it's all in the fingertips - jordan rudess
Life on Mars with modulated voice
Dream Theater - Octavarium (Part 1)
Octavarium (Part 2)
Part 3 at youTube
The Verve - Bittersweet Symphony
Cause it's a bitter sweet symphony this life...
Try to make ends meet , you're a slave to the money then you die.
I'll take you down the only road I've ever been down...
You know the one that takes you to the places where all the things meet, yeah.
CH No change, I can change, I can change, I can change,
but I'm here in my mould , I am here in my mould.
But/And I'm a million different people from one day to the next...
I can't change my mould , no,no,no,no,no,no,no
Well I've never prayed,
But tonight I'm on my knees, yeah.
I need to hear some sounds that recognise the pain in me, yeah.
I let the melody shine, let it cleanse my mind , I feel free now.
But the airwaves are clean and there's nobody singing to me now.
CH
Have you ever been down?
I can change, I can change...
Cause it's a bittersweet symphony this life.
Trying to make ends meet, try to find somebody then you die.
You know I can change, I can change, I can change,
but I'm here in my mould, I am here in my mould.
And I'm a million different people from one day to the next.
I can't change my mould, no,no,no,no,no,no,no
We've got ya sex and violence, melody and silence
(Have you ever been down)
(I'll take you down the only road I've ever been down)
[this following part should be at the beginning, but this blog editor doesn't allow me to place it in front of the video. go figure. go configure. well, i tried, but it was no go.flat dead frozen blog remains.]Introduction: Did you know that the human tongue has the areas for bitter and sweet at opposite ends? Can you guess which one is at the tip and which one at the very back? Think of child licking ice cream. Right, you got it! Sweet is on the tip of your tongue, and bitter is later, at the back.
I am a bit rankled in the last few days, as my other blog is bogging down. I enjoy writing my lampooned tidbits of linguistic import and other (to borrow a beautiful noun of from the philosopher Martha Nussbaum, upheavals of thought. You can go over to the Two Hands Approach blog,, and see the litany of epiphanies, the dazed doggerel, the pastel hues, and read what may be the last colorful entries until I get the problem solved. The blog editor will not let me save new blog entries, and an Apache server message comes up that is not even the error message that I set up for!
Such are the bittersweet surprises of life and the digital, dogged domain we call the world!
"Approximately 5000 years ago, an ink for blacking the raised surfaces of pictures and texts carved in stone was developed in China. This early ink was a mixture of soot from pine smoke, lamp oil, and gelatin from animal skins and musk. Other early cultures also developed many colors of ink from available berries, plants and minerals.ink in an eggshell in China
The India ink used in ancient India since at least the 4th century BC was called masi, which was an admixture of several chemical components. Indian documents written in Kharosthi with ink have been unearthed in Chinese Turkestan. The practice of writing with ink and a sharp pointed needle was common in early South India. Several Jain sutras in India were compiled in ink. In India, the carbon black from which India ink is produced is obtained by burning bones, tar, pitch, and other substances.
In ancient Rome, atramentum was used. In an article for the Christian Science Monitor, Sharon J. Huntington describes these other historical inks:
About 1,600 years ago, a popular ink recipe was created. The recipe was used for centuries. Iron salts, such as ferrous sulfate (made by treating iron with sulfuric acid), were mixed with tannin from gallnuts (they grow on trees) and a thickener. When first put to paper, this ink is bluish-black. Over time it fades to a dull brown.
Scribes in medieval Europe (about AD 800 to 1500) wrote on sheepskin parchment. One 12th century ink recipe called for hawthorn branches to be cut in the spring and left to dry. Then the bark was pounded from the branches and soaked in water for eight days. The water was boiled until it thickened and turned black. Wine was added during boiling. The ink was poured into special bags and hung in the sun. Once dried, the mixture was mixed with wine and iron salt over a fire to make the final ink.
The reservoir fountain pen dates back to 953, when Ma'a-d al-Mu'izz, the caliph of Egypt, demanded a pen which would not stain his hands or clothes, and was provided with a pen which held ink in a reservoir and delivered it to the nib via gravity and capillary action.
In the 15th century, a new type of ink had to be developed in Europe for the printing press by Johannes Gutenberg. Two types of ink were prevalent at the time: the Greek and Roman writing ink (soot, glue, and water) and the 12th century variety composed of ferrous sulfate, gall, gum, and water.[8"> Neither of these handwriting inks could adhere to printing surfaces without creating blurs. Eventually an oily, varnish-like ink made of soot, turpentine, and walnut oil was created specifically for the printing press.
Kohl is known by various names in South Asian languages, like sirma or surma in Punjabi, kajal (Devanagari: ????, ka-jal) in Hindi and Urdu, "Katuka" in Telugu, "??? ?? Kan Mai" in Tamil and "Kaadige" in Kannada. In India, it is used by women as a type of eyeliner that is put around the edge of the eyes. Even now in southern rural India, especially in Kerala, women of the household prepare the kajal. This home-made kajal is used even for infants. Local tradition considers it to be a very good coolant for the eyes and believes that it "protects the eyesight and vision".[citation needed">
In Punjabi Culture, sirma or surma is a traditional ceremonial dye, which predominantly men of the Punjab wear around their eyes on special social or religious occasions. It is usually applied by the wife or the mother of the male.
Some women also add a dot of kajal on the left side of the foreheads of babies and children, to protect them from 'buri nazar'. 'Buri nazar' literally means 'bad glance' and is comparable to the 'evil eye', although it can be interpreted as ill-wishes of people or even lustful eyes, in the sense of men ogling women. It is also applied at the nape a baby or child's neck so that it is not visible; at the same time it protects the child from the evil eye.

| 2005/02/07 - Saturn's Iapetus: A Moon With a View; Part 1 of 6 2005/02/18 - Saturn's Iapetus: A Moon With a View; Part 2 of 6 2005/03/10 - Saturn's Iapetus: A Moon With a View; Part 3 of 6 2005/03/16 - Saturn's Iapetus: A Moon With a View; Part 4 of 6 2005/06/24 - Saturn's Iapetus: A Moon With a View; Part 5 of 6 2005/06/28 - Saturn's Iapetus: A Moon With a View; Part 6 of 6 |
photo from What I got was the names of God in Judaism. I remember studying the Tetragrammaton YHVH, and remembered that in that phonetic representation of that Hebrew word, the vowels are left out. Unfortunately, I cannot remember much of the Hebrew that I tried to learn in early 1977 when I travelled around Israel and did a brief stint at Kibbutz Nirim in the Negev. I as well forget the Hindi that I at another time was trying to teach myself, except that I do remember that the consonants in Hindi were the main part of the character, and that the vowel sound was an addition to that main character placed above, beside, or below it.
At the same time (or a bit later), I was reading about Roberto Calasso, the Italian philosopher. He had been mentioned in an older PEN news snippet (the full text of which I can't access), and seems to have some insights on the value of myths and stories at bridging the gaps between cultures. Calasso is also interested in Indian culture, and has written a book on the subject, Ka: Stories of the Mind and Gods of India.
Now this has no real connection with the initial part of this bloggit, except that another blog article on his book about myth emphasizes the ancient Greek's acceptance of enigma:
The Greeks were drawn to enigmas. But what is an enigma? A mysterious formulation, you could say. Yet that wouldn't be enough to define an enigma. The other thing you have to say is that the answer to an enigma is likewise mysterious. This is what distinguishes the enigma from the problem, although at the beginning of Greek civilization the two categories were confused. When a problem is resolved, both question and answer dissolve, are absorbed into a mechanical formula. Climbing a wall is a problem, until you lean a ladder against it. Afterward, you have neither problem nor solution, just a wall and a ladder. This is not so for the enigma. Take the most famous one of all, the Sphinx's: "What is the being that has but one voice and yet sometimes has two feet, sometimes three, sometimes four, and is progressively weaker the more feet it has?" Oedipus answers: "Man". But if we think about that answer, we realize that precisely the fact that "man" is the solution to such an enigma suggests the enigmatic nature of man. What is this incongruous being that goes from the animal condition of the quadruped through to the prosthesis (the old man's stick), all the time preserving a single voice? The solution to the enigma is thus itself an enigma, and a more difficult one.
Resolving an enigma means shifting it to a higher level, as the first drops away. The Sphinx hints at the indecipherable nature of man, this elusive, multiform being whose definition cannot be otherwise than elusive and multiform. Oedipus was drawn to the Sphinx, and he resolved the Sphinx's enigma, but only to become an enigma himself. Thus anthropologists were drawn to Oedipus, and are still there measuring themselves against him, wondering about him." p.343/344 The Marriage of Cadmus and Harmony
John Godfrey Saxe's (1816-1887) version of the famous Indian legend about the elephant and the blind men is from India, and indicates the fallacy of exclusivity when it comes to interpreting Reality. . If physical reality, does not follow a single law or interpretation (it is unpindownable), then how too must the Ultimate Reality have its various loci or lokas or planes or sanctums or phases or levels or timely remedies. The Chinese have a similar story with three blind men describing an elephant.
The story is a parable that describes the nature of G-d and of physical reality. Quantum physics shows us that life is in constant motion, and that we cannot freeze it and totally examine it. The deeper we probe, the more we see that life is fleeting and phantasmic. It has no fixed assets. Its quirks and quarks and sub-atomic particles are cast about and ricochet amongst all the radiowaves and other waves that are whirl and are hurled about.
So where is the G-d amongst all this? Is G-d the Designer? the Final Tree or Apogee of the Evolutionary or Progressively Greater Self-Organizing Arrangements of Cognizant or Sensitive Organic Aggregates, from molecule to compound to cell to organ to organism to family to city-state to nation to transnational planet? Is G-d the City of Humanity? Is humanity the City of G-d? Is G-d the Energizing Plane of Inspiration, Creativity, Invention?
The American mathematician, inventor, and global success promoter, R. Buckminster Fuller, put this dual aspect of reality into a formula: U = M * P (or Universe = Metaphysica x Physical).
Islam bases its life and law on a single book. The Jewish faith has also a handful of ancient texts that held guide its religious culture. Likewise, Christianity, Hinduism, Buddhism, all get their guidance from certain sacred texts. For the Secular Humanist, the sacred text is the story of the common person. The Baha'i faith as well as scriptures penned in the original hand of its founder, Bahá'u'lláh. For the Technocrat, the ghost in the machine (not deus-ex-machina) should have a program or set of instructions. So it seems that we need a multiplanar look at the different faiths. Perhaps this will help heal the rifts and schisms that have for so long divided the diverse religious groups.
So, it appears as though humanity needs to collectively map out or have mapped out a vision for the future. Our half-coherent leaders have provided us with not much of a vision of a collective, harmonious society.
As well, there is a wonderful representation of human hands
Glimmer of the Glory
CH
When you find what heart has sought
Cannot be easily forgot
When you find what the heart did seek
It's just a glimmer of the glory - just a peek, just a peek!
1
Like the Gaudian esplanade
Like the terraced paddy field in the glade
Like the lotus offering itself to the sun
In the stray country pond, bereft of no one
CH
2
Like the temple's call to the Divine
Like the museum hall which tells of mankind
Like the face of the loved one, smiling at you
Like the emergence of one, from the two
CH
3
Like the rolling tide, caressing the shore
Like the wooden, carved Tibetan door
Like the tall forest arching with mossy carpet
Like the woodsman's hut, in the wilderness set
CH
4
Like the windmill harnessing the gust of the wind
Like the canvas on which the colors do blend
Like wildflowers moving in the breeze
Like folk songs sung in many harmonies
CH
copyright Steve Watson

Apparently, one just touches the strings. Two hands can dash around. Above: SukiZo plays megatar in the duo Delicacy.
Visit the megatar website for more. They work out of Mount Shasta, California. There are quite a few mp3 sample files from various customers on their site.
The koyabu board is something similar, from Japan. SukiZo says maybe it is the first tapping instrument.
Their website is mostly in Japanese, but has some English sections.