text:
Aerophone of the God L of Palenque?
Photo of an experimental crude clay model.
Roberto Velázquez Cabrera
Virtual Research Institute
This work is the first of the author that was made with the advise and help of an researcher of INAH Jesús Mora
(consultative document in construction)
First version July 19, 2003. Last version September 8, 2003
Versión en Espańol
The object of this exercise is to analyze a possible sonorous device that it is held on the palm of the hands of the called God L. It is carved in a tablet of the Temple of the Cross of Palenque. It seems that its designation is by the first glyph that appears in the superior part of the stone representation. The carving in stone has been drawn and photographed for a long time.
Photo of the drawing of the carving of the Temple of the Cross of Palenque.
The drawing of Volume I from "Mexico through the Centuries" (1953) of Alfredo Chavero, is in black and white. Colors were added with Photoshop to emphasize the objects under analysis. It seems that the original drawing is of Stephens and Catherwood (1842).
The drawing of the God L of Palenque, available for study in FAMSI site
, is the most detailed and in big format that was found in the network.
The last photos of drawings of the jamb of the Temple de la Cruz of Palenque were published in an article of Tomás Pérez Suárez on the Pochó; a Dance of Carnival in Tenosique Tabasco, the magazine of Mexican Archaeology
The exercise is virtual or experimental and tries to show that it is possible to take advantage of the iconographic representations carved in stone to analyze hypothesis of the mexican organology and their possible relation with their ancient gods. Experimental models are used, since the original device can not be analyzed directly, because it does not exist in the reality and its material, structures and use are not known. The hypothetical sonorous object has not existed nor in the writings of which they have analyzed and published representations of God L.
The mystery of God L
has been tried to explore by several authors and diverse means, but the hypothesis raised in this work has not been considered previously. The previous analyses have been done mainly in visual form taking advantage of the Mayan iconography of similar personages. They say that those personages are associated with virgules of smoke of the tobacco, but without centering the studies in the device of the image of God L of the Temple of the Cross and without relating it to old objects sonorous that generate noises or sounds of the wind. The fact that God L appears in other places associates to the tobacco, does not exclude that the personage can produce sounds in another image. Possibly, the hypothesis of this study has not been considered, because the older sonorous devices than produce noise very are not known and because it has not been of interest to formally explore the sonorous space of the first cultures nor its generating devices of sounds.
Some investigators have mentioned that the God L of Palenque is smoking a cigarette and he is known as "the old smoker God", but detailed evidences to support that affirmation was not found. Francis Robicsek
analized in detail the mayan smoking gods, but he did not provid direc evidences to indicate that the God L of Palenque is smoking a cigar. Last that mentioned the such possibility was Tomás Perez Suárez, in its article on the Pocho. It is possible that originally somebody has raised that hypothesis, extrapolating the idea from images of other places and it simply was adopted and repeated. That has happened in other sonorous subjects as the use of the old whistles, when they say that the ancient whistles were toys, because they say they were used in that way in ancient Europa, although now we know that they had many uses.
The idea of the maya smoker god is widely accepted. Several experts provided similar opinions
2, 6
. The force of the custom to analyze the ancient iconography in silence, including the relative one to the sonorous world (sonorous devices, virgules of sound, musicians, etc.), has prevented to explore it from the acoustic point of view and that has influenced in which hypotheses of other applications are accepted with more facility, although it is not arranged of very solid evidences, without verification in the reality or by means of experimentation.
The clearest sample of the lack of interest and even opposition to explore the old sonorous space is that thousands of pre-Columbian sonorous devices exist (including hundreds of Mayan aerophones of clay) that were saved of the destruction in the conquest and the colonization, because they were buried in the subsoil or infraworld, in tombs, offerings, etc. Thousands of them were recovered, but unfortunately they are not well known by the public. Of many of them nor the images of his external forms have been presented to the public. Some Mayan whistles have been only analyzed like figurines, when their external iconography and forms are easily recognizable by their realism or appreciated by their beauty or meaning.
Many ancient sonorous artifacts were matter of sacks or pillage, but many other were found in autorized explorations and, with very few exceptions, even their archaeological reports are not known by the public.
The only known study on an important group of mayan instruments is on 356 whistles mainly of Jaina Island, of Felipe Flores and Lorenza Flores. It includes some organologic data about the whistles that give a good idea of their dimensions and structural forms, but the presented analysis is not useful to study the old sonorous devices, because the analysis have several methodological limitations and basic errors, which were commented in detail in a previous study,
Virtual Analysis of Mayan Whistles
, openly available.
Some extraordinary very old mexican generators of noise, not even had been recognized like such by which they found, studied and protect them, as is the case of extraordinary
olmecan aerophone of ilmenita
, of which they found a great amount in San Lorenzo. It seems that they are the greater amount of similar ancient existing objects made in hard stone ~ 4.5 ton or ~ 140.000 devices, but it was not found interest in the formal anaysis of their acoustical and organological properties.
The belief that the first mesoamerican societies only had elementary technologies has prevented to explore its complex sonorous applications, like the shown ones in the extraordinary and very old panmesoamerican
bucal Ehekachiktli
, subfamily of noisy aerophones like those from San San Lorenzo and from Palenque?
It is comfortable and simple to accept and to adopt judgments or affirmations without analyzing thorough his foundations, but that prevents to explore other possibilities, like those of this work, that includes the points of view of the related technical fields and the associated physical phenomena: organologic, sonorous, dynamic of fluids, aerodynamics and signals, as well as of the iconography and another archaeological and biological information that can be available.
The main hypothesis of the study is that the tube (ocher color in the drawing) that appears in the representation is not a cigarette and can be an old generator of noise of God L, but some evidences indicate that also it could be of the God of the Mayan wind
The assumption of the analysis is that the image recorded in the tablet is realistic, same that is considered reasonable by the excellent stone work made of that type by the ancient masters-artists of Palenque.
General analysis and evidences.
The technical evidences and of common sense, supported with some simple experiments and photos of smoke and fire, that are related directly to the personage and the object at issue are the following ones:
If the object was an ignited cigarette the ends of the fingers would be burned, because they would be under the ignited part.
The normal way to hold a cigarette is with the fingers: with the thumb and index finger or between the index and the middle fingers and not as the tube is held on the palm of the hands.
The hot smoke of a ignited cigarette always rises and it does not lower as it is in inferior virgule of the stone representation. It is enough to ignite a cigarette to be able to confirm the previous thing. The smoke of an ignited cigarette only expands a little in all directions when it is expelled by the mouth, not when it is aspired. All smoker knows that.
Vírgules of sounds that leave a tube can go upwards, down and to all sides, like the waves when coming out of any generator of sounds, because outside of the tube exists smaller pressure in the air. Peculiarly, the form of virgules of the pre-Hispanic iconography is similar to that shows the more advanced present analyses of
simulation of the generation of sound with networks of computers
and the
dynamics of turbulent fluids in real time using photos and smoke
, applied to the generation of sounds in tubular aerophones like those of flutes and organs. That extraordinary coincidence requires a special study.
In this case the waves of the sound have a different behavior, because its exit is not free, since the left frame that seems a wall, prevents its free movement and causes that they bounce impelling his displacement upwards, down and to all sides. In the tablet of God L there are virgules of the sounds superior and inferior, because in his representations they were used to paint only those that are in the longitudinal plane of the vertical section of the sonorous devices, perpendicular to the line of view of the observer. In other words, they did not paint the sound waves in three dimensions, only his mapping or projection to the plane of the iconographic representation, to show them with greater clarity.
Virgules adorned with lines (yellow color in the drawing) is looked like the used ones to represent the wind or the sound, but virgules of the conventional musical instruments is a little different from the dynamics of the smoke, fire or noise.
Nevertheless, many virgules are known that raise and lower, used to represent all type of sounds, similar to the one of God L of Palenque, like one of the
mural of the Palace of the Tigers of Chichen
(of "Mexico through the Centuries"), that shows the words. That raises another possible function of the tube, like a trumpet or horn to speak or to sing through it, but it is very small to make that function and the virgules of God L of Palenque does not have adornments of words or flowery songs.
The Dresden Codex was consulted, to observe the iconographic representations of the mayan smoke. All the represented incensories with copal or incense (because in the center of the smoke the glyph
is included) indicate that virgules of the smoke rises and never lower, and they are flat without adornments. That can be observed in some images with incensories
It is interesting to observe that in all the cases in the Dresden Codex the fire of the incensory is a little moved away the mayan personage, possibly to avoid the effects of radiation of the heat.
The bird (red color in the drawing) on the head of God L has a peak with tooth, similar to the peak of the mask of the mexica God of the wind and the otherworld
. It indicates that the personage could be the God of the Mayan wind
, as Alfredo Chavero commented. It was found experimentally that the
red peak with tooth of
can work well like an aerophone generating of wind sounds of the infraworld.
The relation of the bird with tooth and the God of the wind already have been recognized also by
Francisco Florescano.
The tooth of the bird can be seen in the
negative rubbing of the tablet
obtained by
Merle Greene
, excellent to show very well the details and proportions of the figure and objects of the representation. It is interesting to make notice that in the data base of that rubbing it is not said that the object held on the hand is a cigarette, it says that pipe is a tube or object in the mouth. On the sex of God L it says: man or woman.
The virgules of the image of God L are resembled which appears in the rubbing of a
cranium of the Game of Ball of Chichen Itza
, which they associate to the decapitation rite, reason why the sounds could be related to those of the death, like those of the
aerophones of the death
, pertaining to the Mexican family of roarers or aerophones generators of noise.
In the eye of the personage and the bird they appear others similar virgules, which represent the wind and the sound, which indicates a possible relation among them.
Also it is observed that in the external surface of the object held on the hands it has stems or heavy twigs as if they were moored, that are very different from the thin tobacco leaves.
Some say the objects that seem feathers on the head of god L are leaves of tobbaco, but the tobbaco leaves are biger and it has different shape.
The tube that produces virgules could be a generator of sounds of the wind. Its structure and forms can be reproduced like tubular earphones of the God of the wind of other mesoamerican cultures that produce similar horrifying sounds, like the
. mexica roarer of the God
The skin of jaguar in the back of the personage shows that also it is related to that feline, which they indicate that virgules could be associate to its roars.
Another excellent sign is the mayan serpent with two heads that appear to both sides of the legs of the personage, who could be related to
or the Mayan
, seemed to frightful
, described by Bernardino de Sahagun in its "General History of the Things of the New Spain". There were other snakes related to the figures of the worked stone, as they called
Those that even simulates the jaguar in the Pochó dance use a whistle, which can indicate that the old device could be an aerophone, but the musical sounds of a tubular whistle with embouchure of tip or peak are not related to the personage neither with the sounds of the jaguar, nor of the wind or the serpent. The dancers who imitate animals no longer use devices that simulate their sounds, by the effects of the colonization and because no longer they know how to make and to play them.
The representation of God L has been analyzed by diverse experts in the mayan culture and other organológicas possibilities have been mentioned. One of them was of Guillaume Dupaix: that the object could be a trumpet. Tomás Perez Suárez, in his article of the Pochó, mentions that that possibility was a confusion, but the cause is not mentioned. The tube that has in the mouth God L does not seem to be a trumpet because the mayan horn are of greater dimension, as it is in the
virtual analysis of trumpets of Bonampak
and because the embouchures of all trumpets are not introduced in the mouth when they are played. They must operate outside and around the mouth of the player to allow the vibration of the lips that act like reeds to generate the sounds.
The bird on the head could be a singer, but to simulate micropitch sounds of the natural birds small resonators and big pitch holes are required, as it is shown in a previous study on "
singer birds of clay
Several representations of similar Mayan personages, who have birds on the head, but do not have tooth like the one of the God of the wind.
There are many representations of God L who handle objects with fire or smoke. Many of them can be seen in the Data Base of Justin Kerr
, but the objects of God L in 46 vases are not equal to the tube of Palenque. The mayan personages who handle objects that seems cigarettes or tobacco in 16 vases are not like the God L of Palenque.
There are personages that handle objects with fire like in the vase
, K5998 and K1228. They seem torches, but their structure and forms to handle them are different. There are virgules of torches in the iconography that show they can lower, if turns around downwards momentarily like in dances, according to the same photo of the K0702 vase and the drawings of the Codex Dresden
torch 1
, but if a torch is held for a moment horizontally or in any other position its virgules of the Mayan iconography shows that the flames and the smoke rise.
In the back of the image of K0702 vase the personage has a serpent in the back that generates two big scrolls, similar to those of the image of Palenque.
In another mayan vase (
), a rabbit has the clothes of the God L that is naked, including which seems a mask or hat with a bird similar to the one of the image of Palenque, but it does not see if it has tooth because its peak is closed.
In a mayan plate (
) appears a personage with a great serpent on his head, which it has a bird that generates scrolls like of the image of God L of the Temple of the Cross, reason why they can be related to the sounds of a whistling snake.
If the object at issue is not hollow, it could be an ignited torch done of moored twigs, but in that case the fire also would burn the hands of the personage and a reason is not seen to have it in the mouth, unless he is hollow and it operates like bucal aerophone of fire and that this one does not affect the hands of the God that hold it.
Some academic ones say that God L was the God of the Mayan infraworld
. If that is certain it would have to be able to roar like the aerophone of the mask of the mixtec devil or
to sound like the wind of hell.
Simple experiments with smoke, fire, talc and air.
In the network there are photos that show the dynamics of the smoke of cigarettes like the one of
a smoker
in which it is seen as the smoke rises, but is very simple to verify experimentally that the fire and the smoke rise, in normal conditions, without turbulence, airflow or wind.
Photo of a cigar.
The smoke of a cigar rises and it is very tenuous, almost imperceptible in the photo, when the ignited dry tobacco is not excited with the oxygen of the air by the smoker.
The same it happens to the smoke of the tobacco in other shapes like in a cigarette:
Photo of an ignited cigarette.
The smoke also rises, in this case more vertically, due to the paper.
If the device is a torch, it is possible to be simulated with an ignited wood.
Photo of an ignited
The flame of torch is strong and it rises vertically more, by the resin of the wood that feeds the fire. If the wind is turbulent the dynamics of the smoke and sound waves can to be very different, complex and even chaotic, as it happens to the generation of sounds of the aerophones that produce the noises of the air.
Experts with equipped laboratories of fluid dynamics or aerodynamics, interested in analyzing ancient mexican aerophones or experimental models of them, have not been found, but in this case it was possible to made simple experiments to show the dynamics of the air coming out of a tube placed in front of a table to simulate the phenomenon of the device of God L of Palenque, supposing that it is an aerophone:
Photo of the airflow.
The airflow mixed with talc was illuminated with a light, like the used ones to illuminate jewelry display cabinets, by the right back part to visualize the dynamics of the air to the exit of the aerophone, a fraction of second later to hit the table. In order to generate the input of airflow a pump of bellows of foot was used, like those used to inflate plastic boats. The photo was taken with a cheap digital camera that does not have fast times of operation, reason why the image of virgules cannot be "congealed", but it shows the general behavior of the phenomenon. Displacement of the talc towards the front, next to the camera, also it affects the image to shown the movement of the air. A better procedure would be to repeat the experiment several times with a time delay increased in milliseconds to act the firing of a fast camera, with object to show with greater clarity a film with the dynamics of virgules, like it have done in the analysis of tubular whistles.
Nevertheless, in the obtained image can be seen that the air moves upwards, down and all sides, when hitting the table, as it shown in the representation of the God L.
Photo of the air jet without the table.
The image of the movement of the air in the photo indicates that the left frame of the tablet of God L could be a wall, since if virgules did not exist this one in the stone representation they would be similar to those of the free air jet, would not bounce towards all sides.
Experiments with sonorous models.
Next one will be, by means of experimentation, that the aerophone of the hypothesis does not belong only to the imaginary space, it can exist and roar even in ours reality.
In the representation of Palenque, it cannot be observed the internal structure nor the superior view of the conical tubular object, but as it is held with the two hands indicate that it is heavy. As the hands cover the tube partially, its width cannot be determined with exactitude. It could be constructed of several natural materials like wood, bone or stems of dry vegetables, coiled and moored twigs, palm, rinds, etc. The color of the device is not known, but the greater uncertainty is the diameter of the object, because it cannot be seen, although it unknown that its thin end is within the mouth of God L.
It is possible to consider the dimensions of the device taking advantage of the used procedure to determine those of
trumpets of Bonampak murals
, although in this case its exactitude is not very important, since it would only affect very little the height and the timbre of the sounds produced by the noise generator, that constitutes the heart of the sonorous system. Following that procedure, supposing that the tall average of masculine personages of the Mayan royalty is of 165 cm and considering the dimensions of
photo of the complete rubbing of the God L
1 (positive), the length of the ancient real device would be around 23-24 cm.
In this first model the clay was selected by the versatility in its construction and because is a little heavy. The design of the embouchure is the one of
of two holes
and it operates in the same way. It is the simplest and the oldest of the family of noisy aerophones, but the less well-known and the one than can be more powerful. It could be used by other mesoamerican Gods of wind and it is shown in other ancient mayan images
It has been shown that the design can be used as a generator of noise within the
peak of the mexica God
to be adapted to a mask of the God of wind.
Also it has been proven experimentally that the extraordinary generator of noise works very well with globular or tubular resonators to produce horrifying whines of the infraworld or sounds as those of the wind of hell.
In this case, the coupled resonator is a simple truncated conical tube without pitch holes. Clay can be constructed around the
internal mold of wood
Burned experimental model after firing, of ~ 24 cm in length.
(on a deer skin)
The outer finished one of the experimental model already is very approximated to the real image of its stone representation. It was molded with modeled clay strips or little snakes of crude fine clay of Oaxaca to form the body of the tube. It was slid with black crude clay (very rare, of Nican, Juxtlahuaca, Oaxaca), to give the impression of being old and that it was extracted from the subsoil or infraworld.
One has seen that these old aerophones work with resonators of several forms and materials and its generator of noises can be constructed very well within animal heads of the mayan forest, like reptiles and felines. That is shown in the study of the
Another experimental model with a guaje tube and a clay embouchure was constructed, to show that the resonator can be made of other materials and to show its connection to the embouchure with clarity, in where the chaos/noise one is generated and to show that it adapts very well to tubes of different sizes like the
, guaje, gourd bottle or
siceraria lagenaria
Experimental model of guaje and burned clay embouchure. Length ~ 37 cm.
That aerophone was decorated with several
of oil painting (yellow Naples, orange and green toad), to hide a little the white paste of the used glue (plaster with Resistol) and to show that the ancient and modern materials and techniques are compatible.
A model with a tube of thin wall like the guaje or another thin vegetal material, can easily be covered with twigs, branches or stems moored with palms or
, to obtain a very similar outer surface to the one of the image of the object of the rubbing.
Ideally, in the embouchure it must have a head of some reptile, like the serpent of
the roarer
As these models are generators of chaos, the dynamics of the air when coming out is more turbulent.
Photo of the air when coming out of a clay model, with the light to the front and the right.
The sounds that generate these experimental models are not musical and they can be disagreeable for some persons. They are similar to those of the family of analyzed noisy aerophones previously, but they are not easy to describe. The sounds seem horrifying unknown old animal roars, moaned of beings, winds of the otherworld, infraworld or hell. It is necessary to listen to them to know them in fact. The techniques of musical analysis are not useful in these cases to analyze their sounds. It is better to use tools and scientific methods to analyze complex signals, without ethnocentrists slants. For example, the main parameters (Hertz, dB and seconds) of the components of frequency of the sounds that vary in the time can show with a spectrogram.
Spectrogram of the
sound of the experimental clay model.
(the sound is looked like a moaned whistle or of the infraworld)
This family of aerophones has seen itself that, in spite of being very simple and even without having pitch holes, can produce different sounds, depending on the configuration of the bucal tract and the form of the input airflow. For example, using the model of guaje they can generate even bioacoustic sounds. In two the following spectrogram there are Fn of the sound, same that seems weaving serpents, as the natural ones and their mesoamerican iconographical representations and same of God L. the drawing of the signal in the space of the frequencies seems like a serpent that whistles the sound. Also it is looked like virgules of the Mexican sounds. It is that other coincidence? or they knew as their sounds in the space of the frequencies were seen as they knew his dynamics in the space the time. That is very possible, since any old whistle with a hole has been seen that that generates two tones, its spectrogram shows in the space of the frequencies that its fundamental F0 generates square signal, same that also is an old graphical symbol of the serpent, the sound or any being or weaving phenomenon.
Spectrogram of a
short sound of the guaje model.
The sound of the guaje model is enough strong, possibly by the greater opening of the resonator tube, which can indicate that the original tube was similar, if it was used to produce powerful sounds.
It is suitable to be used in diverse ancient mayan rites, related to the death, the devil, the fire, the infraworld or hell, the wind, the animals, etc., as well as to be congruent with the iconography of the diverse representations of the God L.
It is possible that those sounds can have special effects in the physical and mental health of the listeners, if it is played a group of similar sonorous devices at the same time in a near field, because they can produce sonic interferences and complex subsonic beats, but its verification is a matter of future investigation.
It is possible that the analyzed hypothesis can not to be certain, but that is not very probable, since it has been shown that it is congruent with the representation carved in stone and other images of the panmesoamerican God of the wind. God L could not play aerophones of wind, but there are evidences that the case could exist and to be that. One was that already it exists and it works very well acoustically. At least, already it was demonstrated that using approaches and new techniques it is possible to raise and to analyze an original hypothesis, that it had not been considered nor explored. The case shows that when the glyphs and other archaeological evidences are not sufficient to explore sonorous artifacts of the past, the experimentation can be useful to analyze new hypothesis on them.
Independent of the veracity of the raised hypothesis, the exercise shows the potentiality of use of one of the older and own sonorous designs of the mexican cultures that were created to be used in applications of communications and signals and to simulate sounds of beings of their natural surroundings and Gods, although their exact original use and its operation are unknown.
The implications of which God L of Palenque is not an old smoker are interesting. If the object that holds in the hands is a generator of noises, it would mean at least that he was an ancient master wiser than we in that matter, since now not even the possible modern uses are known of that sonorous design.
Also has been shown that it is possible to analyze and to recreate or to reinvent the rich, millenarian, destroyed, prohibited, replaced, not known, the lost one, forgotten, neglected or despised Mexican organology, even without having direct access to them, making use only of public photos of drawings and rubbings of ancient representations, like those of God L carved in stone and the one of
mayan trumpets of Bonampak murals.
The analysis of the ancient iconography, from a new point of view and tools like the used in this paper, show that it can open a window to explore the past, in relation to the ancient sonorous space. The representation of each possible sonorous artifact included in the iconography may be matter of a similar paper.
Notes, commentaries of experts and permissions to use some images.
In most of the cases analyzed by the author are virtual studies, using experimental models, because they have represented the best alternative for the investigation of the ancient organology. Nevertheless, it has not only been difficult to have access to the ancient sonorous objects and their original representations, but it is not simple to use published copies of ancient representations. Even for studies with nonlucrative educative aims, like in the present, some require that permission is asked for the copy or disclose our culture and others sell the images. It is a true tragedy that becomes difficult to help to implement the constitutional orderings and of other laws to study and to divulge our indigenous and prehispanic cultures, by the mercantile objectives or the copy rigths of author protected in orderings and secondary regulations. Most of the editorials publish and sell copies of ancient representations and in many cases, without contributing to some added value or additional knowledge. The original authors of the ancient art are not know themselves. Luckily, some exemplary and excellent public data bases exist in Internet, that have given facilities to use their information in nonlucrative works, as it is the case of the mayan glasses of Justin Kerr
the rubbings of Merle Greene
and the Linda Shele's drawings of FAMSI site
The consultative document was presented to some related experts. The received and found commentaries in the network are the following ones:
1. Jesús Mora, researcher of the Direction of Archaeological Studies (DEA) of INAH, experimentally confirmed with a cigarette the movements of the smoke, he recommended to analyze the Dresden Codex and he provided commentaries and information as the
rubbings of God L and a skull of the Game of Ball of Chichen Itza
, made by
Merle Greene Robertson/Mesoweb
©Pre-Columbian Art Research Institute, 1995, used with permission.
Also, Jesús Mora is the first researcher of INAH interested in the analysis of ancient aerophones, because when he was Sudirector of the anterior DEA, suggested and permited the study of the
Clay frogs of Yaxchilán
, that were found by Daniel Juárez
. The study was made as an example in the use of a methodology included in a
thesis on Mexican ancient aerophones
and it was presented in the
First Sessions on Acoustics of Ancient Sonorous Instruments
, December, 2002, Cancun, México.
2. Justin Kerr gave permission to use photos of its
data base of mayan vases
. He commented that God L is associated to the tobacco in other places, reason why assumes that the image of Palenque is smoking tobacco instead of playing an instruments. Where they see that the Gods produce sounds is in almost all those that they have conch shells.
It will be interesting to analyze the evidences on the commentary of Justin Kerr of which "God L is associated to the tobacco in other places", because similar judgments from other experts are known and because interesting questions may arise. For example, what would mean that some of those evidences were not very solid or general? or that God L of other places was not only a smoker?, since it has been demonstrated with the one of Palenque. What would hapen if some tubes are not cigars, but aerophones?. For example, in the vases
there are objects that seem aerophones. In the fist vase there are objects with virgules similar to the tube of God L of Palenque. In the last vase there is an animal in the air with a small object that seems a whistle of wind and two personages with small tubes in their mouth that seem aerophones of wind, because the extreme of the tubes are covered with a hand, in the same way used to change the pitch of the aerophones of wind, forming an extra resonator or bell with the hand around the exit of the tube. The whistles of wind may be related with rites of the death. The vase shows a decapitated head. It was commented that a hand can be burned if it is near of an ignited cigarette. There are other mayan vases that show possible aerpohones of wind
Justin Kerr provided additional comments and information: Your paper is very interesting, however let me point out that recently, John Carlson in his study of Maya small flasks (Smoking Mirror, Washington, DC) that Gold L appears on a flask holding a tobacco leaf. The text, read by David Stuart suggests that ground tobacco (snuff) may have been contained in the flask. A picture of this flask appears in Robicsek's "The Smoking Gods". would also like to point out that the bird depicted on K7821 is Itzam Yeh and has no relation to god L. Although you show a photograph of a cigar, it is not a Maya cigar. The type of cigar smoked by the Lacadon Indians of Chiapas and is in the form of a cone. This is the cigar that is seen being smoked by the deities in the Codices."
3. Leticia Staines, of the Institute of Aesthetic Investigations of the UNAM commented: Not yet I have read all your work but it seems to me that it is an excellent proposal of interpretation of the object that takes in the mouth God L of the Temple de la Cross of Palenque, because in addition to the glyphs reading they have been the scrolls and the form of the object which gave rise to that it was said that is a cigarette, but has not been sufficient to affirm it. It is so the identification that beams is a new proposal that without a doubt is very important.
4. Joel Skidmore de Mesoweb recommended to contact to Merle Greene Robertson on the permission to use its images and to ask to her on the cigarette of God L.
5. Photos of other drawings of God L are not included now because it is necessary to request permission, since the publishers informed that any material that belongs to Mexican Archaeology and that is desired to use or to reproduce before must be authorized by the publisher.
6. Daniel Juárez Cosio, Director of the DEA, INAH, commented that there is iconography of God L associated to the tobacco or smoking cigarettes and provided some references that will be consulted, like "The Smoking Gods"of Francis Robicsek, "The Blod of Kings" of Linda Shele and Mary Ellen Miller, "The Maya book of Dead" of Donal M. Hales and books of maya iconography and dictionaries.
Karen Bassie
comments that the wind gods on the vase K1485 have pursed lips because they are whistling and suggests to see the vase
. In this last vase, it seems that they are whistling, but with bucal whistles of wind, because they have the same structure and are played in the same way than the
. There is a big bird that is called
Itzam Yeh
, but with tooth like the bird of the god L of Palenque and the mask of the God of wind
. It is possible to make an experimental model with the shape of that whistle of wind.
Hilary Kerrod
, a fine ceramist from New Zeland, who made experiments with mexican noise generators, commented: It seems to me that there is a natural link between 'wind' and whistles (and other wind instruments) and also tobacco in that the smoke of tobacco makes breath visible. So it's not surprising that a god might be linked with both whistle music and smoking tobacco. Maybe the whistles came first -from experiments with natural hollow stones and shells-, and the use of tobacco followed? I really like the image entitled 'Foto de un modelo de barro del pico rojo de Ehécatl sobre una piel de venado.' I presume it makes a sound in the same way as the gamitadera/shepherd's whistle family? (I have been making whistles like this but with exagerated lips. The whistler looks as if they have big red lips.)
9. Francis Robicsek, in his book "The Smoking Gods", provides information on the ancient use of tobacco, by the mayas and by the Lacan Indians, as well as a lot of iconography with objects that seem cigarrettes, cigars or tobacco. The Mayan God that is more shown with objects that seem cigars is the God K. In relation to the Photos with Lacandon Indians with conic objects of tobacco (Fig. 18, p. 16 y Fig. 33, p. 31), these seem bundles and they are very large (60-70 cm) to be used as cigars. The cigars used by the Lacandon Indians are smaller and coiled by hand like the traditional and actual cigars made by hand (Fig. 19, p 17 y Fig. 20, p 18). On the God L of Palenque, it is included an detailed analysis and beliefs, but direct evidences to indicate that he is smoking a cigar are not provided. He informs that it is the only Mayan monument of stone that show the act of smoking and comments its iconography, ilustrated by the drawing of Linda Schele (Fig. 131. p. 116). On the hipotetical cigar he comments:
In his hands, in a peculiar palm-upward position, he holds a large funned-shaped cigar, which earned his popular name, "El Fumador." He is blowing smoke from the cigar, which resembles those still smoked by some of the primitive South American tribes. (Cogars of identical shape were also popular in Europe in the sixteenth century and were depicted in Juan Bautista Muńoz'
Historia de Nuevo Mundo
.) A small flare with two curls of smoke, just like that of God K, emerges from the forehead of the deity.
The iconographic significance of the figure, whom Spinden disrespectfully called "an aged and decrepit smoker," is uncertain. Thomson believed that his smoking is an act analogous to the North American Indians'ritual of blowing smoke to the four directions of th earth. Such customs have practiced by the Hopis, who blow smoke to the four winds during their ceremonial dances and by the Zuńis, by whom "at many points in cremonies, tobacco smoke is blown to the six cardinal points that the rain maker may not withhold their misty breath."While Arethur Miller relates El Fumador to the cigar-smoking incident in
Popol Vuh
, recent observations by Schele attribute astrological significance to this monument.
Also, it is included information on a ceramic container with the "God K and God L smoking", from the North of Petén. This representation is similar to the of God L of Palenque, but information or anlysis on the hipotetical cigar is not provided. The rest of the iconography was studied by Michael D. Coe in other paper.
10. Sylvia from
permited to put a link to the drawing of Linda Shele, but now it in other web page.


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It is the natural evolution of a yoga student to become interested in learning more. Once you see the changes that happen through a consistent yoga practice it is normal to wonder why? Why does the practice of yoga make me happier, kinder and less reactionary. Whether you are curious about the anatomy and physiology, the subtle body, or philosophy of this ancient practice, this 200hr training will teach you how to increase your awareness and live life more fully. Program begins end of September 2017.
Join us for an info session
Sunday, August 13th | 5:15 – 6:00 P.M
- You Yearn for a deeper understanding of existence, and your place in it.
- You Desire to expand your intuition and imagination.
- You Seek a life full of joy and abundance.
- You Dream of a day when truly feel connected: body, mind and spirit.
- You Wish to share your passion with others.
- You Aspire to live a life full of purpose.
- To provide a comprehensive Basic Level Yoga Teacher Certification to participants who seek to teach yoga to individuals in private or group settings.
- To provide ongoing structured and unstructured support to participants leading to certification.
- To certify participants under the educational standards set forth by the National Yoga Alliance for approved registered yoga schools.
By exploring the many avenues by which students learn postures in the asana class, teacher training participants will be guided through a multitude of lectures, discussions, reading assignments, writing assignments, posture exploration, teach back demonstration exercises, posture sequencing, class development and weekend intensives.
- Provide creative educational tools that aid participants in acquiring teaching skills.
- Provide creative educational research projects that aid participants in understanding the many physical and psychological challenges students may bring to the asana class.
- Provide ongoing feedback to help participants build appropriate teaching language.
- Provide ongoing feedback for the appropriate use of "touch" and "alignment."
- Provide for frequent class demonstrations by students that aid in the reduction of anxiety associated with speaking in front of audiences.
- Provide creative educational tools that aid the student in building competence and confidence necessary for a quality yoga teacher.
At the end of training, participants receive a certificate of completion
Students will have learned skills to:
- Teach a 60-90 minute asana class or private session
- Teach a basic Pranayama class
- Teach a basic 60 minute Meditation class
- Teach a Restorative Yoga class
- Teach a Gentle yoga class
- Write and deliver a guided imagery script
- Use language appropriate for a yoga and meditation class
To sign up for the teacher training, fill out the 2 documents below and send in with your $500 deposit.
Before you fill out the application and payment plan, please review the policies and schedule.
Our Teacher Trainees meet every Thursday evening from 5:00 – 8:30pm. Program begins in Oct and runs through April with a few weeks off for Thanksgiving and Christmas. In addition to meeting weekly, there will also be once monthly weekend immersions. On the immersion weekends students will meet from 12:30 – 6:30pm on Saturday and Sunday. Email or call the studio for a full schedule at email@example.com or 425.489.1900.
Lydia Lagrou LMP, 500 E-RYT
Lydia's love of the practice is evident through her thoughtful instruction and philosophy infused classes. Although challenging, her playful, heartfelt approach to the practice of vinyasa yoga makes it accessible to all levels.
Yoga inspires optimism, enthusiasm for life and an abundant sense of inner well-being: concepts she continually promotes through teaching classes, teacher trainings, and leading mentorship programs.
Lydia's yoga journey began 10 years ago and since has taken her on a wild ride. She was immediately drawn to the practice after the transformational effect she felt after just one class. She pursued her 500hr yoga certification through Yoga Works. Her education continued with a spontaneous spiritual journey to India studying with Anand Mehrotra. Interested in learning more about anatomy and physiology she graduated from Northwest School of Massage in 2012.
This journey culminating in the most recent chapter: the opening of Leela Yoga Studio in the heart of downtown Bothell.
She strives to to guide each student through safe and supportive yoga practices designed to awaken feelings of well-being, limitless possibility, intuition and playfulness.
Kari Studley PT, DPT, RYT
Kari discovered yoga in 2012 and credits regular yoga practice as a key part of her success as a professional bike racer. As a physical therapist at Corpore Sano Physical Therapy in Kenmore, Kari enjoys integrating yoga movement concepts as part of her care approach. She enjoys sharing her passion for movement and lifelong well-being with through yoga classes.
Kari completed her 200 hour Yoga Instructor certification through the Yoga Alliance in 2013, studying Hatha Raja style yoga through Stephanie Miller and Bamboo Moves. She has degrees from Western Washington University (BS – Exercise and Sport Science) and Eastern Washington University (DPT). Her cycling accomplishments include: Masters World Cyclocross Champion, three-time U.S. National Cyclocross Champion, Single Speed Cyclocross World Champion and six-time Washington State Cyclocross Champion.
When not working, training or practicing yoga, Kari enjoys paddling with her rescue dachshund and riding bikes with her Studley husband.
Suzanne Hite
Suzanne took her first yoga class in 1999 at a local gym. It was a great compliment to her triathlon training. After suffering a debilitating foot injury a year later, her friend dragged her to hot yoga. She hated it—but was hooked! Compelled to share her experience, Suzanne received her teacher training certificate with CorePower Yoga in 2009. She strives to continue her education and has attended many different workshops and trainings with international and local yoga teachers like Baron Baptiste, Rajashree Choudhury, Bikram, Bryan Kest, Aadil Palkhivala, Troy Lucero and Liz Doyle. She loves to introduce beginners to yoga while challenging experienced yogis safely to new postures. "Watching students learn, grow and find peace is truly an inspiration!"

subset: commoncrawl


text:
Built to keep the sweat off your brow and your hair in check, the DragonWear Do-Rag captures the traditional do-rag style while adding the comfort and safety of Power Dry FR fabric. Worn by itself, or under your hard hat, the DragonWear Do-Rag will keep you cool, dry, and comfortable.
Polartec Power Dry FR TechnologyInherently Flame ResistantPermanent moisture wicking constructionHighly breathable and dries quicklyFlat-lock seam construction for comfort under hardhatFR elastic in back for great fit
Materials: 72% Modacrylic, 28% Rayon
Weight: 5.2 oz/sq yd
Color: Navy
Classified by UL to meet NFPA 70E Standard
Protection HRC1
ATPV = 5.0 cal/cm2


text:
Our nation is at a crossroads. Deteriorating infrastructure is impeding our ability to compete in the thriving global economy, and improvements are necessary to ensure our country is built for the future. While we have made some progress, reversing the trajectory after decades of underinvestment in our infrastructure requires transformative action from Congress, states, infrastructure owners, and the American people.
Our nation's infrastructure challenges are significant but solvable. Through strategic, sustained investment, bold leadership, comprehensive planning, and careful preparation for the needs of the future, America's infrastructure will be improved and restored.
For the U.S. economy to be the most competitive in the world, we need a first-class infrastructure system — transport systems that move people and goods efficiently and at reasonable cost by land, water, and air; power transmission systems that deliver reliable, low-cost power from a sustainable range of energy sources; and water systems that protect public health. To achieve this, leaders on both sides of the political aisle need to make good on promises they have made to improve our nation's infrastructure and ensure these pledges don't fall by the wayside after each election cycle. Infrastructure is the foundation that connects the nation's businesses, communities, and people, driving our economy, improving our quality of life, and ensuring our public health and safety. Now is the time to renew, modernize, and invest in our infrastructure to maintain our international competitiveness. The longer we wait, the more it will cost.
The 2017 Infrastructure Report Card reveals that we have made some incremental progress toward restoring our nation's infrastructure. But it has not been enough. As in 2013, America's cumulative GPA is once again a D+.
The 2017 grades range from a B for Rail to a D- for Transit, illustrating the clear impact of investment — or lack thereof — on the grades. Three categories — Parks, Solid Waste, and Transit — received a decline in grade this year, while seven — Hazardous Waste, Inland Waterways, Levees, Ports, Rail, Schools, and Wastewater — saw slight improvements. Six categories' grades remain unchanged from 2013 — Aviation, Bridges, Dams, Drinking Water, Energy, and Roads. The areas of infrastructure that improved benefited from vocal leadership, thoughtful policymaking, and investments that garnered results. These improvements demonstrate what can be accomplished when solutions that move projects forward are approved and implemented.
Infrastructure Investment Needs
Infrastructure is the backbone of the U.S. economy and a necessary input to every economic output. It is critical to the nation's prosperity and the public's health and welfare. Infrastructure's condition has a cascading impact on our nation's economy, impacting business productivity, gross domestic product (GDP), employment, personal income, and international competitiveness.
America's infrastructure bill is long overdue. Every four years, ASCE estimates the investment needed in each infrastructure category to maintain a state of good repair and earn a grade of B. The most recent analysis reveals the U.S. has only been paying half of its infrastructure bill for some time and failing to close that gap risks rising costs, falling business productivity, plummeting GDP, lost jobs, and ultimately, reduced disposable income for every American family.
Even though the U.S. Congress and some states have recently made efforts to invest more in infrastructure, these efforts do not come close to the $2.0 trillion in needs. The good news is that closing America's infrastructure gap is possible if Congress, states, infrastructure owners, and voters commit to increasing our investment. To raise the overall infrastructure grade and maintain our global competitiveness, Congress and the states must invest an additional $206 billion each year.
As ASCE discovered in its 2016 economic study, Failure to Act: Closing the Infrastructure Investment Gap for America's Economic Future, failing to close this infrastructure investment gap brings serious economic consequences:
- $3.9 trillion in losses to the U.S. GDP by 2025;
- $7 trillion in lost business sales by 2025; and
- 2.5 million lost American jobs in 2025.
On top of those costs, hardworking American families will lose upwards of $3,400 in disposable income each year — about $9 each day.
The time to invest in our nation's infrastructure is now. The longer we wait, the more it costs. Investing now will save our country more in the long run while also creating economic opportunity, enhancing quality of life, and ensuring public health and safety.
Download full version (PDF): 2017 Infrastructure Report Card
About the American Society of Civil Engineers (ASCE)
The American Society of Civil Engineers (ASCE), founded in 1852, is the nation's oldest 150,000 civil engineers in private practice, government, industry, and academia who are dedicated to advancing the science and profession of civil engineering
Tags: 2017 Grades, American Society of Civil Engineers, ASCE, Infrastructure Report Card, Report Card


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We were in town for a wedding, and spent 3 wonderful nights in this hotel. The Staff was attentive, energetic, and knowledgeable, and always had a smile. 2 all stars are Nelson on the night front desk and Brian one of the valets; both have excellent customer service skills. The beds are comfy, the bartender serves good drinks, the food at the restaurant is excellent and the overall ambiance was excellent. The hotel is conveniently located and the best value for the money in town. We actually canceled our reservation at the Mariott and booked at this hotel. We saved one night's stay worth of money, and gained in customer service. I highly recommend this hotel and the next time we are in town we will stay here again. Nearly forgot, check out the fire by the pool everynight .... the atmosphere was fantastic, and it was incredibly easy to relax. Thank you to everyone at the hotel, our visit to Miami was relaxing and stress free.
- Official Description (provided by the hotel):
- Hotel Urbano is a stylish, urban boutique hotel with a resort flavor, well situated within the active Brickell Avenue Business District. The eclectic and relaxing ambiance of the inviting pool deck and innovative, savory cuisine from Bistro Urbano & Bar with indoor and outdoor seating create the perfect setting for both guests and local residents to mingle and meet. Conveniently located minutes from downtown Miami, Key Biscayne, Coconut Grove along with many of Miami's famous attractions such as Miami Seaquarium, Vizcaya and Jungle Island. ... more less
- Reservation Options:
- TripAdvisor is proud to partner with Booking.com, Expedia, Travelocity, Hotels.com, Hotwire, Cancelon, TripOnline SA, Orbitz, Evoline ltd, getaroom.com, HotelQuickly and Cheap Tickets so you can book your Hotel Urbano reservations with confidence. We help millions of travelers each month to find the perfect hotel for both vacation and business trips, always with the best discounts and special offers.


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EAST RUTHERFORD, N.J. -- His name is recognizable league-wide, and its four basic syllables offer no impediment to punctuation. But Calvin Johnson struggled Wednesday with the names of the New York Giants defensive backs who will be trying to cover him Sunday.
On a conference call with Giants reporters, the Detroit Lions' superstar wide receiver knew Prince Amukamara's first name but asked for help pronouncing the last. And he referred to Trumaine McBride only as "No. 38" and admitted he wasn't sure on his name.
"I mean, last year I was out of the league," McBride said later in the Giants' locker room. "I haven't done much. I'm not surprised he doesn't know me."
Amukamara, as congenial an NFL player as you'll ever meet, offered that people still misspell and mispronounce his name around the Giants' facility and said he wasn't bothered at all by the fact that Johnson didn't know it well enough to pronounce it. He said he'd help him out if Johnson asked when they're on the field facing each other Sunday.
Both starting cornerbacks, as well as the other players in the Giants' secondary, were more concerned Wednesday with how to cover the 6-foot-5 Lion who's already got 81 catches for 1,449 yards and 12 touchdowns this season. McBride, who stands only 5-9, is dealing with the reality of giving away eight inches and still trying to stop a guy.
"I've been this small forever, so everyone I go against is bigger than me," McBride said. "I know I can't jump with him, so it doesn't make sense for me to try and jump with him. It makes sense to play his hands when he's coming down with it and knock the ball out. He's obviously very good, but everyone has weaknesses. So once I find out what that is, that's what I have to focus on to have success on game day."
It might make more sense to put the 6-foot Amukamara on Johnson throughout the game, but the Giants prefer to split the field with their cornerbacks instead of assigning one to the opponent's best receiver, and Amukamara said he believes that's the plan this week as well. In order to prepare for the times he'll face Johnson, he's been studying tape of the Lions' Week 2 loss in Arizona, in which Cardinals corner Patrick Peterson shadowed Johnson.
"It seemed he did pretty well," Amukamara said of Peterson. "He got beat on some big plays, but you would expect that given who Calvin Johnson is. But Patrick did a very good job from what I see, and I think I can take some things from that."
In that game, Johnson had six catches for 116 yards and two touchdowns. One of the touchdown catches covered 72 yards, which obviously skews the yardage total high. But it tells you all you need to know about who Johnson is that Amukamara's goal would be to replicate a six-catch, 116-yard, two-touchdown game.
Johnson's best game this season, as has been the case for many receivers, came against the Dallas Cowboys. In a Week 8 home victory over Dallas, Johnson had 14 catches for 329 yards and a touchdown, and no, that's not a misprint. The Giants' defensive backs, as of Wednesday afternoon, had not watched tape of that game. But some of them said they planned to.
"You definitely want to see how something like that transpired," safety Ryan Mundy said. "But whatever you see on tape. you know this is a big, fast, strong, physical receiver, and we have to go out there and be big, fast, strong and physical with him. We have to try and put him in some difficult spots."
Johnson is coming off a couple of disappointing games. He caught just three passes for 52 yards in the snow in Philadelphia in Week 14, and caught only six of his 14 targets for 98 yards in Monday night's loss to Baltimore. He had a couple of bad and critical drops against Baltimore as well, and he hasn't caught a touchdown pass since Week 13. So he could be in a slump, or he could be due to explode and destroy his next opponent. While it'd be easy to get caught up in the latter possibility, the Giants are not expecting to be intimidated.
"We're all players, all men, and we're at this level for a reason," McBride said. "He can make plays. I can make plays too. We'll line up and do what we can to try and stop him. That's all we can do."


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Congratulations on your admission to The University of Oklahoma Health Sciences Center Fran and Earl Ziegler College of Nursing! Welcome to the OU Nursing family.
Your orientation to the program will include:
Questions or concerns regarding orientation?
Lawton Campus, Student Program firstname.lastname@example.com(580) 591-8091
Notice: Items are subject to change. It is the student's responsibility to stay informed regarding current applicable requirements. Please check the website often for updates. Orientation is mandatory for all new students.
Please review the 8 items listed below for priority action items. Most items should be reviewed and some completed prior to attending the new student orientation event on campus.
All admitted students must confirm their offer of admission. An e-mail will be sent by the OUHSC Office of Admissions & Records with instructions. Please contact Ms. Debbie Shell if you did not receive your email.
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Beginning December 15, 2016, students will be able to upload annual certification items directly in Student Self-Service.
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Submit any remaining official transcripts to Laci Jehl at the Lawton campus at orientation or prior to enrollment. Students will not be enrolled and financial aid will not be disbursed until final transcripts are received.
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2017 IT Orientation Presentation
December 16, 2016
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Here we are, ready to continue with the Moon's help:
1st. Plant Late Beets, Potatoes, Onions, Carrots, And Other Root Crops.
2nd-4th. Poor Days For Planting. Kill Plant Pests, Spray, Fertilize, Do General Farm Work.
5th-6th. Favorable Time For Planting Late Root Crops. Also Good For Vine Crops. Set Strawberry Plants.
7th-9th. Cut Hay Or Do Plowing On These Barren Days.
10th-11th. Good Days For Planting Root Crops.
12th-13th. Seeds Planted Now Tend To Rot In Ground.
14th-15th. Plant Tomatoes, Beans, Peppers, Corn, Cotton, And Other Above Ground Crops On These Most Fruitful Days. Plant Seedbeds And Flower Gardens
16th-19th. Poor Period For Planting. Kill Plant Pests, Clear Fence Rows, Clear Land.
20th-21st. Favorable For Planting Peas, Beans, Tomatoes, And Other Fall Crops Bearing Yield Above Ground. Sow Grains And Forage Crops. Plant Flowers.
22nd-24th. Extra Good For Planting Fall Lettuce, Cabbage, Cauliflower, Collards, And Other Leafy Vegetables. All Above Ground Crops Planted Now Will Do Well. Plant Seedbeds.
25th-26th Poor Planting Days. Cut Hay Or Do General Farm Work.
27th-29th Plant Late Beets, Potatoes, Onions, Carrots, And Other Root Crops.
30th. Poor Day For Planting. Kill Plant Pests, Spray, Fertilize, Do General Farm Work.
I imagine that you are ware that where I do live, southern Chile, had the 2/27 an earthquake and tsunami, the 5th strongest od the world, in the recorded history.
If you have time, please visit this Blog that I made , it documents some of the happenings in Chile at thae moment:
You'll be able to appreciate the debastation that the earthquake and tsunami produced in Chile and the force of nature where the Hand of God can be seen!
It produce a resurgence of goodwill, unity and care between people and neighbours which still prevails because the recovery will take ages...
We still have some replicas, not that often, Thank God!
Gardening by the Moon June 2010
Here we are, ready to continue with the Moon's help:
thank you so much for your guidence... this really helps!
It's my pleasure, lovely to hear from an aussie.
I hope to return soon to those latitude.
cristina, as always, thank you for the gardening calendar.
You did a fantastic job of compiling such dramatic images of the earthquake! Earthquakes are very scary but the tsunami I cannot fathom! How refreshing to see how your well built home made it through unscathed!
Thanks again,
Thanks Christine.
As far as I'm concern, any house I'd build in the future, will be using good timber, dear old noble wood, God willing. I know it is expensive, but mighty secure if you take all precaution with fire.....
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Architecture, Culture & Spirituality
2A Magazine Issue 12 /
Autumn 2009
Ahmad Zohadi
Some important questions form the basic premise of the essays presented in this issue: What philosophy is requisite if we are to live up to the full comprehension of phenomenal existence and to be on a level worthy of it? To what point must we enlarge our thought and imagination so that creative expressions in art and architecture shall be in a proportion to fully encompass the mystery and dimensions of phenomenal reality?
What is spirituality and what role does it play in this quest for deeper understanding of human existence, life's purpose and artistic expression?
The perspectives and responses offered in these articles encompass both rational, measurable approaches to these questions and less measurable, intuitive answers. Together the rational and the intuitive seem to form complementary aspects of a more holistic approach to these age old questions, which are of vital relevance at this historic moment, particularly in the region that has recently experienced such rapid and somewhat less reflective growth.
Another pivotal and related issue central to these essays is the perennial debate about how much of human actions are by virtue of fate, which is providential based and thus beyond man's control and to what extent is it by personal will and existential circumstance and accident? Perhaps fate and will are also complementary and need not be viewed as mutually exclusive.
As the Managing Editor of 2A Magazine, I asked myself: Was it fate that brought the Forum of Architecture, Culture and Spirituality together? Was it fate that brought Nader Ardalan, Tom Barrie and I to meet and find resonance so that this issue of Architecture, Culture and Spirituality would be realized with they as Guest Editors? Or was it a combination of both destiny and rational decision-making that caused this fortuitous coming together?
Some other comments to complete this Editorial:
The cover design was inspired by images that catch the three themes of this issue: Architecture is represented by F.L.Wright's Guggenheim Museum; Culture by the ancient legend of the warrior hero Rustam; and Georgia O'Keefe's ethereal "Blue" painting is the quintessence of the Spiritual in abstract art.
This issue is organized in two parts: the first is devoted to academic essays presented at the Architecture, Culture and the Spiritual Symposium held in America, while the second part includes more regional essays and articles that are somewhat related and supportive of the ACS Symposium theme.
Finally, I believe the spiritual approach to life and design can add a much needed humanity and ethics to our 21st century architecture and urban designs, something that has been very much lost for the few centuries. We plan to continue exploring this theme by convening a near future conference and by publication of essays and projects that are motivated by such inspirations. 2A Magazine is proud to be part of this movement to bring greater spiritual consciousness to architecture and art.
Introduction by the Guest Editors:
Guest Editors: Nader Ardalan and Thomas Barrie
This 2A Architecture & Art Magazine Issue12 features research presented at a 2009 symposium hosted by the Forum for Architecture, Culture and Spirituality, and related essays and special art section articles that complement the articles on architecture. Throughout this issue you will find a particular focus on the transcendent, diverse aspects of culture, architecture and meaning, and built works that serve to establish connections between the poetic and the material. The quest of these essays by leading educators and practitioners of architecture is to offer an alternative way of approaching architecture and to shift from a kind of machine-inspired materialistic, functionalist aesthetic that dominates design today to a more holistic sustainable and spiritually inspired design approach. The resolutions to these values and aesthetic questions remain elusive, but may provide profound inspirations for more meaningful answers that touch the individual soul and collective humanity.
The publication is organized according to the convenient (but not exclusive) categories of architectural theory, education and practice. Tom Barrie and Nader Ardalan introduce the overall theme by their lead essays. Tom Barrie describes the essential preparation and practice conducive to a transcendent world view, while Nader Ardalan positions this alternative world view and describes in summary the history, legitimacy and contemporary relevance of its root philosophic concepts. Julio Bermudez underlines the affective roles that architecture plays and its ability to phenomenally change us through the extraordinary experiences it can engender. Heinrich Hermann describes how the poetic and the ineffable can find a place in architectural education. And Michael Crosbie provides alternate views regarding the ubiquitous (and often inadequately understood) term sustainability as it relates to spirituality. These, and the other contributors, provide perspectives that serve to recall essential aspects and suggest a repositioned future of our diverse and nuanced disciplines of design.
The Forum for Architecture, Culture and Spirituality is an international scholarly environment established in 2007 to support advanced architectural and interdisciplinary scholarship, research, practice, and education on the significance, phenomenal experience and deeper meanings to be found in the built environment. Its activities include web-based information resources, networking and discussion groups, conferences and symposia, and publications. The Inaugural Architecture, Culture and Spirituality Symposium was held March 24-26, 2009 at the Mt. Angel Abbey, Salem, Oregon, (where one of only two Alvar Aalto buildings in the US exists). This forum provided a diverse group of international educators and practicing architects the opportunity to share, discuss, and explore innovative ideas, practices, pedagogies, and studies within the multifarious subject areas of architecture, culture and spirituality.
Architecture, Culture & Spirituality
2A Magazine Issue 17 / Spring 2011
Khalid Habib Al Redha, Ahmad Zohadi
We believe that culture and spirituality directly and indirectly effects our lives in all dimensions specially in the dimensions of form, figure and space.
There are plenty of examples which can illustrate this fact, for example if we look at the Japanese contemporary architecture, we can clearly observe that it has its origin from its traditional, cultural and spiritual principals but at the same time it is harmonized it with necessities of modern life.
Most of the above items such as culture and religion belong to the category of Non Physical Design Sustainability.
The current international media is mostly focused on the phenomenal physical sustainability, but in this issue we would like to show that the subtle and invisible effects of culture & spirituality are as significant and 2A's vision is that we don't have to choose one in favor of the other, when designing, analyzing and building a structure.
We can and should consider and incorporate both physical & non physical elements.
When we come accross to architectural masterpieces such as Taj Mahal and other buildings as such, we deeply feel that, the creator of that design must have been in a deep meditative state while designing that structure. There is something more than mere mathematical calculations and symetrical proportions, it is as if the invisible hand of divine forces were present and had inspired the creator directly. When one simply looks at such buildings, his state of being changes immediately, one feels that he has entered into a timeless zone of reality, his mind stops analyzing and thinking, and becomes meditative and peaceful, in a way his soul's vibrations harmonizes and attunes with the designer's inner vibrations when he designed the structure. Living near such buildings, improves one's inner state by making him more peaceful, calm, and balanced, and consequently this improved mental and spiritual state, will directy effect his physical well-being as well. Psychologists call this "Psychsomatic effect", which means our psychological state directly effects our body. Thus it is very important to incorporate these non-physical elements into our (physical) designs, which can improve both our inner spiritual state and also our physical well-being.
The Architects of ancient civilizations, had also been aware of the importance of location of the structures and even cities. They chose specific locations, where they felt that the earth's energy was becoming concentrated and was suitable for long-term and sustainable settlement. They looked for certain natural settings and patterns such as mountains, rivers and oceans, which created a certain energy pattern or vortexes, and built their cities near these energy vortexes. For instance the city of Tehran is built beside the Alborz Mountains, which helps to use the vital energies to be gathered and not be dispersed, this not only magnifies the geo-physical energies, but also helps the mantal and spiritual energies of the occupants of the ciy to be concentrated and magnified.
The proper flow of energy is very essential for the health and growth of each individual and also for any society as a whole. This principle is valid for the inner sections of the structures as well. The Chinese have used the science and art of Feng Shui in both inner and outer designs by using various patterns, forms, figures and placements of elements such as furniture in certain ways in order to facilitate the healthy flow of energy inside th the houses, buildings and public places. For a Feng Shui specialist, decoration is not merely directed to beautify the place, it is also and more importantly meant to improve the flow of vital positive energy. He tries to reduce the negative and draining energies which in turn promotes negative thinking and psychological moods, which may have been created by a certain limited energy flow caused by faulty structures, and furthermore by changing it to a structural or decorational design and setting that promotes a positive flow of energy which energizes and vitalizes our energy system and mental state.
2A Magazine would like to specially thank and show our appreciation for the great efforts of the previous guest editor Homa Farjardi. We were honored and delighted to have her with us and her deep understanding nd expertese helped to illustrate the women's concerns and progress in architecture in the best possible way.
And, once again it is a great honor to have Nader Ardalan who is president of Ardalan Associates, Consulting Architects in Boston and also Phillip James Tabb, Ph.D who is Architect and Professor of Architecture Texas A&M University as the guest editors of the current issue.
2A magazine has always looked for new ways of looking at architecture and art, and has presented various themes which has explored different dimensions of those fields. Understanding the significance of spirituality and other non-physical aspects of architecture, which have been neglected or in some places completely ignored, 2A decided to dedicate another issue to this theme, because we believe the future of architecture can be enriched if we incoroprate the non-physical aspects into the physical designs. And 2A as an international media in the middle east wants to be a pioneer and promoter of this process.
Guest Editors: Nader Ardalan and Thomas Barrie
This Issue 17 of 2A Architecture & Art Magazine features 20 articles presented at the 2010 symposium hosted at St. John's Abbey in Collegeville, Minnesota by the Forum for Architecture, Culture and Spirituality, and related essays and articles on design. The idea that there are beautiful places in the world, that magic still exists, that there are special moments we can share, and that which is sacred finds expression in our lives, was the inspiration for this symposium. It was organized along three key lines – spiritual theory and philosophies, important worldwide precedent studies, and the actual contemporary practice of the spiritual in design. Through this issue you will find focus on transcendent, diverse aspects of culture and architecture, which serve to establish connections between the poetic and mystical, the inspirational and numinous, and the beautifully pragmatic and sacred built works. The resolutions to these values and aesthetic questions remain elusive, and they provide the impetus and profound and enigmatic quest for the answers that will touch the individual soul and collective humanity.
In this issue, Patrick Quinn introduces the readers to the why the Symposium on the Spiritual in Design is so critical in today's world, especially to the artist and architect. He describes the context, the rhythm of the sessions and provides a synopsis of the contributing essays. Jennifer Yoos of VJAA Architects, the architect of the guest house where the Symposium was held, follows by defining the Place making challenge they faced and how they successfully sought to creatively resolve their design mandate.
The ACS papers then unfold focused upon three critical themes of theory, precedence and practice. As in the trigram of Heaven, Man and Earth, these areas represent a full complement of concerns and inspiring insights woven together into a tapestry of scholarly investigations.
Lead essays commence each of the three themes. Nader Ardalan concludes the articles with an Epilogue that reflects upon possible lessons to be learned and where such discourses on design thinking may take us.
The Forum for Architecture, Culture and Spirituality is an international scholarly environment established in 2007 to support advanced architectural and interdisciplinary scholarship, research practice, and education on the significance phenomenal experience and deeper meanings to be found in the built environment. Its activities include web-based information resources, networking and discussion groups, conferences and symposia, and publications. The Inaugural ACS Symposium was held March, 2009 at the Mt. Angel Abbey, Salem, Oregon (where only one of two Alvar Alto buildings in the US exists). The second ACS Symposium was held June 17-18, 2010 at St. John's Abbey in Collegeville, Minnesota (where the masterplan and Abbey Church were designed by Marcel Breuer). The third symposium is planned for June 29-July1, 2011 at the new sustainable Serenbe Community near Atlanta, Georgia (designed by Phillip Tabb). For more information, visit the ACS Forum web site at http://acsforum.org.
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|02 Feb 2013
True, he had/has quite a smorgasboard of security.
|My System Specs
|02 Feb 2013
Desk1 7 Home Prem / Desk2 10 Pro / Main lap Asus ROG 10 Pro 2 laptop Toshiba 7 Pro Asus P2520 7 & 10
Best method I found was (apart from take it apart of course) was gently pushing some pipe cleaners through from the outside and then blowing from the outside the loosened dust and crud then is mostly blown out past the fan and then the real loose stuff when the fan spins up again. Blowing from the fan side just compacts the crud really anyway into the small "radiator".
If Amak wants to see how to dismantle it see here Taking apart Toshiba laptops and notebooks. DIY guides. Disassembly instructions. > go to disassembly guides and pick the model
|My System Specs
|02 Feb 2013
something like this: Belkin Blaster Canned Air, 12 oz: Computers : Walmart.com
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California Auto Centers
ReScore Reviews™ (1)
98% Would Recommend
Latest Review about 20 hours ago
Review for California Auto Centers
Marie O. on 07/15/2015
Marie said this business has excellent service. The prices are reasonable and she has been dealing with them for years.
Vehicle: Subaru Baja
Category: Service
Service Date: 07/06/2015
Review Created: 07/15/2015
This review was collected via phone interview by Customer Research Inc.


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The intimate FLARE Spa is a very special urban getaway where one can renew and regenerate, and indulge in a few hours of pampering and attention to beauty. Overseeing the glamorous cityscape of Lujiazui, FLARE Spa located on the highest floor of Four Seasons Hotel Pudong, Shanghai on level 41, and partnered with prestigious French brand GUERLAIN to offer signature GUERLAIN treatment as part of a carefully created menu of facials, massages, body treatments and salon services. Treatment rooms include two luxurious VIP spa suites with steam, sauna, rain shower and whirlpool for two.
24-hour fitness center features world-renowned Technogym equipment.
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Treat yourself to the FLARE Spa in the New Year, or share the love and gift a Renewal or Reenergize package to family or friends for the ideal Christmas, New Year's or Valentine's Day surprise. These gift sets only last from December 1 to the end of February so don't miss your chance to make someone's winter perfect with a luxuriously indulgent escape to FLARE Spa.
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01 Pacemaker II
here are some pics of my Pacemaker II WC1 Engine whizzer. it is all stock except that i removed the restricor. plan is go get it running, check out the engine, hide all of the wiring on the frame and paint it olive green with a white star/white tires!
805moparkid, Jan 20, 2011
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Item description for Counseling Troubled Youth (Counseling and Pastoral Theology) by Robert C. Dykstra...Overview
Counseling Troubled Youth Each volume in this series focuses on practical ways to respond to a serious and difficult pastoral concern within clinical and congregational settings. Offering fresh insights from pastoral theology, each volume integrates the most up to date information in psychology and the human sciences. All the authors write out of firsthand counseling experiences as well as the most recent research on their topics. The result is an invaluable series for counselors and pastors who regularly face tough issues as they offer care to clients and congregants. Others in the Series: 4256678, Counseling Depressed Women 425666X, Counseling People with Cancer 4256562, Counseling African American Marriages and Families
Publishers Description
Robert Dykstra traces the roots of youth's troubles to a despair that reflects hopelessness about a meaningful future. But these sixteen- to twenty-one-year-olds can experience newness, surprise, and hope by drawing on a sound foundation, grounded in the knowledge of God's love and care for them. This valuable resource is ideal for counselors, pastors, and parents.
The purpose of the Counseling and Pastoral Theology series is to address clinical issues that arise among particular populations currently neglected in the literature on pastoral care and counseling. This series is committed to enhancing both the theoretical base and the clinical expertise of pastoral caregivers by providing a pastoral theological paradigm that will inform both assessment and intervention with persons in these specific populations.
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text: If you're the type of person who eats lightly throughout the day, saving up carbs so that you can enjoy a sweet treat at night, these low carb dessert recipes are for you. Well, to be honest, they're for any of us. You don't need to be on a low carb eating plan to enjoy any of these dessert … [Read more...]


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East Coast Martello Towers
Of the twenty nine towers built seventeen still exist. Some are used as dwellings but several are not being used or maintained and are suffering from neglect. Tower W, is endangered by coastal erosion.The East Coast Towers are identified using letters, the last three in the chain used double letters.The surviving towers are listed below, the towers listed in Bold are clickable links to images.
Tower A, Point Clear
Tower C, Jaywick
Tower D, Clacton
Tower E, Clacton
Tower F, Clacton
Tower K, Walton on the Naze
Tower L, Shotley
Tower M, Shotley
Tower P, Felixstowe
Tower Q, Felixstowe
Tower T, Felixstowe
Tower U, Felixstowe Ferry
Tower W, Bawdsey
Tower Y, Bawdsey
Tower Z, Alderton
Tower AA, Shingle Street
Tower CC, Slaughden
Essex Towers
Suffolk Towers
Tower F Clacton on Sea
Tower Q Felixstowe.