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: : : nostress ~ sidelinks : : :
welcome, to the lab of the zeroheroes !
here, in 0 time & 0 style, we'll try to serve you some interesting ressources, statements, manifests, study's, archives and other stuff that might help you to get . . . totally lost!
image (c) Bert Lezy
0
image (c) Bert Lezy
Saturday, May 29, 2004
Spirituele guerrilla 007
spijtig vind dat het niet in progressieve spelling is geschreven,
én dat m'n mening over de inhoud al veranderd is.
Desalnietemin een belangrijk dokument in m'n leven!
Antistresspoweet
wat vooraf ging : Spirituele guerrilla 006
proloog en : Spirituele guerrilla 001
De engtes in de kruik hebben mij al lang in de gaten
Alleen in mijn revolutie
In mijn ommekeer barst ik
Los in de storm des levens
En regen mezelf bij nachte
Over de wereld in trage, hysterische cirkels
Geen gips van licht
Die mijn breuk neurien kan
Zelfs niet de armoedige ochtend
Die de maan klauwend slaat
Geteisterd door de dwang van rustige regels
Die als een blinde drug mijn leven vergiftigen
En in wartaal mijn voetstappen naar nergens bewegen
Landt mijn regen in een helle dromenstad
Waar mijn zen groeit in hongerige
Panden en duistere krochten
Onheilige bodem van gouden daarom
Stoffige poort met erachter een gevleugeld gedacht
Dwarrelend kleed dat uitnodigend lotus gebaart
Leun je leugen op dit roestige schrijven
Drijf je maskers temidden van de een-
Zame hemel en gebruik de oogbal
Van je rechtvaardige stiltes
En plens je vertrouwde
Voeten als veertjes
Op mijn dronken
Ontembare
Water
Lich-
Amen
Onherroepelijk
Regen ik mezelf in
Trage, hysterische cirkels
Verdrink totaal of
Breng de karavaan
Thuis
Op weg
Welke schoonheid kan je nog raken?
Wat valt er nog meer te zeggen?
Welke bijdrage kan je nog maken?
Waar zijn er nog grenzen om te verleggen?
Je kent de weg
Want je legt hem voor immer af
Je kent de weg als hem
Maar ook als haar
Verwart jezelf in geslachten
Bevrucht jezelf in gedachten
Weg is de weg
En in een simpel gebaar
Ook hem en haar
En dat laat je
Een stukje kouder
En een beetje kaler
Achter
Net zoals het scherm
Van je eigen zijn
Geef de vogels zaad
Het verderf is van de wereld
En die wereld die schenk ik aan jou
De ene vogel die merelt
De andere kraait als een kou
Wat kan ik jou nog geven?
Behalve mijn zang in de ochtend?
Of mijn symfonie in de bossen?
Jezusterrorisme
Wat jij daar doet
Kan helemaal niet
Jij plaatst daar iets
Zonder het daar te plaatsen
Jij wandelt over jezelf
En een ander
Struikelt dan
Weer over jou
Jij die nooit terugkomt
En die altijd is geweest
Jij die je handen in het reine wast
Alvorens je mijn kruis betast
En alweer jij die, die grap jast
Zaait en oogst wat je zelf hebt gezaaid
De kunst is sex
Er is een schroef mis
Tussen waarheid en fantasie
Al de rest is een opruimen
Voor de camera’s
Voor elke mythe een leugen
De werkelijke revolutie
Ligt in onszelf
Is onvertaalbaar
Naar grenzen van binnen
En buiten
Is onvatbaar in taal
Ze hebben je alle illusie
Ontnomen
Want ze waren vluchtiger
Dan je denken kon
Nu ben je ontwaakt
En al hetgeen was
Al hetgeen zal zijn
Behoort tot de categorie tijd
En de classificatie ruimte
Daar waar je geest
Nu niet meer toeft
Een aangename droom
De kriek op de taart
En nog steeds geen echte
Kogel in je hoofd
Enkel een diamant
Er middenin
Nuchtere re-evaluatie
Een lijdensweg
Een berghok
Voor alle leidersschap
Nu!
(Welkom
In de kamer
Des doods)
Val al eens
Van een omgekeerde stoel
In de instant hemel
Er is enkel hier en nu
Al de rest is voor de katholiekers
Weke leegte
Broze tepels
Een hefboom voor elke verbeelding
Een instandbeeld voor elke mens
(Op elke zerk)
Sex en waarheid
Een eenzame trechter
Een werkelijk genie
Een genie dat gegund wordt
De schampere wonde
En het wonderlijke verhaal
De verborgen leugen
En de adder in de woestijn
Combinaties in alle eenzaamheid
Concubines in het huis
Van de onbetaalde liefde
Een stemming om op te gaan
Een vlucht om op te drijven
Een opgedroogde zee
De kamer van Merlijn
Heeft deur noch toegang
(Alle kamers zijn dezelfde)
Brak brak brak nuchter
Een onfris verhaal
Een ets in de vage verte
Een schets in de branding
Een kurk zonder fles
Een boodschap een les
Een therapie voor
Schipbreukelingen
Kop pijn
En het slagen
Van zilveren munten
Voor een betere toekomst
Voor meer welstand
Richt je kamer in!
Wees ordelijk!
Bij gebrek aan betere orientatie
Smakeloos en hongerig
Een legbatterij en een nieuwe
Generatie
Emotie en inductie
Stroom en verstarring
Wattblief en alsjeblief
Een generator en een stroomverdeler
Een kater
En nu een glas water
Geen woord van stilte (vrij naar Frederik Van Eeden)
Wij hebben
Geen hoogte
Geen lengte
Geen breedte
Geen diepte
Geen tijd
Meer
Wij hebben
Geen ik
Geen persoon
Enkel al wat vreemd is
Enkel alles als illusie
Hebben wij
Geen lijf
Geen leven
Voorbij de grenzen van onze machteloosheid
Voorbij de grenzen van onze hulpeloosheid
Voorbij de grenzen van onze lichtzinnigheid
Voorbij de grenzen van onze domheid
Al ons willen
Al ons weten
Al ons voelen
Al ons herbeginnen
Niets van dat al zal ons helpen
Want we helpen enkel onszelf
Met een glimlach of in een kist
Met verbranding of in verstrooiing
Zijn wij reeds dood
Bij geboorte
Hebben geen keuze
Bij deze kille
Ongewenste
Maar opperbeste
Vriend
In niets
Verzinken
Al onze oordelen
In stilte
Vervaagt
Elk van onze stemmen
En zoals steeds
Niemand
Die het meest
Schrille schreeuwt
Die oneindig begint
Die ons totaal bezint
Als in een getrouwe droom
Geen woord
Wil je van mij horen
Met geen spijt
Kan ik je bekoren
Want zoals wij zijn
Zijn wij ook niets
Dan zinsbegoocheling
In onze geheimzinnige
Onvermijdelijke
Toekomst
Die nu
Reeds
Ver
Leden
Is
Ironie van de patriarchale macht
Besnaar je dode mond
Met gevelde hectares bos
En graai je vrouwen
In de schorre aderen
Van je catatonische begeertes
Haar fantastiese lippen
Herbergen groene minnaars
En eindelijk is er vuur
In de langzame rotsen
De routine
Daar is geen besef
Machine neemt opdracht aan
Die is en niet is
Daar waar de machine
Is en niet is
Daar is besef
Ik ben menselijk
Ik kan mij daar met verzoenen
Want ik ben een slecht mens
Ik rook zuip smoor trip snuif
Want ik ben een slecht mens
Toch is het mijn wens
Daar ooit eens allemaal mee op te houden
Want ik ben een slecht mens
Of ik nu lach of triest ben
De enige route is niet 66, of 666, maar zen
En daarbij kan ik nog menig ander pad bewandelen
Want ik ben een slecht mens
Voor kerk en staat, van status en gelaat
Voor jou wel en voor jou niet
Kies ik mijn eigen herverdeling
Ben een slecht mens
Deel mijn eigen meer
Dan een ander
Toe of open
Afgezopen of afgelopen
Leugen of waarheid
Excentriciteit of eerlijkheid
Ben ik of ben ik niet
Een slecht mens
Want ik ben
Elke millimeter
Elke millimeter die we in de wollen vacht van de tijd
Kruipen is herinnering
We rollen
Gewild ongewild
Primitief geciviliseerd
Door het kaleidoscopische oog
Van onze magistrale poppenkast
En zijn enkel onszelf
Met onze gedachten tot last
Verderf gritselt
De intenties van onze dag
En als we goed kijken
Kunnen we het wezenloze kerkhof zien
Temidden van onze daden
wordt vervolgd
Wednesday, May 26, 2004
Transpersonal psychology is interesting...
Not only people as Fritz
Perls (Gestalt), Maslow, Assagioli (psychosynthesis) and for instance
Ken Wilber are interesting, also someone as Stanislav Grof should
become known to a wider public:
''The Multi-Dimensional Psyche''
© Interview With
Interviewed By Russell E. DiCarlo
Dr. Stan Grof is a leading researcher in transpersonal psychology, a field he co-founded with the late Abraham Maslow. Grof's books include "Realms of The Human Unconscious," and "Beyond The Brain."
DiCarlo: You have been a major researcher of non-ordinary states of consciousness for the past thirty-six years. What got you interested at first?
Grof: My interest in this field of research started when I volunteered for an LSD experiment in Prague, Czechoslovakia. My original training was in Freudian psychoanalysis and reading Freud inspired me to study medicine and become a psychiatrist. However, early in my professional career, I developed a deep conflict in relation to psychoanalysis. I continued to be very excited about psychoanalytic theory which seemed to offer brilliant insights into the human psyche and fascinating explanations for various otherwise obscure problems, such as the symbolism of dreams, neurotic symptoms, religion, and what Freud called "psychopathology of everyday life". But I became increasingly disappointed with psychoanalysis as a practical tool of therapy.
... more at HealthWorld Online ...
Tens of thousands of people from all over the world have participated in Holotropic BreathworkTM since it was developed by Stanislav and Christina Grof. The technique includes deeper, connected breathing, music, art, and trained facilitation. This container provides protection, permission, and connection as participants explore the vast emotional, physical, and spiritual realms of their psyches.
Has Psychology Failed
the Acid Test?
Stanislav Grof
(interviewed by Jerry Snider) at The Light Party
Erowid.org is an online library of information about psychoactive plants and chemicals and related topics. The information on the site is a compilation of the experiences, words, and efforts of hundreds of individuals including users, parents, health professionals, doctors, therapists, chemists, researchers, teachers, and lawyers. Erowid acts as a publisher of new information as well as a library for the collection of documents published elsewhere. The information found on the site spans the spectrum from solid peer reviewed research to fanciful creative writing.
The library contains over 20,000 documents related to psychoactives including images, research summaries & abstracts, media articles, experience reports, information on chemistry, dosage, effects, law, health, traditional & spiritual use, and drug testing. Over 25,000 people visit the site each day, making more than 6 million unique visitors in the past year.
Erowid itself is a small non-commercial organization that has operated for more than 6 years in the controversial and politically challenging niche of trying to provide accurate, specific, and responsible information about how psychoactives are used in the United States and around the world. We are committed to protecting the privacy of contributors and reporting on the topic non-judgementally. Although our primary focus is on the web site, we also provide research and data for other harm reduction, health, and educational organizations.
Although the risks and problems are widely discussed, it's also clear that psychoactive plants and chemicals have played a positive role in many people's lives. As our culture struggles with integrating the increasing variety and availability of these substances into its political and social structures, new educational models are clearly needed. Erowid is founded on the belief that a healthy relationship with psychoactives is one grounded in balance, where use is part of an active, intellectual, physical, and spiritual life.
The Magic Mushroom Growers Guide
Version 3.2
Wednesday, May 19, 2004
The Great Giveaway
Good ideas are worth money. So why are hard headed operators giving them away for free? Join our experiment to find out says Graham Lawton
IF YOU'VE BEEN to a computer show in recent months you might have seen it: a shiny silver drinks can with a ring-pull logo and the words "opencola" on the side. Inside is a fizzy drink that tastes very much like Coca-Cola. Or is it Pepsi?
There's something else written on the can, though, which sets the drink apart. It says "check out the source at opencola.com". Go to that Web address and you'll see something that's not available on Coca-Cola's website, or Pepsi's--the recipe for cola. For the first time ever, you can make the real thing in your own home.
OpenCola is the world's first "open source" consumer product. By calling it open source, its manufacturer is saying that instructions for making it are freely available. Anybody can make the drink, and anyone can modify and improve on the recipe as long as they, too, release their recipe into the public domain. As a way of doing business it's rather unusual--the Coca-Cola Company doesn't make a habit of giving away precious commercial secrets. But that's the point.
OpenCola is the most prominent sign yet that a long-running battle between rival philosophies in software development has spilt over into the rest of the world. What started as a technical debate over the best way to debug computer programs is developing into a political battle over the ownership of knowledge and how it is used, between those who put their faith in the free circulation of ideas and those who prefer to designate them "intellectual property". No one knows what the outcome will be. But in a world of growing opposition to corporate power, restrictive intellectual property rights and globalisation, open source is emerging as a possible alternative, a potentially potent means of fighting back. And you're helping to test its value right now.
The open source movement originated in 1984 when computer scientist Richard Stallman quit his job at MIT and set up the Free Software Foundation. His aim was to create high-quality software that was freely available to everybody. Stallman's beef was with commercial companies that smother their software with patents and copyrights and keep the source code--the original program, written in a computer language such as C++--a closely guarded secret. Stallman saw this as damaging. It generated poor-quality, bug-ridden software. And worse, it choked off the free flow of ideas. Stallman fretted that if computer scientists could no longer learn from one another's code, the art of programming would stagnate (New Scientist, 12 December 1998, p 42).
Stallman's move resonated round the computer science community and now there are thousands of similar projects. The star of the movement is Linux, an operating system created by Finnish student Linus Torvalds in the early 1990s and installed on around 18 million computers worldwide.
What sets open source software apart from commercial software is the fact that it's free, in both the political and the economic sense. If you want to use a commercial product such as Windows XP or Mac OS X you have to pay a fee and agree to abide by a licence that stops you from modifying or sharing the software. But if you want to run Linux or another open source package, you can do so without paying a penny--although several companies will sell you the software bundled with support services. You can also modify the software in any way you choose, copy it and share it without restrictions. This freedom acts as an open invitation--some say challenge--to its users to make improvements. As a result, thousands of volunteers are constantly working on Linux, adding new features and winkling out bugs. Their contributions are reviewed by a panel and the best ones are added to Linux. For programmers, the kudos of a successful contribution is its own reward. The result is a stable, powerful system that adapts rapidly to technological change. Linux is so successful that even IBM installs it on the computers it sells.
To maintain this benign state of affairs, open source software is covered by a special legal instrument called the General Public License. Instead of restricting how the software can be used, as a standard software license does, the GPL--often known as a "copyleft"--grants as much freedom as possible (see http://www.fsf.org/licenses/gpl.html). Software released under the GPL (or a similar copyleft licence) can be copied, modified and distributed by anyone, as long as they, too, release it under a copyleft. That restriction is crucial, because it prevents the material from being co-opted into later proprietary products. It also makes open source software different from programs that are merely distributed free of charge. In FSF's words, the GPL "makes it free and guarantees it remains free".
Open source has proved a very successful way of writing software. But it has also come to embody a political stand--one that values freedom of expression, mistrusts corporate power, and is uncomfortable with private ownership of knowledge. It's "a broadly libertarian view of the proper relationship between individuals and institutions", according to open source guru Eric Raymond.
But it's not just software companies that lock knowledge away and release it only to those prepared to pay. Every time you buy a CD, a book, a copy of New Scientist, even a can of Coca-Cola, you're forking out for access to someone else's intellectual property. Your money buys you the right to listen to, read or consume the contents, but not to rework them, or make copies and redistribute them. No surprise, then, that people within the open source movement have asked whether their methods would work on other products. As yet no one's sure--but plenty of people are trying it.
Take OpenCola. Although originally intended as a promotional tool to explain open source software, the drink has taken on a life of its own. The Toronto-based OpenCola company has become better known for the drink than the software it was supposed to promote. Laird Brown, the company's senior strategist, attributes its success to a widespread mistrust of big corporations and the "proprietary nature of almost everything". A website selling the stuff has shifted 150,000 cans. Politically minded students in the US have started mixing up the recipe for parties.
OpenCola is a happy accident and poses no real threat to Coke or Pepsi, but elsewhere people are deliberately using the open source model to challenge entrenched interests. One popular target is the music industry. At the forefront of the attack is the Electronic Frontier Foundation, a San Francisco group set up to defend civil liberties in the digital society. In April of last year, the EFF published a model copyleft called the Open Audio License (OAL). The idea is to let musicians take advantage of digital music's properties--ease of copying and distribution--rather than fighting against them. Musicians who release music under an OAL consent to their work being freely copied, performed, reworked and reissued, as long as these new products are released under the same licence. They can then rely on "viral distribution" to get heard. "If the people like the music, they will support the artist to ensure the artist can continue to make music," says Robin Gross of the EFF.
It's a little early to judge whether the OAL will capture imaginations in the same way as OpenCola. But it's already clear that some of the strengths of open source software simply don't apply to music. In computing, the open source method lets users improve software by eliminating errors and inefficient bits of code, but it's not obvious how that might happen with music. In fact, the music is not really "open source" at all. The files posted on the OAL music website http://www.openmusicregistry.org so far are all MP3s and Ogg Vorbises--formats which allow you to listen but not to modify.
It's also not clear why any mainstream artists would ever choose to release music under an OAL. Many bands objected to the way Napster members circulated their music behind their backs, so why would they now allow unrestricted distribution, or consent to strangers fiddling round with their music? Sure enough, you're unlikely to have heard of any of the 20 bands that have posted music on the registry. It's hard to avoid the conclusion that Open Audio amounts to little more than an opportunity for obscure artists to put themselves in the shop window.
The problems with open music, however, haven't put people off trying open source methods elsewhere. Encyclopedias, for example, look like fertile ground. Like software, they're collaborative and modular, need regular upgrading, and improve with peer review. But the first attempt, a free online reference called Nupedia, hasn't exactly taken off. Two years on, only 25 of its target 60,000 articles have been completed. "At the current rate it will never be a large encyclopedia," says editor-in-chief Larry Sanger. The main problem is that the experts Sanger wants to recruit to write articles have little incentive to participate. They don't score academic brownie points in the same way software engineers do for upgrading Linux, and Nupedia can't pay them.
It's a problem that's inherent to most open source products: how do you get people to chip in? Sanger says he's exploring ways to make money out of Nupedia while preserving the freedom of its content. Banner adverts are a possibility. But his best hope is that academics start citing Nupedia articles so authors can earn academic credit.
There's another possibility: trust the collective goodwill of the open source community. A year ago, frustrated by the treacle-like progress of Nupedia, Sanger started another encyclopedia named Wikipedia (the name is taken from open source Web software called WikiWiki that allows pages to be edited by anyone on the Web). It's a lot less formal than Nupedia: anyone can write or edit an article on any topic, which probably explains the entries on beer and Star Trek. But it also explains its success. Wikipedia already contains 19,000 articles and is acquiring several thousand more each month. "People like the idea that knowledge can and should be freely distributed and developed," says Sanger. Over time, he reckons, thousands of dabblers should gradually fix any errors and fill in any gaps in the articles until Wikipedia evolves into an authoritative encyclopedia with hundreds of thousands of entries.
Another experiment that's proved its worth is the OpenLaw project at the Berkman Center for Internet and Society at Harvard Law School. Berkman lawyers specialise in cyberlaw--hacking, copyright, encryption and so on--and the centre has strong ties with the EFF and the open source software community. In 1998 faculty member Lawrence Lessig, now at Stanford Law School, was asked by online publisher Eldritch Press to mount a legal challenge to US copyright law. Eldritch takes books whose copyright has expired and publishes them on the Web, but new legislation to extend copyright from 50 to 70 years after the author's death was cutting off its supply of new material. Lessig invited law students at Harvard and elsewhere to help craft legal arguments challenging the new law on an online forum, which evolved into OpenLaw.
Normal law firms write arguments the way commercial software companies write code. Lawyers discuss a case behind closed doors, and although their final product is released in court, the discussions or "source code" that produced it remain secret. In contrast, OpenLaw crafts its arguments in public and releases them under a copyleft. "We deliberately used free software as a model," says Wendy Selzer, who took over OpenLaw when Lessig moved to Stanford. Around 50 legal scholars now work on Eldritch's case, and OpenLaw has taken other cases, too.
"The gains are much the same as for software," Selzer says. "Hundreds of people scrutinise the 'code' for bugs, and make suggestions how to fix it. And people will take underdeveloped parts of the argument, work on them, then patch them in." Armed with arguments crafted in this way, OpenLaw has taken Eldritch's case--deemed unwinnable at the outset--right through the system and is now seeking a hearing in the Supreme Court.
There are drawbacks, though. The arguments are in the public domain right from the start, so OpenLaw can't spring a surprise in court. For the same reason, it can't take on cases where confidentiality is important. But where there's a strong public interest element, open sourcing has big advantages. Citizens' rights groups, for example, have taken parts of OpenLaw's legal arguments and used them elsewhere. "People use them on letters to Congress, or put them on flyers," Selzer says.
The open content movement is still at an early stage and it's hard to predict how far it will spread. "I'm not sure there are other areas where open source would work," says Sanger. "If there were, we might have started it ourselves." Eric Raymond has also expressed doubts. In his much-quoted 1997 essay, The Cathedral and the Bazaar, he warned against applying open source methods to other products. "Music and most books are not like software, because they don't generally need to be debugged or maintained," he wrote. Without that need, the products gain little from others' scrutiny and reworking, so there's little benefit in open sourcing. "I do not want to weaken the winning argument for open sourcing software by tying it to a potential loser," he wrote.
But Raymond's views have now shifted subtly. "I'm more willing to admit that I might talk about areas other than software someday," he told New Scientist. "But not now." The right time will be once open source software has won the battle of ideas, he says. He expects that to happen around 2005.
And so the experiment goes on. As a contribution to it, New Scientist has agreed to issue this article under a copyleft. That means you can copy it, redistribute it, reprint it in whole or in part, and generally play around with it as long as you, too, release your version under a copyleft and abide by the other terms and conditions in the licence. We also ask that you inform us of any use you make of the article, by e-mailing copyleft@newscientist.com.
One reason for doing so is that by releasing it under a copyleft, we can print the recipe for OpenCola without violating its copyleft. If nothing else, that demonstrates the power of the copyleft to spread itself. But there's another reason, too: to see what happens. To my knowledge this is the first magazine article published under a copyleft. Who knows what the outcome will be? Perhaps the article will disappear without a trace. Perhaps it will be photocopied, redistributed, re-edited, rewritten, cut and pasted onto websites, handbills and articles all over the world. I don't know--but that's the point. It's not up to me any more. The decision belongs to all of us.
Further reading:
For a selection of copylefts, see http://www.eff.org/IP/Open_licenses/open_alternatives.html
The Cathedral and the Bazaar by Eric Raymond is available at http://tuxedo.org/~esr/writings/cathedral-bazaar/
THE INFORMATION IN THIS ARTICLE IS FREE. It may be copied, distributed and/or modified under the conditions set down in the Design Science License published by Michael Stutz at http://dsl.org/copyleft/dsl.txt
from :
What Is Copyleft?
free culture
Thursday, May 13, 2004
Entartete Kunst
In 1937, Nazi officials purged German museums of works the Party considered to be degenerate. From the thousands of works removed, 650 were chosen for a special exhibit of Entartete Kunst. The exhibit opened in Munich and then traveled to eleven other cities in Germany and Austria. In each installation, the works were poorly hung and surrounded by graffiti and hand written labels mocking the artists and their creations. Over three million visitors attended making it the first "blockbuster" exhibition.
...
Our intent is to give teachers a framework to follow for use in a Holocaust unit of study. The philosophy behind these activities is based on constructivist pedagogy, brain-based learning and the awareness of the theory of multiple intelligences. We hope teachers will use them and build on them to fit the needs of students, taking into account their age, maturity, and ability levels. We strongly urge teachers to read and reread the Guidelines for Teaching the Holocaust published by the United States Holocaust Memorial Museum before designing activities or using the ones we offer in A Teacher's Guide to the Holocaust . The suggestions and cautions the Holocaust Museum offers are important and invaluable in delivering Holocaust instruction. The sensitivity of the subject matter requires careful consideration when designing curriculum and guiding students in presentations and research.
The Process Enneagram of Consciousness and RHETI Data
© By Walter J. Geldart, M.Eng., M. Div. - Nov, 1998
--------------------------------------------------------------------------------
Introduction
This article shows how to use a person's RHETI scores with the Enneagram of Consciousness Process Model to: 1) confirm enneagram personality type, 2) explore preference scores for several Jungian/enneagram information triads associated with specific traits, 3) calculate the preference scores for eight Jungian psychological processes and a ninth moving function, and 4) compare these preference scores with MBTI Form M scores for eight MBTI Scale Preferences (E-I, S-N, T-F, and J-P). The RHETI and MBTI data used in the article was reported by a professional artist.
Section One: The Reported RHETI and MBTI Form M Data
1.1 Riso-Hudson Enneagram Type Indicators Scores and Personality Type Names
Type / Riso-Hudson Name / Associated Jungian Function / RHETI Total Score / Score Above Median
One The Reformer Te 19 +3
Two The Helper Fe 15 -1
Three The Achiever Me 16 0
Four The Individualist Ne 26 +10
Five The Investigator Ti 17 +1
Six The Loyalist Fi 15 -1
Seven The Enthusiast Se 14 -2
Eight The Challenger Si 9 -7
Nine The Peacemaker Ni 13 -3
The RHETI enneagram scores are close to the median for six Enneagram Points. The highest score is for Enneagram Point Four (+10) that is well known in enneagram personality type theory for their artistic nature. Mark is an artist whose media is the photographic image. RHETI and MBTI show that intuition is his preferred Jungian function. Points Four and Nine have intuition as the conscious Jungian function gift, and their combined intuition score is above the median (+7).
Conversely, Points Seven and Eight have sensation as the conscious Jungian function gift, and their combined sensation function score is below the median (-9). RHETI 2.0 data mapped on the Enneagram of Consciousness and MBTI Form M are in complete agreement that Intuition is preferred over sensation. RHETI was designed to report nine separate scores for nine separate functions for each person. MBTI was designed to report four separate functions for each person.
1.2 The Reported MBTI Form M Scores
Preference Preference Preference
Dyads & Scores Clarity Comment
E vs I E = 0 I = 21 "I" is Very Clear Reserved vs Expressive
S vs N S = 5 N = 21 "N" is Clear Possibilities vs Facts
T vs F T = 7 F = 17 "F" is Moderate Values vs Objective Logic
J vs P J = 16 P = 6 "J" is Moderate Product vs Process in Public
Mark's reported MBTI Type is INFJ.
...more...
from :
voor:
1. neppe (nepeta cataria).
Als geneeskruid: het blad of de bloem (thee) en de wortel (afkooksel)
pijnstillend (o.m. buikpijn en menstruatiepijn)
zenuwstillend
tegen hoest en hik.
Als keukenkruid: het blad en/of de bloem gesnipperd in soep, sla en kruidensaus.
Ook leuk voor de poes (om eraan te ruiken en om te eten)
2. valeriaan (valeriana officinalis).
Als geneeskruid: wortel (afkooksel).
zenuwstillend.
(bij overdadig gebruik veroorzaakt het gejaagdheid en waanvoorstellingen)
Ook leuk voor de poes (om erin te stoeien).
Niet te verwarren met kattendoorn (= stalkruid, onosis spinosa), met kattenklauw (= kleefkruid, galium aparine), met kattenstaart (= heermoes, equisetum arvense) en met kattengras.
(in naslagwerken opgezocht door Herman voor Rita)
Silence
I have always taken for granted that John Cage's 4'33'' was a joke. The idea of a piece of music without any music just seemed like avantgarde arriving at its final point where it abolishes itself. After having read most of this longish essay on 4'33'' (discovered at popshots) I must admit that I was wrong. In the essay it says on the first performance of 4'33'' at Woodstock, New York, on August 29, 1952 by David Tudor, a young pianist:
Tudor placed the hand-written score, which was in conventional notation with blank measures, on the piano and sat motionless as he used a stopwatch to measure the time of each movement. The score indicated three silent movements, each of a different length, but when added together totalled four minutes and thirty-three seconds. Tudor signaled its commencement by lowering the keyboard lid of the piano. The sound of the wind in the trees entered the first movement. After thirty seconds of no action, he raised the lid to signal the end of the first movement. It was then lowered for the second movement, during which raindrops pattered on the roof. The score was in several pages, so he turned the pages as time passed, yet playing nothing at all. The keyboard lid was raised and lowered again for the final movement, during which the audience whispered and muttered.
This account already shows what 4'33'' is about. It is not about silence at all but about its opposite. About noises. The roles of composer/performer and audience are kind of reversed. The audience (plus outside environment) make the "music". 4'33'' is the only piece of music which hands over the performance to the audience. That means of course that 4'33'' is totally different every time it is "played". It is unforeseeable which sounds the listeners will make. In a way it is the most democratic of all compositions. Cage says it better:
I think perhaps my own best piece, at least the one I like the most, is the silent piece. It has three movements and in all of the movements there are no (intentional) sounds. I wanted my work to be free of my own likes and dislikes, because I think music should be free of the feelings and ideas of the composer. I have felt and hoped to have led other people to feel that the sounds of their environment constitute a music which is more interesting than the music which they would hear if they went into a concert hall.
...more...
via said the gramophone
different sounds
Only the factories have the legal right to declare an engine "zero time." As Coy Jacob explained recently in Aviation Consumer, that doesn't mean all new parts. A zero-time engine can contain used parts -- perhaps many used parts of unknown service history. Here's what you're really getting for your flying dollar.
by Coy Jacob
Zero Times Infinity
Setting the Zero Time
--------------------------------------------------------------------------------
By default, the Telemetry Toolbox uses the absolute time provided in the sample time tags to label the horizontal axis in time plots and when creating labels for data points and data ranges. This is appropriate for many applications, but in some situations it is preferable to reference the time tags of data samples to the time of an event. For example, it may be desirable to reference the time sequence of a missile flight to the time of missile launch. The Telemetry Toolbox makes it easy to identify a time reference event, called the zero time, and locate this time for each data file as it is loaded.
The zero time is specified by placing an expression in the Zero time field of the Telemetry Toolbox Dictionary Editor. The dictionary editor is opened with the command tmedit(dictionary_name). The zero time expression must evaluate to an object of the tmtime class containing the desired zero time.
The recommended approach for preparing zero time expressions is to first identify the conditions within the data that become true at the desired zero time and at no earlier time. For example, suppose the telemetry variable named launch goes from 0 to 1 at the desired zero time and is required to be zero during the entire period from the start of the data sequence until it transitions to 1 at launch.
The next step is to develop an expression that is zero until the desired zero time and then becomes nonzero. A number of logical operators can be combined to produce this result. For this example, the expression could be the launch variable itself, or the expression launch==1 would work as well. Note that the expression launch==1 results in a tmsignal object with the same number of samples as the launch variable and contains the results of the equality comparison in each sample.
The final step is to convert the time that the expression becomes nonzero into a tmtime object. This operation is performed by the tmsignal/timeof function. The statement t = timeof(s1) determines the time of the first nonzero sample in the tmsignal object named s1. The return value t is a tmtime object containing this time. For this example, the complete expression placed in the Zero time field of the dictionary editor would be as follows.
timeof(launch==1)
After entering the zero time expression, click OK in the dictionary editor to save the dictionary and close the dictionary editor.
Ok?
--------------------------------------------------------------------------------
Introduction
This article shows how to use a person's RHETI scores with the Enneagram of Consciousness Process Model to: 1) confirm enneagram personality type, 2) explore preference scores for several Jungian/enneagram information triads associated with specific traits, 3) calculate the preference scores for eight Jungian psychological processes and a ninth moving function, and 4) compare these preference scores with MBTI Form M scores for eight MBTI Scale Preferences (E-I, S-N, T-F, and J-P). The RHETI and MBTI data used in the article was reported by a professional artist.
Section One: The Reported RHETI and MBTI Form M Data
1.1 Riso-Hudson Enneagram Type Indicators Scores and Personality Type Names
Type / Riso-Hudson Name / Associated Jungian Function / RHETI Total Score / Score Above Median
One The Reformer Te 19 +3
Two The Helper Fe 15 -1
Three The Achiever Me 16 0
Four The Individualist Ne 26 +10
Five The Investigator Ti 17 +1
Six The Loyalist Fi 15 -1
Seven The Enthusiast Se 14 -2
Eight The Challenger Si 9 -7
Nine The Peacemaker Ni 13 -3
The RHETI enneagram scores are close to the median for six Enneagram Points. The highest score is for Enneagram Point Four (+10) that is well known in enneagram personality type theory for their artistic nature. Mark is an artist whose media is the photographic image. RHETI and MBTI show that intuition is his preferred Jungian function. Points Four and Nine have intuition as the conscious Jungian function gift, and their combined intuition score is above the median (+7).
Conversely, Points Seven and Eight have sensation as the conscious Jungian function gift, and their combined sensation function score is below the median (-9). RHETI 2.0 data mapped on the Enneagram of Consciousness and MBTI Form M are in complete agreement that Intuition is preferred over sensation. RHETI was designed to report nine separate scores for nine separate functions for each person. MBTI was designed to report four separate functions for each person.
1.2 The Reported MBTI Form M Scores
Preference Preference Preference
Dyads & Scores Clarity Comment
E vs I E = 0 I = 21 "I" is Very Clear Reserved vs Expressive
S vs N S = 5 N = 21 "N" is Clear Possibilities vs Facts
T vs F T = 7 F = 17 "F" is Moderate Values vs Objective Logic
J vs P J = 16 P = 6 "J" is Moderate Product vs Process in Public
Mark's reported MBTI Type is INFJ.
...more...
from :
The Enneagram and the MBTI ®, an electronic journal dedicated to providing a forum in which the relationship between the two personality systems can be explored in depth and in detail, and publicly debated. In this journal we seek to publish materials that are primarily on this topic. Papers on theory are welcome, as are papers on empirical studies. We also invite less formal papers on relevant personal and/professional experiences. And we encourage you to join in on more spontaneous ongoing discussions of related issues by using our easy-access message board -
A Call for Art
Individuals with different personality types approach art in vastly different ways, and it is this phenomenon that we are looking to explore in the 'art and personality' column. If you show one of your pieces at our site, you may include a short bio and a link to a website of your choice, where people can see more of your work. Although we receive a modest number of visitors (approximately 200 folks a day), there is a steady stream of people coming to the site, and it is a select group that tends to have an interest in the arts.
In presenting work at our site, you may use your name or a pseudonym. Your participation will cost you nothing, and there's no 'catch'. We are simply interested in art, how people approach this work, and what, if anything, this has to do with personality type.
In order to participate, you would have to provide us with:
a computer file that displays your artwork (a '.jpg' file for visual art - approximately 320x415 pixels in size, and less than 50k - or a 'midi' or similar file for music). You do not lose your rights to the material, and the file will not be used in any other way than the one that is described here.
a short description of how you approach your art. We can provide you with assistance in doing this, if you want.
your MBTI and Enneagram types. These are the two personality systems that we are using. If you don't know what type you are, you can find out by answering an on-line questionnaire that will be provided to you, free of charge (in exchange for your participation). These two types of personality indicators are not 'tests', and do not presume to evaluate you in any way - they simply measure your preferences, and establish your personality type on the basis of these preferences.
We hope to succeed in inviting artists with a wide range of personality types to particpate. In addition to persons who make their living doing art, we will display the work of beginners and also people who are more interested in the 'process' (for therapeutic or self-growth reasons) than the 'product'. We plan to display fine and commercial artists, illustrations, computer art and animations - persons involved in creating any form that can be adequately displayed in this medium (the internet).
You may sample the work that is displayed in our current issue by visiting the Journal, at "http://tap3x.net/EMBTI/journal.html", scrolling down the front page to 'art and personality type', and clicking on those words.
We ask site visitors who wish to guess the type of the artists displaying their work at our site to limit their comments to specifics about THEIR experience of the artist's work, and refrain from any temptation to assess its 'objective worth'. So individuals who present their work here can do so with the expectation of a safe environment; their work will not be critiqued or evaluated.
If you are interested in participating, or want to know more, please let us know, at art@tap3x.net.
Pat and John
Wednesday, May 12, 2004
Kattenkruid is een volksnaam
voor:
1. neppe (nepeta cataria).
Als geneeskruid: het blad of de bloem (thee) en de wortel (afkooksel)
pijnstillend (o.m. buikpijn en menstruatiepijn)
zenuwstillend
tegen hoest en hik.
Als keukenkruid: het blad en/of de bloem gesnipperd in soep, sla en kruidensaus.
Ook leuk voor de poes (om eraan te ruiken en om te eten)
2. valeriaan (valeriana officinalis).
Als geneeskruid: wortel (afkooksel).
zenuwstillend.
(bij overdadig gebruik veroorzaakt het gejaagdheid en waanvoorstellingen)
Ook leuk voor de poes (om erin te stoeien).
Niet te verwarren met kattendoorn (= stalkruid, onosis spinosa), met kattenklauw (= kleefkruid, galium aparine), met kattenstaart (= heermoes, equisetum arvense) en met kattengras.
(in naslagwerken opgezocht door Herman voor Rita)
Friday, May 07, 2004
close your eyes
Silence
I have always taken for granted that John Cage's 4'33'' was a joke. The idea of a piece of music without any music just seemed like avantgarde arriving at its final point where it abolishes itself. After having read most of this longish essay on 4'33'' (discovered at popshots) I must admit that I was wrong. In the essay it says on the first performance of 4'33'' at Woodstock, New York, on August 29, 1952 by David Tudor, a young pianist:
Tudor placed the hand-written score, which was in conventional notation with blank measures, on the piano and sat motionless as he used a stopwatch to measure the time of each movement. The score indicated three silent movements, each of a different length, but when added together totalled four minutes and thirty-three seconds. Tudor signaled its commencement by lowering the keyboard lid of the piano. The sound of the wind in the trees entered the first movement. After thirty seconds of no action, he raised the lid to signal the end of the first movement. It was then lowered for the second movement, during which raindrops pattered on the roof. The score was in several pages, so he turned the pages as time passed, yet playing nothing at all. The keyboard lid was raised and lowered again for the final movement, during which the audience whispered and muttered.
This account already shows what 4'33'' is about. It is not about silence at all but about its opposite. About noises. The roles of composer/performer and audience are kind of reversed. The audience (plus outside environment) make the "music". 4'33'' is the only piece of music which hands over the performance to the audience. That means of course that 4'33'' is totally different every time it is "played". It is unforeseeable which sounds the listeners will make. In a way it is the most democratic of all compositions. Cage says it better:
I think perhaps my own best piece, at least the one I like the most, is the silent piece. It has three movements and in all of the movements there are no (intentional) sounds. I wanted my work to be free of my own likes and dislikes, because I think music should be free of the feelings and ideas of the composer. I have felt and hoped to have led other people to feel that the sounds of their environment constitute a music which is more interesting than the music which they would hear if they went into a concert hall.
...more...
via said the gramophone
different sounds
Thursday, May 06, 2004
The Zero-Time Myth
Only the factories have the legal right to declare an engine "zero time." As Coy Jacob explained recently in Aviation Consumer, that doesn't mean all new parts. A zero-time engine can contain used parts -- perhaps many used parts of unknown service history. Here's what you're really getting for your flying dollar.
by Coy Jacob
Zero Times Infinity
Setting the Zero Time
--------------------------------------------------------------------------------
By default, the Telemetry Toolbox uses the absolute time provided in the sample time tags to label the horizontal axis in time plots and when creating labels for data points and data ranges. This is appropriate for many applications, but in some situations it is preferable to reference the time tags of data samples to the time of an event. For example, it may be desirable to reference the time sequence of a missile flight to the time of missile launch. The Telemetry Toolbox makes it easy to identify a time reference event, called the zero time, and locate this time for each data file as it is loaded.
The zero time is specified by placing an expression in the Zero time field of the Telemetry Toolbox Dictionary Editor. The dictionary editor is opened with the command tmedit(dictionary_name). The zero time expression must evaluate to an object of the tmtime class containing the desired zero time.
The recommended approach for preparing zero time expressions is to first identify the conditions within the data that become true at the desired zero time and at no earlier time. For example, suppose the telemetry variable named launch goes from 0 to 1 at the desired zero time and is required to be zero during the entire period from the start of the data sequence until it transitions to 1 at launch.
The next step is to develop an expression that is zero until the desired zero time and then becomes nonzero. A number of logical operators can be combined to produce this result. For this example, the expression could be the launch variable itself, or the expression launch==1 would work as well. Note that the expression launch==1 results in a tmsignal object with the same number of samples as the launch variable and contains the results of the equality comparison in each sample.
The final step is to convert the time that the expression becomes nonzero into a tmtime object. This operation is performed by the tmsignal/timeof function. The statement t = timeof(s1) determines the time of the first nonzero sample in the tmsignal object named s1. The return value t is a tmtime object containing this time. For this example, the complete expression placed in the Zero time field of the dictionary editor would be as follows.
timeof(launch==1)
After entering the zero time expression, click OK in the dictionary editor to save the dictionary and close the dictionary editor.
Ok?
Wednesday, May 05, 2004
darknet
An experiment in group editing
What: Darknet : Remixing the Future of Movies, Music and Television is an upcoming book from John Wiley & Sons. It focuses on the digital media revolution, exploring the idea that digital technologies are empowering people to create, reuse and reinvent media.
Who: The author, J.D. Lasica, is a veteran journalist who writes frequently about the impact of emerging technologies on our culture. He has written for The Washington Post, Salon, The Industry Standard and other publications. J.D. also served as an executive and manager at three tech startups. He is senior editor of the Online Journalism Review and keeps a weblog at New Media Musings.
Cast of characters: Among those interviewed for the book: Jack Valenti, Cary Sherman, Larry Lessig, John Perry Barlow, John Gilmore, Roger McGuinn, Jaron Lanier, Mike Ramsay, John S. Hendricks, Stewart Alsop, Ian Clarke, Jim Griffin, Gigi Sohn, Joe Kraus, Henry Jenkins, Mike Godwin, Benjamin Feingold, Joe Lambert, Warren Lieberfarb, Fred von Lohmann, Cory Doctorow, Ashley Highfield, Jordan Greenhall, Andy Setos, Clay Shirky, Ed Felten, Les Vadasz, Jordan Pollock, Jonathan Zittrain, Dennis Mudd, Peter Jaszi, Miriam Nisbet, James Burger, and several pirates, DJs, and DMCA violators.
Goal: In the spirit of open media and participatory journalism, I'd like to use this wiki to publish drafts of each chapter in the book. I hope you'll participate in this effort by contributing feedback, edits, criticism, corrections, and additional anecdotes, either through the comments field below or by sending me email. Feel free to be as detailed as you like or to insert comments or questions. After all, you're the editor. (And remember, this is for a book manuscript, not a finished online document.) If you make a couple of helpful edits, I'll mention your name in the book's Acknowledgments (and buy you a drink next time we meet up).
Request: This is an experiment in trust. Feel free to dive in and make all the changes you think are warranted. I've opened this up as a public wiki, rather than a private space. Feel free to link to this main page from your blog, though I'll also ask at this early stage that people not excerpt material or dissect any of the material in detail because we're not at the public discussion point yet.
At a later date, I'll post a considerable amount of material from the book—as well as a great deal of material not included in the book—and at that time we'll open it up to the blog community. But for now, this wiki is set up only for collaborative editing and nothing else.
How to proceed: It's simple. Select a chapter there on the right. If you want to make an edit or insert a comment, hit the Edit This Page button.
Check back often. I'll be posting the entire book here in the next few weeks.
If you'd like to learn more about wikis by taking an introductory tour of the Socialtext Workspace, start here. Also, see Help for tips on using this Workspace.
Thank you!
— J.D. Lasica
What: Darknet : Remixing the Future of Movies, Music and Television is an upcoming book from John Wiley & Sons. It focuses on the digital media revolution, exploring the idea that digital technologies are empowering people to create, reuse and reinvent media.
Who: The author, J.D. Lasica, is a veteran journalist who writes frequently about the impact of emerging technologies on our culture. He has written for The Washington Post, Salon, The Industry Standard and other publications. J.D. also served as an executive and manager at three tech startups. He is senior editor of the Online Journalism Review and keeps a weblog at New Media Musings.
Cast of characters: Among those interviewed for the book: Jack Valenti, Cary Sherman, Larry Lessig, John Perry Barlow, John Gilmore, Roger McGuinn, Jaron Lanier, Mike Ramsay, John S. Hendricks, Stewart Alsop, Ian Clarke, Jim Griffin, Gigi Sohn, Joe Kraus, Henry Jenkins, Mike Godwin, Benjamin Feingold, Joe Lambert, Warren Lieberfarb, Fred von Lohmann, Cory Doctorow, Ashley Highfield, Jordan Greenhall, Andy Setos, Clay Shirky, Ed Felten, Les Vadasz, Jordan Pollock, Jonathan Zittrain, Dennis Mudd, Peter Jaszi, Miriam Nisbet, James Burger, and several pirates, DJs, and DMCA violators.
Goal: In the spirit of open media and participatory journalism, I'd like to use this wiki to publish drafts of each chapter in the book. I hope you'll participate in this effort by contributing feedback, edits, criticism, corrections, and additional anecdotes, either through the comments field below or by sending me email. Feel free to be as detailed as you like or to insert comments or questions. After all, you're the editor. (And remember, this is for a book manuscript, not a finished online document.) If you make a couple of helpful edits, I'll mention your name in the book's Acknowledgments (and buy you a drink next time we meet up).
Request: This is an experiment in trust. Feel free to dive in and make all the changes you think are warranted. I've opened this up as a public wiki, rather than a private space. Feel free to link to this main page from your blog, though I'll also ask at this early stage that people not excerpt material or dissect any of the material in detail because we're not at the public discussion point yet.
At a later date, I'll post a considerable amount of material from the book—as well as a great deal of material not included in the book—and at that time we'll open it up to the blog community. But for now, this wiki is set up only for collaborative editing and nothing else.
How to proceed: It's simple. Select a chapter there on the right. If you want to make an edit or insert a comment, hit the Edit This Page button.
Check back often. I'll be posting the entire book here in the next few weeks.
If you'd like to learn more about wikis by taking an introductory tour of the Socialtext Workspace, start here. Also, see Help for tips on using this Workspace.
Thank you!
— J.D. Lasica
Quest for Global Peace
(A Personal Recollection)
Paper to be presented at
Global Peace Assembly
Organized by
The Vice President of the Republic of China
and
The Federation of World Peace and Love (FOWPAL),
The Association of World Citizens,
The Millennium World Peace Summit, and
The Women’s Federation for World Peace in Taipei
Taipei, Taiwan
August 12 to 19, 2001
(July 31, 2001)
Quest for Global Peace
(A Personal Recollection)
I. Introduction
In the hey days of the Apollo Project of the US National Aeronautics & Space Administration (NASA) in late 1960s to early 1970s, people around the world were excited by the second-by-second and minutes-by-minutes broadcast of the missions and the progress that were being made in space exploration, particularly the moon landing.
A photograph of our globe (Figure 1), taken by an astronaut on his way back home, showed the earth as a beautiful ruby or marble floating in dark space. There are no national boundaries on the globe as we learned on world maps in our childhood; all living creatures and vegetation are confined in a thin fragile biosphere adhering to the surface of the globe. These realizations made significant and profound changes in the way people think. The 6 billion of us who live on earth need to love the world and live together harmoniously and peacefully.
This paper describes a brief account of the author’s past history toward this goal.
Paper to be presented at
Global Peace Assembly
Organized by
The Vice President of the Republic of China
and
The Federation of World Peace and Love (FOWPAL),
The Association of World Citizens,
The Millennium World Peace Summit, and
The Women’s Federation for World Peace in Taipei
Taipei, Taiwan
August 12 to 19, 2001
(July 31, 2001)
Quest for Global Peace
(A Personal Recollection)
I. Introduction
In the hey days of the Apollo Project of the US National Aeronautics & Space Administration (NASA) in late 1960s to early 1970s, people around the world were excited by the second-by-second and minutes-by-minutes broadcast of the missions and the progress that were being made in space exploration, particularly the moon landing.
A photograph of our globe (Figure 1), taken by an astronaut on his way back home, showed the earth as a beautiful ruby or marble floating in dark space. There are no national boundaries on the globe as we learned on world maps in our childhood; all living creatures and vegetation are confined in a thin fragile biosphere adhering to the surface of the globe. These realizations made significant and profound changes in the way people think. The 6 billion of us who live on earth need to love the world and live together harmoniously and peacefully.
This paper describes a brief account of the author’s past history toward this goal.
Tuesday, May 04, 2004
Fifteen theses on the cute
--------------------------------------------------------------------------------
Frances Richard
I
Draw a circle, and ray out from it the abject, the melancholic, the wicked, the childlike. Now in the zones between add the erotic, the ironic, the narcotic, and the kitsch. Inter-sperse the Romantic/Victorian, the Disney/ consumerist, and the biologically deterministic. At the center of this many-spoked wheel lies a connective empty space. Label it CUTE.
II
What is cute? The technical definition encompasses revealing distinctions that tend to be elided in normal conversation, where cute is cute and everyone knows what this means. Cute by the book derives etymologically from ‘acute,’ and its establishing usage dates to circa 1731. From this root comes cute’s first meaning, as clever or underhandedly shrewd, and its second, as impudent or smart-alecky—“Don’t get cute.” The standard connotation of dainty or delicate prettiness then leads to what might be termed mannerist cute—the cutsey, which (like the folksy) is defined by its excessive or self-conscious appeal to the unembarrassed core quality.
III to XV
thanks to desiring machine
Frances Richard
I
Draw a circle, and ray out from it the abject, the melancholic, the wicked, the childlike. Now in the zones between add the erotic, the ironic, the narcotic, and the kitsch. Inter-sperse the Romantic/Victorian, the Disney/ consumerist, and the biologically deterministic. At the center of this many-spoked wheel lies a connective empty space. Label it CUTE.
II
What is cute? The technical definition encompasses revealing distinctions that tend to be elided in normal conversation, where cute is cute and everyone knows what this means. Cute by the book derives etymologically from ‘acute,’ and its establishing usage dates to circa 1731. From this root comes cute’s first meaning, as clever or underhandedly shrewd, and its second, as impudent or smart-alecky—“Don’t get cute.” The standard connotation of dainty or delicate prettiness then leads to what might be termed mannerist cute—the cutsey, which (like the folksy) is defined by its excessive or self-conscious appeal to the unembarrassed core quality.
III to XV
thanks to desiring machine
Monday, May 03, 2004
SHAMANS AND SHAMANISM
BY:
JOSE MARIA POVEDA
PRESENTED BY:
the Wanderling
WHAT IS A SHAMAN?
The Shaman is a survivor, he has passed in one way or another through pain, disease and death.
One of the qualities that makes the Shamanic phenomenon admirable is its generalized presence among all the groups that make up our predecessors. His practices, though they evolve in the actual moment, work with elements, basic references, archaic symbols and emotions already present since the origin of humankind. When the geographical distribution of Shaman practices are studied the presence of analogous activities in the five continents stands out.
The map of the world the Shaman operates in can be understood from what is psychologically called "modified states of consciousness" (understanding as consciousness the capacity of "noticing", from the Latin cum-scire, "knowing with"). These states, which usually are accessed through a period of transition, are sometimes identified as trance or journey. The modified states ordinarily evolve as:
1. Transition from the usual state
2. The modified state
3. Transition to the usual state
Not only the healer is in these states, but also the attended person and many times the other participants.
Many strategies exist in order to modify the state of consciousness, most of which do not include the use of psychoactive substances. As experience is acquired it is easier to enter in them. A similar experience develops with relaxation techniques.
Natural changes of the state of consciousness happen during the day. During the period of sleep, modifications of the different characteristics in the level of consciousness and its content occur. One of the hypothesis for explaining them, is the possibility of passing from a usual consciousness to that of the world of the dreams without first passing through the relaxing phases at the beginning of sleep.
ORIGIN OF THE WORD "SHAMAN"
The term "Shaman" wears a halo of mystery and can evoke diverse and even contradictory realities. This isn’t strange because for us, it refers to something of ancestral origin, and the creation of culture has separated us from its methods, often archaic and extreme.
The word shaman, used internationally, has its origin in manchú-tangu and has reached the ethnologic vocabulary through Russian. The word originated from saman (xaman), derived from the verb scha-, "to know", so shaman means someone who knows, is wise, a sage. Further ethnologic investigations shows that the true origin for the word Shaman can be tracked from the Sanskrit initially, then through Chinese-Buddhist mediation to the manchú-tangu, indicating a much deeper but now overlooked connection between early Buddhism and Shamanism generally. In Pali it is schamana, in Sanskrit Sramana translated to something like "buddhist monk, ascetic". The intermediate Chinese term is scha-men. The Siberian and Central Asian peoples also had local terms for the Shaman. In alataic Turkish it was kam, in Yacuto, ojon (and the female shaman was the udujan), in the Butirates, böo, and in Central Asia, bakshi, for the Samoans, tadibe, Lapps, moita, Finnish, tieöjö and Hungarians, táltos (see pp.411 and ff.). See as well SIDDHIS: Supernormal Perceptual States.
This knowledge or wisdom, in the Tungu languages, implies in one way or the other mastery of the "spirits", whose powers can be introduced by the Shaman into himself at will, using them in his own interest, especially in order to help others who suffer because of spirits.
Shamanic activities are considered in relationship to the actual world as belonging to far-off marginal geographical areas or border groups conceptually diffused.
For many investigators, the Shaman acts in an area of reality often shared by mystics and doctors (H.E. Sigerist, 1987; M. Harner, 1987; S. Kakar, 1993; S. Krippner and P. Welch, 1992; F. De Oleza, 1996).
The Shaman includes in his activities what would be proper for a prehistoric psychiatrist or psychotherapist. Especially, if one considers the "prehistory is a way for the expansion of consciousness. It is a activity in the development of our real life, with which we help ourselves and others in order to awake from the stupor of unconsciousness and ignorance knowing who we really are." (D. Shainberg, 1993)
DEFINITIONS OF "SHAMAN"
Many definitions of "Shaman" exist:
- "Indigenous healer who deliberately alters his consciousness in order to obtain knowledge and power from the world of the spirits in order to help and cure the members of his tribe" (S. Krippner, 1990)
- Among the Ojibway, speaking of the Midewiwin, a Secret Ojibwa Medicine Society: "It is the person, man or woman, who experiences, absorbs, and communicates a special form of support, of healing power" (A. Grimm, 1987)
- "He who knows the archaic techniques of ecstasy" (M. Eliade, 1972)
- "A person to whom special powers are attributed for communicating with the spirits and influence them dissociating his soul from his body. The spirits help him do his chores which include discovering the cause of sickness, hunger and any disgrace, and prescribing an appropriate cure. They are found among the Siberians and other Asiatic people; his activity also evolves among many other religions and with other names." (The Cambridge Encyclopedia, 1990)
"A person prepared to confront the greatest fears and shadows of the physical world." And depending on the results: "A healer who has experienced the world of darkness and who has fearlessly confronted his own shadow as much as the diabolic of others, and who can successfully work with the powers of darkness and light." (J. Sams, 1988)
- "A guide, a healer, a source of social connection, a maintainer of the group’s myths and concept of the world." (R. N. Walsh, 1990). It also serves for referring to someone who is "hyperactive, excited or in movement", or who is "capable of warming himself and practicing austerities." (R. N. Walsh, 1990)
- "Archetypal technician of the sacred. His profession evolves in the space that united mythical imagination and ordinary consciousness." (S. Larsen, 1976)
- "Person of any sex who has a special contact with the spirits (understood as forces not easily put into evidence) and capable of using their ability in order to act upon those affected by the same spirits." (M. Harner, 1989)
- "Great wizard and priest of certain primitive peoples, especially from North Asia. The Shamans of Siberia are among the most famous." (Diccionario de las CO; El manual moderno, 1985)
- "The eternal art of living in harmony with creation." (J. Matthews, 1991)
There are three key elements for defining Shamans:
- They can voluntarily enter altered states of consciousness
- In these states they can feel themselves "travel".
- "They use these journeys as a method of acquiring knowledge or power and for helping the people of their community." (R. N. Walsch, 1990)
...more on http://sped2work.tripod.com/shaman.html
Shamanism
This section has texts about Shamanism and Animism. These are traditional belief systems which consider the entire universe to be alive and interconnected. Shamanism in practice is used to heal and enlighten, using ceremonials which can include rhythmic music, mind altering drugs and mythic journeys into the subconscious. There are also numerous descriptions of Shamanism and related topics in the Native American, the Traditional Asian, Australian, Pacific, and African sections.
Barbelith is a message-board and experimental online community. From relatively humble origins, the board has evolved from a fan space for an author (GrantMorrison) through to a sub/counter-cultural board through to its current incarnation as a creative space to experiment with the concept of what it means to be a self-ruling online space. It has a strong sense of citizenship or at least a strong sense of affinity to varying sets of overlapping values, which include a strong resistance to authority, a distrust of dogma and an interest in the limits of knowledge. It is not a board that is designed specifically for any individual approach to the world but one that is interested in cross-overs, hybridisation and the creativity that comes from having a space open for conspiracy theorists, hard scientists, engineers, cosmologists, mystics, political activists, philosophers, geeks, screen-writers, artists and other forms of creative individuals from all across the world.
Our aim is to create an online space where the standard of conversation, discussion and debate is higher than anywhere else online and in which everyone has a say in the running and management of the board. We believe that we can achieve that by gradually devolving power as much as possible to all the people who use the board on a regular basis and allowing them to collaboratively self-define the evolving aspirations of the community as well as how they should be implemented. We also believe that having open borders for new users is a fundamental part of remaining creative and outward-looking and are trying to find the best balance between free and total access for all and our ability to defend the board from abuse with the hope that we can create vibrant and resilient new ways to connect creative people together.
The origins of our name are less interesting than the possible etymologies that might explain it. Choose the meaning that resonates for you most - will you wish it to refer to the satellite behind the moon that connects you with the Godhead, the "bearded" or "alien" stone? Or perhaps you will find more resonance with "Boibeloth," (or "Boibel Loth") the Celtish language of the trees. My personal favourite is our connection with the Barbelite cult of early Christian Gnosticism (sometimes called the Barbelognostics) who worshipped a mother goddess called Barbelo, fought against the horrific YHWH (or Yaldabaoth the Vile) who imprisoned them within the material world and believed that orgiastic practices and the consumption of semen and menses would allow them to break the cycle of resurrection and rebirth and allow them to reunite with the divine...
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JOSE MARIA POVEDA
PRESENTED BY:
the Wanderling
WHAT IS A SHAMAN?
The Shaman is a survivor, he has passed in one way or another through pain, disease and death.
One of the qualities that makes the Shamanic phenomenon admirable is its generalized presence among all the groups that make up our predecessors. His practices, though they evolve in the actual moment, work with elements, basic references, archaic symbols and emotions already present since the origin of humankind. When the geographical distribution of Shaman practices are studied the presence of analogous activities in the five continents stands out.
The map of the world the Shaman operates in can be understood from what is psychologically called "modified states of consciousness" (understanding as consciousness the capacity of "noticing", from the Latin cum-scire, "knowing with"). These states, which usually are accessed through a period of transition, are sometimes identified as trance or journey. The modified states ordinarily evolve as:
1. Transition from the usual state
2. The modified state
3. Transition to the usual state
Not only the healer is in these states, but also the attended person and many times the other participants.
Many strategies exist in order to modify the state of consciousness, most of which do not include the use of psychoactive substances. As experience is acquired it is easier to enter in them. A similar experience develops with relaxation techniques.
Natural changes of the state of consciousness happen during the day. During the period of sleep, modifications of the different characteristics in the level of consciousness and its content occur. One of the hypothesis for explaining them, is the possibility of passing from a usual consciousness to that of the world of the dreams without first passing through the relaxing phases at the beginning of sleep.
ORIGIN OF THE WORD "SHAMAN"
The term "Shaman" wears a halo of mystery and can evoke diverse and even contradictory realities. This isn’t strange because for us, it refers to something of ancestral origin, and the creation of culture has separated us from its methods, often archaic and extreme.
The word shaman, used internationally, has its origin in manchú-tangu and has reached the ethnologic vocabulary through Russian. The word originated from saman (xaman), derived from the verb scha-, "to know", so shaman means someone who knows, is wise, a sage. Further ethnologic investigations shows that the true origin for the word Shaman can be tracked from the Sanskrit initially, then through Chinese-Buddhist mediation to the manchú-tangu, indicating a much deeper but now overlooked connection between early Buddhism and Shamanism generally. In Pali it is schamana, in Sanskrit Sramana translated to something like "buddhist monk, ascetic". The intermediate Chinese term is scha-men. The Siberian and Central Asian peoples also had local terms for the Shaman. In alataic Turkish it was kam, in Yacuto, ojon (and the female shaman was the udujan), in the Butirates, böo, and in Central Asia, bakshi, for the Samoans, tadibe, Lapps, moita, Finnish, tieöjö and Hungarians, táltos (see pp.411 and ff.). See as well SIDDHIS: Supernormal Perceptual States.
This knowledge or wisdom, in the Tungu languages, implies in one way or the other mastery of the "spirits", whose powers can be introduced by the Shaman into himself at will, using them in his own interest, especially in order to help others who suffer because of spirits.
Shamanic activities are considered in relationship to the actual world as belonging to far-off marginal geographical areas or border groups conceptually diffused.
For many investigators, the Shaman acts in an area of reality often shared by mystics and doctors (H.E. Sigerist, 1987; M. Harner, 1987; S. Kakar, 1993; S. Krippner and P. Welch, 1992; F. De Oleza, 1996).
The Shaman includes in his activities what would be proper for a prehistoric psychiatrist or psychotherapist. Especially, if one considers the "prehistory is a way for the expansion of consciousness. It is a activity in the development of our real life, with which we help ourselves and others in order to awake from the stupor of unconsciousness and ignorance knowing who we really are." (D. Shainberg, 1993)
DEFINITIONS OF "SHAMAN"
Many definitions of "Shaman" exist:
- "Indigenous healer who deliberately alters his consciousness in order to obtain knowledge and power from the world of the spirits in order to help and cure the members of his tribe" (S. Krippner, 1990)
- Among the Ojibway, speaking of the Midewiwin, a Secret Ojibwa Medicine Society: "It is the person, man or woman, who experiences, absorbs, and communicates a special form of support, of healing power" (A. Grimm, 1987)
- "He who knows the archaic techniques of ecstasy" (M. Eliade, 1972)
- "A person to whom special powers are attributed for communicating with the spirits and influence them dissociating his soul from his body. The spirits help him do his chores which include discovering the cause of sickness, hunger and any disgrace, and prescribing an appropriate cure. They are found among the Siberians and other Asiatic people; his activity also evolves among many other religions and with other names." (The Cambridge Encyclopedia, 1990)
"A person prepared to confront the greatest fears and shadows of the physical world." And depending on the results: "A healer who has experienced the world of darkness and who has fearlessly confronted his own shadow as much as the diabolic of others, and who can successfully work with the powers of darkness and light." (J. Sams, 1988)
- "A guide, a healer, a source of social connection, a maintainer of the group’s myths and concept of the world." (R. N. Walsh, 1990). It also serves for referring to someone who is "hyperactive, excited or in movement", or who is "capable of warming himself and practicing austerities." (R. N. Walsh, 1990)
- "Archetypal technician of the sacred. His profession evolves in the space that united mythical imagination and ordinary consciousness." (S. Larsen, 1976)
- "Person of any sex who has a special contact with the spirits (understood as forces not easily put into evidence) and capable of using their ability in order to act upon those affected by the same spirits." (M. Harner, 1989)
- "Great wizard and priest of certain primitive peoples, especially from North Asia. The Shamans of Siberia are among the most famous." (Diccionario de las CO; El manual moderno, 1985)
- "The eternal art of living in harmony with creation." (J. Matthews, 1991)
There are three key elements for defining Shamans:
- They can voluntarily enter altered states of consciousness
- In these states they can feel themselves "travel".
- "They use these journeys as a method of acquiring knowledge or power and for helping the people of their community." (R. N. Walsch, 1990)
...more on http://sped2work.tripod.com/shaman.html
This section has texts about Shamanism and Animism. These are traditional belief systems which consider the entire universe to be alive and interconnected. Shamanism in practice is used to heal and enlighten, using ceremonials which can include rhythmic music, mind altering drugs and mythic journeys into the subconscious. There are also numerous descriptions of Shamanism and related topics in the Native American, the Traditional Asian, Australian, Pacific, and African sections.
Barbelith is a message-board and experimental online community. From relatively humble origins, the board has evolved from a fan space for an author (GrantMorrison) through to a sub/counter-cultural board through to its current incarnation as a creative space to experiment with the concept of what it means to be a self-ruling online space. It has a strong sense of citizenship or at least a strong sense of affinity to varying sets of overlapping values, which include a strong resistance to authority, a distrust of dogma and an interest in the limits of knowledge. It is not a board that is designed specifically for any individual approach to the world but one that is interested in cross-overs, hybridisation and the creativity that comes from having a space open for conspiracy theorists, hard scientists, engineers, cosmologists, mystics, political activists, philosophers, geeks, screen-writers, artists and other forms of creative individuals from all across the world.
Our aim is to create an online space where the standard of conversation, discussion and debate is higher than anywhere else online and in which everyone has a say in the running and management of the board. We believe that we can achieve that by gradually devolving power as much as possible to all the people who use the board on a regular basis and allowing them to collaboratively self-define the evolving aspirations of the community as well as how they should be implemented. We also believe that having open borders for new users is a fundamental part of remaining creative and outward-looking and are trying to find the best balance between free and total access for all and our ability to defend the board from abuse with the hope that we can create vibrant and resilient new ways to connect creative people together.
The origins of our name are less interesting than the possible etymologies that might explain it. Choose the meaning that resonates for you most - will you wish it to refer to the satellite behind the moon that connects you with the Godhead, the "bearded" or "alien" stone? Or perhaps you will find more resonance with "Boibeloth," (or "Boibel Loth") the Celtish language of the trees. My personal favourite is our connection with the Barbelite cult of early Christian Gnosticism (sometimes called the Barbelognostics) who worshipped a mother goddess called Barbelo, fought against the horrific YHWH (or Yaldabaoth the Vile) who imprisoned them within the material world and believed that orgiastic practices and the consumption of semen and menses would allow them to break the cycle of resurrection and rebirth and allow them to reunite with the divine...
::: to the top :::
::: to the lab-archives :::
::: to the :::nostress::: homepage :::
::: to the :::nostress::: archives :::
::: to the pics :::
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