Monday, February 28, 2011

Average Amount Of Words In A Chapter



Programma del Circuito Osmar

GIOVEDI', 03/03/2011

Orario Entità Attrazione

20:00 ABERTURA DO CARNAVAL COM HOMENAGEM AO TEMA 2011 PERCUSSÃO E ENTREGA DAS CHAVES AO REI MOMO PERCUSSION
20:30 SHOW KING MOMO BAND INTER
21:00 Ladies Ladies BAND AND GUESTS
21:30 BLOCK AREA OF POULTRY Tonho / ALAS DE CAPOEIRA
22:00 BLOCK OF CONDOM NOT INFORMED 22:30
ALERT GENERAL Arlindo Cruz / YARD FUND / TASTE / Marien DE CASTRO / OUT OF MEDIA /
23:00 PAGODA IS THE TOTAL Tchan / BAMBARA / GINGA SENSUAL
23:20 SPECIAL PROJECT - TRIO W / POPCORN - 1 NOT INFORMED
23: 35 BANKOMA BANDA BANKOMA
00:15 Millennial BROTHERHOOD / Cleverson LUIZ / IARA ROCK LOVE AND PASSION
00:35 RUFINO NELSON / BATIFUN / JULIANA RIBEIRO / MOV / BRAZILIAN BLOOD / PHILOSOPHY OF HEART YARD
00:55 Rastafari Lazzo Matumbi
01:10 TRIO NO 1 INDEPENDENT INFORMED
01:25 SPECIAL PROJECT - TRIO W / POPCORN - 2 ADVISED NOT PROHIBIT PROHIBITED
01:45 02:10
REVELATION GROUP BIG BLOCK GHETTO MUSICAL WORKSHOP BBG / OF BUSINESS VIOLA / NEGRÃO DAVID / LORY BALLAD / SWEET AND DIAMOND PANDEIRO NE
02:25 SAMBA AND FOLLIES Paparo

Venerdi '04/03/2011 17:00

POLIMANIA BANANA SAVED
17:30 AGENT MAKES NEW HIT HEALTH
18:00 18:30
STEWARDSHIP STEWARDSHIP ORCHESTRA WILL LEAVE ME CARLOS PITTA
19:00 SAMBA PIXOTE P / Rodriguinho / NEW PINK / SWING SYMPATHY / Paparo
19:15 TRIO NO 1 INDEPENDENT INFORMED 19:20
TRIO CITY ORCHESTRA WIND
19:30 SAUDADE's Follies TASTE / OFF THE MEDIA 20:00
Q VIOLA HAPPINESS OF TWELVE
20:30 SPECIAL PROJECT - TRIO W / POPCORN - 1 NOT INFORMED
20: 45 THE GROVE KENGO GHETTO
21:15 PROCESSION PROCESSION AFRO AFRO BAND
HEART 21:45 22:15
Lazzo Matumbi Rastafari Sons of sailors
22:45 DENY THE BAND AFRO deny them
23:00 SPECIAL PROJECT - TRIO W / POPCORN - NOT INFORMED
23:15 2 DAWN ALOÍSIO MENEZES / ARNOLD / 5 Mulek PERT'S AND 1 / IBAR / MARCO POCA EYE / ROBERTO MENDES / RAIMUNDO SODRÉ / Umbrella / Marquinho SATA / MARIO SEGI / BAMBARA / GAL'S ALLEY
23:35 Millennial BROTHERHOOD / Cleverson LUIZ / IARA ROCK
23:55 Redoubt Redoubt SAMBA SAMBA GROUP / BACKGROUND OF BACKYARD
00:15 SOWETO RUFINO NELSON / JULIANA RIBEIRO
00:35 SAMBA POPULAR MOVEMENTS Tonho MATTERS / RITE NEGRÃO / SAMBA DE SAIA
00:55 EAT GARBAGE BAND GREEN AND PINK
01:15 BLOCK BIG GHETTO NOT INFORMED NOT INFORMED
01:35 DANDA

Sabat, 05/03/2011 10:00

EVERY BOY IS A KING BAND mareo
10 : 30 LITTLE PRINCE OF NOT INFORMED avian
11:00 POLIMANIA ENZO AND HENRY COTTON CANDY
11:30 CARLA PEREZ / Patato Patato AND GUESTS
RHATAPLAN LUCIANA MEL
12:00 12:30 BLOCK OF MISS BANDA DA SAUDADE
13:00 É COM ESSE QUE EU VOU BANDA STATUS
13:30 PORCO IOIÔ
14:00 BOLA CHEIA MISSINHO
14:30 BABY LÉGUAS
15:00 AS MUQUIRANAS HARMONIA DO SAMBA
15:30 TRIO ARMANDINHO DODÔ E OSMAR ARMANDINHO E IRMÃOS
15:45 ARAKETU CHICABANA
16:15 ME DEIXE A VONTADE CARLOS PITTA
16:45 TRIO INDEPENDENTE 1 NÃO INFORMADO
17:00 AS KUVITEIRAS SAIDDY BAMBA
17:30 PROJETO ESPECIAL - TRIO P/ PIPOCA - 1 NÃO INFORMADO
18:00 VEM SAMBAR BOM GOSTO / BAMBEIA / MOVIMENTO
18:30 MALÊ DEBALÊ BANDA MALÊ
19:20 TRIO SAMBA DA MINHA TERRA GRUPOS DE SAMBA
19:35 AMIGOS DE CAJÁ GALERA DO MORRO
DIDA DIDA BANDA 20:05 FEMALE AND GUESTS
20:35 21:05
MUZENZA MUZENZA BANDA BANDA BANKOMA BANKOMA
21:35 AMULET Jhow AFRO / HONORED GUEST - BLACK HEART JHO
22:05 RASTAFARI Lazzo Matumbi
22:20 SPECIAL PROJECT - TRIO W / POPCORN - 2 NOT INFORMED
22:50 BLOCK JAKE GHRIGOR / THING OF LIGHT / PIT STOP BAND / LEANDRO 23:10 Guerrilla
CANELIGHT BAND OUT OF MEDIA 23:30
Ile Aiye BAND'AIYÊ
23:50 DIAMOND BANDA BLACK SHAMAIYM ARK OF ZION
00:10 00:30 Olorum
YARD NOT INFORMED OF SAMBA
00:50 SAKU-XEIO NOT INFORMED

DOMENICA, 06/03/2011 10:30

COTTON SWEET CARLA PEREZ / Patato Patato AND GUESTS
10:45 Mamulengo BAND PERCUSSION AND DOLLS Mamulengo
Ibeji EDCITY
11:00 11:30 12:00 MICROTRIO BANDA MICROTRIO
PIERROT PLATFORM GROUP Pierrots
12:30 SPECIAL PROJECT 50 YEARS THE INTERNATIONAL AND ORCHESTRA CONDUCTOR Reginald R. XANGO
13:00 13:30 BLOCK INTER TOMATO
OWLS Ivete Sangalo
POPE 14:00 14:30 Claudia Leitte
EVA EVA BANDA BANDA
15:00 LOVE THE SMELL THE SMELL OF LOVE BRINGS MASS
15:30 Psirico
16: 00 PINEL Parangolé
16:30 KISS / KISS BANDA MEL
17:00 TIETE VIP'S NOT INFORMED
17:30 TRIO NO 1 INDEPENDENT INFORMED
Araketu 17:45 ARA KETU
18:05 COMMANCHE DO PELÔ SAIDDY BAMBA
18:35 PROJETO ESPECIAL - TRIO P/ PIPOCA - 1 NÃO INFORMADO
19:05 APACHES DO TORORÓ VERSÃO AXÉ
19:25 BLOCÃO DA LIBERDADE BANDA'IYÁ / SAMBA DE MARAGOGÓ E CONVIDADOS
19:55 100 CENSURA AFRO POP VERUSCA MÔNACO
20:25 BANANA REGGAE THOMÉ VIANNA / BANDA RAGGA E CONVIDADOS
20:55 KAMBALAGWANZE BANDA RAIZ IJEXÁ
21:25 PROJETO ESPECIAL - TRIO P/ PIPOCA - 2 NÃO INFORMADO
21:55 PIERROT TRADIÇÃO DE PLATAFORMA PIERROT E TRADIÇÃO DE PLATAFORMA
22:25 GANGAZUMBA BANDA GANGAZUMBA / BANDA DOM DE JAH COM ADILSON SILVA
22:40 SFONIA DO SAMBA / TA RINDO DE Q NKONTRA AND BAND S'FONIA
23:00 AFRO BAND deny them deny them

LUNEDI '07/03/2011 11:00

DIDA DIDA BANDA FEMALE AND GUESTS
11:30 BLOCK OF MISS BAND OF MISS
12:00 IS WITH THE ONE THAT I WILL BAND STATUS
12:30 SPECIAL PROJECT - TRIO W / POPCORN - 1 NOT INFORMED
13:00 13:30 BLOCK INTER TOMATO
EVA EVA BANDA
POPE 14:00 14:30 Claudia Leitte
AS Cheapskate Psirico
15:00 SMELL THE SMELL OF LOVE LOVE BANDA 15:30
GARCIA BAND CHANGE WONDER BEAUTY BEAT PINEL
16:20 16:50
BRINGS STYLE BLACK MASS
17:20 18:10
Ile Aiye BAND'AIYÊ TRIO INDEPENDENT NON-1 INFORMED
18:40 MEL / SKOL FOLIA Parangolé / DJ MARLBORO
100 CENSORSHIP 19:10 POP AFRO'S GALLEY HILL
19:40 SPECIAL PROJECT - TRIO W / POPCORN - 2 NOT INFORMED
19:55 MALÊ Debal BANDA MALÊ
20: BALL 05 20:35 FULL MISSINHO
BLOCÃO LIBERTY AND GUESTS BANDA'IYA
21:05 Apache TORORÓ NETO BALA
21:35 OKANBI Jorjão brouhaha AND AFRICAN POP BAND OKÁNBÍ
22:05 WORLD BLACK WORLD BAND BLACK
22:35 BANDA ORIOBA ORIOBA
23:05 AS THE WAVE KENGO TÔ
23:25 Pagodão Caçote OF THE BAND Pagodão Caçote
23:45 BLOCK JAKE GANG Ê / PINTA BANDA SUDDENLY / THING OF LIGHT / BAND PIT STOP BANDA breach breach
00:05 00:25
SAMBA MANIA Irmana / MIX PERT / GUERRILLA LEANDRO / NO YARD AND BAND OF SAMBA MANIA

martedì, "08/03/2011 11:00

Ibeji BANDA 30 60
12:00 PIERROT PLATFORM GROUP Pierrots
INTER PACK TOMATO
13:00 13:30 14:00 OWLS Ivete Sangalo
CHAMELEON YOUNG RASCALS
Ara Ketu
Araketu 14:30 15:00 EVA EVA BANDA
15:30 BRINGS MASS EDCITY
16:00 16:30 PINEL Psirico
KISS / KISS
BANDA MEL 17:00 17:30
AS PREY Cheapskate TIETE VIP'S NOT INFORMED
18:00 18:30
Olodum Olodum BANDA TRIO NO 1 INDEPENDENT 19:20
INFORMED OF MY LAND TRIO SAMBA SAMBA GROUPS OF THE Commanche
19:35 19:50 100 BAMBAM
CENSORSHIP AFRO POP Verusca MONACO
20:20 Apache TORORÓ CARLA VISI
20:50 SPECIAL PROJECT - TRIO P / POPCORN - 1 NOT INFORMED
21:20 BLOCÃO LIBERTY AND GUESTS BANDA'IYA
21:35 CHILDREN OF THE CONGO CANJERÊ SINHA / Adailton POETRY / BAULE PEMBA AND GUESTS OF
22:05 MUZENZA BANDA MUZENZA
22:35 SFONIA SAMBA / Q FEEL OF LAUGHING AT THE DRAMA
23:05 OKANBI Jorjão brouhaha AND AFRICAN POP BAND OKÁNBÍ

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Circuit Circuit Dodo

Programma del Circuito Dodo

GIOVEDI '03/03/2011

Orario Entità Attrazione

17:00 TRIO INDEPENDENTE 2 NÃO INFORMADO
17:30 PROJETO ESPECIAL - TRIO P/ PIPOCA - 3 NÃO INFORMADO
18:00 BABY LÉGUAS MARIANA LINS E BANDA
18:30 COCOBAMBU ASA DE AGUIA
19:00 D +/ NANA BANANA TIMBALADA
19:30 EU VOU / ALÔ INTER NETINHO
20:00 CERVEJA & CIA TOMATE
20:30 BLOCO YES CHICABANA
21:00 TRIO INDEPENDENTE 4 NÃO INFORMADO
21:30 NU OUTRO BANDA EVA
22:00 FISSURA / HARÉM ALEXANDRE PEIXE
22:30 TÔ LIGADO / BORIMBORA NÃO INFORMADO
23:00 FRENESI NÃO INFORMADO
23:20 UNIVERSITARIO / LANCE DUAS MEDIDAS
00:00 OS MASCARADOS BANDA OS MASCARADOS 00:20
IS MASS LEADS WITH SIRI NOIZ
00:40 TODI NOT INFORMED

Venerdi '03.04.2011 10:00 HAPPY

PAULINHO UNCLE AND BAND RED RIVER
14:30 BABY MARIANA Leagues ROWS AND BAND
14:45 SPECIAL PROJECT - TRIO W / POPCORN - 3 NOT INFORMED
15:00 NANA BANANA YOUNG RASCALS
Timbaland Timbaland
15:30 16:00 BLOCK YES
16:30 DJ Chuck D + / AIRCRAFT AIRCRAFT ELECTRICAL LINING
17:00 HELLO INTER Netinho
PRAFICAR 17:30 / 18:00
SALVADOR Ivete Sangalo CLEFT / OPEN BAR 18:30 Chicabana
I WILL Claudia Leitte
19:00 TÔ ON / TURN NOW MY LOVE TAKES NOIZ
19:30 Cocobambu JAMMIL
20:00 NU OUTRO BANDA EVA
20:30 CERVEJA & CIA ALEXANDRE PEIXE
21:00 TRIO INDEPENDENTE 4 NÃO INFORMADO
21:30 TRIMIX CALDEIRÃO
22:00 UNIVERSITARIO / LANCE PSIRICO
22:30 É MASSA A BRONKKA
23:00 TRIO INDEPENDENTE 2 NÃO INFORMADO
23:20 TIM MAIA ELÉTRICO NEGRA COR E CONVIDADOS
23:40 TRIO TRIPODÃO VIVIANE TRIPODI
00:00 SIRI COM TODI NÃO INFORMADO
00:15 MICROTRIO BANDA MICROTRIO

SABATO, 05/03/2011

10:00 HAPPY TIO PAULINHO E ELIANA
14:00 BLOCO DA CAMISINHA NÃO INFORMADO
14:20 TRIO INDEPENDENTE 2 NÃO INFORMADO
14:40 PROJETO ESPECIAL - TRIO P / POPCORN - 3 15:00 NU NOT INFORMED
ANOTHER BEER & TOMATO
15:30 CIA Ivete Sangalo 16:00
NANA BANANA YOUNG RASCALS
Cocobambu WING EAGLE 16:30 17:00
D + / Sertanejo MICHEL TELO / JOHN bosco / Atif Aslam / WILLIAM SANTIAGO
17:30 HELLO AND INTER Parangolé
Timbaland Timbaland
18:00 18:30 SPECIAL PROJECT CARLINHOS BROWN BROWN AND BLUE MAN GROUP INTERNATIONAL GUEST
19:00 CLEFT / Harem ALEXANDER FISH PRA TAKES STAND
19:30 20:00 BLOCK NOIZ
YES LOVE THE SMELL OF BANDA TRIO
20:30 DANIELA MERCURY DANIELA MERCURY
I WILL Jammil
21:00 21:30 22:00
TRIMIX EXALTS MANIA TÔ ON / YOUR MAXIXE YOUR UNIVERSITY MAXIXE
22:30 / 23:00 LANCE TWO MEASURES
shake / DJ LIBERTY INTERNATIONAL IS MASS
23:30 Flavia and barons
TRIO INDEPENDENT 23:40 4 00:00
NOT INFORMED WITH SIRI TODI NOT INFORMED

DOMENICA, 06/03/2011 15:00

Olodum Olodum BANDA
15:30 GULA / CHAMELEON YOUNG RASCALS
16:00 FECUNDANÇA / PEEVES JORGE AND MATTHEW 16:30
BALLAD Jammil
17:00 TRIO CITY ORCHESTRA WIND
LOVE ME 17:30 18:00 ANDREW LELIS
HUG ME WING EAGLE TRIO
18:30 Armandinho Armandinho Dodo and Osmar CROCODILE AND BROTHERS
19:00 DANIELLE MERCURY
19:30 20:00
Bambaz BRODER OZ TRIO NOT INFORMED INDEPENDENT 2
20:30 SPECIAL PROJECT CAMAROTE ANDANTE CARLINHOS BAHIA BROWN PERCUSSION / Ile Aiye / CHILDREN GANGHY / Timbaleiro
21:00 HARMONY AND ITS MY SAMBA
21:30 SPECIAL PROJECT MORAES MOREIRA MORAES MOREIRA AND GUESTS
22:00 Tchan is BICHO RICARDO CHAVES
HAVE HAVE HAVE NOT 22:30 INFORMED
23:00 Ladies Ladies BAND AND GUESTS
23:30 COCO Pilek / SKOL FOLIA / BANANA CORAL BANDA TRIO INDEPENDENT OITO7NOVE4
23:50 4 00:10
NOT INFORMED PROCESSION PROCESSION AFRO AFRO BANDA AGUA DE COCO
00:30 VIVIANE TRIPOD
00:50 SPECIAL PROJECT - TRIO W / POPCORN - 3 NOT INFORMED

LUNEDI '

07/03/2011 14:30 SPECIAL PROJECT - TRIO W / POPCORN - 3 15:00
NOT INFORMED OF CHILDREN SHOW BANDA Gandhi Gandhi
15:30 DAUGHTERS DAUGHTERS OF THE BAND Gandhi Gandhi
16:00 TRIO NOT INFORMED INDEPENDENT 2
16:30 GULA / CHAMELEON YOUNG RASCALS
17:00 FECUNDANÇA / OWLS Ivete Sangalo
Jammil
18:00 17:30 BALLAD OF MY LAND TRIO SAMBA GROUP SAMBA
LOVE ME 18:30 19:00 ANDREW LELIS
HUG ME WING EAGLE
19:30 CROCODILE DANIELA MERCURY
20:00 BRODER / JUMPER Timbalada
20:30 SPECIAL PROJECT POP AFRO PERCUSSION AND POULTRY Margareth MENEZES / Tonho MATTER AND MY GUESTS 21:00
AND ITS HARMONY TRIO SAMBA
21:30 Armandinho Armandinho Dodo and Osmar AND BROTHERS
22:00 Tchan is BICHO RICARDO CHAVES HAVE HAVE HAVE
22:30 / PRESERVE AMAZON WORLD BAND BRUNO NUNES / DELMAR BROWN AND BAND
CAMAROTE ANDANTE CARLINHOS 23:00 23:20 COCO BROWN
Pilek / BAND KISS KISS 23:40
PROCESSION PROCESSION AFRO AFRO BAND TRIO INDEPENDENT
00:00 4 00:20 SFONIA
NOT INFORMED OF SAMBA / Q NO LAUGHING AT THE INFORMED OF COCONUT WATER
00:40

martedì, "08/03/2011 14:20

TRIO NOT INFORMED INDEPENDENT 2
14:40 MICROTRIO BANDA MICROTRIO
15:00 PAPA CLÁUDIA LEITTE
15:30 GULA / CHEIRO BANDA CHEIRO DE AMOR
16:00 MEU E SEU HARMONIA DO SAMBA
16:30 BALADA JAMMIL
17:00 PROJETO ESPECIAL - TRIO P/ PIPOCA - 3 NÃO INFORMADO
17:30 ME AMA ANDRÉ LELIS
18:00 ME ABRAÇA ASA DE AGUIA
18:30 CROCODILO DANIELA MERCURY
19:00 BRODER / JUMPER TIMBALADA
19:30 PROJETO ESPECIAL TRIO INTERNACIONAL DA MULHER MARGARETH MENEZES E CANTORAS CONVIDADAS
20:00 FECUNDANÇA / BLOCO SALVADOR DJ DAVID GUETTA
20:30 É TCHAN BICHO PARANGOLÉ
21:00 TÊ TÊ TÊ BANDA INTER
21:30 TRIO ARMANDINHO DODÔ E OSMAR ARMANDINHO E IRMÃOS
22:00 TRIO INDEPENDENTE 4 NÃO INFORMED
22:30 COCO Pilek / WILL.I.AM DJ SKOL
23:00 THOMÉ VIANNA BANANA REGGAE / RAGGA BAND AND GUESTS
VOA 23:20 VOA 23:40 YOUNG RASCALS
Ladies Ladies BAND AND GUESTS
00 : 00 AGUA DE COCO VIVIANE TRIPOD

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Batatinha

GIOVEDI '03/03/2011

Orario Entité Attrazione

20:00 SEFAZ SO NOT INFORMED OF GRANDCHILDREN
20:15 Gandhy / CULTURAL BLOCK BAND bunk
20:30 ACARE BANDA TRIO INDEPENDENT SETROPEIRO
20:35 3 20:45
NOT INFORMED MALCOLM X MALCOLM X
21:00 BAND MADE THE BAND MADE OF donkey donkey
21:15 IN MORAL / SI CALL BAND START 21:30
EXPRESSION BLACK NILDA VIEIRA AND BAND / BAND MAGIC BAHIANAS
21:45 The wicked SAMBA IN GROUP 7 +1 / PAUL CHAIN \u200b\u200b/ RANGE 100% Itinga
22:00 CHILDREN OF OGUN OGUN BANDA DE RONDA RONDA
22:15 CORISCO The
EXCHANGE 22:30 ARK THE ARK OF ASHE ASHE BANDA SKA REGGAE BAND
22:45 SKAR REGGAE BAND
23:00 Tomales Tomales
BLACK DIAMOND BAND 23:15 23:30 KEBRANAGAST
PRIESTS PRIESTS
BANDA BANDA 23:45 FOGUEIRÃO FOGUEIRÃO
00:00 SAMBA SAMBA BAND PICK U.S. PICK U.S.
00:15 AFFINITY AFFINITY BANDA

Venerdi '04/03/2011 18:00

PEOPLE OF ST JOHN AND THE PEOPLE OF BANDA BANDA popular soul
18:15 MUTANTS / Squeeze PABLO / NIRA GUERREIRA E CONVIDADOS
18:30 RELIQUIAS AFRICANAS BANDA RELÍQUIAS
18:35 TRIO INDEPENDENTE 3 NÃO INFORMADO
18:45 GERA A DOIS O BLOCO SAMBA DE RAIZES
19:00 JOGO DO IFÁ BANDA JOGO DO IFÁ
19:15 ZAMBIÃ MENINAS DO ZAMBIÃ
19:30 AS DONDOKAS BANDA KOYSA BOA E PEU
19:45 AMIGOS DO BABÁ BANDA AMIGO DO BABÁ
20:00 FURACÃO 2001 BANDA RAIZES DA TERRA / ED BINHO E BANDA
20:15 AFRICA BAHIA NÃO INFORMADO
20:30 ALABÊ O BACK / BANDA ALABÊ
20:45 AFRO LIBERDADE BANDA SURPRESA
21:00 MUTUÊ BANDA MUTUÊ
21:15 AGBARA BANDA AGBARA
21:30 OLODUM BANDA OLODUM
21:45 MALCOLM X BANDA MALCOLM X
AFROBOGUM BANDA 22:00 22:15 Chamego
BOGUM AFRO AFRO MAGIC BAND / REGGAE BOY'S BABA BANDA
22:30 ASHE ASHE BABÁ
22:45 INCABULADAS AS THE SHADOW / THE BALCONY / AS TEQUILEIRAS
23:00 The transforms DO NOT HOLD THE INFORMED
23:15 SAMBA DO NOT DROP NOT INFORMED OF PLANT
23:30 SAMBA NOT INFORMED OF Olorum
23:45 ARCA ARCA DE BANDA Olorum
00:00 Kayal RARE SWING BAHIA / RASTA MUVUKA
00:15 GAS WITH ALL OUR GROUP RATE / PHILOSOPHY OF YARD / PAGODA OF SINGLE WOMEN / PARTICIPATION SAMBA clogs
00:30 BACANA PITCH NOT INFORMED

Sabat,

05/03/2011 15:00 BANDA SONG IS LOVE SONG IS LOVE CHILDREN
15:15 in Jha Jha's
BAND CHILDREN'S TOWEL 15:30 ADVISED NOT MISS INDEPENDENT TRIO
15:45 3 16:00
NOT INFORMED NOT INFORMED CHILDREN OF TIDE 16:15
ABUSE USE AND ABUSE AND USE BANDA
16:30 ACARE BANDA SETROPEIRO
butch NOT INFORMED AS 16:45 17:00
moths ROME U.S. MANOS
17:15 CHILDREN'S CHILDREN OF BANDA KORIN Efan KORIN Efan
17:30 ARRIBA NO INFORMED OF NEGRO
17:45 SEASONING SEASONING BAND OF BLACK
18:00 MADE OF TROPICAL SAMBA Jegue
18:15 18:30 Alafin BANDA Alafin
damned Couto BDC
18:45 HURRICANE BAND JOY REBOLEXON BAND / BANDA BANDA CHABSC HURRICANE
19:00 19:15 CHAB'SC
THOMÉ VIANNA BANANA REGGAE / RAGGA BAND AND GUESTS
19:30 K K BAND AMONG FRIENDS AMONG FRIENDS
19:45 BLOCK NOT INFORMED ENVIRONMENTAL ECOSITEMA
20 : 00 GINGA GINGA BAND OF THE BLACK BLACK
20:15 DENG IN BAHIA Styllo
20:30 KIZUMBA BANDA KIZUMBA
20:45 ASHE DADA DADA AXE
21:00 bimbo AS BAND OF GOLD CRYSTAL
21:15 CHILDREN OF NANA BANDA CHILDREN OF NANA
21:30 ALERT MIND NOT INFORMED
NEGRA BANDA 21:45 Tomales Tomales
22:00 DAUGHTERS OF THE DAUGHTERS OF BANDA Gandhi Gandhi
22:15 IMPACT IMPACT SOUND BAND SOUND
22:30 MUTUAL MUTUAL
22:45 ORIOBA BANDA BANDA BANDA QUILOMBO ORIOBA
23:00 23:15 QUILOMBO
SCENE IN BAHIA NOT INFORMED
23:30 to seafood NOT INFORMED
23:45 AFOXÉ ILE OYA ROOTS BAND EARTH
00:00 BOKA Kois LOUKA CRAZY / WILTON PITA AND BAND FACE ASHE
00:15 DAUGHTERS D'OXUM AFOXÉ DAUGHTERS OF REGGAE OXUM
00:30 BLOCK

DOMENICA, 06/03/2011 10:00

RHATAPLAN
15:00 Mamulengo BAND OF PERCUSSION AND DOLLS Mamulengo
15:15 Children of Olorum NOT INFORMED
15:30 REBORN 2000 15:35
TRIO BAND REMEMBER NOT INFORMED INDEPENDENT 3
15:45 MUTANTS / Squeeze VIOLA TWELVE / LOUNGE ABOUT LOVE AND GUESTS
16:00 CHILDREN OF BANDA SHOW Gandhi Gandhi
16:15 KORIN Efan Bumba Meu Boi / SAN FRANCISCO ENVIRONMENTAL ECOSITEMA
16:30 BLOCK NOT INFORMED
16:45 BAHIA DANCE NOT INFORMED
17:00 CHABSC BANDA CHAB 'SC
17:15 CHILDREN OF THE CONGO FIRMINO ITAPUÃ / KARINA NERY / CIDA BLACK PEARL AND GUESTS
GIRLS OF ZAMBIA ZAMBIA 17:30 17:45
ABI ABI BANDA SI SI AIYE AIYE
18:00 KIZUMBA BANDA KIZUMBA
18: 15 K K BAND AMONG FRIENDS AMONG FRIENDS
LUAÊ 18:30 18:45 OLORUN
LUAÊ BANDA BABA BANDA MI
19:00 ALAB ALAB BALL AND GUESTS
19:15 19:30 FULL
AFRICAN FREEDOM MUVUKETO IN THE INCABULADAS
19:45 20:00 Styllo
THE GROVE KENGO
20:15 GHETTO GHETTO BIG BLOCK OF MUSICAL WORKSHOP BBG / BUSINESS OF VIOLA / NEGRÃO DAVID / LORY BALLAD / SWEET AND DIAMOND PANDEIRO HURRICANE NE
20:30 2001 BANDA lost it
20:45 ONLY SAMBA DE RODA
CORISCO ARRAPE 21:00 / 21:15 NEW TOPIC
BACANA PITCH NOT INFORMED NOT INFORMED
21:30 DANDA

LUNEDI '

07/03/2011 15:00 CHILDREN'S CHILDREN OF BANDA KORIN Efan KORIN Efan
15:15 BUROKO FATHER TOLD NOT MADE OF
15:30 Jegue MADE IN BRAZIL TRIO INDEPENDENT
15:35 3 15:45
NOT INFORMED AND BAND OKANBI Jorjão brouhaha AFRO POP OKÁNBÍ
16:00 Aspiral Reggae KAMAPHEW TAWA / DJ AKAN / SAMBATUH / NEW SAGA / Lyson Fyah AND GUESTS OF BAHIA
16:15 Ijexá BANDA ARRIBA Ijexá
16:30 16:45
NOT INFORMED NOT INFORMED OMOLUM CHILDREN 17:00
AS KUVITEIRAS SAIDDY BAMBA
17:15 moths NOT INFORMED OF ROME
butch NOT INFORMED AS 17:30 17:45
PLEASE DO NOT FINISH THE SAMBA INFORMED
18:00 18:15
Alafin Alafin BAND OF Kayal BAHIA Jafri FRIENDS AND GUESTS
18:30 Caja BOMBAKANA
18:45 BLOCK FOUR DAYS NOT INFORMED
19:00 TRIBAL BAND CONNECTION CONNECTION
19:15 TRIBAL CHILDREN OF BANDA JHA CHILDREN Jha's
19:30 19:45 ORIOBA BANDA ORIOBA
GREEN UNIVERSE NOT INFORMED
20:00 QUILOMBO BANDA QUILOMBO
20:15 CARNAPELÔ NOT INFORMED OF TEMPLE
20:30 ORIXÁS TAINER BALANCE / KÁTIA KALIL / ADRIANA MORENO
20: 45 FOOTPRINT IN THE SAMBA NOT INFORMED IN BAHIA 21:00
SCENE NOT INFORMED OF NEGRO
21:15 GINGA GINGA BAND OF BLACK
21:30 PLAY GAME Ifa Ifa BANDA
Tomales
21:45 22:00 ARK OF ZAMBIA NOT INFORMED
22:15 to seafood NOT INFORMED
22:30 BOKA LOUKA WILTON PITA AND BAND FACE ASHE
22:45 Ataoja NOT INFORMED
23:00 INZABÁ MAZA
23:15 OPERÁRIO PADRÃO MACUMBA ELÉTRICA / PAGODE DA MULHER SOLTEIRA
23:30 FILHAS D'OXUM AFOXÉ FILHAS DE OXUM

MARTEDI', 08/03/2011

15:00 FILHAS DE OLORUM NÃO INFORMADO
15:20 FILHOS DE GANDHY BANDA SHOW GANDHY
15:40 FILHAS DE GANDHY BANDA FILHAS DE GANDHY
15:45 TRIO INDEPENDENTE 3 NÃO INFORMADO
16:00 KORIN EFAN BUMBA MEU BOI / SÃO FRANCISCO
16:20 RENASCER 2000 BANDA RECORDAR
16:40 MONAS ODÁRA GRUPO CULTURAL BICHO DA CANA
17:00 SWING DO PELÔ BANDA SWING DO PELO
17:20 DANÇA BAHIA NÃO INFORMADO
17:40 AS ENTENDIDAS NÃO INFORMADO
18:00 PROJETO ESPECIAL MORAES MOREIRA MEETING OF GENERATIONS AND TRIOS MORAES MOREIRA AND GUESTS
18:20 LUAÊ LUAÊ BANDA BANDA GANGAZUMBA GANGAZUMBA
18:40 / 19:00 ADILSON ALVES
HURRICANE BAND MISKUTA
2001 19:20 AFOXÉ ILE OYA ROOTS BAND EARTH
19:40 BANDA KAMBALAGWANZE ROOT Ijexá
20:00 CHILDREN OF OGUN OGUN BANDA DE RONDA RONDA
20:20 20:40
DRUMS & COLORS OF DENG BAIANO BONDE neurotic / NEO & NEWHIT
Ile Aiye
22:00 22:20 CHILDREN Jha's

Bible Black Watch Stream

Official Program Carnival Salvador

Programma Ufficiale di Carnevale Salvador



For those interested in Salvador there are three circuits in which the official parade and music star trio presenting their show and accompanying carnival Baiano.
followed the complete program to make the most of these days of "carnival madness."

Source: Portal Oficial do Carnaval

- Circuit Batatinha
- Dodo
Circuit - Circuito Osmar

Whats The Best Cb Beam

Precarnevale Brazilian first massacre in the South

Massacre during the carnival, 17 dead


South of Brazil in the state of Minas Gerais, 17 people were killed during a parade pre-carnival.
According to reports from the police, some people have been electrocuted because of some fireworks that hit a power line.
The consequences were devastating: the hundreds of people who were participating in the parade ahead of the carnival, 17 have died since the cables fell on the crowd following a truck in testa alla sfilata dal quale proveniva la musica.
I feriti si contano a decine.
Le sfilate del carnevale più famoso al mondo, svolto nell'emisfero boreale e che inizia ufficialmente venerdì, sono frequenti e molto affollate in Brasile, e per la popolazione locale sono un appuntamento imprescindibile: tutti gli anni, infatti, le strade si riempiono di migliaia di persone per ballare al ritmo della samba.

fonte:cronacaqui.it

Sunday, February 27, 2011

Message To Wedding Guest

Spirit, a multitude of Beings and Entities

" Know that every state of being, depends on it by the power, passion or ignorance, is but a manifestation of my energy. In a sense I am all, but remain independent. Are not subject to the influences of material nature, since they are in Me . "Words taken from the Bhagavad Gita of Krishna.
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Abstract
We are Energy, Life Energy, which employs the envelope of a physical body to learn to grow. In philosophy and Tibetan tantra , it is said that there are ten kinds of vital energy or twenty thin, flowing through the body's energy channels sixty-two thousand. In these channels, similar to veins, the vital energy flows that sustain life. Three main channels run vertically from the crown of the head to the genitals, intersecting with five energy centers (chakras ) of the crown, throat, heart, navel and genitals. All other lower energy pathways, go out from these centers and permeate the whole body. A more subtle level, the subtle mind and energy are vital regarded as one entity. The ten types of vital energy include: the five internal energies that influence the motility of the body and the five external energies, which have specific effects motility of the outer body. The first are the vital energies associated with the five elements (Earth, Water, Fire, Wind and Space) and their respective colors and tones (Yellow, White, Red, Green and Blue). The second includes the breath of life, muscle movement, digestion, movement semiotic / voice and movement related to reproduction and replacement. Typically, in individuals who have not cultivated these practices, the vital energy and the subtle mind can spread from the left and right energy channels and come to permeate the entire network of smaller channels of the body. The vital energy dissipation is known as vital energy of past actions, where the predominant influence of a dark and often uncertain origin. However, when you apply certain practices are dissolved nodes that block the various movements in the energy centers in situanti central energy channel, and is the vital energy is the subtle body, enter, remain and dissolve reaching a full merger or wisdom: the Buddha-mind. Although all sentient beings to be able to reach this perfection, the psychological confusion, illusions and worldly internal and external interference, corrupt the mind, preventing the natural expression of this innate potential. It 'clear that once they reach that awareness of self, even physically, if you want to maintain good health is important, according to the Tibetan medical tradition, the vital energy that remains in perfect balance.
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Elements in Greek thought
The Greek word for elements stoicheia the singular stoicheion means sense of principle, begin. In the Hellenic tradition are four elements: Earth, Water, Fire and Air. They represent in Greek philosophy, arithmetic, geometry, medicine, psychology, alchemy, chemistry, astrology and religion in the kingdoms of the Cosmos, in which all things exist and occur. Plato seems to be the first that refers to the four elements The term stoicheion , referring to their pre-Socratic origin. In fact, they are already listed by the philosopher Anaximenes ion (VI century BC) and then by Empedocles (ca. 450 BC), who calls them rhizome (roots, rhizome in the plural) of all things, immutable and eternal, where the union determines the birth of the roots of things and their separation, death. It is thus apparent apparent births and deaths, as the Being (the roots) is not created and not destroyed, but only in constant transformation. The aggregation and disintegration of the roots are determined by the two cosmic forces and divine: Love and Discord (or Hate), according to a cyclical process forever. In a first step, all the elements and the two cosmic forces have come together into a homogeneous whole, but at some point under the action of Discord, begins a gradual separation of the roots. The action of Discord, is not destructive, as opposed to the power of love, a balanced variable that determines the birth and death of things, and with them so our world. When he takes over the discord in Love, and cancels out the influence, you reach the Chaos, where discord reigns, and where is the dissolution of all matter. At which point the cycle continues, thanks to a new measure of love that brings the world to the intermediate state in which the two cosmic forces si trovano in nuovo equilibrio, e che dà nuovamente vita al mondo. Infine, quando l'Amore si impone ancora totalmente sulla Discordia si ritorna alla condizione iniziale; da qui il ciclo ricomincia. Il processo che porta alla formazione del mondo è quindi una progressiva aggregazione delle radici che si evidenzia nella vita degli esseri viventi. Empedocle, sosteneva che i processi della percezione sensibile e della conoscenza razionale, fossero possibili solo in quanto esisteva una identità di struttura fisica e metafisica tra il soggetto conoscente, ossia l’uomo, e l’oggetto conosciuto, ossia gli enti della natura. Sia l’uomo che gli enti erano formati da analoghe mescolanze quantitative delle radici ed erano mossi dalle medesime forze attractive and repulsive. This homogeneity made possible the process of human knowledge, in fact, so Empedocles said: " we know the earth with earth, water with water, fire with fire, love and hatred with love hatred. " To these four elements there Aristotle added a fifth (the quintessential medieval), which he called ether, and that is the subject of the celestial spheres.
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Elements in the other Philosophies
In Pali literature, the mahabhava ("large components") or catudhatu ("Four elements") are Earth, Water, Fire and Air. Buddhism in the first, were the basis for understanding suffering and for the liberation of man, where the Buddha's teachings on the four elements were grouped as the basis of real feelings, intense as "features" or "property." His teachings say that everything is composed of eight types of 'kalapas' , whose core group is composed of four elements, while the secondary group is composed of color, smell, taste and food, derived from the first four elements. E 'in this context that the teachings of the Buddha above those of the four elements in Greek philosophy. In Jewish tradition, Instead, the broader the knowledge on the four elements of which they show both the symbols, as matches in the Creation. In addition to the Zohar, the most important text is the argument that the interpretation of Jewish mysticism, there is the Sefer Yetzirah, whose knowledge goes back to Abraham: This text argues the comparison between the Sefirot, the four elements, the Hebrew letters , the planets, zodiac signs, months and parts of the human body. They're discussed in other texts of Kabbalah and is the main object of study of Jewish esoteric path defined Ma'asse Bereshit, the Opera Studio of Creation. The Zohar says that the four elements, Fire, Water, Air and Earth, corresponding to the four metals (gold, copper, silver and iron), while further correspondence is that of the cardinal points: North, South, East and West. After having described the relationship, the Zohar continuous exposure assuming, as there are 12 such items, you can count 12 precious stones corresponding to the twelve tribes of Israel, which was confirmed later by the Urim and Thummim. Following the study of Torah man rises above the four elements also dominate in their bodies and sometimes, in this, it connects to the four figures of Merkavah. All this will then bring the final act of Christianity, where the figures of the four horsemen of the apocalypse will be associated with four natural elements that will start at the end of the world.
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The quintessence
ether, synonymous with quintessence (from Medieval Latin Quinta Essentia in turn change the greek pémpton stoichêion , Fifth Element), was a second element that Aristotle was going to add the other four already known: Fire, Water, Earth, Air. The history of ethics begins with Aristotle, according to which was the essence of the celestial world, from four different species (or elements) which are believed composed the terrestrial world. Aristotle believed that the ether was eternal, immutable, weightless and transparent and for eternity e l'immutabilità dell'Etere, il Cosmo era un luogo immutabile, in contrapposizione alla Terra, luogo di cambiamento. Anche nel pensiero orientale gli elementi originari sono cinque e che vengono di solito rappresentati come ai vertici di un pentagramma. Essi sono: gaia (Terra), hydor (Acqua), aer (Aria), heile (calore o Fuoco), idea o hieron "Cosa Divina". Il sistema giapponese e hindu usa tutti i cinque elementi, tranne il quinto, che diventa Vuoto e Etere. Il pancha mahabhuta , o "cinque grandi elementi", nell'Hinduismo sono: khsiti o bhumi (Terra), ap o jala (Acqua), agni o tejas (Fuoco), marut o pavan (Aria o Vento), byom o akasha (Etere). Gli hindu credono che dio usò l'Akasha to create the remaining four elements, and that human knowledge is akashiko archive. The traditional thinking Japanese uses five elements called (go on, literally "big five"). The elements are: Earth, which is solid things, Water, which represents things liquid, fire, representing the items destroyed, Air, which represents things moving, Empty, which represents things that are not in daily life. Some believe that the traditional Chinese philosophy contains elements like those of classical Greek philosophy and the origin of these five forces active or dynamic power, is lost in prehistoric China. These five agents are in relation to each other and give life to many other series combinations of five complementary to Wuxing same: the cardinal points and center, musical notes, colors, grains, feelings, etc.. Also in Shijing, in the section called "Big Norm" are made to follow Wuxing, five functions. The five major planets of our system are associated with and take the way of the elements: Venus is Gold, Jupiter is wood, Mercury is Water, Mars is Fire, and Saturn is Earth. In addition, the moon and the sun represents the Yin Yang. Yin, Yang and five elements are recurring themes of the I Ching, the oldest Chinese classic text, which describes the Chinese cosmology and philosophy, and where the doctrine of the five steps describes two cycles of equilibrium, a generative and creative (Sheng), and the other dominant and destructive (ke).
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"Plans Subtle vision for the Egyptian and Hindu
The ancient Egyptians conceived of a sort of" spiritual economy "consists of a complex where they entered, several" vehicles "are considered essential to achieve Plans thin and so were divided: THE SAHU or spiritual body or intimately abstract, IL Khu or Spirit, the magical essence, BA or Soul, probably the ethereal body, KA or astral double, the astral body, the Sekhem or power, AB The seat of feelings, IL KHAIBIT ol'ombra, or the unconscious, the REN or name, personal sound, Khat or physical body, the perishable body. But the knowledge of his philosophy and I in the Egyptian religion, probably derived from knowledge of much more ancient, originated in the Indus Valley civilization, where they used to recognize six different internal energies: External, Illusion, Lower or Material, Internal , Marginal and Spiritual. "External power" is one of the three main energies of God (internal, external and marginal) and is the material energy. Energy Maya or Illusion ", which under his influence, the conditioned soul believed to be the controller of creation, the owner and the chief beneficiary. Identifying with the material energy, ie with the body (the senses), with the mind and intelligence material, the soul forgets his eternal relationship that unites God and, influenced by this energy, it launches in search of pleasure es'incatena of this world more and more to the cycle of births and deaths. "Lower energy or material, external energy or material nature, one of the three main energies of God (spiritual, material and marginal). It 's the external manifestation of the power of God, formed by twenty-four material elements (the five gross elements, the three subtle elements, the five sense objects, the five organs of perception, the five organs of action and the set of the three modes of nature in a state not shown). Constitutes the entire Universe in which we live. The interaction of its elements are operating under the influence of time and in contact with the spiritual energy of God, which is different because it is sometimes known and sometimes not. "Internal Energy", one of the three main energies of God (internal, external and marginal) and which constitutes the spiritual world. "Energy Margin," one of the three main energies of God (spiritual, material and marginal), consisting of living beings, infinitesimal parts of God himself, that although they are of a spiritual nature may fall under the illusion that the material energy because of their limited powers. "Spiritual Energy" or internal energy, one of the three main energies of God (spiritual, material and marginal), or the manifestation of the internal power of the divine and is the spiritual world, the original home of all beings. Instead the material energy, is made of eternity and knowledge and "soul" is also the material energy.
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The Monad
The Monad is the active ingredient in every living organism, in a metaphysical sense in its own way each monad is a living mirror of the universe. This term is the way in which the philosopher Leibniz translated the greek word Monas, which means the unit or what is a. The Monad, then, by virtue of its unity or simplicity depicts the way the atoms of Democritus, with the difference that it is not physical or material atoms, but having formal, unextended, with action or "perception" and which is the characteristic whereby each monad differs from all others. The monads are infinite in number and all different from each other, but can be grouped in Monads-entelechy, and Monads Monads-Anime-Spirit. "Monads entelechies" is the stage where all simple substances (the monads) acquire by birth a certain perfection, self-sufficiency that makes them sources of their own internal actions and causes it to be, so to speak, incorporeal automata. "Monads Anime" describes all those individuals capable of "perception" (including Leibniz also includes plants), because in a hierarchy of living beings, the feeling (perception accompanied by memory) is something more than just a perception, and then reaches a higher stage of consciousness. For "Spirit Monads" Finally, this is the rational soul, the monad evolved as more capable of reason and reflection. In this sense the Spirit is being more closely related and hierarchically to God the souls in general are living mirrors or images of the universe and of creatures, spirits, however, are also images of the Godhead itself, in so far as they know the system and to imitate some aspect of the universe with enterprises " architecture, since each Spirit is like a small divinity in its scope. In the process of reincarnation and the formation of monads, our true divine essence is expressed in three dominant principles, implementation, therefore, the growth and the acquisition of knowledge: the Evolution, Free Will and Karma. The first principle is the Evolution, where our essence is born under specific conditions that will enable us able to develop the qualities and features you need most, and to create the conditions conducive to a greater change. The framework in which we put the change and growth is provided by heredity, the period and the conditions at the time of birth. Environmental factors can influence and assist in achieving the growth needed, and these factors include elements such as race, religion, sex, family, friends, acquaintances, and other experiences that we can do. The second principle is that of Free Will, we all have the ability to make choices, take action, whether or not to take decisions. We are not obliged to bring to fruition the goals for which we are born. It 's true that, once taken a physical form, some factors can not be changed: we can not change our race, hereditary traits, some congenital problems, and so on. As we can not ignore certain aspects, on the other hand, we are offered many choices and paths that can change our actions. The third principle is often the most misunderstood, Karma. Within this principle operates what is sometimes called the law of compensation or the Law of Balance. The way we used the Free Will in the past was used to determine the essential characteristics of the environment for personal empowerment, and it is here that you can predict aspects of their future through our actions. Karma is a Sanskrit term meaning "to do or build," as it is energy in action. Whatever we do gives us a chance to grow and for that reason you should consider Karma as the force that governs our spiritual awareness.
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Spirit
Spirit or spiritual energy is the manifestation of internal power and is the spiritual world, the original home of all beings. Latin word, spiritus means breath, the breath of life and it is immaterial principle of life, the seat of thought, will and mental activities and emotions higher. The original meaning of the word Spirit comes from the greek pneuma that in his earliest thought, describes the "life principle", the inspiration for soul, conceived as a material entity, made on very thin and highly mobile, very similar to the fire , belonging to the God who gives life to things and guides them according to his wishes. This concept, which finds accommodation in Stoic physics, is done just by Greek medicine. So it Erasistratus distinguished two types, one with Based in the heart and the other in the brain, these conceptions survived in medieval and modern times, until Descartes. The dualism of spirit and matter, for if the Spirit means by definition immaterial substance, appears for the first time in Plato and later in Christian philosophy. Descartes argued that the Spirit, "which resides in the substance immediately thinking" covers such concepts as consciousness, reality, thinking, intellect. Such thinking is perpetuated and becomes the history of philosophy in the Renaissance authors such as Agrippa of Nettesheim, Paracelsus, Giordano Bruno, who according to magical beliefs and the occult sciences of the time, meaning the tires he used as an instrument of the gods to influence human actions. In Christianity the tire translates the Hebrew word for Spirit (ruach ), name of the female gender which also means wind, breath. For the Jewish religion with that period shows the power of God that can fill the men of his wisdom, such as prophets. This concept has not yet had a particular development in Judaism, as it was in Christianity that is in pneumatology, a term introduced into philosophy by Leibniz. The Spirit becomes idea, where the philosophy in the Hegelian conception of the Spirit, or the science of the idea, came to himself only after he alienated in nature. But the Spirit, in its broadest sense, has also a number of entities with specific functions and distinct, and that inhabit the outside world. These entities do not always possess supernatural powers or part of a divine hierarchy, but most of the time were regarded as the hidden essence of things and, as the object that "live", can be benevolent or malevolent, as well as they can change their characteristics. Spirits (plural) feature of being able to buy the mix and speak to people in everyday life. Thus there are spirits of trees, rivers, springs, mountains, rocks, animals, etc., Spirits of love, birth, hate, death. For these broad influences of spirits, the subject of superstition, magical practices were performed in order to conciliarseli, this was done by specialists in certain practices (sorcerers, shamans, prophets, etc.)..
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Several Spirits
In fact, as we teach even the most ancient philosophies of the Earth, we have within us a multitude of beings and entities, and multi-level interfere with us. At present our research, we tried to shed light on the vast amount of information that comes from our past, trying to find a rational and consistent with our knowledge, six different types of spirits: Spirit Material, Superior Spirit, Spirit Come, Super-Spirit, Spirit Wandering Spirit Alien and .
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Spirit Material
The Spirit is the material that forms at the birth of each container, our personal spirit that grows through its body experience (acting on the ball very emotional and sexual). It is believed that this spirit is formed through the mind, or through a physical experience which then turns into an awareness of non-physical and abstract.
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Spirit Higher
Lo Spirito Superiore è la summa di tutti gli Spiriti Materiali precedenti, ovvero l’insieme di tante esperienze spirituali che si sono fuse nel corso delle varie re-incarnazioni, con spesso una prominenza di quelle più a noi vicine (ultimi 200 anni). Spesso la loro influenza è talmente forte da poter riconoscere e ricordare le loro vite passate, scambiate spesso per “nostre” e in molti casi anche per vite passate animiche.
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Spirito Animico
E’ lo Spirito Demiurgico, ovvero quello Spirito originario che si è formato nel momento in cui le Anime idealizzarono la loro essenza This inner spiritual universe, then form a physical body in the two Demiurges, carrying the dual cosmic principle. The spirit soul is the glue between the Soul and Spirit, in which the demiurge are the arbiters of this powerful inner energy within matter (the body).
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Super-Spirit
Super-Spirit, however, is something separate from the spirits above, since it is the first and only Spirit of the first container in which our souls have been included. In practice, it is the Spirit of the First Mortal Man who lost his soul and then that was chained up in our bodies (but there are also cases of Super-Spirits Aliens). While all men have the spirit and material part of the Higher, the Super-Spirit is found only in anime, but is rare in non-animated. It is distinguished by the Spirit material is superior to an interruption in the process of merging with other spirits, carrying out an independent project, often atypical, poorly understood and against the other components, including Soul.
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Spirit Wanderer
earth are all those spirits, animals, plants and humans who, finding himself at a lower or intermediate stage in their journey towards the acquisition of consciousness, they are forced to sopravvivere ad attaccare o parassitare corpi con una più elevata “energia vitale”. Comunemente chiamati ectoplasmi, sono la forma corporea e fluida di spiriti avversi, a volte maligni, a volte benevoli, spesso con intenzioni sconosciute e che interagiscono con noi durante la nostra vita.
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Spirito Alieno
Oltre questi Spiriti, esiste anche lo Spirito Alieno (derivante dalla Memoria Aliena Attiva o Passiva), che inserito nel lobo sinistro del cervello umano dell’addotto, una volta disattivata la Memoria, si fonde con gli altri Spiriti presenti nell’addotto. Per analogia lo si può identificare con lo Spirito Materiale, obviously not human but of extraterrestrial origin and that, in this case is within the adduct with the sole purpose of parasitism, as a result of the alien's need to survive mentally, waiting to be incorporated into a new body.
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The combination of generous spirit the Tree of Life
Tree of Life is a summary of the most famous and important Jewish teachings of Kabbalah. It is a diagram, abstract and symbolic, consisting of ten entities, called Sephiroth arranged in three parallel vertical pillars, three left, three right and four in the center. The pillar Central extends above and below the other two. The Sephiroth correspond to major metaphysical concepts to real attributes or emanations of the Godhead. Moreover, they are also associated with emotional and practical situations crossed by every individual in daily life. The ten Sephiroth are basic principles recognized in the multiplicity and messy complexity of human life, able to unify and give meaning and fulfillment. Looking at the structure, we can see that the ten Sephiroth are connected by twenty-two channels, three horizontal and seven vertical and twelve diagonal, and every channel corresponds to one of twenty-two letters dell'abjad Hebrew. The pillars of the Tree of Life correspond to way that every human being has before, and where only the middle way, also called the "royal way", holds the ability to unify opposites. Without the central pillar, the tree of life becomes that of Knowledge of Good and Evil. The pillars on the right and left are also the two basic polarity of all reality: the masculine and feminine right to left, from which flow all other pairs of opposites in the creation. As the Bible says, the path that led to the tree is guarded by a pair of cherubs, angels, two armed with a flaming sword, but that does not mean that the road is completely inaccessible. According to oral tradition, the two cherubs, one had a man's face (Unified Spirit) and the other a female face (the Soul). They represent the two fundamental polarities of existence, as expressed on the higher planes of consciousness. With the gradual harmonization and unification of these principles, these "angels" cease to be the "Guardians of the Threshold, whose task consists in removing those who do not have the right to enter and instead they become the pillars that support the which brings us back to the Garden of Eden.
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Conclusions
At the end of our research, it is good to take stock of the situation and go into detail to explain why such a vast choice of material to draw upon. Everything revolves around the concept of monad or triad, according to recent theories is that in our internal composition, the ego that we formats: Body, Mind, Spirit and Soul. It is clear that the components of our interiors I have a match in the four elements that have been evident since ancient times, where the body is the earth, the mind is the water, the Spirit is the fire and the air is the Soul. It is also clear that many of the ancient Eastern cultures and parts of western thought, which comes from ancient Greece until the Renaissance Christian philosophy, also included a fifth component, often seen as the quintessence of the four preceding elements, a fifth element known as: space, vacuum, Ether or Akasha. It 'strange that this fifth element in ancient times represented a fusion of something much larger and complex, where the four main elements of the whole, access to a multi-stage and far more varied: a Akasha, in fact, but in this case and no doubt spiritual energy. In this Akasha, after personal investigations, I have included the energies of the Hindu tradition or plans or various thin Vehicles Egyptians and that, in light of recent research, I have identified six distinct types e chiare di Entità Spirituali: Spirito Materiale, Spirito Superiore, Spirito Animico, Super-Spirito, Spirito Errante e Spirito Alieno. A questo punto della nostra indagine, è chiaro che l’Essere Umano in quanto tale è l’unione di tante realtà diverse e che agiscono ognuna secondo un diverso piano. Esiste quindi un Corpo (la Terra), mezzo o veicolo attraverso il quale non soltanto noi facciamo esperienza, ma permette anche a piani divini, spirituali ed animici, di intraprendere un percorso di conoscenza. Segue una Mente (Acqua), fonte del nostro pensiero, del Logos , di quella capacità senziente che ci permette, attraverso la nostra intelligenza, di elevarci sul mondo animale e rendere possibile its own growth, material and spiritual. But all this is made possible by the formidable "universal glue" that is the Spirit (Fire), which formed all things animate and inanimate in the cosmos and that, in humans, combined with Logos rises to levels more higher consciousness (spirit material). The Soul (Air) is an addition, not all of which living beings have, but that those who possess creative talents manifest themselves out of the ordinary, aimed at increasing research experience universal and divine. But the elements of the Monad or the Triad does not stop there, because through the quintessence of the four previous items, of which many of us have formed as a result of countless experiences of re-incarnation, you reach a level of complexity (not perfect) that puts us in touch with other spiritual realities to our internal Me: Higher Spirit, Spirit, soul, Super-Spirit Spirit Wandering Spirit and Alien. Will be our oldest genetic / spiritual, the more we will have the opportunity to be carriers of these five elements that make up our Monad. Come to understand this puzzling fact will allow us to achieve inner balance and perfection, such as to annihilate the negativity present (some cases of wandering spirits or spirits of aliens) or to find grounds for comparison, discussion and understanding entities with positive (and quite human), but often I can diverge from our path (Greater Spirits, Super Soul or Spirit). Getting to talk to them all is the first step to a real awareness, get to understand our spiritual side is the real goal, a goal also able to liberate ourselves from any negative interference, terrestrial and alien. As the famous axiom " what can not be cured must be endured ", it is through this awareness that becomes accessible to the final stage and that leads us to a true inner awakening, which aims at creating their own "Tree of life ". The Tree of Life is a summary of all the inner components of the Self, and only after reaching a balance between all the elements (Earth / Body Water / Mind, Fire and Spirit, Air / Soul, Akasha / Spirit) we will be able to create a "Cosmic Chrysalis", or the intermediate stage between this life and the afterlife, as new heavenly body, could ferry our true self to a death free from danger and a new revival entirely free from external influences . To get to take this decisive step must be responsible, that is, make your choices with a conscience, knowing that they will lead to consequences. We can only hope those consequences take a certain turn, but if we are truly responsible, we must be willing to accept all variations, positive, negative or neutral they are, knowing that they could still learn something important. Not everything is the result of past actions or foreign to our ego. There may be some direction in life, environment and circumstances, but in that way we develop our skills and creativity, because the pin a lot of lessons we learn from the experience is simply the ability to recognize these teachings. Ted Andrews, as maintained by the researcher in her study of the past: " Reincarnation restores spiritual divine justice, which generates a new faith and hope for redemption, fosters the understanding of life and death. Restores the meaning of life and brings us a sense of renewed soul-union, using the glue as the primary source of spiritual knowledge that sustains the entire universe. The Universe gives everyone the opportunity to grow, that we use it or not depends on us. For every choice there are two possibilities: success (and growth) or failure. If we fail does not necessarily mean having also lost, but we must face quell'esito maybe do it a second time, even a third if necessary, until it has reached a level of awareness higher. "If a school (a school because of it) continue to be rejected and left behind, eventually get tired and react. In many ways the spiritual experience works the same way. When we begin to understand this process, then we leave behind our fears, guilt, and come into possession of a new hope, no longer earthly, but divine and universal.
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Source: "Archeogenesi" Federico Bellini (2010/11)

Saturday, February 26, 2011

Fake From Real Mcm Handbags

" Plants are able to think and remember "

SchwartzReport From the July 1, 2010 translation a cura di Erica Dellago e Clea Nardi.
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Ricordo nei primi anni settanta, quando i miei due amici, Christopher Bird e Peter Tompkins che stavano scrivendo quello che divenne un best seller, “ La vita segreta delle piante ”, mi presentarono a Cleve Backster le cui ricerche avevano dimostrato che le piante avevano in parte una coscienza. Tutti e tre, Peter, Chris e Cleve furono soggetti a devastante critica perlopiù ad hominem, da biologi costretti nel paradigma e da altri negazionisti che semplicemente non potevano accettare che alcuna altra specie diversa dall’essere umano potesse avere consapevolezza cosciente. VICTORIA GILL, Reporter of Science - BBC News (UK)
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plants, the researchers believe they can "remember" and "react" to the information contained in the light. plants, scientists say, provide information on the intensity and quality of light from leaf to leaf in a way similar to that of our nervous systems. These "electrochemical signals" are carried by cells that act as "nerves" of plants. In their experiment, scientists have shown that a beam of light striking a leaf because the response of the whole plant. And response, which took the form of chemical reactions induced by light on leaves, was continued in the dark. This demonstrates, they said, that the plant will "remember" the information encoded in light. "We illuminated only the lower part of the plant and observed the changes at the top ," said Professor Stanislaw Karpinski who led this research, the University of Life Sciences in Warsaw in Poland. He presented the results at the annual meeting of the Society of Experimental Biology in Prague, Czech Republic " And the changes continued even when we turned off the light ... This was a total surprise . " In previous studies, Professor Karpinski, had discovered that chemical signals could be transferred through the entire plants - allowing them to react and survive the changes and stress of their environment. But in this new study, he and his colleagues discovered that when light stimulates a chemical reaction in a cell of a leaf, which causes a cascade of events, coming immediately reported to the rest of the plant through a specific cell type called the bundle sheath cell, the cells that wrap around the ribs of the leaves in C4 plants. The scientists measured the electrical signals of these cells, which are present in every leaf, discovering what could be described as the "nervous system" of plants.
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Plants that think
What was even more special, said Professor Karpinski, is that the response of plants varies according to the color of light that was pointed at them. " There are characteristic changes for the red, blue or white ," he said, suspecting that plants can use the information contained in light to stimulate protective chemical reactions. He and his colleagues examined all this more closely observing the effect of the different colors of light immunity of plants to disease. " When we lit the tree for an hour and then infected with a virus or a bacterium after 24 hours of exposure, it has resisted infection " he said. " But when we infected the first plant to use light, it could not develop resistance ." " So the plant has a specific memory for the light it develops its immunity against pathogens, and able to adapt to varying light conditions. " He said plants have used the information coded in light to immunize against pathogens season. " Every day or week of the season has its own characteristic light ," said Professor Karpinski. " So the plants are running some kind of biological computation of light, using the information contained in light to immunize against diseases prevalent during that season ." Professor Christine Foyer, a plant biologist at the University of Leeds, said that research "has led our thinking one step ahead . " The plants must survive the stress such as drought and cold, resist and continue to grow , "he told the BBC News," and this requires an assessment of the situation and appropriate response - this process is considered a form of intelligence . " " What this research has done is to connect two signaling pathways together .. and the electrical system is incredibly fast, so the whole plant was able to react instantly to the brightest light ."
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Friday, February 25, 2011

What Is The Female Name For Stuart

" Anima Mundi. Portrait of Marius Schneider, "Antonello Colimberti

occur in the history of culture names which are, initially confined to a narrow circle of experts, occurs in the course of time such as real masters of thought. This is the case of an author like Marius Schneider, a character of such importance that they can do well next to famous intellectuals of the twentieth century such as Carl Gustav Jung and Henry Corbin (choose these examples to some similarities with ours, although the originality of each research, as we shall see below).
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Hagenau Marius Schneider was born in Alsace in 1903, its formation across several disciplines (philology, musicology, piano, composition) and takes place in various cities (Strasbourg, Paris, Berlin). It begins in Berlin that strange long comparative research between the non-European and European polyphony, the fruits will be! collected in a monumental History of polyphony, published in Berlin in 1934. In 1933 he assumed the leadership of "Phonogramm-archiv", agreeing to live with the Hitler regime until 1944, when it moves away from Germany to repair in Spain. During this period, among other things, Schneider studies the symbol of the swastika, but, like René Guénon, in a sense very different from the Nazis. In Barcelona, \u200b\u200bin the ethnomusicological Institute of Musicology, undertakes a massive investigation into the symbolism of ancient cultures music is more than that of primitive music, leading to the publication of two important works: The symbolic animals and their origins in mythology and in music and dance of ancient sculpture swords and the tarantella. His academic career is held later in the University of Cologne (1955-1968) and Amsterdam (1968-1970), in this period as well as numerous essays and encic! lopedie publish his work, perhaps the most famous stones that sing. In the last period of his life (he died in Marquarstein in Bavaria in 1982) published several articles in the journal of Elémire Zolla "Knowledge Religious. " Extrapolate from his encyclopedic work two central themes, which we do not feel adequately recognized originality: primitivism and the symbol of sound.
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Primitivism
In our opinion, even those authors who have contributed most to the knowledge and reputation of Schneider (Zolla, for example) have not sufficiently emphasized the profound difference that our sound track between cultures (but the findings apply to cultures tout-court) so-called "primitive" and so-called "high". It is true that Schneider is part of a dense array of Critics of Western culture, particularly its most modern and post-Enlightenment, but traces the roots of this form of thought much further back in time than do some well-known authors, especially esoteric or historians of science as Guénon as Giorgio De Santillana. If, as Zolla writes in the preface to The Meaning of music (the first collection of writings published in Italy Schneider), ie! Schneider studies help to reconstruct the Neolithic civilization, based on a kind of Pythagorean science, that our calls "megalithic tradition", it seems equally true that the age of human history is not considered age gold. In fact, to Schneider, whose sympathies are explicitly for authors "irrationalistic" as Ludwig Klages and Henry Bergson, the high cultures are those in which there has been a thought protorazionalista, in which the fundamental rhythms of man and the universe are not been more directly experienced, but, though cleverly calculated and spatially represented. Through a comparison between the ways of thinking and practice their music, Schneider goes back to different forms of the underlying philosophy of nature: for primitive cultures is essential to sense movement in the forms and the fluctuating nature of the phenomena, while the high civilization prefer 'appearance statico delle forme e il profilo puro e strettamente geometrico; nel primo caso siamo di fronte a una concezione realistica, artistica e intuitiva, nell’altro caso siamo di fronte a una concezione geometrica, scientifica e astratta. Schneider analizza con finezza il trapasso dalla prima alla seconda concezione, senza scorgervi alcun segno di “progresso” anzi, al pari di un poeta ed “ecologo profondo” contemporaneo come Gary Snyder, sembra credere che con il neolitico cominci la decadenza. Non solo, ma la dicotomia tra culture primitive e alte culture (o, se si vuole,! alla Lévi-Strauss, fra “primitivi” e “civilizzati”) viene a superare l’accezione di semplici età della storia to expand to that of human ways of understanding man's relationship with the world, and with nature in particular. In this sense, the adjective "primitive" is to mean, after all, neither more nor less than what would be "natural" to our species. If this is true, the fundamental task is not so much to seek, through myths, traces of an ancient tradition (continuous or otherwise), how to identify their symbols in the figures related to the anthropological minds. Here we see the confluence of the search for Marius Schneider as with those of Carl Gustav Jung, who in his analytical psychology places the existence of archetypes universal collective unconscious, as with those of Henry Corbin, who first outlined a theory of 'Immaginale "mesocosm intermediate between sensible and intelligible, where g! spirits and bodies are spiritualized take shape. But here we are the second main theme of Schneider, which we mentioned at the beginning: the symbol of sound.
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Symbol sound
The originality of the thought of Schneider stated fully the concept of "sound symbol". For Our ideas and different things, meeting, thanks to a common rhythm, have come to form our set semiconscious che è linguisticamente inesprimibile, ma caratteristico dell’esperienza simbolica. Pur non avendo un significato concettuale, tale insieme possiede un senso espresso dal ritmo che li riunisce e che la musica può riprodurre più di ogni altro linguaggio, perché la manifestazione più alta e essenziale del ritmo è il ritmo sonoro. Se ciò evidentemente già supera ogni idea di simbolismo musicale che la storia della musica occidentale conosca (per lo più nient’altro che immagini trasferite sul piano acustico), Schneider vi aggiunge quella differenza che gli sta a cuore tra cultura primitiva e alta cultura. Così, in evidente consonanza con le nozioni junghiane di “simbolo vivo! ” e “simbolo morto”, distinguishes the pace-symbol of primitive man, as seen fleetingly and rhythm expressed by a living symbol (which he called "call-sign") from the symbol-rate man of high culture that portrays him as a dead object, carved in stone, and that, despite fake a pace of life, is in fact an inanimate object. Once again, at a rate directly experienced with his own body opposes a timetable to be established in space, even materialized in the stone. As Schneider says, instead of acting in nature, it is placed in front of it, instead of singing, shouting or issue-symbols, we make tools or ornaments, shapes of animals to make music. Not only that, but, like Carl Gustav Jung per il quale il simbolo getta un ponte tra l’io cosciente e l’inconscio, per Marius Schneider il simbolo sonoro getta un ponte fra un mondo primordiale puramente acustico e subcosciente e un mondo materiale perfettamente conscio. In altri termini, al simbolo sonoro viene a corrispondere il mondo semicosciente del suono luminoso (è evidente qui la coincidenza di tale regno intermedio con ciò che Henry Corbin ha chiamato l’”Immaginale”), che funge da mediatore tra il cielo e la terra e che ha il compito, attraverso il rituale, di far risuonare il ritmo del tempo primordiale sino ai confini della visibilità, risvegliando nelle figure materiali della terra la coscienza della loro originaria sostanza acustica. In so doing, the ritual imbued with the divine that is earthly and spiritual matters that is only physiological acoustics, and at the same time makes it true is false and false! I know the truth, distorting all knowledge based on the principle of non-contradiction, for which a thing is only this and nothing else. Here is a decisive and final touches: for a Schneider music "natural" (as well as any activity "natural") is not a reflection of the order of things fixed once and for all and encoded by a Science (either ancient or modern ), but rather a ritual that "leads" that is material to that which is intangible, and finally in a place that is neither material nor immaterial, but always available to human consciousness: the Self or the bottom of the Soul.
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readings in Italian of Marius Schneider
- The meaning of music, Rusconi, Milano 1970;
- The symbolic animals and background music in mythology and in ancient sculpture (or. 1946) , Rusconi, Milano 1986;
- The primitive music (or. 1960), Adelphi Edizioni, Milan 1992;
- The dance of swords and the tarantella (or. 1948), Argo, Lecce 1999;
- The nozione del tempo nella filosofia e nella mitologia vedica, in Ecologia della musica (a cura di Antonello Colimberti), Donzelli Editore, Roma 2004;
- Pietre che cantano, Guanda, Milano 1980;
- La musica primitiva, in Storia della musica, vol. I/Musica antica e orientale (a cura di Egon Wellesz), Feltrinelli Editore, Milano 1962;
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Molti saggi di Marius Schneider sono stati inoltre tradotti e pubblicati sulla rivista “Conoscenza Religiosa” (1969-1982) diretta da Elémire Zolla.
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Electricbox Soluciones Level 19

" Music and experience of the sacred "by Aldo Natale Terrin

«In cielo c’è una danza»
(Van der Leeuw)
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1. Introduzione: crisi delle rappresentazioni e nuova dinamica musicale
Ha ancora senso parlare del rapporto musica ed esperienza religiosa sulla scia, ad esempio, del rapporto che vi vede iscritto R. Otto, quando considera la musica in stretta analogia con il sentimento religioso? C’è ancora un connubio vincolante tra il suono, la musica, il linguaggio Music and the sense we have of God, the Absolute incommensurable, what is unspeakable? In the crisis of contemporary representations of post-modern world it seems that culture is no longer able to create systems of meaning, the mousiké, the harmony of our living world was shattered and it seems to be inexorably waned in parallel with the collapse that has product of all symbolic systems and established classics. There are no more likely to say. Every speech is ridiculous to advertise before, every word is too much even before it was delivered. A sort of instinctive rejection precedes and accompanies every speech that still intends to convey the world. The speech, communication is increasingly reduced to technical information by means of the market, according to unilinear, is devoid of any symbolic content. The world as a whole is no longer speakable and each symbol is suspect when it means' between-look "the horizon of significance in places where we, mortal men, inhabitants of the earth. In this "wasteland" - to use the words of Eliot - the music seems devoted to a destiny of death. 'The music is over. " The music is in a state of collapse and decay like the environment. The collapse of the symbols of classical referents does not allow any output security. There is a mortifying flattening of all cultural products intended as a simple consumer products, there un'irrilevanza of everything around us is proportional to reification, objectification of the world took place gradually from positivism where the cultural industry has not served to give absolute copying, photocopying, recording, double, multiple commodifying everything, including the same work of art. The modern downgraded the symbols and the transcendence has crushed down by reducing the religious discourse to discourse ethics, and assigning a task to music only formal and empty. The rationale, scope razioide (ratioides Gebiet) - as lo chiamerebbe Musil – ama la musica soltanto come sintassi e come struttura grammaticale. Per esso la musica è soltanto un codice e le note musicali una alterazione strutturale di movenze in vista di un riequilibrio. Il formalismo contemporaneo è fondamentale per comprendere e dissolvere la musica nelle sue strutture diacritiche nella stessa misura in cui esso si fa complice dello svuotamento simbolico col trasformare ogni componente simbolica in struttura semiotica. Così il mondo si presente sempre più simile al gioco della scatole cinesi. L’una dentro l’altra fino al vuoto. E la vita diventa davvero «una lotta contro il Nulla», come osservava G. Marcel. Nel mondo giapponese questa indicazione del vuoto è ancora più illusoria and mocking: the package of the boxes it looks very elegant, refined, perfect. In a sense, is still able to delay the discovery of the object and to create curiosity and so finally the contrast between the luxury envelope that encloses the object becomes insignificant rending and cruel. But not all. It should also see some positive aspects that are beginning to appear on the horizon. Today we are moving towards something new, you return to a new form of light. There seems to be a yearning for something more original, it seems that you are looking for a fresh start and that you try other avenues. You try to forget it again and not speakable, as well il senso stesso della realtà. Non si tratta della «nostalgia del totalmente altro» di cui parlava Horkheimer; è una nostalgia più umile, che nasce dall’humus, dalla terra che noi siamo. È il desiderio di essere noi stessi semplicemente, sinceramente. È la necessità di sopravvivere ricominciando daccapo. In un mondo in cui regna sempre più la citazione, il gioco dell’arte combinatoria, la simulazione, l’affabulazione e ultimamente il nulla, si sente il bisogno di leggere ciò che non è mai stato scritto, di recuperare una lingua originaria, quella delle viscere della terra, proveniente forse dalle stelle o dalle danze: forse è il bisogno più semplice e immediato di ritornare soltanto spontaneity to reach a new spiritual landscape that our language is unable to discover behind the chatter that now dominates and consumes all reality. incipit And in this new musical language resists or at least the Japanese Bunraku, as the scene of the dolls, to the need to express - not least - our emotions, our impulses, fears, trauma. It seems that an incipient reorganization of some positive orientation takes place in the name of the musical language, a language that does not say and does not name things, but evokes only, announced almost flying above them. If there is a crisis of objectivity and subjectivity, also, in this fall of two references - beyond poverty expressive symbols -, it seems that the only aspect of our functioning as a way to understand and embrace the world and the aesthetic-musical that has its most immediate level in religious mysticism called to rise from the ashes of positivism and scientism. So there is a way towards that which is hidden and what is possible, there is a need to "look-in 'to the world through the liminal and the sub-liminal, through the ecstasy, the dream, dream world, the virtual, the paranormal, the unreal. In this tension where the ultimate wish is that the unreal become the real true music assigned to the task of escape all'insipienza the principle of non-contradiction and to make a work of 'disconnection' of chains of cause and effect to make us actually feel the power we have to imagine different from what we are . which brings us back to the "mystical" religion and return later to coincide with a sense of primitive music, you are returned to the aesthetic, as a "wake-up call" of the need to recover the pre-verbal, just as Bunraku in Japan, after the different musical languages \u200b\u200band beyond them. We need to give form to emotions not to talk, since we no longer believe the logic of ideas. And if the religion of today is essentially emotional, it seems that there is a need to recover "emotional music", music discontinuous, encrypted, subject to a work of self-irony which, if meanings are still talking, is also prepared to confess their multiple meanings in prostitution and dissonant. The religious sense then remains closely linked to the musical event, but one other state are subject to wear and fibrillation where necessary to rethink the original link that unites the two ways of feeling not to lose the archetypes themselves a report immemorial and pre-categorical.
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2. The original mix of music and sacred
Schneider discovers some very significant steps to understand the plot of the original and sacred music from ancient Upanishads. He notes, for example, that the Chandogya Up. speaks to the fact that "the world was created by the syllable OM, which is the essence of the Saman (chant) and the breath. But beyond that original sound, reminiscent of that primordial sound that gave rise to the big bang and that was discovered in 1965 still present in astral space by scientists at Princeton, Chandogya lists the different stages that mark the progressive materialization of the world from original music: the world is the essence music translated in poetic meter, the meter is the essence of language, language is the essence of man, man is the essence of plants, plants are the essence of water and the water is 'essence of the earth. " music and religious experience, therefore, do not appear separable in our understanding of the prehistory of the world, in that initial reality in which we started to become aware of the world and ourselves into a whole without distinction, no dichotomy, no burglaries, no mirrors. Ancient India for this is perhaps more than any other country that has loved the music, it was identified with it so far as to join closely and inseparably to the philosophical, religious, cosmological and music [1]. The mythology here is very rich. Prajapati, the god of the origins, the lord of creatures born from a concert of seventeen drums. According to the Hindu concept, the principle which gives rise to the worlds is a harmonic and rhythmic principle, symbolized by the rhythm of the drums. And Shiva as creator of the world, not uttering the world does not say something like fiat lux, but creates the world dancing [2]. They are the three famous dance steps with which Shiva measure the world. In a passage of Prados Stotra Shiva Shiva argues that while "dancing on the summit of Mount Kailasa, surrounded da tutti gli dèi. Sarasvati – dea delle arti e delle scienze – suona il vina (strumento a corda con la cassa a forma di barca), Indra (dio del cielo) suona il flauto, Brahma (il creatore) tiene i cimbali e segna il tempo, Laksmi (la Fortuna) intona una canzone, Vishnu suona il tamburo. Tutti gli dèi li circondano... Tutti gli abitanti dei tre mondi si radunano per vedere la danza e per ascoltare la musica dell’orchestra divina nell’ora del crepuscolo». La musica per sua natura non soltanto ha a che fare con il rituale e la religione, ma è vimuktida, cioè «portatrice di salvezza» e libera dal ciclo delle reincarnazioni: è una parte importante del mondo religioso Il Rigveda for example we report the seven rsi, legendary poets whose song became the father of the first dawn. The gods love the music, but they make music, musicians and Shiva would have expressly said and exclaimed: "I like most music instruments and voices of a thousand baths and prayer" [3]. Moreover we know that the god Krishna is always presented as the greatest flute player and so is still represented his image all over the Hindu world. The same distinction oldest of the Vedas deals with the so-called Samaveda that is nothing but the musical transcription of the Rigveda. So we can say that the religious ritual from its very beginning so the music had provided a binding to the same rite that there were Vedic hymns that did not have a melody or a melodic recitation appropriate for the worship of deities. The precentor called Udgatar singing, with his associates, using the musical part of their Samaveda [4] was the old rule of the religious world. China also gives us the coordinates of early music in relationship to the sacred to the extent that he loved the music and broke it immensely put into relation with the rituals and the whole religious life according to the concordance and the parallels that appear to us drugs. Of course here we can only hint at the whole Chinese world order, and find harmony in which all true positive human and religious activities. All the world order is modulated in ancient China on the pentatonic scale indicated by the intervals kung (ago), shang (G), Chueh (la), chih (do) and yu (re). This scale was then implemented every month so that the music is always in harmony with the fundamental sound of nature, which varied from month to month. But the theory of musical encounter between nature and society when religion is in the Li Chi, where the music is nothing but the substance of harmonic relationships that must reign between heaven and earth. For this reason, the ancient kings made music an instrument of order and good government. Indeed, when the five sounds are altered, the categories encroach into each other and this is called "insolence." Se le cose stanno così, in meno di un giorno può sopraggiungere la perdita del regno[5]. Dunque la musica era correlata all’ordine ad ogni livello: ordine cosmico, ordine stagionale, ordine astrofisico e soprattutto ordine sociale. A loro volta queste armonie particolari erano cooptate nel grande concerto dell’armonia universale che si faceva carico allora e sovranamente del significato religioso in senso pieno. In maniera più prossima a noi, mi piace accennare appena alla musica rituale e liturgica del mondo tibetano. I buddhisti tibetani ritengono che la musica prepari la mente all’illuminazione spirituale e danno molto risalto al suono in rapporto al rituale e alla meditazione. Il mondo si trasforma e si unifica attraverso sound, a sound that may consist of a 'monotone' low, visceral, but which expresses the intensity of the experience and is a reflection of the original vision, not contaminated, not marred by everything from the chaotic scattering of our living in the midst of things as objects. Sitting cross-legged in a row, in their colorful clothes, Tibetan monks still sing their songs and sing hymns and almost in a gesture of supreme and sovereign freedom from the world, forgetting the signs and penetrating beyond the maya, the veil that we hides the true reality, the Maya as an index for each classification, propagation, as the embodiment of all worldly epiphenomena.
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3. Suono e sensi. La musica sciamanica come religione «totale»
Forse il più grande antropologo che prestò attenzione alla musica ai nostri tempi è stato Lévi-Strauss, secondo il quale c’è un legame stretto tra musica e mito – potremmo omologare il mito al «mondo religioso» –, in quanto sono tutti e due strumenti per «dimenticare il tempo». La musica, ancora per Lévi-Strauss, è il mistero supremo delle scienze dell’uomo. Questo appare significativo anche se in fondo si tratta di uno sguardo gettato dall’esterno al senso che la musica ha in rapporto all’uomo e all’esperienza religiosa. In fact, "forget time" also means "transcend time" enter into a mystical-religious dimension satisfying. And what does all this if you do not return original integrity, walk towards the lost paradise? A historical and anthropological level today is being constantly consolidated the idea, indication of Kirby, the first religious experience of mankind is not due at the time of sacrifice, but rather dance, drumming and all ' experience of ritual trance. There seems to be able to recover the original mix between music and religious experience. It is not difficult to imagine that this experience is that their del mondo sciamanico e che storicamente sembra collocarsi a livello dell’antica religione bon del Tibet possa essere davvero catalogata come l’originario pre-categoriale di ogni nostra esperienza religiosa nella misura in cui è un’esperienza di totalità, crea un psico-dramma coinvolgente, unisce tutti i codici comunicativi e permettendo di conseguenza un intreccio globale, una Gestalt senza smagliature. Non è un caso infatti che nel mondo sciamanico si ritrovino in unità tutto ciò che altrove è in qualche modo più o meno disgiunto, disarticolato, dislocato o distribuito in tempi diversi. Lo sciamano, infatti, quando si è travestito con apposite maschere prendendo posto all’interno dell’ambito rituale which is in charge, began to beat his drum making sounds and rhythms that are religious and that involve the body, mind, spirit, creating a total performance, which carves out space as an axis mundi and condenses the time, world visible and the invisible world. Certainly not beating the air, but it creates a sound originating summons all his strength and positive spirit protectors while his songs are accompanied with movements, shouting, imitating the voices of different sounds in the world. The gods of heaven, earth, animal and plant kingdoms are summoned to be part of world, of that harmony that heals and returns to reality in its original transparency. In the final played every experience on the staff of the universe and all harmony comes from the fusion of horizons of meaning are nothing more all-encompassing that the transcription truest religious experience itself. It is a totally unique and indissoluble musical moment where time and religious mix and mingle. But this is also true for many people in the ethnographic present today on planet earth. can be considered such as the relationships between people in the music easy to culture and the religious world at the Zuni Pueblo corresponding with the dance Cachin, the Soshoni with the famous dance of the sun's own almost all the Plains Indians while in America we remember especially the Latin Karina with their beautiful mythology mythical background music. The Zuni Pueblo, lovers of music and dance as you show, contain two groups of dancers and musicians in the form: the gods disguise themselves, the so-called Cachin and then the priests Cachin (koko). The gods are supernatural beings, dancing, happy, living in the bottom of a large lake, far away. They, however, listen to music and dance, they prefer to go back to Zuni. Impersonate, therefore, through the mask means giving them the joy that most want: to be able to come and listen to music and dancing at Zuni. And so a man when wears the mask of the god, at that moment becomes the god himself, it must assume its full role in the divine and must enjoy the music and dance as they please the gods. Cachin The dancers make their appearance in two major series of performances: dances in the winter after the winter solstice. These dances are held in rooms or kivas of the rituals. The performance, however, likely to be greater with the rain dance - dance summer - which are held outdoors, in the village square. Of course, all these dances are connected with offerings and prayers and lead to dramatic involvement of the entire population, which aims to bring these great events in the world of ritual and music through all the elements of nature, understood according to a 'sacred geography' which includes in addition to the four cardinal points also up and down (the zenith and the nadir in accordance with the Zuni cosmology. There is thus a fusion of ritual and music in a highly contemplative vision of the world and the nature of which corresponds to a strong religious emotion. As for the sun dance, I mean only - among the many possible examples - the dance of the sun at the Shoshone State of Wyoming (USA) recently described by the great ethnologist Ake Hultkranz and Voget [6]. The dances take place during July and August and the reason for this is that the world of dance released in recent months is a circle: in other words is the dance itself. "All we know - tells the story - we learned the dance of the sun" [7]. Here we are seeing a very significant circularity between music, ritual and religious experience, so that the time is religious music and dance, story-telling is the daughter of legendary music and in turn the dance tells the religious sense. It confirms the thesis that the ritual comes before myth. The sun dance is dance for four consecutive days, almost without interruption, according to a specific provision of the sacred space and is located in the central point of reference. It takes into account the large open space, the place to be given to the actors, the chorus, the elderly, it sets out in detail the provision of fire and the place and orientation of the audience. There will be breaks only for eating something and sleep for several hours, while the dance - so it goes, repetitive and sometimes hectic - seems inexorably destined to trance dancers, as well as being - according to tradition - a great act of thanksgiving to sun and nature. For Karina from Venezuela each original sound is the origin of a particular species of animal, wara. For this time each species has its own sound, has its own language. But there is more: in mythology karina the sound was originally only one language is a crushing and undue integrity of sound and music of origins. The knowledge that comes from words into reality is therefore based on the "death" sound in all its symbolic richness. After the disintegration now accomplished in the language of the sound was broken as a consequence, the original meaning. Now you can return to the integrity of meaning only through the power of imagination. In this context of collapse of the unity of meaning is only the dance in its variety of codes and exchanges of Gestalten offers true hermeneutics of life and allows you to recover the original languages \u200b\u200bas well. The dance, as well as the sounds can recover the primordial sound and therefore the unity of sense. It is in this sense that the great composer Schönberg, seeing this new possibility after the various mortifications of the language, trying to extend his hand or read the happy musical elements of music through non-performing components, facial expressions, colors, through gestures, want to create "a choir of eyes" and a "crescendo of lights." Now in this way is also to say that true knowledge is far from knowledge through words, signs, the logic of connections. True knowledge is quite unconscious, sub-liminal, peripheral retrospectively recorded in a continuous biofeedback with the surrounding nature. Only through sound and music, according to Karina from Venezuela, you have the true perception of life in its fullness [8].
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4. Sound, languages \u200b\u200band meanings. A meditation from semantics music
Music in ethnology, etnomusica seems to undermine our Western vision of the music itself. But what it shows us the music at ethnomusical? All of our living world and the sense of anything found in the details, in individual things, in the here and there, in the elsewhere. Now it seems possible to say that the religious sense is just that. It is the totality of meaning tout court, without any inferences, deductions, inductions, specifications. The sound and music and religion, it can then also be the "nonsense" in our western conception, or rather is the way almost exhausted "through the senses" rather than rationally. Perhaps you're right J. Cage and his Wittgenstein and Zen Buddhism. From this point of view, the word is a stereotype produced outside of any magic, any enthusiasm, imagination, as if it were something natural, casual speech that believes in the superiority sense and ambition to their consistency and instead is part of the void. "I consider music as unable to express something like a feeling, an attitude or state of mind, a natural scene, etc.. The term has never been an inherent property of music, "Stravinsky wrote. It was the conception of music without the "sound" of life. In the world of Zen, for example, repeats the same thing for the word, and usually for language. Originally necessary to make a simple observation: If you lose touch with the original is lost is the true meaning of music and both the religious sense.
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5. Music and religious experience over the meanings
Our Western world - with little dignity to be given to the world - requires that every thing has a name and "moisten" any sense of reality as a religion that wants to impose authoritarian baptism to ' population. Basically, the objects of our language if not what are the "baptized" in law or converted by the sense of law and the meaning attributed to them? The effect is not regarded as a disgrace. Now it seems so for music, for etnomusica, that poetry still further, can waive the legein, to put together on the basis of reason, may waive the connection for a more immediate relationship "contemplation" of the world, as, for example, in a Japanese haiku. The Japanese haiku is a type of condensation of experience not readily accessible to our Western world because they do not care to build bridges of respect, but it creates simple and immediate reflections in such examples as:
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"How many people passed
through the rain of autumn
On the bridge of Seta .
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Oppure:
« Vengo attraverso il sentiero di montagna.
Ah! che meraviglia!
Una violetta! ».
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Descrittivismo? Impressionismo? Espressionismo? La vita è musica: ha la sua trasparenza e non ha bisogno di niente altro.
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6. Conclusione. La musica e la religione vicine a un senso più originario, quasi a un non senso
Abbiamo bisogno ancora del senso delle parole per vivere? Non ci basta il senso della vita? C’è an immediate sense, not logical, not a reflection, not yet made the subject of the criteria of truth or falsehood, perhaps this is the original but quite unconsciously, to which we move. In this place or better in this "non-place 'music and religious experience and meet again in an original way. It is the apophatic theology that must prevail around us into insignificance. It is the music "naked" which must come back, reduced to the original sound, the nada: no sound and at the same time.
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Aldo Natale Terrin, professor of history of religions and cultural anthropology at the Catholic University Milan and the University of Urbino.
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[1] According to the reading that makes Schneider. See M. Schneider, The historical bases of musical symbolism in 'religious knowledge' 3 (1969), 267-302.
[2] See a. Coomaraswamy, The Dance of Shiva, Bombay 1988 (4), 67.
[3] See Mahabharata, ch. 36, 27 cit. by C. Sachs, op.cit., 153.
[4] See for a detailed analysis A. Bake, Music India, cit., In particular 224.
[5] For these observations, see M. Schneider, primitive music, cit., 91-92.
[6] Cfr. A. HULTKRANZ, Native Religions of North America, Harper and Row, New York 1987; F.W. VOGET, The Shoshoni Crow Sun Dance, Norman Okla. Uni., klahoma 1984.
[7] op.cit., 68.
[8] Cfr. L. E. Sullivan, Sound and Senses. Toward a Hermeneutics of Performance, in «History of Religions’ 26(1986), 1-33.
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