Rosicrucianism

Erik Satie Éric Alfred Leslie Satie (French: [eʁik sati]; 17 May 1866 – 1 July 1925) — he signed his name Erik Satie after 1884 — was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.[1] An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Early life and training[edit] Satie house and museum in Honfleur, Normandy Satie was the son of Alfred Satie and his wife Jane Leslie (née Anton), who was born in London to Scottish parents. In 1879 Satie entered the Paris Conservatoire, where he was soon labelled untalented by his teachers. Career[edit] Montmartre[edit] Satie moved from his father's residence to lodgings in Montmartre in 1887. Move to Arcueil[edit] Height of success and influence[edit]

Law of Attraction? TOPY: Thee Temple ov Psychick Youth Are you satisfied with the way things are--in government, in education, in business, in our dealings with each other, in our laying waste the planet? Do you feel powerless to restore balance and health to the world? There is a way, composed of many Ways, that an individual can influence and direct the course of history unfolding now. To understand how this can happen, it's necessary to see and comprehend reality from points of view not taught in school or available as common knowledge. The dense level of reality which our bodies inhabit and which contains all that our senses percieve is like the screen in a TV set, only with more dimensions, sensations, and audience-participation capabilities. The Magickian uses Magick, the High Art, to enter the different realms that interwork to make images on the screen, thus gaining control of the nature and details of the images. What appears on the screen of physical reality arrives there by a similar inter-working factors. INTENT.

Jewish views on astrology In Hebrew, astrology was called hokmat ha-nissayon, "the wisdom of prognostication", in distinction to hokmat ha-hizzayon (wisdom of star-seeing, or astronomy). While not a Jewish practice or teaching as such, astrology made its way into the Jewish community, and became especially predominant in some books of Kabbalah. In the Bible[edit] Astrology is not specifically mentioned in the Torah, but there are two commandments which have been used by some authorities as a basis to forbid the practice. "You shall not practice divination or soothsaying." "When you enter the land that the LORD your God is giving you, you shall not learn to imitate the abhorrent practices of the nations. These commandments are understood by some rabbinic authorities[who?] "And Elohim said, Let there be lights in the raki’a of the heaven to divide the day from the night; and let them be for otot (signs), and for mo’adim (seasons), and for yamim (days), and shanim (years)" (Genesis 1:14) Some historians[who?]

Gymnopédies (Satie) The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist Erik Satie. Music[edit] These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as an important precursor to modern ambient music[1] — gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition.[citation needed] For instance, the first few bars of Gymnopédie No. 1 consist of an alternating progression of two major seventh chords, the first on the subdominant, G, and the second on the tonic, D. The melodies of the pieces use deliberate, but mild, dissonances against the harmony, producing a piquant, melancholy effect that matches the performance instructions, which are to play each piece "painfully", "sadly" or "gravely".[2] Poetry[edit] The work was possibly based upon the poetry of J.P. Satie gymnopaedist[edit] Orchestrations by Claude Debussy[edit]

Invisible College The Invisible College has been described as a precursor group to the Royal Society of London, consisting of a number of natural philosophers around Robert Boyle. It has been suggested that other members included prominent figures later closely concerned with the Royal Society;[2] but several groups preceded the formation of the Royal Society, and who the other members of this one were is still debated by scholars. Background[edit] The concept of "invisible college" is mentioned in German Rosicrucian pamphlets in the early 17th century. Ben Jonson in England referenced the idea, related in meaning to Francis Bacon's House of Solomon, in a masque The Fortunate Isles and Their Union from 1624/5.[3] The term gained currency for the exchanges of correspondence within the Republic of Letters.[4] Connection with Robert Boyle and the Royal Society[edit] Much has been made of an "invisible college" in London of the later 1640s. Detailed evidence[edit] Richard S. Modern use[edit] See also[edit]

Chavín culture The most well-known archaeological site of the Chavín era is Chavín de Huántar, located in the Andean highlands of the actual Ancash Region. It is believed to have been built around 900 BC and was the religious and political center of the Chavín people.[3] It has been designated a UNESCO World Heritage Site. Achievements[edit] The chief example of architecture is the Chavín de Huántar temple. The people domesticated camelids, such as llamas. Art[edit] The Lanzón Stela at Chavín, still image from a video of a photo-textured point cloud using laser scan data collected by nonprofit CyArk The Chavín culture represents the first widespread, recognizable artistic style in the Andes. A general study of the coastal Chavín pottery with respect to shape reveals two kinds of vessels: a polyhedrous carved type and a globular painted type.[7] Stylistically, Chavín art forms make extensive use of the technique of contour rivalry. Sphere of Influence[edit] Chavín Horizon Development[edit] Gallery[edit]

Kaliya Krishna dancing over the subdued Kaliya Naag, and his wives asking Krishna for his mercy. From a Bhagavata Purana manuscript, c. 1640. The proper home of Kāliya was Ramanaka Dwipa, but he had been driven away from there by fear of Garuda, the foe of all serpents. Garuda had been cursed by a yogi dwelling at Vrindavan so that he could not come to Vrindavan without meeting his death. Once Krishna and herdboys were playing ball, and while playing Krishna climbed up the Kadamba tree and hung over the river bank, the ball fell into the river and Krishna jumped after it. Kāliya, recognizing the greatness of Krishna, surrendered, promising he would not harass anybody. Krishna Conquers the Serpent Kaliya (Page from a Dispersed Bhagavata Purana Series)- Brooklyn Museum History[edit] Kaliya Daman, c. 1880. The history of Krishna and Kāliya is told in Chapter Sixteen of the Tenth Canto of the Bhagavata Purana. In Punjab there were two small states of rulers belonging to this Kaliraman. See also[edit]