Title page of the first part of 18th-century Latin edition of the anatomical works of William Harvey (1578-1657) containing his famous 'De Motu Cordis', or 'Anatomical Treatise on the Movement of the Heart and Blood in Animals' and 'On Generation', published in Leiden by Johannes van Kerckhem, 1737.

 

Harvey's De Motu Cordis was originally published in 1628 as a tract of 72 pages, and it demonstrated for the first time the circulation of the blood, solving the puzzle of the physiology of the blood vessels. Harvey conceived his idea of how the circulation of the entire blood system might work from his knowledge of previous discoveries, and then demonstrated it by carrying out an extensive series of dissections and experiments. His demonstration of scientific research method: 'the first record of a complete experimental biological investigation' makes this one of the most important books ever published.

 

Part of the medical collection in Special Collections & Archives, SPEC Y73.2.107. With inscription on the volume titlepage, 'De Juliao Fernandez da Sylva' and signature of 'W.H.B. Ross'; signature of 'W.H.B. Ross' also on the titlepage of 'On Generation'.Medical Education

 

Book.

Detail from plate 10 (ribs) from Bernhard Siegfried Albinus, Tables of the skeleton and muscles of the human body. (London : printed by H. Woodfall for John and Paul Knapton, 1749).

 

Large folio plate engraved by Jean-Baptiste Scotin (b. 1678), with engraving and diagrams of the head, neck, mouth and ribcage.

 

The German anatomist Bernhard Siegfried Albinus (1697-1770) studied in Leiden and Paris, and taught surgery and anatomy in Leiden. He made studies of the bones and muscles in particular, and made pioneering attempts to improve the accuracy of anatomical illustration. He also edited the works of Andreas Vesalius.

 

His large-scale Tabulae sceleti et musculorum corporis humani (Leiden, 1747) was published largely at his own expense; the artist and engraver Jan Wandelaar (1690-1759) added the background scenes.The London 1749 edition gives an English translation of the original Latin text.

 

SPEC Anatomy 27(3) from the Anatomical atlases collection, Special Collections and Archives, the University of Liverpool Library (plates only).

 

Images from Medical Archive collections at University of Liverpool

Plate 3 (skeleton) from Bernhard Siegfried Albinus, Tables of the skeleton and muscles of the human body. (London: printed by H. Woodfall for John and Paul Knapton, 1749).

 

Diagram lettered in English and Greek to provide a key to the facing plate of the skeleton engraved by Charles Grignion (1717-1810).

 

The German anatomist Bernhard Siegfried Albinus (1697-1770) studied in Leiden and Paris, and taught surgery and anatomy in Leiden. He made studies of the bones and muscles in particular, and made pioneering attempts to improve the accuracy of anatomical illustration. He also edited the works of Andreas Vesalius.

 

His large-scale Tabulae sceleti et musculorum corporis humani (Leiden, 1747) was published largely at his own expense; the artist and engraver Jan Wandelaar (1690-1759) added the background scenes. The London 1749 edition gives an English translation of the original Latin text.

 

SPEC Anatomy 27(3) from the Anatomical atlases collection, Special Collections and Archives, the University of Liverpool Library (plates only).

 

Images from Medical Archive collections at University of Liverpool.

Portrait of John Gerard holding potato flowers from engraved titlepage of the second edition (London, 1633) of The Herbal by John Gerard, enlarged and amended by Thomas Johnson. Engraved by John Payne, the woodcuts include cornucopia, the Greek botanists Theophrastus and Discorides, the Roman goddesses Ceres and Pomona, and a portrait of Gerard.

 

John Gerard (1545-1607), born in Nantwich, was a barber-surgeon and chief gardener to Lord Burghley. The first edition (1597) of the text known as Gerard's Herball was in fact commissioned by the printer John Norton, as a new translation of a 1569 herbal by Dodoens, with woodcuts rented from a continental publisher. Gerard was brought in to finish the work when the first author died, and was accused of plagiarism for failing to acknowledge Dodoens as a source.

 

John Norton's widow commissioned a new edition after Gerard's death to forestall the rival publication of a new herbal by John Parkinson. Thomas Johnson, an apothecary and botanist, quickly produced this scholarly corrected and enlarged second edition in 1633. The portrait of Gerard on the titlepage appears to show him holding potato flowers, and the illustration of the 'Virginian potato' may be the first published image of potatoes in England.

 

The Appendices include a list of English names "from the mouthes of plaine and simple country people" and a 'Table of Vertues', for example "Good against the Plague". The detailed description of each plant includes 'The Vertue' and 'The Danger'.

 

This copy (SPEC L20.2) has the bookplate of John Manning, MD, and the signature of Thomas Deverson.

 

Images from Medical Archive collections at University of Liverpool

A revolution in phenomic is taking place, using non-invasive technologies based on spectral reflectance from plant tissue.

Photo by Alfonso Cortés/CIMMYT.

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

Vintage fish illustrations from Ichtyologie, ou, Histoire naturelle, générale et particulière des poissons (1785–1797) by Marcus Elieser Bloch (1723–1799), the German physician and naturalist. Bloch was the most influential ichthyologist of the 18th century who consistently devoted himself to natural objects, anatomy, and physiology. This collection showcases his devotion to ichthyology, illustrating more than 400 various types of fish. We have digitally enhanced these richly colored public domain illustrations in high-resolution printable quality. Free to download under the CC0 license.

Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/938140/ichtyologie-ou-histoire-naturelle-generale-et-particuliere-des-poissons?sort=curated&mode=shop&page=1

 

Engraved illustration of the bones of the upper body, with musculature and vessels added in red ink, from unidentified anatomical work, pasted into: Anatomy improv'd and illustrated with regard to the uses thereof in designing. (London: John Senex, 1723).

 

This volume of engraved plates and text was originally published in Rome in 1691, and was re-engraved and republished in London in 1723. The dissections were done for the Italian edition by Bernardino Genga, Professor of Anatomy and Surgery and physician in the hospital of San Spirito in Rome, and the explanatory text by the papal physician Giovanni Maria Lancisi (1654-1720). The book, designed for artists rather than medical students, includes plates of famous classical statues from Rome and is described as 'A work of great use to painters, sculptors, statuaries and all others studious in the noble arts of design'.

 

The English edition is dedicated by the publisher to Richard Mead, FRCP, FRS (1673-1754), 'a favourer of the politer arts'.

 

Part of the Anatomical Atlases in Special Collections & Archives, SPEC Anatomy 6. Cropped inscription on the titlepage, 'Tho. Dixon's Book 1799' and the pencilled name' Miss Annie Jackson, 19 North Street' on the front flyleaf, with pencil measurements possibly from a dissected skeleton on the back of the last (index) page.

 

The volume has had some plates cut out, but has also been grangerised with later anatomical illustrations pasted in

Medical Education

 

Image of bones/skeleton

Detail from diagram to accompany plate 3 (skeleton) from Bernhard Siegfried Albinus, Tables of the skeleton and muscles of the human body. (London : printed by H. Woodfall for John and Paul Knapton, 1749).

 

Large folio plate engraved by Simon François Ravenet (1706?–1774).

 

The German anatomist Bernhard Siegfried Albinus (1697-1770) studied in Leiden and Paris, and taught surgery and anatomy in Leiden. He made studies of the bones and muscles in particular, and made pioneering attempts to improve the accuracy of anatomical illustration. He also edited the works of Andreas Vesalius.

 

His large-scale Tabulae sceleti et musculorum corporis humani (Leiden, 1747) was published largely at his own expense; the artist and engraver Jan Wandelaar (1690-1759) added the background scenes.The London 1749 edition gives an English translation of the original Latin text.

 

SPEC Anatomy 27(3) from the Anatomical atlases collection, Special Collections and Archives, the University of Liverpool Library (plates only).

 

Images from Medical Archive collections at University of Liverpool

Detail from plate 7 (front view) engraved anatomical illustration of the bones of the thigh, leg and foot from: Anatomy improv'd and illustrated with regard to the uses thereof in designing. (London: John Senex, 1723).

 

This volume of engraved plates and text was originally published in Rome in 1691, and was re-engraved and republished in London in 1723. The dissections were done for the Italian edition by Bernardino Genga, Professor of Anatomy and Surgery and physician in the hospital of San Spirito in Rome, and the explanatory text by the papal physician Giovanni Maria Lancisi (1654-1720). The book, designed for artists rather than medical students, includes plates of famous classical statues from Rome and is described as 'A work of great use to painters, sculptors, statuaries and all others studious in the noble arts of design'.

 

The English edition is dedicated by the publisher to Richard Mead, FRCP, FRS (1673-1754), 'a favourer of the politer arts'.

 

Part of the Anatomical Atlases in Special Collections & Archives, SPEC Anatomy 6. Cropped inscription on the titlepage, 'Tho. Dixon's Book 1799' and the pencilled name' Miss Annie Jackson, 19 North Street' on the front flyleaf, with pencil measurements possibly from a dissected skeleton on the back of the last (index) page.

 

The volume has had some plates cut out, but has also been grangerised with later anatomical illustrations pasted in.

Images from Medical Archive collections at University of Liverpool

Anatomical illustration of the muscles of the leg and foot (front view) from unidentified work, pasted into: Anatomy improv'd and illustrated with regard to the uses thereof in designing. (London: John Senex, 1723).

 

This volume of engraved plates and text was originally published in Rome in 1691, and was re-engraved and republished in London in 1723. The dissections were done for the Italian edition by Bernardino Genga, Professor of Anatomy and Surgery and physician in the hospital of San Spirito in Rome, and the explanatory text by the papal physician Giovanni Maria Lancisi (1654-1720). The book, designed for artists rather than medical students, includes plates of famous classical statues from Rome and is described as 'A work of great use to painters, sculptors, statuaries and all others studious in the noble arts of design'.

 

The English edition is dedicated by the publisher to Richard Mead, FRCP, FRS (1673-1754), 'a favourer of the politer arts'.

 

Part of the Anatomical Atlases in Special Collections & Archives, SPEC Anatomy 6. Cropped inscription on the titlepage, 'Tho. Dixon's Book 1799' and the pencilled name' Miss Annie Jackson, 19 North Street' on the front flyleaf, with pencil measurements possibly from a dissected skeleton on the back of the last (index) page.

 

The volume has had some plates cut out, but has also been grangerised with later anatomical illustrations pasted in.Images from Medical Archive collections at University of Liverpool

Engraved titlepage of the second edition (London, 1633) of The Herbal by John Gerard, enlarged and amended by Thomas Johnson. Engraved by John Payne, the woodcuts include cornucopia, the Greek botanists Theophrastus and Discorides, the Roman goddesses Ceres and Pomona, and a portrait of Gerard.

 

John Gerard (1545-1607), born in Nantwich, was a barber-surgeon and chief gardener to Lord Burghley. The first edition (1597) of the text known as Gerard's Herball was in fact commissioned by the printer John Norton, as a new translation of a 1569 herbal by Dodoens, with woodcuts rented from a continental publisher. Gerard was brought in to finish the work when the first author died, and was accused of plagiarism for failing to acknowledge Dodoens as a source.

 

John Norton's widow commissioned a new edition after Gerard's death to forestall the rival publication of a new herbal by John Parkinson. Thomas Johnson, an apothecary and botanist, quickly produced this scholarly corrected and enlarged second edition in 1633. The portrait of Gerard on the titlepage appears to show him holding potato flowers, and the illustration of the 'Virginian potato' may be the first published image of potatoes in England.

 

The Appendices include a list of English names "from the mouthes of plaine and simple country people" and a 'Table of Vertues', for example "Good against the Plague". The detailed description of each plant includes 'The Vertue' and 'The Danger'.

 

This copy (SPEC L20.2) has the bookplate of John Manning, MD, and the signature of Thomas Deverson.

 

Images from Medical Archive collections at University of Liverpool

Plate 4 from Medical anatomy; or, Illustrations of the relative position and movements of the internal organs, by Francis Sibson (London, 1869). The body of boy of 18, who died suddenly during a fit.

 

Francis Sibson (c.1814-1876) FRS was a physician and anatomist, with a particular interest in respiration. He grew up in Edinburgh and treated patients there in the 1832 cholera epidemic. In the Preface to his Medical Anatomy, Sibson describes the difficulty of studying the internal organs from dissections, and the need to view them as soon as possible after death in post-mortem examinations.

 

SPEC Anatomy 16 from the Anatomical atlases collection, Special Collections and Archives. The gift of Sir Dyce Duckworth (1840-1928), 1st Baronet, with his heraldic bookplate. Dyce Duckworth was Honorary Physician to Edward VII as Prince of Wales.

Detail from Plate 14 from Jones QUAIN's The viscera of the human body (1840) showing the organs of respiration - the lungs.

 

Known as Quain's Plates, this book was the fourth in a series of five volumes of anatomical plates (1836-1842), with references and physiological comments, edited by Jones Quain and William James Erasmus Wilson.

 

They aimed to provide students with affordable access to high quality illustrations with English commentary. Their comments give detailed descriptions of the parts of the body in the illustration, and explain the process of dissection needed to show them.

 

The original drawings by W.Bagg were done from nature then lithographed by William Fairland for reproduction.

 

Part of the Anatomical Atlases in Special Collections & Archives, SPEC Anatomy 12.

 

One copy of these plates was part of the Medical Library of the Liverpool Infirmary before passing to the Departmental Library in Anatomy.

 

Images from Medical Archive collections at University of Liverpool

Physiological evaluation during exercise performed with Fitmate PRO (www.cosmed.com/fitmatepro) at Mexican sport and performance laboratory. Source: www.sportperformance.com.mx/

Photo by Megan Oliver '19.

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP AND MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

 

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]

Were she not merciless, would she kick the breast of her lord?

Men call you merciful, but there is no trace of mercy in you, Mother.

You have cut off the heads of the children of others, and these you wear as a garland around your neck.

It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER AND RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

  

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot

 

on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda;

indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.

The waters of the ocean depths are the same; The infinite is always mysteriously dark.

This inebriating darkness is my beloved Kali.

—Sri Ramakrishna

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

 

A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:

 

A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

Viewing a linearly-polarised blue sky (Rayleigh scattering) with a polarising filter that has its absorbers aligned in circles around the centre. This produces an effect that is inverse but essentially identical to the radially aligned structures in the fovea of the eye that results in the visibility of Haidinger's brush when looking at a uniform surface 'emitting' linearly or circularly polarised light.

 

See:

 

en.wikipedia.org/wiki/Haidinger%27s_brush

 

and the last section of C. V. Raman's book:

 

dspace.rri.res.in/bitstream/2289/2213/3/1968%20The%20Phys...

 

The manifestation of the Haidinger's brush when looking at the sky has a smaller apparent angular scale (by a factor of about 3 or 4) than implied by this image.

  

Title page of 18th-century Latin edition of the anatomical works of William Harvey (1578-1657) containing his famous 'De Motu Cordis', or 'Anatomical Treatise on the Movement of the Heart and Blood in Animals' and 'On Generation', published in Leiden by Johannes van Kerckhem, 1737.

 

Harvey's De Motu Cordis was originally published in 1628 as a tract of 72 pages, and it demonstrated for the first time the circulation of the blood, solving the puzzle of the physiology of the blood vessels. Harvey conceived his idea of how the circulation of the entire blood system might work from his knowledge of previous discoveries, and then demonstrated it by carrying out an extensive series of dissections and experiments. His demonstration of scientific research method: 'the first record of a complete experimental biological investigation' makes this one of the most important books ever published.

 

Part of the medical collection in Special Collections & Archives, SPEC Y73.2.107. With inscription on the volume titlepage, 'De Juliao Fernandez da Sylva' and signature of 'W.H.B. Ross'; signature of 'W.H.B. Ross' also on the titlepage of 'On Generation'.

 

Medical Archive collections at University of Liverpool

 

Medical Education

 

Book.

Most leaves have a waxy layer on their upper surface that helps them retain their internal water balance. This holly leaf has a thick waxy cuticle that is evidenced by its shiny, water-repellent characteristics.

  

Please join me in my blog “Botany Without Borders: Where Design Meets Science”

 

botanywithoutborders.blogspot.com/

 

Bones of the right forearm (radius and ulna) in plate 9 of Johnston's students' atlas of the bones and ligaments by Charles W. Cathcart and Francis M. Caird (Edinburgh: Johnston, 1885).

 

Charles Walker Cathcart (1853-1932) FRCSEd and Francis Mitchell Caird (1853-1926) FRCSEd were both Edinburgh-educated pioneering surgeons and keen proponents of the asepis teachings of Joseph Lister (1827-1912). They were commissioned by the Edinburgh publisher, W. and A. K Johnston, to help them publish "a Series of accurate and artistic Plates", reproduced by colour lithography. The plates are based on actual specimens of dissection, photographed, checked by the authors, traced and passed to "first-class artists" for completion. The authors express their hope that their work has helped "to clear the way of the much over-taxed Medical Student of the present day".

 

SPEC Anatomy 5, part of the anatomical atlases collection in Special Collections & Archives. With signature on the titlepage, Herbert Brown, 19 Grove Rd, Wallasey.

 

Arm skeleton - radius and ulna

Fig.3, plate 9 from Henri Scoutetten, La methode ovalaire; ou, nouvelle methode pour amputer dans les articulations (1827). Lithographs showing how to amputate the big toe.

 

Henri Scoutetten (1799-1871) was a French military surgeon, historian and phrenologist., who also wrote about clubfoot, the Berlin cholera epidemic of 1831, hydrotherapy and chloral.

 

SPEC P8.27/oversize in Special Collections and Archives, the University of Liverpool Library.

 

Medical Education

Incision Foot image

ucniss.org

Physiological evaluation during exercise performed with Fitmate PRO (www.cosmed.com/fitmatepro) at Mexican sport and performance laboratory. Source: www.sportperformance.com.mx/

The Creature Walks Among Us, 1956 One Sheet

youtu.be/cfLKIq8XZ0M?t=2s Full Feature

 

This is the third "Creature" movie. Universal left their options open at the end of second with the exact same ambiguous ending. While sequels to sequels tend to be poor fare, gill-man fans tend to regard Creature Walks Among Us (CWAU) as being as good as the first.

CWAU shares many B-movie weaknesses. It follows formula plot elements that were hallmarks of the first movie, but it also ventures into some new material. This new ground gives CWAU some muscle of its own. The first movie had a tiny bit of science blather about evolution. The second movie didn't bother. The third, however, tried to re-inject some science into the fiction.

Synopsis

A rich scientist mounts an expedition to find the gill-man who has escaped into the Florida swamps. A local fisherman reports being attacked by a man-like "diablo" so they investigate. Using an underwater radar device (not sonar), they track him down to a narrow bayou. Here he attacks their small boat, but is set on fire by spilled gasoline. Badly burned, the gill-man collapses. The scientists take him back aboard their 100' yacht and head for San Francisco. They've bandaged him up (head to toe) and are monitoring his vital signs. During the trip the complex soap opera develops. Dr. Barton (Jeff Morrow) is the rich, but jealous husband. Mrs. Barton (Liegh Snowden) is the blonde babe no longer in love and resentful of her husbands attempts to control her. Dr. Morgan (Rex Reason) is the concerned friend. Jed Grant is the buff playboy helper. Innuendo and misunderstandings keep the pot simmering.

Along the way, the doctors find that gill-man's gills are too badly burned to supply his body with oxygen. An x-ray reveals that he has lungs but that they're collapsed and closed off. They operate to open them. He can breathe air now. They also comment about how the burns have cause the fish-like layer to fall away, and a more human-like layer of skin to develop. Gillman awakens and interrupts Jed forcing himself on Marcia. He then dives into the sea, but must be rescued before he drowns.

Back in San Francisco, Gill is taken to Dr. Barton's estate and put into an electrified pen with some other animals. He looks somewhat longingly to the water's edge, but is docile. When a mountain lion gets into the pen and kills a sheep, Gill kills the big cat. When Dr. Barton pistol-whips Jed and puts the body in Gill's cage (to frame him for the murder), Gill goes nuts, tears up the house looking for Dr. Barton, finally killing him. Gill then wanders off the estate. With everyone in funeral attire, there's a mild suggestion that Dr. Morgan will come to call on the widow Barton when a respectful time has passed. The movie closes with Gill walking down the beach towards the sea. The End.

Once you've gotten into the gill-man saga, the plot of CWAU takes it to a new level which is more thoughtful than simply another monster movie. It's also fun to see the team of Jeff Morrow and Rex Reason again -- two good actors -- who starred in This Island Earth ('54).

The original movie had two gill-man suits -- a smaller one for the underwater shots, and a larger one for the above-water shots. The second movie, Revenge, made two new gill-man suits along the same lines. For the third movie, they didn't put too much into a new gill-man suit. They created a new gill-man head and hands, but dressed him the crude sailcloth shirt and pants so as to not have to make more. For the pre-changed gill-man, they used footage from the first two movies. The only scenes which needed a new gill-man suit was where he attacked the small boat and was burned. These scenes are so quick and dark, that the lower quality Gill-Man III is not apparent.

Arthur Ross, who co-wrote the original opted for a more thoughtful script. Are we what we are because of our genes, or because of our environment? Dr. Barton is excited that the gill-man is becoming more human. The fire burned away his "old self", releasing the new. "Change the metabolism and man will change." Dr. Morgan disagrees. Science can't create a new species. They may have altered gillman's skin, but inside he's the same. As though mankind would not be fit for space travel until he evolved into something better. This is a natural sort of thought for scientism which denies there being any divine element to man. How else to define man? Our human physiology is all we have. This is reminiscent of the premise underlying The Island of Dr. Moreau. Give animals human shape, human features, and they'll become people.

The Nurture part comes where the scientists theorize that the Gill-man as a "new" man will behave good or bad, depending on how he's treated. The assumption of the Tabula Rasa.

A notion floated in the dialogue is that ordinary humans are "built" for the earth and not suitable to space. The scientists pontificate about how the aquatic gill-man was "built" for life in the water. Man, therefore, was "built" for terrestrial life. That build would not work in space, they say. "We all stand at a crossroads between the jungle and the stars." If gill-man could become a new creature, maybe man could too. Since the changed gill-man could not really become human, the inference is that man can't become this Nietzchean over-man either.

Some aspects of CWAU have spiritual parallels. The before-creature is the old "animal" nature -- rash, violent, lustful. The after-creature is the new "human" self. He's no longer lustful or rash. He's violent only as defense. At the end, he's violent but driven by a sense of justice. There's also a parallel to the biblical "fall of man" described in the Book of Genesis, in that the before creature was innocent. He needed no clothes. After the change, he needed clothing. There's also a parallel to New Testament verses which talk of the old man having to die (metaphorically) before the new man could emerge. This adds some twist to the movie's title. Our own struggles with our animal side with our divine. Dr. Barton and Jed Grant are examples of those who gives in to their animal side. Dr. Morgan and even Marcia Barton are examples of people who maintained morality.

Old Home -- Dr. Barton's estate was one of Universal's stock houses. Used in many movies, such as Tarantula

Bottom line? CWAU will appeal to gill-man fans. Since it's not simply a re-remake of the first two "Creature" films, it has some appeal to others too. It's a bit lighter on the action but more cerebral. It's worth a watch.

Better than REVENGE, but nowhere near the glorious heights of the first film (which is really the only CREATURE that you absolutely must see).

  

Dunno what the original owner (a student who took notes in the margins) has against the human head.

 

I've started selling vintage books in my Etsy store - at least, the ones I can bear to part with!

 

www.etsy.com/shop/theamazingmissm?ref=si_shop

Colour lithograph of the wrist joint and ligaments (fig.4, plate 11) from Johnston's students' atlas of the bones and ligaments by Charles W. Cathcart and Francis M. Caird (Edinburgh: Johnston, 1885).

 

Part of the anatomical atlases collection in Special Collections & Archives, SPEC Anatomy 5. With signature on the titlepage, Herbert Brown, 19 Grove Rd, Wallasey.

 

Images from Medical Archive collections at University of Liverpool

Figure of Pomona from engraved titlepage of the second edition (London, 1633) of The Herbal by John Gerard, enlarged and amended by Thomas Johnson. Engraved by John Payne, the woodcuts include cornucopia, the Greek botanists Theophrastus and Discorides, the Roman goddesses Ceres and Pomona, and a portrait of Gerard.

 

John Gerard (1545-1607), born in Nantwich, was a barber-surgeon and chief gardener to Lord Burghley. The first edition (1597) of the text known as Gerard's Herball was in fact commissioned by the printer John Norton, as a new translation of a 1569 herbal by Dodoens, with woodcuts rented from a continental publisher. Gerard was brought in to finish the work when the first author died, and was accused of plagiarism for failing to acknowledge Dodoens as a source.

 

John Norton's widow commissioned a new edition after Gerard's death to forestall the rival publication of a new herbal by John Parkinson. Thomas Johnson, an apothecary and botanist, quickly produced this scholarly corrected and enlarged second edition in 1633. The portrait of Gerard on the titlepage appears to show him holding potato flowers, and the illustration of the 'Virginian potato' may be the first published image of potatoes in England.

 

The Appendices include a list of English names "from the mouthes of plaine and simple country people" and a 'Table of Vertues', for example "Good against the Plague". The detailed description of each plant includes 'The Vertue' and 'The Danger'.

 

This copy (SPEC L20.2) has the bookplate of John Manning, MD, and the signature of Thomas Deverson.

Images from Medical Archive collections at University of Liverpool

Detailed diagram of a generalised cell anatomy.

Johnston's students' atlas of the bones and ligaments by Charles W. Cathcart and Francis M. Caird (Edinburgh: Johnston, 1885).

 

Part of the anatomical atlases collection in Special Collections & Archives, SPEC Anatomy 5. With signature on the titlepage, Herbert Brown, 19 Grove Rd, Wallasey.

 

Skeleton of head / cranium

Detail of the engraved titlepage of the second edition (London, 1633) of The Herbal by John Gerard, enlarged and amended by Thomas Johnson. Engraved by John Payne, the woodcuts include cornucopia, the Greek botanists Theophrastus and Discorides, the Roman goddesses Ceres and Pomona, and a portrait of Gerard.

 

John Gerard (1545-1607), born in Nantwich, was a barber-surgeon and chief gardener to Lord Burghley. The first edition (1597) of the text known as Gerard's Herball was in fact commissioned by the printer John Norton, as a new translation of a 1569 herbal by Dodoens, with woodcuts rented from a continental publisher. Gerard was brought in to finish the work when the first author died, and was accused of plagiarism for failing to acknowledge Dodoens as a source.

 

John Norton's widow commissioned a new edition after Gerard's death to forestall the rival publication of a new herbal by John Parkinson. Thomas Johnson, an apothecary and botanist, quickly produced this scholarly corrected and enlarged second edition in 1633. The portrait of Gerard on the titlepage appears to show him holding potato flowers, and the illustration of the 'Virginian potato' may be the first published image of potatoes in England.

 

The Appendices include a list of English names "from the mouthes of plaine and simple country people" and a 'Table of Vertues', for example "Good against the Plague". The detailed description of each plant includes 'The Vertue' and 'The Danger'.

 

This copy (SPEC L20.2) has the bookplate of John Manning, MD, and the signature of Thomas Deverson.

 

Images from Medical Archive collections at University of Liverpool

Figure of Pomona from engraved titlepage of the second edition (London, 1633) of The Herbal by John Gerard, enlarged and amended by Thomas Johnson. Engraved by John Payne, the woodcuts include cornucopia, the Greek botanists Theophrastus and Discorides, the Roman goddesses Ceres and Pomona, and a portrait of Gerard.

 

John Gerard (1545-1607), born in Nantwich, was a barber-surgeon and chief gardener to Lord Burghley. The first edition (1597) of the text known as Gerard's Herball was in fact commissioned by the printer John Norton, as a new translation of a 1569 herbal by Dodoens, with woodcuts rented from a continental publisher. Gerard was brought in to finish the work when the first author died, and was accused of plagiarism for failing to acknowledge Dodoens as a source.

 

John Norton's widow commissioned a new edition after Gerard's death to forestall the rival publication of a new herbal by John Parkinson. Thomas Johnson, an apothecary and botanist, quickly produced this scholarly corrected and enlarged second edition in 1633. The portrait of Gerard on the titlepage appears to show him holding potato flowers, and the illustration of the 'Virginian potato' may be the first published image of potatoes in England.

 

The Appendices include a list of English names "from the mouthes of plaine and simple country people" and a 'Table of Vertues', for example "Good against the Plague". The detailed description of each plant includes 'The Vertue' and 'The Danger'.

 

This copy (SPEC L20.2) has the bookplate of John Manning, MD, and the signature of Thomas Deverson.

mages from Medical Archive collections at University of Liverpool

GR digital 2

If you are the subject of any photo in this collection and would like it removed, please contact Communications and Marketing at (208) 769-7764.

 

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Image of mythological figure (probably the Roman goddess Pomona) from engraved titlepage of Charles de l'Ecluse, Exoticorum libri decem (Ten books of exotica: the history and uses of animals, plants, aromatics and other natural products from distant lands). With mythological figures, including Minerva, Atlas and Pomona(?), lions, dolphins and a peacock, and extensive illustrations in the text.

 

Charles de l'Ecluse (or Carolus Clusius, 1526-1609) trained as a doctor but is famous for his work as a botanist, including the creation of one of the first botanical gardens at Leiden, and for his observations on the "breaking" of tulips which led to Dutch tulip mania in the mid 16th century. ten books of exotica was his last work

 

This Liverpool copy (SPEC L20.6/OS) was owned by Ernst Ferdinand Nolte, MD (1791-1875), the German botanist, and has his signature and bookplate.

 

Images from Medical Archive collections at University of Liverpool

Image of Minerva from the engraved titlepage of Charles de l'Ecluse, Exoticorum libri decem (Ten books of exotica: the history and uses of animals, plants, aromatics and other natural products from distant lands). With mythological figures, including Minerva, Atlas and Pomona(?), lions, dolphins and a peacock, and extensive illustrations in the text.

 

Charles de l'Ecluse (or Carolus Clusius, 1526-1609) trained as a doctor but is famous for his work as a botanist, including the creation of one of the first botanical gardens at Leiden, and for his observations on the "breaking" of tulips which led to Dutch tulip mania in the mid 16th century. ten books of exotica was his last work

 

This Liverpool copy (SPEC L20.6/OS) was owned by Ernst Ferdinand Nolte, MD (1791-1875), the German botanist, and has his signature and bookplate.

 

Images from Medical Archive collections at University of Liverpool

Johnston's students' atlas of the bones and ligaments by Charles W. Cathcart and Francis M. Caird (Edinburgh: Johnston, 1885).

 

Part of the anatomical atlases collection in Special Collections & Archives, SPEC Anatomy 5. With signature on the titlepage, Herbert Brown, 19 Grove Rd, Wallasey.

 

Images from Medical Archive collections at University of Liverpool

Johnston's students' atlas of the bones and ligaments by Charles W. Cathcart and Francis M. Caird (Edinburgh: Johnston, 1885).

 

Part of the anatomical atlases collection in Special Collections & Archives, SPEC Anatomy 5. With signature on the titlepage, Herbert Brown, 19 Grove Rd, Wallasey.

 

Sphenoid bone

Detail from plate 1: cellulous Hydatids in the breast from Sir Astley Cooper, Illustrations of the diseases of the breast (London, 1829). Part. 1: non-malignant.

 

Sir Astley Paston Cooper (1768-1841) was a surgeon at Guy's Hospital, Professor of Comparative Anatomy at the Royal College of Surgeons, and serjeant surgeon to George IV, Willam IV and Queen Victoria. He is particularly noted for his work on the treatment of aneurysm and hernia, and several anatomical structures and diseases have been named after him.

 

SPEC M1.34/oversize, part of the Medical Books collection, Special Collections & Archives, University of Liverpool Library. Originally part of the Liverpool Infirmary Library.

 

Images from Special Collections & Archives, the University of Liverpool.

Nikol. Joseph Edlen v. Jacquin's Anleitung zur Pflanzenkenntniss nach Linné's Methode :.

Wien :Christian Friederich Wappler und Beck,1800..

biodiversitylibrary.org/page/52504294

Science Made Simple's Becky Holmes presents 'Engineering for Life - From Cradle to Grave' in the Kent College Chapel.

Having to move reluctantly, I had to throw away stuffs which tells a lot of my "previous life".

 

Bought these blank masks a few years ago to play with my son. I would ask him to tell me what to draw on the faces and did it in front of him. It was great fun with lots of laughters. Other times, I would draw something inspired by Damien Hirst or other classic paintings, or simply drew something out of the blue. Search Google for "Chinese Opera Masks" to see how colorful they can be!

 

I remember a time in my secondary school years when my parents forbade me to be a photographer, artist, musician or painter. My Dad's home was filled with great Chinese paintings and he talked a lot about these painters. Under the radar, I had to secretly borrow a camera to take pictures, signed up for a Chinese painting class from a well known master and bought these pigments and brushes, etc. Why this conflicting practice from my parents? My Dad loves Chinese paintings and he made a living buying and selling them. He spent a lot of time studying painters' life and how they evolved, authenticating them, putting them to auctions in Christie's and Sotheby's. In his words "great painters lives terrible lives and only after they are dead do people take advantage of their talents". Painstakingly sad and most of the time truthful. I must show you some of my previous Chinese paintings later on. These dishes and pigments are really important to me even though I haven't touched them for over 15 years. They are the past but the image is forever.

 

My little brother brought a sand block for sculpture and he only crafted the word JULY on it, it was also like 15 years ago. After reading an English novel with a tag line "It's like touching fantasy" I took this sand block and crafted something out of it. It was then placed in my Macquarium for a long time. Wow, it was over 10 years ago since I made the Color Classic Forever web site and "blogged" about my creation and mis-fortunes. New York Times even told my little story:

Exerpt of the New York Times article printed on August 24, 2000

Patrick Ng, an Internet executive in Hong Kong, has taken his obsession to more lyrical heights. A vice president at PacificDotCom, Mr. Ng has documented his self-diagnosed case of "CCFS" (Color Classic Fixation Syndrome) on his amusing Web site, Color Classic Forever (grus.hkstar.com /patrickn/colorclassic). The story began in October 1998, when Mr. Ng saw a photo of the Color Classic. He alerted a newsgroup to his quest for one and visited several shops until he found a dirty nonworking model.

After giving it a scrub, Mr. Ng rhapsodized in a diary entry on his site: "I now see the uncompromising beauty and elegance of CC even more obviously, it simply shines. As this mystic discovery continues, my super-ego seems to warn me the danger of the game, the emotional attachment to a physical object."

On New Year's Eve, while others were partying, Mr. Ng was otherwise occupied, as a later diary entry showed: "I embraced the dusted classic during the countdown. The rest of that night, perhaps I should say the rest of the millennium, I gradually slipped away and fell into a deep trance, everything went blurred except a single point of vision, I naturally put that point on the shining Color Classic."

He then decided that he wanted the machine to carry his child, "to give her life," he wrote. As it turned out, Mr. Ng's "child" is his Siamese fighting fish, Faust, who now swims in an aquarium installed in the Color Classic's chassis.

Cured of his obsession, Mr. Ng now keeps his Macquarium in his office, which overlooks Hong Kong. "I receive e-mails from all over the world asking about Faust," he said. "He's doing fine."

 

If you want to create a Macquarium, check out my version 1.1 and version 2.0instructions. Hmmmm.... want to see me naked with Color Classic? Here it is "Born Naked With Color Classic.

 

It was important to me and part of them still is. Notes from my Psychology/physiology/research method classes and my Philosophy classes. I particularly had a tough time in Philosophy classes being the only Chinese student there, unable to verbalize my thoughts and participate in discussions, I often got below average marks. I enjoyed the late night studies particularly, there is a point when you give up trying to get pass and start to study for the real meaning of life. Super fun! Unforgettable!

 

I couldn't throw away my blackboard though. I love the rawness, the sound of chalk on board reminds me of school life, the perfect circle my secondary school math teacher drew..... it is the essence of learning to me. Simple tools to pass along knowledge.

 

More on Scription blog: moleskine.vox.com/library/post/throwing-away-parts-of-my-...

OMTimes : SACREDspace Yoga - The 411 on Yoga

continued ... www.flickr.com/photos/dezengo/5860164801/in/photostream/

 

When you begin reading about yoga, books suggest the ultimate goal is to unite the mind, the body, and the spirit. Yogis view that the mind and the body are one, and believe that if they practice yoga and incorporate the tools for living, one can find harmony and heal self. Yoga therefore is considered therapeutic and is being utilized for those interested in “prevention NOT treatment.” As you become more aware of your body's posture, alignment and patterns of movement, you also gain flexibility and the ability to process and deal with stress in a positive manner. This is one of the foremost reasons why people want to start Practicing Yoga - to feel fitter, be more energetic, be happier and peaceful.

 

Yoga is a science that has been practiced for thousands of years. It is consists of Ancient Theories, observations and principles about the mind and body connection which is now being proven by modern medicine. Substantial research has been conducted to look at the Health Benefits of Yoga - from the Yoga Postures (Asanas), Yoga Breathing (Pranayama), and Meditation. The information on Yoga Poses & Benefits are grouped into three categories-physiological, psychological, biochemical effects. Furthermore, scientists have laid these results against the benefits of regular exercise. It’s amazing how much the physical body does benefit from incorporating yoga as a daily practice.

 

Yoga is considered a mind-body type of complementary and alternative medicine practice. Yoga brings together physical and mental disciplines to achieve peacefulness of body and mind, helping you relax and manage stress and anxiety. Traditional yoga philosophy requires that students adhere to this mission through behavior, diet and meditation. But if you're just looking for better stress management — whether because of life's daily hassles or a health problem you're facing — and not an entire lifestyle change or way of life, yoga can still help.

  

The Health Benefits of Yoga

Yoga has been practiced for more than 5,000 years, and currently, close to 11 million Americans now enjoy its health benefits. Yoga can hardly be called a trend.

Most Westernized yoga classes focus on learning physical poses, which are called asanas. They also usually include some form of breathing technique and possibly a meditation technique as well. Some yoga classes are designed purely for relaxation. But there are styles of yoga that teach you how to move your body in new ways. Choosing one of these styles offers the greatest health benefits by enabling you to develop your flexibility, strength, and balance.

 

Yoga and Flexibility

When some people think of yoga, they imagine having to stretch like a gymnast. That makes them worry that they're too old, unfit, or "tight" to do yoga. The truth is you're never too old to improve flexibility. The series of yoga poses called asanas work by safely stretching your muscles. This releases the lactic acid that builds up with muscle use and causes stiffness, tension, pain, and fatigue. In addition, yoga increases the range of motion in joints. It may also increase lubrication in the joints. The outcome is a sense of ease and fluidity throughout your body.

 

Yoga stretches not only your muscles but all of the soft tissues of your body. That includes ligaments, tendons, and the fascia sheath that surrounds your muscles. And no matter your level of yoga, you most likely will see benefits in a very short period of time. In one study, participants had up to 35% improvement in flexibility after only eight weeks of yoga. The greatest gains were in shoulder and trunk flexibility.

 

Yoga and Strength

Some styles of yoga, such as ashtanga and power yoga, are more vigorous than others. Practicing one of these styles will help you improve muscle tone.

But even less vigorous styles of yoga, such as Iyengar or hatha, which focuses on less movement and more precise alignment in poses, can provide strength and endurance benefits. Watch for the mid month edition if you would like to learn more about the various types of yoga and individual & collective benefits.

  

Yoga Can Help Posture

With increased flexibility and strength comes better posture. Most standing and sitting poses develop core strength. That's because you're counting on your deep abdominals to support and maintain each pose. With a stronger core, you're more likely to sit and stand "tall." Another benefit of yoga is the increased body awareness. This heightened awareness tells you more quickly when you're slouching or slumping so you can adjust your posture.

 

Other Benefits of Yoga

Some studies suggest that yoga may have a positive effect on learning and memory. Other researchers have been studying whether yoga can slow the aging process, increase a person's sense of self-acceptance, or improve energy levels. Some potential benefits of yoga may be hard to study scientifically. For instance, yoga has been said to increase spiritual awareness. Nevertheless, there is an abundance of anecdotal claims for what yoga can do. Go to any yoga studio and listen to students after class. Some will even tell you that yoga can help improve marriages and relationships at work. The only way to be certain of all that yoga can do for you is to try it for yourself and see.

  

Yoga image / asanas: www.google.com/imgres?imgurl=http://www.tahoeyoga.com/yog...

  

Links for images :

asanas: www.google.com/imgres?imgurl=http://spirisophical.com/wp-...

yoga books:

www.yogaflavoredlife.com/book-reviews/yoga-summer-reads-f...

sources:

www.webmd.com/balance/the-health-benefits-of-yoga

www.mayoclinic.com/health/yoga/CM00004/NSECTIONGROUP=2

www.abc-of-yoga.com/beginnersguide/yogabenefits.asp

   

tags:

 

sacredspace, july2011, the411onYoga, zumba, health, wellness, yoga, omtimesmagazine, humanityhealing, namaspirittn, zumbapodcast, gold, warmup, latin, music

New Physiology Building Will Speed Research

 

As it will be a few years before the physiology department of the University of Queensland can expect to enter its proposed buildings at St Lucia, additions are now being made to the existing department.

 

The existing temporary accommodation is quite inadequate for the department to carry out all its work and the State Government has approved of additions to the Pharmacy College BUilding in William Street, now occupied by the Physiology Department.

 

...

A second air-conditioning room, laboratory ante-room and animal house are all under construction as a ground floor in the rear of the present building. In the air-conditioning rooms almost any tropical conditions can be reproduced.

 

...

This research floor will be self-contained and will house both the human and animal investigators, who can then work in collaboration. Additional teaching accommodation will be provided on a second floor.

 

This will include a biochemistry laboratory, a pharmacology laboratory, a museum and staff rooms.

 

The museum will be arranged after the manner of the Wellcome Museum in London, though upon a smaller scale for the present. This system, which is rather new to Australia, provides for a series of bays, each devoted to some one particular subject.

 

The student can sit in the bay with his text books and notes and see displayed before him a complete pictorial illustration of the subject.

 

To continue reading visit:

The Telegraph, 23 February 1945

 

View the original image at the Queensland State Archives:

Digital Image ID 2759

The work of CIAT's Agrobiodiversity Research Area.

 

Credit: ©2017 CIAT/NeilPalmer

Please credit accordingly and leave a comment when you use a CIAT photo.

For more info: ciat-comunicaciones@cgiar.org