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You can now invite anyone to meet at your favorite Starbucks.
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37 year old woman | Cincinnati, OH, USA | Seeking men 30-37
Friends, Fun, lets be happy!
I like to laugh all the time & have a kind of sarcastic sense of humor, all in good fun. I love my job & I am always setting new goals to achieve in my professional life, as well in my personal life. If I could have it my way, Halloween would be the most celebrated holiday of the year, I love fall time & all that goes with it. One of the most important things to me is my family & the time I get to spend with them especially my niece & nephews, so my match would feel as strongly about this & be close with his family as well. I'm a football fan WHO DEY! & like watching college basketball. I wouldn't consider myself a sports nut, but I do enjoy going to a Bengals game or any UC football & basketball game. Summers for me are warm, long days & nights with cold drinks & spending a lot of time in or on the water. Dale Hollow is a big part of my life in the summers & would like to share the outdoors & boating with someone who enjoys it as well. Concerts are always a good time, as well as hoping on a motorcycle & going for long rides. My guy would have a passion for me, life, like to travel, try new things, enjoy the outdoors, a night on the town or a cozy night in and just have a positive outlook on life & enjoy it.
Camping , Coffee and conversation , Cooking , Dining out , Hobbies and crafts , Museums and art , Music and concerts , Exploring new areas , Nightclubs/Dancing , Travel/Sightseeing , Watching sports
Aerobics, Bowling, Dancing, Football, Other types of exercise, Skiing, Swimming, VolleyBall, Walking / Hiking, Weights / Machines, Yoga
I exercise 3-4 times per week.
I have Dogs
I like Cats, Fish, Horses
Some other viewpoint
Dale Hollow, Disneyworld, parks, neighborhood bars, home with family.
Northern Kentucky University, Highland Heights, KY
Halloween, motorcycles, boating, camping , concerts, tattoos, traveling, trying new things
I love boating in the summer, I go almost every weekend. There's nothing like getting on the back of a bike & riding all day. Listening to concerts outside, doing yoga as often as possible & hanging out with family & friends.
Stephen King's Full Dark No Stars
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|What she is looking for
|5'3" (160cms)
|5'11" (180cms) to 6'4" (193cms)
|Body type:
|About average, Athletic and toned, A few extra pounds, Stocky
|Blue, Grey, Green, Hazel
|Auburn / Red
|Auburn / Red, Light brown, Dark brown, Blonde, Dark blonde, Bald
|Social Drinker
|Social Drinker
|Other profession
|No preference
Work for a Fortune 500 company, putting engines together.
|I'll tell you later
|No preference
|Never Married
|Never Married, Widow / Widower, Divorced
|Have kids:
|Yes, and they sometimes live at home, No, Yes, and they live away from home, Yes, and they live at home
|Wants kids:
|Definitely, Someday
|White / Caucasian
|White / Caucasian
Very intrigued with my Irish & Native American heritage.
|Spiritual but not religious
|Christian / Catholic, Christian / LDS, Spiritual but not religious, Christian / Other
I believe in ALL paths that lead to God. I was raised Catholic, but do not consider myself a "practicing catholic".
|Some college
|Some college
Studied psychology & sociology.


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I'm currently on bedrest for a bicornuate uterus that is causing my cervix to shorten. I reached the 28 week milestone this week, but my fFN test came back positive. They gave me steroid shots just in case. I know this doesn't mean he's coming now, but my cervix continues to shorten even on bedrest, so I'm worried (currently 2.1 cm). Your stories give me hope!
Thanks again!

subset: commoncrawl


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Monotone Delay synth released for iPad and iPhone
Simple ribbon synthesiser is inspired by Korg Monotron Delay
Developer Justus Kandzi has released the Monotone Delay for iPad and iPhone, a simple synth which aims to recreate the sci-fi sound of Korg's popular Monotron Delay.
A ribbon synthesiser, the Monotone Delay consists of three main parts: a frequency modulating LFO, a lowpass filter and a delay.
Says developer Kandzi: "The waveform of the LFO can be changed between a triangle wave and a square wave with the switch on the left. The knob labeled 'rate' controls the frequency of the LFO and the knob labeled 'int' controls the intensity of the frequency modulation."
We're big fans of the Korg Monotron and its futuristic space-noise, so how does the Monotone compare? Watch the video demo above to make up your mind.
If you find yourself sold, hop on over to Monotone Delay on the App Store - it's only $0.99.


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VIEWS: 0 PAGES: 54 POSTED ON: 4/6/2013 Public Domain
NOTABLE DISASTERS OF 2012 HIGHLIGHTS (In Reverse Chronological Order Within Each Natural Hazard, Technological Hazard, or Environmental Hazard Category) Walter Hays, Global Alliance for Disaster Reduction, University of North Carolina, USA PART 3: FLOODS INDIA AUSTRALIA PAKISTAN RECOVERY MUST DEAL WITH LOSS OF FUNCTION OF STRUCTURES IN FLOODPLAIN INUNDATION HAZARDOUS MATERIALS CONTENTS DAMAGED BY FLOODS WATER WATER BORNE DISEASES CASE HISTORIES (HEALTH PROBLEMS) EROSION AND MUDFLOWS CONTAMINATION OF GROUND WATER DEVASTATING FLOODS IN ASSAM STATE, INDIA June 28, 2012 The Brahmaputra River overflowed during monsoon rains, flooding more than 2,000 villages and destroying homes in the northeast of the country FLOOD: ASSAM STATE; JUNE 28, 2012 WILD BUFFALO GOING TO HIGHER GROUND; JUNE 28 STRANDED IN NAELENI VILLAGE: JUNE 28 SOME OF THE 500,000 EVACUEES: JUNE 29 ELDERLY AND YOUNG EVACUEES: JUNE 29 HOMELESS BULUT VILLAGE FAMILY: JUNE 30 PUMPING DRINKING WATER: BULUT VILLAGE; JUNE 30 WORST FLOODING IN RECENT HISTORY Ninety-five dead Over 2 million homeless. Half a million evacuees are living in relief camps with disease prone conditions Damaging landslides hindered relief operations WALLA WALLA, A FARMING COMMUNITY IN NEW SOUTH WALES, SOUTHEAST AUSTRALIA March 1-6, 2012 MARCH 1-6, 2012: WORST FLOODING SINCE 1974 • 9,000 people were evacuated after a week of rain and flooding that damaged 1,000 houses • Local authorities declared a state of emergency, which gave police and the army more authority to carry out search and rescue ops. The Mummumbidgee River, swollen after 20 cm (8 in) of rainfall, peaked at 10.56 m, just below the height of Walla Walla's protective levee. FLOODING IN SOUTHEAST AUSTRALIA PAKISTAN'S EXPERIENCES ANOTHER FLOOD DISASTER January 3, 2012 SEASONAL MONSOON RAINS CAUSE FLOOD DISASTER AGAIN IN SOUTHERN PAKISTAN PAKISTAN: FLOOD ZONES DEVASTATING FLOODS IN ASSAM STATE, INDIA June 28, 2012 PAKISTAN: 2012 FLOODING 17 million people have been affected by the floods triggered by heavy monsoon rains SOUTH PAKISTAN: Three cities in the Sindh Province along with at least 400,000 people been told to evacuate after heavy rains IMPACTS TO DATE • Over 1,000 dead. • 3 million hectares of farmland have been destroyed along with crops of rice, maize, sugar, cane and cotton. • 116,000 farm animals killed • Approximately 5 million have been left homeless, with no place to go IMPACTS (continued) • Millions have little or nothing to eat at present in spite of the government's best efforts • The water is very dirty, and if uncorrected, could create the potential for a healthcare disaster. HUMANITARIAN ASSISTANCE • THE GOVERNMENT'S STATED PRIORITY IS TO MAKE SCHOOLS, HOSPITALS, AND GOVERNMENT FACILITIES FULLY FUNCTIONAL • JAPAN, CHINA, AND THE USA HAVE PROMISED IMMEDIATE ASSISTANCE EXPERIENCE IN 2011 One year after the historic flood disaster of 2010, widespread flooding impacted Pakistan again, affected 5.2 million people and killing at least 2,000 Summer floods are common in Pakistan as a result of monsoon rains that typically swell rivers and streams across the country. EXPERIENCE IN 2010 NORTHWEST PAKISTAN (AND AFGHANISTAN) HIT BY FLASH FLOODS AFTER PROLONGED MONSOON RAINS JULY 28 - AUGUST 2, 2010 2010's floods following monsoon rains were the worst in 80 years and set new records. DERA ISMAIL KHAN: INUNDATED MUZAFFARABAD: RISING FLOOD WATERS THOUSANDS OF MUD BRICK HOMES COLLAPSED NOWSHERA: DAMAGED MUD HOUSE COLLAPSED HOUSE TRYING TO DIVERT WATER SOME LIVESTOCK WERE SAVED, BUT THOUSANDS DROWNED PESHAWAR: MELONS BECAME PRECIOUS CLINGING TO DEBRIS NOWSHERA: SEEKING HIGHER GROUND SEEKING HIGHER GROUND SEEKING A SAFE HAVEN CHARSADDA: TRYING TO EVACUATE EVACUATION: CARRYING SELECTED POSSESSIONS NOWSHERA: EVACUATION NOWSHERA: EVACUATION TO A SAFE HAVEN EVACUATION IS ALWAYS A DIFFICULT TASK MUZAFFARABAD: INADEQUATE TEMPORARY SHELTER 30,000 Pakistani troops rescued 28,000 people using helicopters and other means, and distributed water and food. NOWSHERA: PAKISTANI ARMY DISTRIBUTING WATER FLOOD DISASTER RECOVERY IS FACILITATED BY PUBLIC POLICIES THAT INTEGRATE RESEARCH, SCIENTIFIC KNOWLEDGE, AND EMERGING TECHNOLOGIES ON THE FOUR PILLARS OF DISASTER RESILIENCE WITH THE NATION'S POLITICAL PROCESS
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Critical Essay by Linda Hogan
SOURCE: "Who Puts Together," in Studies in American Indian Literature: Critical Essays and Course Designs, edited by Paula Gunn Allen, Modern Language Association of America, 1983, pp. 169-77.
Hogan is a Chickasaw poet, short story writer, novelist, playwright, and essayist. In the following essay, she relates Momaday's focus on healing and his incorporation of Native American chants in House Made of Dawn.
N. Scott Momaday, in his novel House Made of Dawn, draws on the American Indian oral tradition in which words function as part of the poetic processes of creation, transformation, and restoration. Much of the material in the novel derives from the Navajo Night Chant ceremony and its oral use of poetic language as a healing power. The author, like the oral poet/singer, is "he who puts together" a disconnected life through a step-by-step process of visualization. This visualization, this seeing, enables both the reader and Abel, the main character, to understand the dynamic interrelatedness in which all things exist and which heals. By combining the form of the Navajo healing ceremony with Abel's experience, Momaday creates harmony out of alienation and chaos, linking the world into one fluid working system.
Momaday is able to achieve this harmony because of his awareness of the language and poesis used in Navajo Chantway practice. The Night Chant is a complex ceremony for healing patients who are out of balance with the world. Its purpose is to cure blindness, paralysis, deafness, and mental disorders by restoring the patient to a balance with the universe, through symbolic actions and through language in the form of song or prayer. Words used to paint images and symbols in the minds of participants evoke visual and imaginative responses from and in the hearer. By multiplying, through speech, the number of visual images in the mind of the hearer, the ceremony builds momentum. Language takes on the power of generation. Various forms of verbal repetition intensify the rhythm, and as description and rhythm build, words become a form of internal energy for the listener.
With knowledge of how language and creative visualization work, a capable singer or writer is able to intensify and channel this energy that derives from words. Sound, rhythm, imagery, and symbolic action all combine so that the language builds and releases, creating stability and equilibrium. [In his 1974 Four Masterworks of American Indian Literature] John Bierhorst regards this buildup and release of tension as a form of charged energy: words are positively and negatively charged and resemble electricity. The plus and minus charges allow a transmission of force: "Their ceremonial method is twofold; on one hand the ritual repulses 'evil,' on the other it attracts 'holiness.' Accordingly, each of its separate rites may be categorized as either repulsive or attractive, as either purgative or additory."
An Excerpt from House Made of Dawn
He had killed the white man. It was not a complicated thing, after all; it was very simple. It was the most natural thing in the world. Surely they could see that, these men who meant to dispose of him in words. They must know that he would kill the white man again, if he had the chance, that there could be no hesitation whatsoever. For he would know what the white man was, and he would kill him if he could. A man kills such an enemy if he can.
He awoke coughing; there was blood in his throat and mouth. He was shuddering with cold and pain. He had been moaning softly until he choked; now he was gasping for breath. There was a faint vibration under him. Be quiet! He had to be quiet; something was going on. He peered into the night: all around the black land against the star-bright, moon-bright sky. So far had his vision reached that the owl, when he saw it, seemed to fly in his face and break apart, torrential, ghostly, silent as a dream. He was delirious now and gasping for breath; he hurried on in his mind, holding the owl away in the corner of his eye. The owl watched him without meaning, and something was going on. There was the faintest tremor at his feet. The night was infinite and serene, and there was an owl in the darkness and a tremor in the earth. He got down on his knees and put his ear to the ground. Men were running toward him. He left the road and hid away in the brush, and soon he could see them in the distance, the old men running after evil, their white leggings holding in motion like smoke above the ground. They passed in the night, full of tranquillity, certitude. There was no sound of breathing or sign of effort about them. They ran as water runs.
There was a burning at his eyes.
The runners after evil ran as water runs, deep in the channel, in the way of least resistance, no resistance. His skin crawled with excitement; he was overcome with longing and loneliness, for suddenly he saw the crucial sense in their going, of old men in white leggings running after evil in the night. They were whole and indispensable in what they did; everything in creation referred to them. Because of them, perspective, proportion, design in the universe. Meaning because of them. They ran with great dignity and calm, not in the hope of anything, but hopelessly; neither in fear nor hatred nor despair of evil, but simply in recognition and with respect. Evil was. Evil was abroad in the night; they must venture out to the confrontation; they must reckon dues and divide the world.
Now, here, the world was open at his back. He had lost his place. He had been long ago at the center, had known where he was, had lost his way, had wandered to the end of the earth, was even now reeling on the edge of the void. The sea reached and leaned, licked after him and withdrew, falling off forever in the abyss. And the fishes …
N. Scott Momaday, in his House Made of Dawn, Harper & Row, 1968.
This verbal and symbolic accumulation and exorcism have a parallel effect on the body. The mind produces sympathetic responses within the organism. In The Seamless Web, Stanley Burnshaw discusses the physiological effects of language. He claims that "the sources of an artist's vision involve aspects of biological responses and processes of accumulation and release to which no investigation has yet found access." Although Burnshaw is concerned more with the creative act as a release, he finds that the biological organism responds to the suggestion of words and images. In this way, healing can occur as a result of the proper use of language—language as a vehicle for vision, as a means of imagination.
Momaday makes use of accumulation and release in various sections of House Made of Dawn. Before Abel can be returned to balance, he is undone in many ways by language. In the exorcistic sections, Abel is broken down by language, his own as well as that of others. We see him taken apart by the words of those who rely on the destructive rather than on the creative capabilities of language: "Word by word by word these men were disposing of him in language, their language."
The word stands for what it signifies. It has both the power of creation and the power of destruction. For those who do not understand this potential of language, words lack power. Words degraded and overused are capable of destruction. Using language without knowledge of its functions diminishes its creative power. And there is a difference between the understanding that Navajos and other Indian people have of language and the way in which white people use language:
The white man takes such things as words and literatures for granted…. He has diluted and multiplied the word, and words have begun to close in upon him. He is sated and insensitive; his regard for language—for the Word itself—as an instrument of creation has nearly diminished to the point of no return. It may be that he will perish by the Word.
Abel's muteness is a form of paralysis. He is unable to put the past together in his mind, to make use of his own language to make himself whole:
He had tried in the days that followed to speak to his grandfather, but he could not say the things he wanted; he had tried to pray, to sing, to enter into the old rhythm of the longue, but he was no longer attuned to it. And yet it was there still, like memory, in the reach of his hearing…. Had he been able to say it, anything of his own language—even the commonplace formula of greeting "Where are you going"—which had no being beyond sound, no visible substance, would once again have shown him whole to himself; but he was dumb. Not dumb—silence was the older and better part of the custom still—but inarticulate.
Abel's inability to articulate, to form a song or prayer, keeps him from achieving wholeness. Without language, his own or that of others, he is unable to visualize. Remembering imprisonment, he realizes the need for imaginative vision and knows that his own lack of seeing narrows the world even more than did the walls of his cell: "After a while he could not imagine anything beyond the walls except the yard outside, the lavatory, and the dining hall—or even the walls really." But after he gains a full awareness of language, vision opens up to him. In "The Priest of the Sun" section, Abel recalls several incidents that reveal the importance of language. He remembers Tosamah's sermon on the Word, Benally's recitation of the Night Chant, Francisco's chanting and praying, and Olguin's discussion of "acts of the imagination" and legal terminology. After this awareness, this memory of language, occurs, Abel's vision takes place. It descends on him like a miracle of health. He sees the runners, "the crucial sense in their going, of old men in white leggings running after evil in the night. They were whole and indispensable in what they did; everything in creation referred to them…." And Abel, at this turning point where memories begin to piece together, sees the division and loss of balance that have affected him:
Now, here, the world was open at his back. He had lost his place. He had been long ago at the center, had known where he was, had lost his way, had wandered to the end of the earth, was even now reeling on the edge of the void.
Imagination and vision follow language. Description allows seeing. The potential of language to heal and restore lies in its ability to open the mind and to make the world visible, uniting all things into wholeness just as the runners are whole and indispensable.
That Abel is divided is obvious. He is a person incapable of speech, one who "could not put together in his mind," or imagine. Momaday, in his essay "The Man Made of Words," addresses this contemporary division of self from the world and the problem of how the inability to visualize, to imagine, keeps us from harmony with the rest of creation:
We have become disoriented, I believe; we have suffered a kind of psychic dislocation of ourselves in time and space…. I doubt that any of us knows where he is in relation to the stars and to the solstices. Our sense of the natural order has become dull and unreliable. Like the wilderness itself, our sphere of instinct has diminished in proportion as we have failed to imagine truly what it is.
The imaginative experience, inspired by the images and symbols of language, becomes a form of salvation. Just as language takes apart and distances, it can also put together. When this crisis of imagination is healed, restoration takes place. Those who understand the potential of words as accumulated energy, as visualization of the physical, can find balance and wholeness. Words used properly and in context, whether in written prose or in the oral form of prayer and incantation, return us to ourselves and to our place in the world. They unify the inner and outer. In this respect, for Abel and for the reader, House Made of Dawn works much like the Night Chant. It focuses the imagination, creates a one-pointedness of mind through concrete images. It breaks down and then builds momentum, using the two forces to restore balance.
Language as accumulation is a means of intensifying the power of words. This accumulation combined with the exorcistic, or release, sections of the book takes Abel on a journey of healing, a return to the sacred and to the traditional. When words take on these powers, one is careful with them, careful not to dilute and diminish their meanings as white people have done. Each word needs to carry weight, and this is central to Momaday's understanding of language as a distillation where meaning is intensified by careful use of words. When Tosamah speaks of his grandmother, he shows an understanding of both the healing function of condensed language and the importance of the imaginative journey, guided by words:
She was asking me to go with her to the confrontation of something that was sacred and eternal. It was a timeless, timeless thing…. You see, for her words were medicine; they were magic and invisible…. And she never threw words away.
Tosamah is able through language to reach some "strange potential of Himself." The ability to say, in poetic form, that which is unspeakable, to create and hold an image in the mind, gives language its power. What is spoken is seen. Words draw images and symbols out of the mind. They take hold of the moment and make it eternal. Tosamah, who in a sense speaks for Momaday, reaches that "strange potential" by experiencing the language he has spoken. He speaks as an inspired poet. As mythically the word created the earth, Tosamah's language creates vision. He is inspired by the language that speaks through him and by its capacity to recover, mentally, the world from which people have become divided. As Octavio Paz says of the poet, [in Alternating Current], "Through the word we may regain the lost kingdom and recover powers we possessed in the far-distant past. These powers are not ours. The man inspired, the man who really speaks, does not say anything personal; language speaks through his mouth."
Language, speaking through Tosamah, restores him to unity with the world. After his speech, he steps back from the lectern, and "In his mind the earth was spinning and the stars rattled around in the heavens. The sun shone, and the moon." He recognizes that a single star is enough to fill the mind and that the value of language lies in its ability to operate on the mind.
Abel also realizes his potential through language, through Benally's recitation of the Night Chant and through Francisco's memories that are "whole." As in the Night Chant, order is achieved through an imaginative journey: Benally takes Abel through this step-by-step process of visualization, singing parts of the Night Chant ceremony. Understanding the power words hold and the sacred action they contain, he sings quietly:
Restore my feet for me;
Restore my legs for me,
Restore my body for me,
Restore my mind for me,
Restore my voice for me.
This excerpt from the Night Chant allows the hearer to visualize each part of the body being healed, from the feet up to the voice. The purpose of describing health is to obtain health. This purpose is furthered by taking the patient on an imaginative journey and returning him, restored to himself. Sam Gill, talking about the nature of Navajo ceremonials [in his "Prayer as Person," History of Religions 17, No. 2 (1977)], points out that "The semantic structure of the prayer is identical to the effect the prayer seeks, the restoration of health." Benally continues, and his singing returns Abel home to his grandfather, Francisco:
Happily I go forth.
My interior feeling cool, may I walk.
No longer sore, may I walk.
Impervious to pain, may I walk.
With lively feelings, may I walk.
As it used to be long ago, may I walk.
Happily may I walk.
Francisco's dying memories continue the journey, completing the ceremony for Abel. The memories are similar to those Abel experiences in the first section of the book, and they symbolically connect the two men, using identification, which is also an important function of the language in the Night Chant, where the patient and singer identify with the holy ones. Because "the voice of his memory was whole and clear and growing like the dawn," Francisco's words finally restore Abel. Abel, running, at the end of the book, is finally able to sing, and the words he hears are from the Night Chant: "House made of pollen, house made of dawn."
Momaday's use of the journey derives from oral tradition, in which the journey is used as a symbolic act that takes the hearer out of his or her body. The journey is an "act of the imagination" fired by language. In The Way to Rainy Mountain, Momaday defines the psychic potential of the mental, or symbolic, journey as a miracle of imagination made up of mythology and legend, an idea in itself:
It is a whole journey, intricate with motion and meaning; and it is made with the whole memory, that experience of the mind which is legendary as well as historical, personal as well as cultural.
He says that the imaginative recalling of the journey reveals the way in which "these traditions are conceived, developed, and interfused in the mind." It is this interfusion with which we are concerned. The interfusion of things in the mind acts as a catalyst, merging myth, history, and personal experience into one shape, to reassemble the divisions of the self.
Healers and singers from other nations or tribes are also familiar with this traditional use of language as journey, as interfusion. The Mazatec Indians in Mexico use a similar oral technique to cure disease. [Henry Munn notes in his "The Mushrooms of Language," an essay appearing in Michael Harner's 1973 Hallucinogens and Shamanism that a] medicine woman says of the patient, "Let us go searching for the tracks of her feet to encounter the sickness that she is suffering from." And the healer goes, imaginatively, out of her own body:
She is going on a journey, for there is distanciation and going there, somewhere without her even moving from the spot where she sits and speaks … and the pulsation of her being like the rhythm of walking.
The healer follows the footprints of the patient, looking for clues to the cause of disease in order to return the patient to balance.
Just as the symbolic journey in the Night Chant and the journey in House Made of Dawn have their physiological components, so the Mazatec healing ritual [according to Munn] has an organic, biological parallel: "it is as if the system were projected before one into a vision of the heart, the liver, lungs, genitals and stomach." Through seeing, through visualizing, the words interact with the nervous system. In traditional oral literature as well as in House Made of Dawn, speaking is healing.
Momaday's imaginative, visual creation and fusion of myth and history with the present returns us to the idea of positively and negatively charged language. For what takes place within the mind, acted on by language, also takes place within the body. Language conceived as accumulation and release is language that can pass the reader/hearer across a threshold into equilibrium. Burnshaw, in a discussion of creativity, focuses on the transformational qualities of words used in this capacity:
… a creative artist inhales the surrounding world and exhales it. Whatever is taken in is given back in altered condition or transformed into matter, action, feeling, thought. And in the cases of creative persons, an additional exhalation: in the form of words or sounds or shapes capable of acting upon others with the force of an object alive in their surrounding worlds.
Such an object arises out of characteristic cycles of accumulation and release….
A singer, writer, or healer is able to unite the internal with the external. This unity of word with the force of an object is the theoretical framework for House Made of Dawn. The structure of the book replicate the progression of the Night Chant, making use of mythology, history, symbolism, and creation to stimulate response in the reader. Just as the Night Chant ceremony seeks to duplicate the universe in the mind of the hearer, Momaday creates a model of the universe in the book. Each section contains repetitions of images and symbols of the universe that are fragmented and need to be united again into one dynamic system.
These repetitions are important in channeling the energy of language. In Navajo Chantway practice, according to Gladys Reichard, the more often something is repeated, the more power it has to concentrate the mind and focus attention. Through this concentration, through a balance brought about by accumulation and release, the union of time, space, and object takes place within the imagination. The words of prose or poetry function like an opening of the self into the universe and the reciprocal funneling of the universe into the self.
This repetition and the replication of the universe assist seeing, or vision. [According to Elizabeth Sewell in her 1971 The Orphic Voice, language] in this poetic function, which resembles the oral traditions, "provides a double system of images and forms for the body and mind to work with in seeking to understand one system by another." It is as though two universes, or systems, one internal and the other external, act simultaneously upon the hearer and fuse together. Inner and outer merge and become the same. Words are linked with the objects they designate. Past and present merge. This comes about through the circular organization of the book, the expansion and contraction and the order that give the book its sense of poetic presence and immediacy.
These methods are characteristic of oral tradition, in which the word and the object are equal and in which all things are united and in flux. The distinctions between inner and outer break down. Momaday, making use of these oral techniques in his poetic language, returns Abel, along with the reader, to an earlier time "before an abyss had opened between things and their names" [Octavio Paz, The Bow and the Lyre, 1973].
This return gives to words a new substance and power not unlike that of oral ritual. The life of the word and the fusion of word and object, by means of the visual imagination, return the participant or reader to an original source that is mythic, where something spoken stands for what is spoken about and there is [according to Momaday in his "Man Made of Words"] "no difference between the telling and that which is told." It is a form of dynamic equilibrium in which all things are assembled into wholeness and integrated and in which persons can "name and assimilate."
Speaking or hearing becomes a form of action. Reichard comments [in her 1944 Prayer: The Compulsive Word], "The Navajo believe, in common with many American Indians, that thought is the same or has the same potentiality as word. To thought and words they add deed, so that there is no use trying to differentiate." Words are actions that have the ability to align and heal. This concept is the basis for the Night Chant, in which the patient identifies with the gods, goes on a symbolic journey, and is made holy. By the patient's visualizing the action, the action takes place and the patient is restored. [According to Gill, the] ceremony consists of "words the utterance of which is actually the doing of an action." Abel's ability to see, to concentrate his being, at the end of the book is the result of language.
Words, therefore, are a materialization of consciousness. And deeds are the manifestation of words. By evoking in the hearer or reader a one-pointedness of mind, the poem, song, or prayer becomes more than just expression. It is a form of divine utterance that moves us to action, that is action itself. It is an extension of the internal into the external.
Language used in this way becomes a form of dynamic energy, able to generate and regenerate. Attention, focused by language, has the power to give existence to something imagined. Words, sung or written, cast off their ordinary use and become charged with a luminous new energy. They accumulate the power to return us to a unity of word and being, linking the internal with the external. As in the Orphic tradition, language creates the world and lets the world return through the song or the word.
The song or word in oral tradition is responsible for all things, all actions. According to Navajo accounts, the universe was created by the word. According to Reichard, the Navajo say that in prehuman times the original state of the universe was one word. Tosamah, a Kiowa, also acknowledges this creative ability of the word and understands that through this creation (which was the word) all things begin and are ordered:
Do you see? There, far off in the darkness, something happened. Do you see? Far, far away, in the nothingness something happened. There was a voice, a sound, a word, and everything began.
Language perceived as creation and as a unity of word and being has the power to heal. Combining the oral elements of word energy created by accumulation and release, imaginative journey and visualization, Momaday restores Abel to his place within the equilibrium of the universe. Momaday assumes the traditional role of speaker as healer by permitting Abel and the reader to see the order of the universe. He speaks as a poet, combining the verbal and the visual. Language restores the poet to this role as the primordial speaker "whose power of language undergirds the word, thus to provide man with a dwelling place." [Gerald L. Bruns, Modern Poetry and the Idea of Language: A Critical and Historical Study, 1974]. When the world is engaged and all things are seen and understood as one great working system, balance and healing take place, and this is beyond language.
The ability of the word to control visualization and therefore unite all things is the concept behind House Made of Dawn and the Navajo Night Chant. [According to Sam Gill, in his "The Trees Stood Rooted," Parabola 2, No. 2 (1977) the] speaker understands that the "Magic of the Word lies in the fact that it is capable through image and symbol of placing the speaker in communion with his own language and with the entire world." The healing that takes place beyond language comes of the resonance, the after-image of speech in the imagination. The visual energy remains, having been sparked by words. In literature, whether oral or written, it is that which allows us to "put together" in the mind. Restoration follows language and results from the figurative aspects of words and their ability to open out the imagination and thereby affect the physiological. As energy, language contains the potential to restore us to a unity with earth and the rest of the universe. Accumulation, repetition, and resonance all unite to tie us, seamlessly, to the world.
This section contains 4,560 words
(approx. 16 pages at 300 words per page)


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The Man With No Name lists
Your Favorites List0
Your Favorites List
Purs: Favorites
The Wild (4-Color) West0
The Western has been called the Kabuki Theater of America, it that it's the same basic characters and stories told over and over again and yet still able to find an audience because it speaks to the mythos of the nation. Whether or not that's true is...
Hunters, Warriors, Mercenaries, and Assassins 1
including Vampire Slayers, Demon Hunters and Vigilantes
Possible Allies0
These people could be an ally but they could also double cross me.
Movie & TV Mania!!!0
There have been TONS of movie, and TV, properties translated to comics. Here is my attempt to list them all. Wish me luck. Added TV properties now too.
The Random-Was-There-Any-Thought-Put-Into-This-List List0
this is a working list . feel free to add suggestions :-)
Favorite Characters0
Just a big list of all my favorite comic characters. Heros and villians. *Note* This list is not in any order, I am just adding the characters to the list as I remember them.
Weapon Masters0
Those who wield weapons with crazy levels of skill
characters from the state of Illinois!!!!!!!!!!!!!!!0
My Favorite Heroes0
Almost Constant Frowners0
A list of characters who are hardly ever seen laughing and/or joking. Also a character who is Stoic
The 100010
I have always wanted to make a big mega list. I love making lists and Comicvine makes it so easy and fun. So I am going to make a fun list. Imagine all the comic characters of all time were merged into one universe. No other currently existing char...
My All-time, Over-all, COMBINED Favorite Heroic Comic Characters26
My favorite Heroic Characters from comics created by anyone, in any era, and published by any and all companies.
Other Faves0
Other Favorites besides my Top 10.
The cowboys0
(Arcade Deathmatch Crossever Event)4
My Lists Contains Characters I Would Like To See In A Crossover Deathmatch!
Favorite Normal Characters0
Characters who don't have any super powers, super weapons or special abilities of any kind. Instead they have to rely on there wits, skills, experience and whatever normal weapon they have.
My Zombie Apocalypse Team0
Dynamite Etertainment Heroes0
Work in progress
Spurs, Saddles, & Sarsaparilla3
Old West characters, either in the time period or inspired by it. Many more, not done yet thought, as usual.
Dynamite Entertainment Heroes0
Best fictional characters that I could find on this site.23
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1855 P1C Flying Eagle Cent, Judd-168, Pollock-193, R.4, PR66 Brown NGC....
2009 December Houston, TX US Coin Auction #1132
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George R. Brown Convention Center
1001 Avenida de las Americas
Houston, TX 77010
Popular 1855 Flying Eagle Cent Pattern1855 P1C Flying Eagle Cent, Judd-168, Pollock-193, R.4, PR66 Brown NGC. Thirteen stars surround an eagle that is flying slightly upward, similar to the Christian Gobrecht/Titian Peale flying eagle design for the Gobrecht dollars (and soon the Flying Eagle cents). The reverse design is similar to the issued large cent. The diameter is intermediate between the large cents struck for commerce in 1855 and the small cents that were first produced in 1856. Struck in bronze with a plain edge. There is wide variation in the composition of Flying Eagle cent patterns. This particular piece has been identified. It weighs 94.9 grains, and has a composition of 92% copper, 7% tin, and 1% zinc. The USPatterns.com website notes "extremely rare showing any red color." This is undoubtedly the case because of the presence of 7% tin in the composition. The fields are deeply reflective, and the piece has lovely bluish-tan color. Struck on a heavily striated planchet, which is most noticeable on the reverse, there are few surface distractions that are noticeable even with a magnifier. (PCGS# 11720)
Judd-168, PR66 Brown
Judd-168, PR66 Brown
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That dude can finally deliver that project to his client now.
Type: Posts; User: B-DROID; Keyword(s):
That dude can finally deliver that project to his client now.
I need to complain about how my print was rolled and shipped, where is that now?
Get yourself a Galley Boy from a Swensons. Best burger in Ohio.
Those are awesome, Johnny. If they don't like them, they are...mad.
Dr. Cool with a scorching hot take down on the state of poster art! GP is BACK.
Oh, Tom.
Poop early, poop often.
Tom is nicer on facebook. I might go back.
Get that VEGAN crap outta here!!!
I've been making these stupid pizza albums for about 6 months:
Take a bunch of drugs.
Are these untrimmed sheets that you are printing on or were they trimmed to size for the project?
The grain of the paper shouldn't change unless the paper was rotated, so a package of 11x17...
duh. www.droidart.com
Was that naive kid you, Andy? Was it you all along?
Down to 5%. A 15% halftone black dot should look really good and be plenty noticeable. Probably have a bad burn on your screen or you are outputting at weird resolution.
If this isn't a shining endorsement, then I don't know what is.
Do you have a cat? How are you storing the screens, leaning up against something? Against each other? Do the screen frames have any burrs? Popping in the same spot each time? Check your print table...
Source it out.
Struggling through a run of 500 posters for a paying client with little idea on how to approach it isn't worth the headache.
I made some shirts. I like pizza. They are on droidart.com if you like pizza too.
"someone's", riiiiiiight.
Yes, 100% true…. BUT, they named their band "Perfect Pussy" which doesn't exactly scream "Feminism", right? While poster artists should do research into the band and make sure it vibes with the...
I've heard signs pointing to YAY, but it's not confirmed.
Hmph, the band called Perfect Pussy finds exposed breasts offensive on punk flyer.
I made some of these:
Tuffy is right, any run of the mill print shop could reproduce something like that. It's basic CMYK offset printing and the bread and butter of the industry.


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Quake Matthews
Robin Steele Records
Song: Summertime Win
Not featured on our front page since April 2013, when he earned reader approval for the poignant We Can Do Better, Halifax emcee Quake Matthews returns at long last with the seasonally appropriate... More
Posted 11 months ago
Editor's Pick
Featuring: Freeway
Song: We Can Do Better
With the high-profile atrocities that have recently been in the news, violence in all its forms has become an issue at the forefront of the public consciousness. While the correct steps toward solving... More
Posted 2 years ago
Editor's Pick
Song: Dance Song
No, Quake Matthews hasn't traded in thought-provoking bars and moody underground boardwork for basic FruityLoops beats and lyrics about Superman-ing hoes. The title of the Halifax, Nova Scotia... More
Posted 2 years ago
Editor's Pick
Song: Lucy
Not everything that glitters is gold, and not every female rocking a mink coat is a goddess. An underground rhymesayer hailing from Halifax, Nova Scotia, Quake Matthews tells the story of a young... More
Posted 2 years ago
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This recipe is awesome. Fiddle with the ratio of soup broth to the veggies - I always do. Add crushed red pepper instead of cayenne for more depth of flavor. Use fresh onions and garlic for the best taste. And I always substitute diced bell peppers in for the zucchini, and it's delightful.
Buttoni makes a good whole wheat ravioli and tortellini. We mix it up, using whatever we're in the mood for. Do be sure NOT to overcook the ravioli or tortellini; they need much less time than regular pasta!


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Phone: 208-426-3944
eMail Keita Shimada
Keita Shimada joined Boise State Sports Medicine as a full-time assistant athletic trainer in 2010. Shimada works with gymnastics and men's and women's golf. He has worked with gymnastics since 2008 when he started at Boise State as a graduate assistant.
Shimada was selected by the USA Gymnastics Committee to speak at the USA Gymnastics National Congress meeting on the topic of educating coaches on the management of gymnastics injuries.
Shimada graduated from Oregon State in 2007. Upon earning his degree, Shimada stayed on for one year as an intern working with football and wrestling.
A native of Tokyo, Japan Shimada moved to New York when he was five years old. After graduating from high school in 2000 Keita attended Oregon State where he earned his Bachelor of Science degree in 2007.
Shimada is an avid fisherman and spends much of his time near the water but he is also known to frequent many local golf courses.