetizzarsi: bisogna lasciarsi ferire dai colpi della sorte perchè questi abbiano efficacia e possano farci crescere; anestetizzandoli invece non si fa che 'chiederne' altri più grandi e più forti.

Ora era più chiaro quanto era successo; svoltando a Porta Nuova portò la meditazione corsaiola sul punto numero due, il colloquio, non mancando di notare quanto utili fossero queste corse mattutine, e quanto lo sforzo fisico lo aiutasse a raggiungere quell'"abbassamento del livello mentale" studiato da Levy-Bruil che lasciava l'inconscio libero di illuminare la mente, di liberarsi dalle prigioni del conscio per uscire alla luce.

Si fermò un attimo nei giardini di piazza Carlo Felice a prendere fiato e, figurativamente con le mani tolse il concetto dell'elastico da davanti a lui con la destra e con la sinistra innalzò alla sua attenzione il colloquio; poi ricominciò a correre.

Ricordò ancora come rimase stordito dalla notizia della morte di Destefani, e che solo dopo qualche minuto collegò la richiesta di non allontanarsi dalla città con una possibile accusa nei suoi confronti. Ripercorse i dialoghi, per cercare di capire meglio; si accorse di ricordare ogni parola vividamente.

"Ispettore, lei collega la morte di Destefani a me?"

"No, si figuri, per ora una semplice precauzione, vorrei avere a disposizione tutte le persone collegate a questo caso; del resto lei sicuramente ieri notte non era a spasso per Torino a quell'ora, vero?"

"A quell'ora? che ora? Avevo passato la sera con la famiglia del preside Guerrini."

"Si, l'ho saputo, ma fino ad una certa ora. Poi è rientrato, padre Krueger?"

Fu a quel punto che i pensieri cominciarono ad aggrovigliarsi. Era stato nell'appartamento di Verdiana, ma non voleva assolutamente rivelarlo, temeva che lei venisse coinvolta in questa faccenda, se inoltre si fosse venuto a sapere che lui... un prete già accusato di pedofilia passa le notti nel dungeon di una mistress sadomaso... ce ne sarebbe stato per le cronache e i pettegolezzi per gli anni a venire.

"Sì, sono rientrato, dopo una lunga passeggiata."

"Quanto lunga? a che ora è rientrato?"

Ricordava l'ora del rientro in istituto.

"Verso le tre"

"Quasi quattro ore.. una passeggiata... lunga vero?"

"Sì, lo riconosco, molto lunga. Mi piace passeggiare la notte nel centro di Torino, la citta rivela meglio la sua storia quand'è vuota e silenziosa. Ma perchè queste domande? Davvero può pensare che sia stato io? E con che motivazioni?"

"Le ripeto, nessuna accusa, sola formalità. Però si tratta di una persona, la vittima, che le porta l'infamante accusa di pedofilia e contro la quale l'ho vista io scagliarsi fisicamente, in questo istituto. Capisce che sono precedenti che vanno per lo meno annotati."

"E per questo dovrei uccidere? Lei lo pensa davvero?"

Il preside osservava da un angolo il colloquio; aveva uno sguardo strano, un misto tra un piagnucolare continuo e una segreta speranza, che non si riusciva in alcun modo ad interpretare.

"Ripeto, non c'è nessuna accusa; sto solo informandomi, e quanto mi dice mi è prezioso. L'omicidio, se di omicidio si tratta, è avvenuto tra le due e le tre in strane circostanze; se la sente di guardare le foto del cadavere?"

"Si, certo."

Ricordando questo punto del colloquio, Krueger si fermò.

Era arrivato in piazza castello; sedette sulle panchine davanti a Palazzo Madama perchè non riusciva a correre e insieme a ricordare quelle foto che gli si proponevano in mente forti, troppo forti per riuscire a meditarle; il conscio prendeva il sopravvento e non lasciava spazio alle illuminazioni, così come durante la notte quelle foto si erano riproposte nel sonno inquieto.

Il luogo era una stanza, abbastanza spoglia, vicino a via Porta Palatina; non gli era stato detto l'indirizzo esatto.

Nelle prime foto, riprese dall'esterno della porta, vide confusamente il cadavere; sembrava inginocchiato, con le mani giunte in preghiera.

Di seguito le foto si facevano più chiare.

Su un inginocchiatoio, il corpo senza vita si presentava in ginocchio, diritto, sostenuto dalle gambe legate all'altezza delle ginocchia, delle cosce e dell'addome con strisce di velcro all'inginocchiatoio; dai vestiti si capiva quanto fortemente strette fossero quelle cinghie; i pantaloni erano quasi strappati in corrispondenza dei punti di legatura.

I gomiti, allo stesso modo, uniti e legati al legno; le mani, fissate insieme come in preghiera.

Il mento ricadeva sul petto.

Su tutto il collo, un acceso segno rosso.

Sul capo calvo, una parrucca gialla.

Sulla parrucca, due serpenti formavano una corona, presentando le due teste che si congiungevano sulla sua fronte.

 

Riprese a correre.

"E' morto per asfissia, è stato strangolato." diceva il vicequestore.

"Ma chi può aver voluto uccidere quell'uomo?"

"Non lo sappiamo, ma stiamo acquisendo i filmati di alcune telecamere di quella zona. Domani ne sapremo di più".

Non ricordò più molto del seguito del colloquio; ma per lui aveva perso importanza; a questo punto riuscì di nuovo a prendere il concetto, metterlo in alto e aspettare illuminazioni; aveva poco tempo, via Pietro Micca e via Cernaia da percorrere.

L'inginocchiatoio, la preghiera, la parrucca, i due serpenti: evidenti segni che, chiunque fosse stato, voleva che si ritrovassero. Simboli che lui conosceva fin troppo bene, presi uno ad uno; ma così... non se ne spiegava la ragione. Soprattutto i serpenti: erano di plastica, di quelli utilizzati per fare gli scherzi, ma in foto sembravano assolutamente veri. Il serpente simbolo della conoscenza del bene e del male. Il serpente che, doppio nel caduceo, il simbolo che si vede nelle farmacie, rappresenta il 'pharmacon', cioè il veleno, che può uccidere e può guarire.

Ma perchè la parrucca? L'atteggiamento di preghiera? Perchè, lo strangolamento?

E, soprattutto, perchè proprio ieri, il giorno in cui aveva sentito riaffiorare l'ira di dio? Potevano essere collegate le due cose? Questo superava di gran lunga le sue capacità di ragionamento, ma l'evidenza con cui si presentava al suo pensiero questa possibilità testimoniava che il suo inconscio la pensava diversamente. Aveva imparato a fidarsi dell'inconscio come ci si può fidare di un mostro che ti può aiutare, oppure, incenerirti in un attimo.

Arrivò in corso Palestro; questa volta cercò Minah con lo sguardo e fu un riposo vederla, una scelta obbligata passare dove lei l'avrebbe visto; fu facile prevedere che gli avrebbe chiesto un altro colloquio in mattinata, e fu contento di constatare l'avverarsi della previsione.

  

"Un caffè per me e uno per l'alchimista!" Disse Minah al bancone del bar, sorridendo di buon umore e avvicinandosi al tavolo in cui Krueger l'aspettava.

Lui registrò che dentro qualcosa si era mosso, sentirsi chiamare in quel modo irradiava calore all'interno del corpo.

Da quando aveva avuto le visioni, cioè da anni, le aveva sempre considerate qualcosa di nascosto e segreto; pur avvicinandole a quanto conosceva erano sempre rimaste librate nell'aria, prive di realtà. Ciò che stava succedendo, invece, le stava portando a terra, stava dando loro un connotato reale. In qualche modo lui sapeva di avere dentro qualcosa dell'alchimista che appariva nelle visioni; non sapeva chi fosse e quando fosse vissuto, ma sapeva di avere qualche parte in comune con quella esistenza, ed ogni volta che scorgeva nella realtà esterna indizi che ne ribadivano l'oggettività si sentiva pervaso da un calore interno e da una forza di volontà inarrestabile nell'approfondire il senso di queste visioni, che avevano il potere di scuoterlo.

Minah era la donna che più si avvivinava a quella della visione. Nonostante non le assomigliasse nè fisicamente nè nell'età, Krueger fin dal primo momento in cui l'aveva conosciuta, e lei aveva fatto suonare la prima nota dell'organo, capì che ci sarebbe stato qualcosa di intenso, nonostante la differenza di età. Il giorno in cui si era fuso con lei accarezzandola apparteneva alle sensazioni più sublimi dell'esistenza; ben valeva sopportare l'accusa di pedofilia per aver avuto così tanto.

 

"Il caffè lo vuoi corretto con polvere d'ali di pipistelli moldavi?" Lo prese in giro lei, particolarmente allegra.

"Dai dimmi ancora dell'alchimia, voglio sapere tutto!"

"Se vuoi sapere tutto ti dò la ricetta della pietra filosofale"

"Oh, si! Ma tu la sai?"

"Certo!"

"Dimmela!"

"Ce ne sono decine... quale vuoi?"

"Una che funzioni!"

"Beh, in questo caso... è più difficile."

"Ma c'è qualcuno che l'ha fatta, la pietra?"

"Oh, si, si narra di sì. Si dice anche che l'alchimista deve tenere segreta la ricetta, e nascondere il risultato, altrimenti chi lo paga vorrà sempre più e più oro fino a non consentirgli più di studiare e raffinare l'opera, che è lo scopo vero dell'alchimista."

"Fammi un nome."

"Hai letto Harry Potter?"

"Krueger! Ma sei matto! E che c'entra!? Sono seria!"

"Anch'io sono serio. In Harry Potter ad un certo punto è citato Nicholas Flamel; è proprio uno di quelli che si narra che la pietra filosofale l'abbia fatta. Uno degli elementi a favore di questo medico francese è che si dice che non l'abbia fatta da solo, ma con la moglie; è infatti necessario..."

E qui krueger abbassò la voce e la guardò negli occhi.

"essere in due, un maschio e una femmina, per poterlo fare".

A Krueger, mentre parlava, gli vennero in mente le visioni; quella specie di danza, i fiori, la solea. Gli apparvero gli occhi nocciola, e il sentimento forte che Minah fosse simile a quella donna della visione; per questo abbassò la voce e la guardò negli occhi, ma si rese subito conto che il gesto poteva essere equivocato.

Minah, se non l'avesse onosciuto, avrebbe pensato - "ma guarda che marpione questo" - ed invece rimase colpita da quella frase che lo metteva in gioco con lei in modo così diretto.

"Ma naturalmente sono leggende," - proseguì lui - " non supportate da fatti concreti."

"Mi prendi in giro... Fammi un esempio di un testo che spieghi come fare la pietra filosofale"

"Raimondo Lullo, Incipit tractatus aurora consurgens, c'è uno schema ad albero che spiega tutto. E' un testo che si pensava fosse scritto da san Tommaso D'Acquino, che pure aveva interessi nell'alchimia"

"E c'è la ricetta?"

"Certo!"

"E gli ingredienti si trovano"

"Si, tutti. Ad esempio c'è l'urina di un ragazzo incorrotto, facile da trovare."

"Cosa? La pipì di un ragazzino?"

"Esatto. E' un concetto molto diffuso nell'alchimia, sia l'urina che il sudore vengono spesso indicati come ingredienti, così come altri liquidi prodotti dal corpo. Particolare valore ha l'urina di un ragazzo 'incorrotto', cioè che non abbia raggiunto la pubertà. Ricorda quello che dicevamo ieri: è importante non la sostanza in sè, ma lo stato d'animo che genera; ci sono cose che cambiano cose..."

"...e cose che cambiano le persone, si, ricordo. E la pipì di un ragazzino cambia le persone?"

"Ha un valore, quello dell'estrazione di un qualcosa da una giovane vita che si appresta a maturare; spesso nell'alchimia queste 'estrazioni' sono importanti, perchè si vuole estrarre dalle 'cose' il loro spirito vitale, isolarlo per riutilizzarlo, estrarre l'anima dalle cose per poi 'applicarla' a piacere, per esempio trasformando i metalli vili in oro."

"Ma mai nessuno c'è riuscito ad estrarre l'anima dalle cose?"

"Certo! Uno dei primi processi alchemici è stato quello della distillazione. Sai come funziona: scaldando qualcosa di organico in un recipiente si generano dei vapori, quella è l'"anima" estratta dalla "cosa" se raffreddi quei vapori e li fai condensare hai ottenuto l'anima in forma liquida."

"Ehi! Ma quella è la distillazione,la procedura per produrre le grappe e i whisky! e i profumi!"

"Ora capisci perchè vengono anche chiamati 'spirito', vero? E perchè questo estratto poteva essere chiamato anche Elisir, o quintessenza. E perchè somministrandolo agli ammalati se ne avessero effetti... a volte notevoli!"

"Krueger, sei forte! Ma altro che alchimia... questa è chimica."

"Ricordati, l'uomo era diverso, allora; i fenomeni fisici incidevano diveramente sulle persone, il cui inconscio era particolarmente sensibile e ricettivo, non blindato e inaccessibile come oggi"

"... ci sono cose che cambiano le persone..."

"Brava!"

"Grazie! Ma hai anche parlato di Tommaso d'Acquino... non mi dirai che era un alchimista!"

Krueger la guardò sospettoso.

"Lo conosci? Perchè me lo chiedi?"

"Ma è un dottore della Chiesa! Non un alchimista! Uno dei fondatori della religione cattolica!"

Krueger si chiedeva fin dove poteva spingersi con quella ragazza, e soprattutto quanto poteva farlo con sè stesso.

"Minah... a volte le cose possono essere diverse da come sembrano. Anche in questo caso.

Te lo dirò brevemente: alla fine della vita Tommaso d'Acquino ebbe visioni che lo sconvolsero.

Lo presero per pazzo; solo il suo monaco segretario, Reginaldo, gli stette vicino e trascrisse ciò che diceva; da questo è nato l'Aurora Consurgens, uno dei testi alchemici più importanti.

Non era pazzo; semplicemente l'inconscio aveva fatto irruzione in lui, rivelandogli verità troppo grandi per poterle sopportare. L'unica cosa che disse a questo proposito è stata che di fronte a queste visioni, a queste rivelazioni che aveva ricevuto, tutte le cose che aveva scritto sulla Chiesa, cioè tutto ciò per cui lo riconosciamo come padre della Chiesa, 'palea sunt', sono paglia."

"Kruger! ma... ma sono cose sconvolgenti! E come fai tu a saperle! E perchè la Chiesa non le dice?"

Kruger abbassò gli occhi, e pensò alla risposta, e si interrogò: perchè conosco queste cose? Tornò indietro nel tempo, al periodo in cui non si fingeva ancora prete.

"Perchè ho il cuore spezzato."

"Cosa? Che dici! Perchè? Da chi?"

Minah intuiva qualcosa della difficoltà di Krueger nel parlare. Le auto giravano intorno, la gente chiacchierava, i rumori risuonavano, ma era come se si fosse formata una bolla di silenzio intorno a loro. Sentiva distintamente il suo respiro, un po' accelerato, prima che rispondesse:

"E' un detto antico, sono le indicazioni per diventare alchimista: studia, studia, studia e ancora studia. Poi spezza i libri, prima che i libri ti spezzino il cuore. Io non sono stato abbastanza attento, ed il mio cuore si è spezzato. Per questo so queste cose."

Minah lo guardava con occhi grandi, grata di essere proprio lei a ricevere quelle confidenze così personali.

"E... cosa vuol dire che il cuore si spezza?"

"Che possono capitare cose... brutte, negative, difficili da sopportare, pesanti, un'iradiddio."

Lo disse veloce, tutto insieme. Perchè sapeva che a qualcuno avrebbe dovuto pur dirlo.

"L'ira di dio? Cioè? E' una cosa alchemica?"

Lui raccolse le forze, e parlò.

"Si Minah, è un qualcosa che può centrare con l'alchimia. Attraverso ad essa si scatenano forze potenti; come sappiamo questo non è un problema, ai giorni nostri, perchè non abbiamo più la forza di gestire il nostro inconscio, che se ne sta bene tappato in fondo a noi. Un tempo utilizzando l'alchimia si poteva invece dare forza a queste potenze; l'immaginario dei draghi che sputano fuoco te ne può dare un'idea. Come in ogni cosa della vita esiste il positivo e negativo; così come l'alchimia può essere usata per creare la pietra filosofale allo stesso modo può essere usata... male diciamo, per averne vantaggi materiali per esempio, o senza avere la necessaria purezza di cuore pur possedendo una grande intelligenza. In questo caso, quando le cose vanno storte, si scatena.. l'iradiddio. Quando c'è grande intelligenza e poco cuore, può succedere."

"Urca, che spavento. Per fortuna è una cosa del passato"

"Ho paura di no"

"Come sarebbe a dire? Krueger! L'hai appena detto! Non abbiamo più la predisposizione per l'alchimia! Non può più succedere!"

Ora non poteva più tirarsi indietro.

"E' successo. Non so come, ma qualcuno, oggi lo può fare."

"Come fai a saperlo?"

"Hai presente il camion trovato nel campo a Pianezza?"

"Il camion? Ma cosa.... ma cosa c'entra? Che camion? Ah quello di Pianezza... che non sanno cosa l'abbia messo lì.. quello?"

"Sì quello"

"Vuoi dirmi che con un abbracadabra l'hanno spostato?"

"Magari, Minah, magari. No, è più complesso."

"Kruger, santiddio santocielo e tuttisanti. O tu sei pazzo, o tu sei dio."

"Tutte'e due no?"

Minah non resisteva più; si sentiva eccessivamente provata e sull'orlo di una crisi di nervi. L'uomo che aveva davanti la stava portando su intensità di pensiero mai provate; ma stava tremando dalla tensione.

"Kruger! Smettila! Mi stai facendo impazzire! Come pensi che possa sopportare quello che dici stando... tranquilla?"

Piano, molto piano.

Lentamente.

La mano di Krueger si mosse lentamente.

Partì dal gembo su cui era appoggiata, si mosse lungo la coscia, si alzò sopra al tavolo.

Si posò leggera sulla mano di lei.

Che tremava ancora.

Lei vide i suoi occhi umidi, intuì il turbine che girava sulla testa di quell'uomo, era certa di non sapere quasi nulla di lui, era certa che voleva sapere quasi tutto di quell'uomo.

Sentire la mano di Krueger coprire la sua le dava una sensazione di tranquilla pienezza, una serenità dolce e mai provata, la sensazione che con quegli occhi sarebbe andata ovunque.

Lui sentiva gli occhi umidi, sapeva che lei li stava osservando, sapeva che stava intuendo qualcosa di lui, le disse piano:

"Ti porterò lontano, Minah."

Lei non aspetto neanche un istante, la bocca portò nell'aria ciò che la mente non aveva neanche fatto tempo di pensare:

"Con te, ovunque."

"Buongiorno Kruger!" Il preside Guerrini... di nuovo dall'altra parte della strada, li aveva sorpresi così, con le mani ancora una sull'altra.

Entrambi la ritirarono, ma così velocemente da far cadere una tazzina; Minah distolse lo sguardo, Krueger salutò imbarazzato.

"Ci vediamo più tardi Krueger? Dobbiamo parlare!"

Krueger fece di sì con la testa e lo salutò con un ceno della mano.

Ora il viso di Minah era cambiato; non era più sorridente e sbarazzino, ma risoluto, intrigante, curioso.

"Ora non ti alzi più da lì prima di avermi spiegato il camion"

"Oh, non è difficile, Minah, a livello logico, molto più difficile accettare che possa essere successo.

Ti ho detto che a volte nelle operazioni alchemiche, nella preparazione dell'opera, qualcosa va storto; quasi sempre per incapacità, impreparazione o negligenza dell'artifex, cioè dell'alchimista.

L'ultima volta della quale ho notizie certe è del 1491 ed è avvenuta a Roma, ma l'effetto è caduto su Torino."

"Vuoi dire che una cosa fatta a Roma si è ripercossa su Torino? A quei tempi!"

"Esatto, sì, istantaneamente. Tu sai che allora il potere era tutto in mano alla Chiesa; l'uomo più potente del mondo, il papa, a quei tempi era Sisto IV, che s'era distinto anche per opere.. non molto edificanti. Pur di fare soldi per la Chiesa che aveva le finanza disastrate, concedette alle prostitute la liceità del loro lavoro, purchè comprassero il perdono con una tassa, concesse ai parroci di avere una o più concubine, purchè pagassero una tassa, e s'era inventato anche il massimo del marketing: pagando una tassa, a lui ovviamente, si poteva far passare l'anima di un caro defunto dal purgatorio al paradiso. Un mercato di morti inesauribile per un prodotto dal costo di produzione nullo. Un genio del mercato, i fondamentalisti finanziari di oggi se lo sognano uno così."

"Non divagare."

"Sisto IV aveva tra i suoi protetti il Cardinale Domenico della Rovere; era vescovo di Torino, ma viveva quasi sempre a Roma."

"Quello che è scritto sul Duomo?"

"Brava, proprio lui. Proprio per fare il duomo doveva abbattere le tre chiese che c'erano lì dove ora appare. C'erano in sequenza: la torre campanaria fatta dal Compeys, il vescovo precedente, la chiesa del Solutore, quella di San Giovanni, e quella di Santa Maria. Dietro ancora il Chiostro del Paradiso e la Sapienza, di cui ti parlerò un'altra volta.

Lui voleva fare il Duomo Nuovo abbattendo ogni chiesa; ma non tutti erano d'accordo, molti sostenevano che sarebbe stato meglio salvare la cosidetta insula episcopalis, questa zona di Torino fantastica con le tre chiese addossate ed intercomunicanti. Sì, erano vetuste e da risistemare; ma con tutti i soldi spesi per il Duomo Nuovo si sarebbe sicuramente riusciti a recuperarle. Facendo così però... il cardinale non ne avrebbe avuto un ritorno di immagine, invece abbattendo tutto, facendo un duomo alla nuova moda del Rinascimento, scrivendoci sopra ben grande il suo nome tutti i posteri l'avrebbero riconosciuto; infatti così è stato."

"Mi sa che non ti stia simpatico... vai avanti, devi arrivare al camion!"

"Qunado si procede all'opus, all'opera alchemica, c'è un momento molto delicato: quando si hanno tutti gli ingredienti e ci si appresta ad ottenere la pietra filosofale. La sequenza esatta è sottolineata da colori che si presentano in modo particolare, tanto che il momento è chiamato 'cauda pavonis', proprio perchè si dispongono come nella coda di un pavone. In quel momento la potenza è concentrata e tutto dipende dalla purezza d'animo dell'artifex. Se in quel momento i pensieri invece che essere puri sono rivolti verso qualcos'altro.. si possono scatenare disastri. Nel caso di Sisto IV e del cardinale quello che si voleva era il crollo delle chiese: e proprio questo accadde. In quella notte si racconta che le canne dell'organo che c'era tra le chiese del Solutore e di san Giovanni si misero ad urlare, e crollò la torre campanaria, facendo cadere le campane e uccidendo delle persone; questo diede lo spunto per definire pericolante il complesso e dare il via all'abbattimento per la costruzione del Duomo Nuovo."

"Quindi tu spostieni che il papa e il cardinale conoscevano l'alchimia? Conoscevano le sostanze necessarie, e le usavano per fare quella che chiami 'opera'? E che il desiderio del cardinale di abbattere tutto per fare una chiesa nuova si è abbattuto su Torino grazie ad una specie di concupiscenza... alchemica?"

Quella ragazza aveva condensato in poche parole anni di studi.

"Si, Minah, potrebbe essere così, lo penso proprio. Operarono in questo modo e l'effetto fu fulmineo; la modalità con cui si trasmise da Roma a Torino immediatamente è quello che oggi è conosciuto come 'entaglement quantistico', lo conosci?"

"Krueger.. abbi pietà di me..."

"E' un effetto studiato dalla meccanica quantistica, apparentemente paradossale; se si prendono due corpi che sono stati a contatto (due cose, o due persone) e poi li si separa anche di migliaia di km, può succedere che l'azione effettuata su un oggetto si ripercuota sull'altro, nello stesso momento e indipendentemente dalla distanza. L'alchimia mette in moto forze enormi, pescandole dall'inconscio collettivo, e le può scagliare a migliaia di km di distanza in questo modo, spostando masse grandi. A Torino c'era qualcosa che ha funzionato come bersaglio per la potenza scagliata da Roma."

"Che è quello successo col camion."

"Brava; anche se non capisco ancora quale sia stato il bersaglio usato. E, inoltre, si sente un profumo particolare, quando capita: odore di carta e incenso."

"Ma.. era quello che sentivo quando l'organo mi parlava?"

"Si Minah, si. Era il profumo che sentivi quando ti parlavo."

  

C'è la pagina Facebook di Krueger, e il romanzo si può approfondire e comprare su krueger.losero.net.

Evergreens Ever Logic berthed unusually on the APM Pier 400 in the Port of Los Angeles 29th March 2015 whilst three Maersk G class are anchored out in the bay!

instagram: www.instagram.com/justhinmaravilla/

facebook: web.facebook.com/juxtapoz2

Logic performs at the 2019 Preakness Infield Fest on May 19, 2019

Photo: Andy Jones

 

When working with nodes it can be helpful to use a tree structure to organize your thoughts. But it's important to remember that all systems have complexity and multiple possible relationships, and your tree is only one of many possible trees.

 

This cat is caught in a logic tree of his own construction. Don't let this happen to you!

 

Thank you to Matthias Melcher for the thought.

Logic performs at the 2019 Preakness Infield Fest on May 19, 2019

Photo: Andy Jones

Photo by Colin Young-Wolff/Riot Games.

A mirror with built-in lighting and a full-surface washbasin with a matching furniture unit are new additions to the Logic range. The model in the picture here is 120 cm wide, which provides plenty of storage space and generous surfaces for candles, an ice bucket and a refreshing drink, for example.

Find more on www.gustavsberg.com

  

View On Black

 

See where this picture was taken. [?]

What could be more fun than picking flower petals and moving them to the trash cans?

I have one of those USB-based logic analyzers that needs Windows software to make it go. I had been doing Windows-in-a-window with VMWare, but it's kind of a pain. If I were to use a real Windows laptop, I'd need a shelf or something for it. I wanted it above my oscilloscope, which meant a laptop stand that was taller and wider than most. Time for the laser cutter!

 

This is made from 1/4" (0.20" really) cheapie plywood. I think I paid $10 for a 4'x8' sheet of it.

 

todbot.com/blog/2009/06/16/laser-cut-laptop-stand-and-osc...

I recently visited a medium or a tarot card reader.. yes, I admit it. Before we pass judgement on what I do with my personal time and my thoughts on conspiracy theories.. I also have to admit that I believe in the afterlife, ghosts, guides, and other things that are not scientifically proven facts. Which brings me to the idea of "Fuzzy Logic". Fuzzy Logic was explained to me as "a branch of logic designed to allow degrees of imprecision in reasoning and knowledge" .. let's say intuition - that sense you get about something... you just know it, or feel it in your core - no proof but to you it is logical. Those moments when you reach for the phone because you 'know' it is your mother calling, or you get antsy sitting at home and have a strong desire to get in your car to go for a drive because it feels like you need to only to find as you are traveling with no destination in mind you run into your partner who's car broke down and no cell service, or that sense that you are in the hands of 'god' in a time of need when you cannot do it on your own. None of it makes sense, none of it is logical, and perhaps it should be called 'faith'. Having some faith that we are more than our senses tells us, that we are more than the skin and bones that hold us together, and that we are more than our small world we live in.

 

The image is about wanting to believe in all that is unseen, but still clinging to those things that can be proven and not trusting....our own fuzzy logic.

Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013

 

Photos by Kyle Rober

www.Fractaltribe.net

www.facebook.com/Fractaltribe

 

The Ritual: The Xperience 2014:

www.facebook.com/events/415497831904495/

 

Links:

The Ritual 2013:

www.facebook.com/events/431476333570283

 

Logic Vision Collective:

www.logicvisioncollective.com/

www.facebook.com/groups/logicvisionrecs

 

------------------------------------

 

"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))

 

jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...

 

------------------------------------

 

The DIGITAL ALCHEMISTS are proud to present:

 

THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.

Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

PROLOGUE :

 

Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.

 

We believe in the healing potential of intentional gatherings.

We have dedicated our lives for facilitating these opportunities for a collective evolution.

 

Our mission : to create the perfect transformation into Peace, Unity and Global Respect...

 

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4 days Open-Air Festival

International Music acts

International Deco concept

 

More info coming soon...

Pono Pono

 

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Logic Vision Collective est fier de vous présenter :

 

La Réunion des Tribus 2013

 

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Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

PROLOGUE :

 

Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.

 

Nous croyons aux guérisons et au potentiel des intentions.

Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.

 

Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

4 Jours de Festival en Plein-Air

Artistes internationaux

Concept Déco international

 

Bientôt d'autres nouvelles...

O Pono Pono

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

International Artists:

 

✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia

 

✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance

 

✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance

 

✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub

 

✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance

 

✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance

 

✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia

 

✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance

 

✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance

 

✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic

 

✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic

 

✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending

 

✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog

 

✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive

 

✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic

 

✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance

 

✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance

 

✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy

 

:::::::::::::::::::::::

 

Local Heros

 

Live-Acts:

 

✔ 1,618 live! (Montreal) ::: Progressive Psytrance

 

✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive

 

✔ AURA live! (Aura Music - Montreal) ::: Psydub

 

✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism

 

✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal

 

✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque

 

✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal

 

✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark

 

✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi

 

✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance

 

✔ UBER live! (Indy - Montreal) ::: Progressive

 

✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance

 

✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque

 

::::::::::::::::::::::::::::

 

DJsets

  

✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog

 

✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub

 

✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance

 

✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog

 

✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu

 

✔ BENDALA (Space Gathering - Montreal)

 

✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves

 

✔ DIRTY HARRY (St Jerome) ::: Zenonesque

 

✔ EFFLUX (Montreal) ::: DMTechno

 

✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance

 

✔ FIELD EQUATION (Montreal) ::: Chillstep

 

✔ G-PI (Techno Agricole - Montreal) ::: Psyprog

 

✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive

 

✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan

 

✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance

 

✔ KISS of VENUS (New York) ::: Psychedelic Techno

 

✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub

 

✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance

 

✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance

 

✔ MYTHROPHAN (Toronto) ::: Progressive

 

✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass

 

✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance

 

✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance

 

✔ NIKOCH (Montreal) ::: Native Tribal Trance

 

✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive

 

✔ NISMO (Cyberloft - Montreal) ::: Progressive

 

✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub

 

✔ OGICHIDA (Organic Family - Toronto) ::: Forest

 

✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech

 

✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance

 

✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance

 

✔ PSYBERTH (Openmind Festival - Can) ::: Psybass

 

✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance

 

✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive

 

✔ RON JON (Logic Vision - Ottawa) ::: Psytrance

 

✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub

 

✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog

 

✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy

 

✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass

 

✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance

 

✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy

 

✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS

 

✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance

 

✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog

 

✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive

 

::::::::

 

Deco Artists:

 

✔ WIZART VISIONS (USA) ::: Decoration

WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.

www.facebook.com/pages/WizArt-Visions/444814318878170

 

✔ ORGANIC FAMILY (CAN) ::: DECO

 

✔ CESAR AR (CAN) ::: Visionnary ARt

 

✔ MYRKO (CAN) ::: Visionnary ARt

  

:::::::::::::::::::::::::::::::::::::::::::::::

 

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

 

SERVICES

----------------------------------------

 

- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant

- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai

- Plage et baignade sur le site / Beach and swimming on the site

- Toilettes / WC

- Camping gratuit / Free camping

- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.

  

REGLEMENT / REGULATION

---------------------------------------------

 

- Respectez l’environnement / Respect the environment

- Aucun objet en verre sur le site / No glass on the site

- Les feux sont interdits / Fires are forbidden

- Baignade interdite la nuit / No swimming at night

- Aucun animal domestique sur le site / Pets are not allowed on the site

- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.

 

MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...

THANK YOU FOR RESPECTING THOSE RULES ! ...

  

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

  

The INDIAN MARKET !

 

The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.

 

Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs

 

please email us at: theritual.festival@gmail.com

  

☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯

  

。ॐ。*。ॐ。

ॐ。＼｜／。ॐ

--- PEACE ---

ॐ。／｜＼。ॐ

。ॐ。*。ॐ

 

With open minds and adventurous souls, there will always be sounds to move to and beats to feel.

We hope you are as excited as we are !

 

Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.

Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !

 

Info Contact : theritual.festival@gmail.com

  

COLLABORATORS & SPONSORS

 

Digital-Audio-Records-Kompany

Cybeloft

Kamino records

Tantruum recs

MAIA Brazil records

Osom records

Glitchy Tonic records

Organic FamilyThe DIgital ALchemists

 

:::::::::::::::::::::::::::::::::::::::::::::::::

Timetables

 

Galactic Portal:

 

Vendredi / Friday

 

18:00 XONICA ::: OPENING Ceremony

19:00 Krikkitt djset :: Psychedelic

20:30 Pyrotrich djset ::: Forest Psychedelic Trance

22:00 Mohinia djset ::: Psychedelic

23:30 Shango & Nainita ::: Forest Psy

 

Samedi / Saturday

 

01:00 CAUSAI (Vancouver) ::: Psytrance

02:30 PREGAKORE (Portugal) ::: Psychedelic

04:00 VENSKER Djset! (USA) ::: Psychedelic

05:30 AXIS MUNDI live! (USA) ::: Psychedelic

07:00 Virtual Light djset ::: Morning Psy

08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky

10:00 SPACEY KOALA live :::Funky Psytrance

11:00 MISSKEY djset! (UK) ::: Progressive Trance

12:30 ATHERIA live ! (Toronto) ::: Psytrance

01:30 Dr Strangefunk live! ::: Zenonesque

02:30 Zentrix live!::: Zenonesque

03:30 Ygriega ::: Progressive Trance

05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive

06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque

07:30 FRACTAL PHONO (USA) ::: Zenonesque

09:00 LUNECELL live! (USA) ::: Psychedelic

10:30 Otkun (Montreal) ::: Psychedelic Moon

 

Dimanche / Sunday

 

00:00 KASHYYYK live! (MEXICO) ::: Hitech

03:00 INSECTOR live! (HUNGARY) ::: Hitech

06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic

08:30 BRANDON ADAMS (USA) :: Full Power

10:00 MANIPULATION live (USA) ::: Morning

11:30 HARDKOR NATE djset (USA) ::: Psytrance

13:00 ASCENTION liveset (USA) ::: Psytrance

14:00 A.C. LYON live! (USA) ::: Psychedelic

15:30 Dugong live! ::: Dark Tribal Minimalism

17:00 Florian live! ::: Dark Minimal

18:00 Der Denker ::: Dark Minimal

20:00 Anima vs Nt Shanti ::: Psygressive

21:30 Akshobhya ::: Psychedelic

23:00 Plan B ::: Psychedelic

 

Lundi / Monday

 

00:30 DEFTSPANK live (Venezuela) ::: Psychedelic

01:30 Ogichida vs Banjankari::: Forest Psytrance

03:00 PSYKOVSKY live ! (Russia)::: Psychedelic

07:30 DOG OF TEARS live! (USA) ::: Psychedelic

09:30 NAAZ ::: Psychedelic

11:00 CODE-AMA ::: Psychedelic

12:30 RONJON ::: Psychedelic

14:00 OTEZUKA ::: Psyprog

16:00 The DIGITAL ALCHEMISTS ::: CLOSING

 

Dream Catcher Portal

 

Friday / Vendredi:

08:00 Zaga (Toronto) ::: Dark Minimal

10:00 MAJESTER (British COlumbia) ::

 

Saturday / Samedi:

 

00:00 Elvira ::: Hitech

01:30 Koaluna ::: forestpsy

03:00 Play Different live! (Toronto) ::: Psytrance

04:30 Synthetik ::: psytrance

06:00 MACHINE ELF (Toronto) ::: Psy trance

08:00 MYTHROPHAN (Toronto) ::: Progressive Trance

10:00 TRANCISCO (Toronto) ::: Progressive Psytrance

12:00 Glitch (Quebec) :: Progressive

01:30 Red ELectric Earth ::: Progresive

03:00 G-Pi ::: Minimal

04:30 Uber live! ::: Progressive

06:00 Nismo & Franky-Owl::: Progressive

07:30 Alakazoo ::: Psyprog

09:00 SARA DOPSTAR (Toronto) ::: Progressive

11:00 1,618 live! :: Psytech

 

Sunday / Dimanche

 

00:30 ZENKAI ::: Psytrance

02h30 SPOONANI vs ZENTRIX ::: Progressive

04:00 FLICKER LIGHT (Brazil) ::: Progressive

05:30 Efflux ::: Minimal

07:00 Dirty Harry ::: Zenonesque

08:30 Joel Mac Duff ::: Progressive

10:30 AURA live! (Portugal) ::: Psybient

12:00 KHALIL ::: Gypsy PsyDub

02:00 KATNIP (British Columbia) ::: Psybreaks

03:30 NIKOLI (Ottawa) ::: Temple Step

05:00 SOURSWEET live!::: IDM

07:00 LUNECELL djset! ::: Temple Step

09:00 OBSIDIAN (Ottawa) ::: Temple Step

 

Monday / Lundi

 

00:00 SPOONANI (Quebec) ::: DnB

01:30 Pranapapa ::: Progressive Dub

03:00 Psyberth djset :: Progressive Dub

04:30 KISSofVenus (USA) ::: Minimalism

06:00 RED ELECTRICH ::: Zenonesque

07:30 Transurfer ::: Progressive

09:00 Sabi Non STop ::: Psydub

10:30 Bendala ::: Psybass

12:00 MAYA EFF ::: PsyBass

 

END OF THE VORTEX _/\_ AHO

 

The control logic board from the Teac FD55FR floppy disk drive.

I've never seen this country looking so good! There's tall grass, new growth — then there's this.

 

This poor tree root — growing from that larger, leaning tree — is on the surface about 10m from its source. They don't grow like this! During European occupation of this land, the soil through which this root grew has gone; been lost.

 

Soils over the rocks of the Pittman Formation are so poor, optimism must have exceeded the good sense of just leaving them alone. Instead, this land was stocked with hard-hoofed sheep. The result is history!

 

Look closely. This ground is not bare. Binding what's left is a biological crust. Magically, it's hanging on to the soil and keeping the mineral matter in place. Past sheet erosion on this gentle slope stripped the soil away. Nature tries to hang on. Elsewhere, there's grasses, shrubs and so on. Clearly there are layers; from the ground up.

 

Over time, this land has been fenced in, de-stocked, and feral pests subdued if not entirely eliminated. Native species, in a selective way have been retained, introduced, and manipulated. The present faunal assemblage is unnatural!

 

There are priorities. The poor state of the soil — never much chop to begin with — has directed attention to environmental engineers. Inside the exclusion fences, there are more, smaller fenced enclosures. This place is fundamentally a big experiment. There are eastern grey kangaroos, red-necked and black wallabies — fabulously efficient breeders. Boundary fences prevent their population from dispersing. Those which aren't controlled by culling eat down the poor native grasses — almost as bad as sheep! But those internal enclosures, cleared of the damaging populations of macropods, grow tall with grasses, new shrubs and trees. The science is in: control the grazing creatures whether the cuddly brigade like it, or not.

 

Introductions included bettongs for their lifestyle of digging little pits. Those pits act as little compost heaps and water storages. Around about fungi, ants and termites feed on whatever they can. The bettongs dig for fungi, the echidnas excavate the ant and termite nests to eat their residents and everyone adds their dung to the soil surface. Is it working? Not enough that you'd notice. But the logic is sound; time is the secret sauce.

 

Preying on the bettongs are the introduced quolls. Wait! What? If bettongs are good why are there no cats and foxes to eat them, but there are quolls? Because, bettongs breed like, err, rabbits that they have sort of replaced. There are still rabbits here as the signs about warren fumigation inform. Like the need for macropod population control, too much of anything is a bad thing. Anyway, quoll poop is another input to nutrient creation and recycling.

 

Conspicuous in their absence are those natural bulldozers — wombats — and the wild dog — dingo, warrigal, call it what you will. Every November, volunteers patrol the boundary fences. This is when the long-necked tortoises try to barge their way through the landscape. Piled up against the fences and unable to breach them, they need a nudge to get on their way. If a wombat tried that, then there'd be breaches to the predator-proof fencing; everywhere.

 

Now, the dog question! Historically, apart from humans, the only placental mammals in the entire continent were bats, rats and mice. There's no contesting that, like humans, the dingo has been here long enough to become part of the ecology. But it hasn't been here long at all; perhaps just a few millennia; certainly a miniscule part of the time since humans first arrived. It's very difficult under those circumstances to consider them as a native carnivore; not in the way you'd consider the thylacine before them. Indeed, the reproductive efficiency of the placental dingo has been implicated as a contributor to the extinction of the marsupial thylacine on the mainland. That should be enough news to explain their absence from an ecological experiment with hardened boundaries.

 

There you have it: this piece of dirt was rooted in the past, and is now being repaired in the present…

  

 

My logic analyser arrived today from Saleae and now I can finally see what's actually going on with the camera. It hooks up really easily and the software's great, though unfortunately the linux version isn't finished yet. Nevertheless I was able to get some great traces of what the camera's sending and it should hopefully be enough to tweak my code into reading the image properly!

Two somewhat contradictory statements on the same building.

 

I'm pretty certain Christian theologicians have some clever answer to it, but it seems to me that death being defined as the *permanent* cessation of life is *logically* incompatible with returning from the state of being dead. So either Christ did not die by this definition, or he did something logically impossible. In which case a square circle could just as well have taken away our sins. Simply deanimating and reanimating - while definitely impressive - doesn't quite cut it when compared to being truly dead (since any decade now we are likely going to see cryonics patients repeat the trick, and we already have small animal and tissue models that do it).

 

Another interesting thing is of course the immortalist position stated here. Many bioconservative arguments against life extension ought to apply to heaven too. Stating that the particular properties of heaven preclude i.e. lack of meaning and achievement implies that such problems might be solvable in the living world too, turning it into a completely empirical question.

 

Worlds Group Stages Week 1 Day 2 - Le Dock Pullman