Sunday, December 18, 2016
Saturday, December 17, 2016
Maha Yogi Śrī Agastiyar: The Ageless Guru of Gurus
By C. Shanmuganayagam
Lord Murugan is well known as the adi guru who transmitted the Tamil language together with its mysteries long ago to sage Agastya Muni, who in turn shared it with humanity. This article by a learned Sri Lankan devotee explores the legacy of Lord Murugan's great disciple.
A rare and illuminating book in English on the life and works of the great siddhas of ancient and modern times, with particular reference to Śrī Agastiyar, the archetype of all siddhas and gurus, was published in Canada recently, entitled Babaji and the 18 Siddha Kriya Yoga tradition, written by Marshall Govindan, an advanced Kriya Yoga sadhaka of Los Angeles and a keen scholar, who had carried out extensive literary and spiritual research in India and Sri Lanka for twenty years under the guidance of Yogi S.A.A. Ramaiah.
In the hierarchy of siddhas or perfected human beings, or Initiates of the White Brotherhood as they are called in the West, who have guided the destinies of nations on our planet Earth for the past 12,000 years of recorded history, the ageless legendary siddha Śrī Agastiya Maha Muni stands out as the senior-most guru who initiated a galaxy of eminent gurus and siddhas down the ages, and who had established and nurtured the ancient Dravidian civilization lasting several millennia. He is also acknowledged, in occult circles, as the head of a representative group of rishis entrusted with the guiding of the destiny of India and other nations called the Sapta Rishis as disclosed in certain ola leaf manuscripts called rishi vakyams and also in theosophical writings. #346;rī Agastiyar is also considered the author of several Rig Vedic hymns in Sanskrit connected with the Aryan civilization of the North.
Śrī Agastiyar's role in the Ramayana
In the Ramayana saga, which is deemed by historians to have taken place about 9,000 years ago in the Treta Yuga, Śrī Agastiyar is reported to have appeared before Rama himself on the day before the final victorious termination of the war with Ravana, the hitherto invincible King of Lanka, and initiated Lord Rama with a special divine mantra to counter the effect of the powerful boons that Ravana had earned from the gods by his great tapas.
It is significant to note that, according to geo physical research based on the movement of the continental plates, the Lanka of Ravana was situated in the continent of Lemuria, also known as Kumari Kandam, which was a land mass, connecting the Deccan plateau in South India and the island of Ceylon, with intervening straits to be crossed, with Madagascar in the West, Australia on the East and Antarctica on the South, until it sank into the Indian ocean in stages over 3,500 years ago, as mentioned in the writings of the German geologist Wagner anti the eminent Indologist Sir T.W. Holderness.
The research done by Fr. Heras and Sir John Marshall the archaeologist and other scholars into the archaeological finds at Mohenjodaro and Harappa point to the existence of an earlier highly developed Dravidian civilization in the deep South which, had influenced the Indus-Valley Aryan civilization of the North.
The available historical evidence referring to the Dravidian civilization commences with the records that have come down to us of the Tamil literary writings during the past 12,000 years, which have been divided by historians into three periods, called the First Sangam period from 9600 BC to 5200 BC, spanning the Satya and Treta yugas, the Second Sangam period from 5200 BC to 1500 BC spanning the Treta and Dwapara yugas, and the Third Sangam period from 1500 BC to 600 AD spanning the Dwapara and Kali yugas.
According to the present cycle of four yugas, namely Satya, Treta, Dwapara and Kali yugas, in their descending arc of 12,000 years and ascending arc of another 12,000 years, as stated by Śrī Yukteswar in his famous treatis called ‘Holy Science', we are now in the ascending arc of Dwapara yuga completed the Kali yuga period lasting from 600 BC to 1800 AD.
The Mahabharata war, where Lord Krishna propagated the teachings of the Bhagavad Gita to Arjuna, is reckoned to have taken place during the Second Sangam period about the year 3100 BC.
The First Sangam, which was founded and nurtured by Siddha Śrī Agastiyar, lasted for 4,400 years and had its centre in the city of Dakshina Madura in the continent of Lemuria.
The Second Sangam, which was also established under the patronage of Śrī Agastiyar, lasted for 3,700 years and had its centre in the city of Kavatapuram in the continent of Lemuria, after the records in the city of Dakshina Madura had gone under water.
The Third Sangam, also sponsored by Śrī Agastiyar, lasted for 1,800 years and had its centre at Uttara Madura, namely the modern city of Madurai, which lays north of the earlier centres, after the whole of the Lemurian continent had gone under water.
After the commencement of the gradual inundation of the Lemurian continent, it is reported that Śrī Agastiyar led a migration of Dravidians to Java and Cambodia and Central and South America. The legends of the Incas, Mayans and Aztecs of South America regarding the founding of their cultures by tall beared white-robed teachers confirm the tradititional view that the Lemurians, under the guidance of their siddhas, colonized North and South America, as well as the Nile Valley, when they founded the Egyptian civilization.
It is significant to note that Edgar Cayce the well-known ‘sleeping prophet' of America, had in the course of his recent voluminous psychic messages given out by him while in a state of trance mentioned a similar sinking of the continent of Atlantis in stages into the Atlantic Ocean over a period of several centuries between 12,000 BC and 10,000 BC, before the sinking of the Lemurian continent.
Śrī Agastlyar the Archetype of all Gurus
Maha Avatar Kriya Babaji of the Himalayas, the lineal Guru of Paramahamsa Yogananda, Yukteswar and Lahiri Mahasaya, who is well nigh 1,800 years old today, still retains a young physical body of a 16 year old youth, as a result of his divinising the cells of his physical body, after receiving initiation from two of the greatest siddhas of all time.
Siddha Boganathar instructed him in the higher Kriya yoga techniques, for six months at Kataragama in Sri Lanka in the year 214 AD and sent him thereafter to his own Guru Siddha Agastiyar at Couttalam in India, where Babaji had the final initiation in Kriya yoga, after he had practised severe austerities for 48 days to invoke the grace of Agastiyar, who finally appeared before him in his physical body emerging from the adjoining forest; and showered his full blessings on him.
These facts were disclosed by Babaji himself in 1952 to two of his disciples V. T. Neelakantan, a Theosophist of the early days, and Yogi S.A.A. Ramaiah, when he materialized in physical form from his abode in the Himalayas in the shrine room of V.T. Neelakantan at Suramma1 Lane, in Egmore, Madras. In.turn Babaji is known to have initiated among others the famous Hindu reformer Adi Sankaracharya into the mysteries of Kriya yoga about the year 800 AD.
Among the several Siddhas initiated directly by Śrī Agastiyar were, according to certain sources, (1) Tirumoolar, the author of Tirumanthiram described as one of the greatest texts of yoga and mystic truth ever written, who lived for over 3,000 years in the pre-Christian era, and (2) Tiruvalluvar the author of the world famed classic scripture the Tirukkural, who lived 2,000 years ago.
It was the immortal Śrī Agastiyar who originally taught and transmitted to several of his disciples over the ages the Kriya yoga techniques of divinising the cells of the body and:
1. rendering the physical body deathless for centuries, (as in the case of the 18 Siddhas and Kriya Babaji), or
2. enabling the physical body to disappear completely and resurrect in a glow of light into a subtler vibrational field, (as in the case of Adi Sankaracharya and the four great Saiva saints namely the Nayanmars and Kabir of medieval times and Ramalinga Swamigal as recently as 1874), or
3. enabling the physical body to be placed in a tomb in jeeva samadhi at will, in a state of suspended animation, where the blood circulation and the breathing have stopped but a luminous pranic energy keeps the body-cells alive, with the possibility of the siddha dematerializing the body in the tomb and materializing it outside in a completely different locality and living out an extended span of life for several years (as in the case of three well-known siddhas of modern times, namely Śrī Raghavendra Swami about whom a popular film had been made recently, Śrī Kulandaj Ananda Swami whose last jeeva samadhi is in Madurai city and Śrī Muthukrishna Swami whose jeeva samadhi is in Vallioor).
In the hierarchy of siddhas or perfected human beings, or Initiates of the White Brotherhood as they are called in the West, who have guided the destinies of nations on our planet Earth for the past 12,000 years of recorded history, the ageless legendary siddha Śrī Agastiya Maha Muni stands out as the senior-most guru who initiated a galaxy of eminent gurus and siddhas down the ages, and who had established and nurtured the ancient Dravidian civilization lasting several millennia. He is also acknowledged, in occult circles, as the head of a representative group of rishis entrusted with the guiding of the destiny of India and other nations called the Sapta Rishis as disclosed in certain ola leaf manuscripts called rishi vakyams and also in theosophical writings. #346;rī Agastiyar is also considered the author of several Rig Vedic hymns in Sanskrit connected with the Aryan civilization of the North.
Śrī Agastiyar's role in the Ramayana
In the Ramayana saga, which is deemed by historians to have taken place about 9,000 years ago in the Treta Yuga, Śrī Agastiyar is reported to have appeared before Rama himself on the day before the final victorious termination of the war with Ravana, the hitherto invincible King of Lanka, and initiated Lord Rama with a special divine mantra to counter the effect of the powerful boons that Ravana had earned from the gods by his great tapas.
It is significant to note that, according to geo physical research based on the movement of the continental plates, the Lanka of Ravana was situated in the continent of Lemuria, also known as Kumari Kandam, which was a land mass, connecting the Deccan plateau in South India and the island of Ceylon, with intervening straits to be crossed, with Madagascar in the West, Australia on the East and Antarctica on the South, until it sank into the Indian ocean in stages over 3,500 years ago, as mentioned in the writings of the German geologist Wagner anti the eminent Indologist Sir T.W. Holderness.
The research done by Fr. Heras and Sir John Marshall the archaeologist and other scholars into the archaeological finds at Mohenjodaro and Harappa point to the existence of an earlier highly developed Dravidian civilization in the deep South which, had influenced the Indus-Valley Aryan civilization of the North.
The available historical evidence referring to the Dravidian civilization commences with the records that have come down to us of the Tamil literary writings during the past 12,000 years, which have been divided by historians into three periods, called the First Sangam period from 9600 BC to 5200 BC, spanning the Satya and Treta yugas, the Second Sangam period from 5200 BC to 1500 BC spanning the Treta and Dwapara yugas, and the Third Sangam period from 1500 BC to 600 AD spanning the Dwapara and Kali yugas.
According to the present cycle of four yugas, namely Satya, Treta, Dwapara and Kali yugas, in their descending arc of 12,000 years and ascending arc of another 12,000 years, as stated by Śrī Yukteswar in his famous treatis called ‘Holy Science', we are now in the ascending arc of Dwapara yuga completed the Kali yuga period lasting from 600 BC to 1800 AD.
The Mahabharata war, where Lord Krishna propagated the teachings of the Bhagavad Gita to Arjuna, is reckoned to have taken place during the Second Sangam period about the year 3100 BC.
The First Sangam, which was founded and nurtured by Siddha Śrī Agastiyar, lasted for 4,400 years and had its centre in the city of Dakshina Madura in the continent of Lemuria.
The Second Sangam, which was also established under the patronage of Śrī Agastiyar, lasted for 3,700 years and had its centre in the city of Kavatapuram in the continent of Lemuria, after the records in the city of Dakshina Madura had gone under water.
The Third Sangam, also sponsored by Śrī Agastiyar, lasted for 1,800 years and had its centre at Uttara Madura, namely the modern city of Madurai, which lays north of the earlier centres, after the whole of the Lemurian continent had gone under water.
After the commencement of the gradual inundation of the Lemurian continent, it is reported that Śrī Agastiyar led a migration of Dravidians to Java and Cambodia and Central and South America. The legends of the Incas, Mayans and Aztecs of South America regarding the founding of their cultures by tall beared white-robed teachers confirm the tradititional view that the Lemurians, under the guidance of their siddhas, colonized North and South America, as well as the Nile Valley, when they founded the Egyptian civilization.
It is significant to note that Edgar Cayce the well-known ‘sleeping prophet' of America, had in the course of his recent voluminous psychic messages given out by him while in a state of trance mentioned a similar sinking of the continent of Atlantis in stages into the Atlantic Ocean over a period of several centuries between 12,000 BC and 10,000 BC, before the sinking of the Lemurian continent.
Śrī Agastlyar the Archetype of all Gurus
Maha Avatar Kriya Babaji of the Himalayas, the lineal Guru of Paramahamsa Yogananda, Yukteswar and Lahiri Mahasaya, who is well nigh 1,800 years old today, still retains a young physical body of a 16 year old youth, as a result of his divinising the cells of his physical body, after receiving initiation from two of the greatest siddhas of all time.
Siddha Boganathar instructed him in the higher Kriya yoga techniques, for six months at Kataragama in Sri Lanka in the year 214 AD and sent him thereafter to his own Guru Siddha Agastiyar at Couttalam in India, where Babaji had the final initiation in Kriya yoga, after he had practised severe austerities for 48 days to invoke the grace of Agastiyar, who finally appeared before him in his physical body emerging from the adjoining forest; and showered his full blessings on him.
These facts were disclosed by Babaji himself in 1952 to two of his disciples V. T. Neelakantan, a Theosophist of the early days, and Yogi S.A.A. Ramaiah, when he materialized in physical form from his abode in the Himalayas in the shrine room of V.T. Neelakantan at Suramma1 Lane, in Egmore, Madras. In.turn Babaji is known to have initiated among others the famous Hindu reformer Adi Sankaracharya into the mysteries of Kriya yoga about the year 800 AD.
Among the several Siddhas initiated directly by Śrī Agastiyar were, according to certain sources, (1) Tirumoolar, the author of Tirumanthiram described as one of the greatest texts of yoga and mystic truth ever written, who lived for over 3,000 years in the pre-Christian era, and (2) Tiruvalluvar the author of the world famed classic scripture the Tirukkural, who lived 2,000 years ago.
It was the immortal Śrī Agastiyar who originally taught and transmitted to several of his disciples over the ages the Kriya yoga techniques of divinising the cells of the body and:
1. rendering the physical body deathless for centuries, (as in the case of the 18 Siddhas and Kriya Babaji), or
2. enabling the physical body to disappear completely and resurrect in a glow of light into a subtler vibrational field, (as in the case of Adi Sankaracharya and the four great Saiva saints namely the Nayanmars and Kabir of medieval times and Ramalinga Swamigal as recently as 1874), or
3. enabling the physical body to be placed in a tomb in jeeva samadhi at will, in a state of suspended animation, where the blood circulation and the breathing have stopped but a luminous pranic energy keeps the body-cells alive, with the possibility of the siddha dematerializing the body in the tomb and materializing it outside in a completely different locality and living out an extended span of life for several years (as in the case of three well-known siddhas of modern times, namely Śrī Raghavendra Swami about whom a popular film had been made recently, Śrī Kulandaj Ananda Swami whose last jeeva samadhi is in Madurai city and Śrī Muthukrishna Swami whose jeeva samadhi is in Vallioor).
“The phenomenon is striking, that aging is reversible.”
Cecile G. Tamura
Turning back the clock through cellular reprogramming
The same four molecules that revolutionized research on stem cells can also reverse aging in mice, scientists reported Thursday, a finding that could herald new approaches to trying to extend human life.
The four molecules became biological superstars a decade ago, when Kazutoshi Takahashi and Shinya Yamanaka of Kyoto University reported that they made adult cells growing in lab dishes essentially travel back in time, becoming embryonic stem cells — with the capacity to produce any of the organs or tissues in the body.
Although the discovery is unlikely to find its way into medical practice for years, if ever, it is a significant advance in understanding the basic biology of aging at the molecular and cellular level, experts said, and might eventually lead to ways to slow that process in a way that not only extends lifespan but also “healthspan,” the number of years someone can live without the usual diseases that accompany multiplying birthday candles.
Biologist Lenny Guarente of MIT, a prominent aging researcher who was not involved in the study, called the discovery “rather amazing” but cautioned that it is brand-new and so must be confirmed. That the four molecules “exert a system-wide effect on aging in whole, adult animals is remarkable,” he said, “and if this turns out to be true it would be a breakthrough.”
Although the discovery is unlikely to find its way into medical practice for years, if ever, it is a significant advance in understanding the basic biology of aging at the molecular and cellular level, experts said, and might eventually lead to ways to slow that process in a way that not only extends lifespan but also “healthspan,” the number of years someone can live without the usual diseases that accompany multiplying birthday candles.
Biologist Lenny Guarente of MIT, a prominent aging researcher who was not involved in the study, called the discovery “rather amazing” but cautioned that it is brand-new and so must be confirmed. That the four molecules “exert a system-wide effect on aging in whole, adult animals is remarkable,” he said, “and if this turns out to be true it would be a breakthrough.”
Types of cutting tools for lathe machine
The cutting tool is one of the most important things to consider in the machining of metal in the lathe. In order to machine metal accurately and efficiently it is important that the cutter bit have a keen cutting edge, ground with the correct clearance, rake, etc., for the particular kind of metal being machined, and that the cutter bit be set at the correct height.
In this booklet the latest shop practice for grinding various types of lathe tool cutter bits is outlined.
The cutter bit is that part of the lathe tool which cuts the metal that must be removed to bring the work to the desired size and shape. The cutter bit is usually made of high speed steel and held in a lathe tool holder
© Источник: http://seatracker.ru/viewtopic.php?t=950
Thursday, December 15, 2016
Max Born, German Physicist
Max Born, (born Dec. 11, 1882, Breslau, Ger. [now Wrocław, Pol.]—died Jan. 5, 1970, Göttingen, W.Ger.) German physicist who shared the Nobel Prize for Physics in 1954 with Walther Bothe for his probabilistic interpretation of quantum mechanics.
Born came from an upper-middle-class, assimilated, Jewish family. At first he was considered too frail to attend public school, so he was tutored at home before being allowed to attend the König Wilhelm Gymnasium in Breslau. Thereafter he continued his studies in physics and mathematics at universities in Breslau, Heidelberg, Zürich, and Göttingen. At the University of Göttingen he wrote his dissertation (1906), on the stability of elastic wires and tapes, under the direction of the mathematician Felix Klein, for which he was awarded a doctorate in 1907.
After brief service in the army and a stay at the University of Cambridge, where he worked with physicists Joseph Larmor and J.J. Thomson, Born returned to Breslau for the academic year 1908–09 and began an extensive study of Albert Einstein’s theory of special relativity. On the strength of his papers in this field, Born was invited back to Göttingen as an assistant to the mathematical physicist Hermann Minkowski. In 1912 Born met Hedwig Ehrenberg, whom he married a year later. Three children, two girls and a boy, were born from the union. It was a troubled relationship, and Born and his wife often lived apart.
In 1915 Born accepted a professorship to assist physicist Max Planck at the University of Berlin, but World War I intervened and he was drafted into the German army. Nonetheless, while an officer in the army, he found time to publish his first book, Dynamik der Kristallgitter (1915; Dynamics of Crystal Lattices).
In 1919 Born was appointed to a full professorship at the University of Frankfurt am Main, and in 1921 he accepted the position of professor of theoretical physics at the University of Göttingen. James Franck had been appointed professor of experimental physics at Göttingen the previous year. The two of them made the University of Göttingen one of the most important centres for the study of atomic and molecular phenomena. A measure of Born’s influence can be gauged by the students and assistants who came to work with him—among them, Wolfgang Pauli, Werner Heisenberg, Pascual Jordan, Enrico Fermi, Fritz London, P.A.M. Dirac, Victor Weisskopf, J. Robert Oppenheimer, Walter Heitler, and Maria Goeppert-Mayer.
The Göttingen years were Born’s most creative and seminal. In 1912 Born and Hungarian engineer Theodore von Karman formulated the dynamics of a crystal lattice, which incorporated the symmetry properties of the lattice, allowed the imposition of quantum rules, and permitted thermal properties of the crystal to be calculated. This work was elaborated when Born was in Göttingen, and it formed the basis of the modern theory of lattice dynamics.
In 1925 Heisenberg gave Born a copy of the manuscript of his first paper on quantum mechanics, and Born immediately recognized that the mathematical entities with which Heisenberg had represented the observable physical quantities of a particle—such as its position, momentum, and energy—were matrices. Joined by Heisenberg and Jordan, Born formulated all the essential aspects of quantum mechanics in its matrix version. A short time later, Erwin Schrödinger formulated a version of quantum mechanics based on his wave equation. It was soon proved that the two formulations were mathematically equivalent. What remained unclear was the meaning of the wave function that appeared in Schrödinger’s equation. In 1926 Born submitted two papers in which he formulated the quantum mechanical description of collision processes and found that in the case of the scattering of a particle by a potential, the wave function at a particular spatiotemporal location should be interpreted as the probability amplitude of finding the particle at that specific space-time point. In 1954 he was awarded the Nobel Prize for this work.
Born remained at Göttingen until April 1933, when all Jews were dismissed from their academic posts in Germany. Born and his family went to England, where he accepted a temporary lectureship at Cambridge. In 1936 he was appointed Tait Professor of Natural Philosophy at the University of Edinburgh. He became a British citizen in 1939 and remained at Edinburgh until his retirement in 1953. The next year, he and his wife moved to Bad Pyrmont, a small spa town near Göttingen.
https://www.britannica.com/biography/Max-Born
https://hammeringshield.wordpress.com/…/max-born-albert-ei…/
https://www.researchgate.net/…/232697459_Max_Born_Albert_Ei…
http://www.informationphilosopher.com/solutio…/scientists/…/
https://arxiv.org/abs/1210.6929
https://archive.org/…/…/Born-TheBornEinsteinLetters_djvu.txt
http://www.preposterousuniverse.com/…/why-probability-in-q…/
https://arxiv.org/abs/0806.4935
The Good Road Gujarati Film
The Good Road is a 2013 Indian drama film written and directed by Gyan Correa. It was selected as the Indian entry for the Best Foreign Language Film at the 86th Academy Awards, but it was not nominated.
India's Academy Award submission may not make it to the short list, but the small independent film has many pleasures to offer.
Without meaning to, a gentle yet obscure Gujarati-language film ignited a storm of controversy in India in September when it was chosen by the Film Federation of India as the country’s submission for the Academy Award for best foreign language film.
But upset film watchers need to get over their resentment. The Good Road — which had been pitted against Sony Pictures Classics’ festival favorite The Lunchbox for India’s Oscar submission — defies its critics by succeeding cinematically.
That doesn’t mean many people will get a chance to see it, though. The country’s National Film Development Corporation, producer of The Good Road, has not yet secured distribution either domestically or overseas; and despite winning a National Award, it has appeared at very few festivals. Still, it may gain some attention when it screens in the Panorama section of the International Film Festival of India in Goa this November.
First-time director Gyan Correa has amassed most of his filmmaking experience working on commercials, but there is none of that familiar TV gloss or rapid pacing here.
The rural hinterlands and endless roads of Kutcch, a remote region of Gujarat, are the setting for three intertwined stories told without melodrama and largely without music, all leading up to a surprisingly life-affirming conclusion.
A middle-class couple from the big city (Ajay Gehi and Sonali Kulkarni), en route to a vacation getaway, inadvertently leave their seven-year-old son (Keval Katrodia) at a roadside restaurant. A taciturn truck driver (Shamji Dhana Kerasia) and his sidekick (Priyank Upadhyay) become embroiled in an illegal scheme. A nine-year-old orphan girl (Poonam Rajput) gets lured into a roadside brothel.
Correa, who also wrote the story and screenplay, occasionally lets visuals trump content. He has deliberately chosen photogenic local non-actors for some key roles, with uneven success; and with cinematographer Amitabha Singh, also a veteran of TV commercials, he distractingly frames a few shots (such as one of a clutch of gaily dressed village women contrasted against a white salt plain) as if the image belonged in a travel brochure. In addition, the subplot of the little girl seems to resolve too abruptly.
But overall, Correa has done an admirable job of capturing the motivations of working-class people who are burdened with complex responsibilities and pressures. Why should they drop everything to help a yuppie family in a shiny SUV, anyway? “Fucking rich kids from the city,” spits out one villager. Several characters do bad things, but Correa skillfully conveys that these are desperate people with no other choice, doing what’s right and sensible for them.
In several instances, it’s clear that Correa has put much thought into his story and its myriad details. Would a seven-year-old kid be able to recite his dad’s 10-digit mobile number from memory? Yes, he would. Would onlookers actually ogle a truck accident without offering to help? Yes, because on India’s dangerous roads, that’s a good way to get wrongly blamed. Would a good-hearted truck driver deliberately mislead police who are searching for a lost child? Yes, for his own reasons.
The film’s sparse yet effective soundtrack, featuring acoustic Gujarati folk music; the colors of local dress and decor; and the gaudily painted trucks that are a fixture on roads across India lend another layer of interest alongside notable performances by Gehi and the bright, young Katrodia.
A feeling of unease pervades the early part of the film, as the viewer wonders how much peril will befall its characters. The problems they find themselves in could possibly end very, very badly.
But where some films show how darkness eclipses innocence, The Good Road ends up showing instead how innocence can illuminate the darkness.
Wednesday, December 14, 2016
Double Engine
A U engine is a piston engine made up of two separate straight engines (complete with separate crankshafts) joined by gears or chains. It is similar to the H engine which couples two flat engines.
The design is also sometimes described as a "twin bank" or "double
bank" engine, although these terms are sometimes used also to describe V engines.
This configuration is uncommon, as it is heavier than a V design. The
main interest in this design is its ability to share common parts with
straight engines. However, V engines with offset banks can also share
straight engine parts (except for the crankshaft), and this is therefore
a far more common design today when both engine forms are produced from
the same basic design.
Kathakali Dance and Odissi Dance of India.
Kathakali is a classical
Indian dance of South India..It is an ancient dance form that brought
humanism into Hinduism to express emotions that go beyond words..The
temple rituals, first performed in secret, evolved into a vibrant drama
that embraces the essence of what it is to be human..Kathakali evolved
from earlier temple art forms in the 17th Century, it is based on
Hinduism and is a highly charged powerful drama that combines devotion,
drama, dance, music, costumes, make up and face masks to produce one of
the most impressive forms of sacred theatre in the world..Kathakali
primarily developed in the Southern Indian state of Kerala and the
actors - dancers are traditionally all males....Odissi is an ancient
classical dance of the Eastern Indian state of Orissa and this dance
form originated in the temples of Odisha..Odissi is performed
predominantly by ladies..Odissi dance form expresses religious stories
and spiritual ideas particularly of Vaishavism(God Vishnu as Jagannath)
and also other traditions related to Gods Shiva and Surya..
Kathakali: Kathakali is a stylized classical Indian dance-drama
noted for the attractive make-up of characters, elaborate costumes,
detailed gestures and well-defined body movements presented in tune with
the anchor playback music and complementary percussion. It originated
in the country's present day state of Kerala
during the 17th century and has developed over the years with improved
looks, refined gestures and added themes besides more ornate singing and
precise drumming. Popular belief is that kathakali is emerged from "Krishnanattam",
the dance drama on the life and activities of Lord Krishna. It is
mostly done by men and when not wearing costume can be easily identified
by the multiple facial movements.
Oddisi: It has its roots in present day Odisha. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvisand upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
The costume is elaborate and elegant, replete with a crown and silver jewelry.
ARYAN - THE MISINTERPRETED WORD IN INDIAN HISTORY
The word
aryan as explained in the Indian History says The aryans invaded the
Indus civilization but The Scientific Research has clearly rejected the
concept of aryan invasion as a baseless Theory.
Now its necessary
to understand the origin of the word "arya". The word arya is basically
taken from a sanskrit word 'acharya' meaning Scholar or a Teacher. The
word arya has also been used in the vedic text (Rig veda) several times
but as a suffix - जयोतिरिदअरयाय (Jyotiridaryaya). The word arya in
sanskrit has never been a complete word but its just a suffix which is
used in support of another word and no where in the vedas hav mentioned
anything regarding the arya Migrants from any different place.
The Rig veda has clearly mentioned about the Sarasvati River where the
vedic civilization had once flourished in the ancient era. Sarasvati in
ancient Hindu culture is the Goddess of wisdom and the mythical
Sarasvati river was recently discovered in the Northwest region of
India.
The River Sindu & Sarasvati is a landmark and also True origin of vedic civilization The people of Indus were dependent on the River for agriculture and irrigation so The River played a significant role in the advancement of vedic culture in Indus region. The vedic literature is a cultural continuity of Indus Sarasvati civilization composed by maharishis of Indian subcontinent.
मुधा दिवो नाभिरगनिः पृथिवया अताभवदरतइ रोदसयोः | (RV - 1.059.02)
तं तव देवासो जनायजनता देवाँ वैसवनरा जयओतिरअरयय ||
murdha divo naghir agnih prathivya athabhavad arati rodasyoh |
tam tva devaso janayanta devam vaisvanara jyotir id aryaya ||
EVOLUTION OF VEDIC LANGUAGE :
Proto Bramhi - Bramhi - Devanagari - Samskrutam.
https://iitkgp.org/…/iit-kgp-researchers-say-indus-valley-c…
The River Sindu & Sarasvati is a landmark and also True origin of vedic civilization The people of Indus were dependent on the River for agriculture and irrigation so The River played a significant role in the advancement of vedic culture in Indus region. The vedic literature is a cultural continuity of Indus Sarasvati civilization composed by maharishis of Indian subcontinent.
मुधा दिवो नाभिरगनिः पृथिवया अताभवदरतइ रोदसयोः | (RV - 1.059.02)
तं तव देवासो जनायजनता देवाँ वैसवनरा जयओतिरअरयय ||
murdha divo naghir agnih prathivya athabhavad arati rodasyoh |
tam tva devaso janayanta devam vaisvanara jyotir id aryaya ||
EVOLUTION OF VEDIC LANGUAGE :
Proto Bramhi - Bramhi - Devanagari - Samskrutam.
https://iitkgp.org/…/iit-kgp-researchers-say-indus-valley-c…
Sunday, December 11, 2016
Queen - Hindi Film
கல்யாணத்துக்கு இரண்டு நாளுக்கு முன்னாடி திருமணம் கேன்சலாகிடுது. நொந்து போறாங்க ஹீரோயின்.,
ரொம்ப கட்டுபெட்டியா வளர்ந்தவங்க... லவ் பண்ணினவன் நீ செட் ஆக மாட்டேன்னு முடியாதுங்கறான்...
கல்யாணத்துக்கு அப்புறம் பாரிஸ்'ல் ஹனிமூன் கொண்டாட சேகரித்த காசை எடுத்துட்டு தனியாக கிளம்புறாங்க.
பாரிஸ்'ல் அதுவரை சந்தித்திருக்காத உலகத்தை பாக்கிறாங்க... நட்பாக கிடைக்கும் விஜயலக்ஷ்மி
ஃப்ரான்ஸை, அதன் வாழ்க்கையை, சுதந்திரத்தை கற்று கொடுக்கிறாள்... இருவரும் பல சாகஸங்கள் புரிகிறார்கள். பல விஷயங்களை விஜயலக்ஷ்மியிடம் கற்றுக்கொள்கிறாள் கொஞ்சம் கொஞ்சமாக அவளது உலகம் விரிவடைகிறது.
அங்கிருந்து ஆம்ஸ்டர்டாம், அங்கும் புதிய மனிதர்கள், ஆண்களுடன் அறையை பகிர்ந்துகொள்ளும் ஒரு புதிய வாழ்க்கை முறை, என்று இன்னொரு புது உணர்வை, புது உலகைக் காண்கிறாள் .
இந்தச் சம்பவங்களும் மனிதர்களும் தரும் படிப்பினைகளில் தனது சுயம் என்ன என்பதை மெல்ல உணர்கிறாள்..
ராணியின் வாழ்க்கையில் முதல் கிஸ் பாரீஸில்... அந்த காட்சியில் முக பாவனைகள் செம.... :P
மிஸ் பண்ணா கூடாத படம்... படம் பெயர் Queen - Hindi
ரொம்ப கட்டுபெட்டியா வளர்ந்தவங்க... லவ் பண்ணினவன் நீ செட் ஆக மாட்டேன்னு முடியாதுங்கறான்...
கல்யாணத்துக்கு அப்புறம் பாரிஸ்'ல் ஹனிமூன் கொண்டாட சேகரித்த காசை எடுத்துட்டு தனியாக கிளம்புறாங்க.
பாரிஸ்'ல் அதுவரை சந்தித்திருக்காத உலகத்தை பாக்கிறாங்க... நட்பாக கிடைக்கும் விஜயலக்ஷ்மி
ஃப்ரான்ஸை, அதன் வாழ்க்கையை, சுதந்திரத்தை கற்று கொடுக்கிறாள்... இருவரும் பல சாகஸங்கள் புரிகிறார்கள். பல விஷயங்களை விஜயலக்ஷ்மியிடம் கற்றுக்கொள்கிறாள் கொஞ்சம் கொஞ்சமாக அவளது உலகம் விரிவடைகிறது.
அங்கிருந்து ஆம்ஸ்டர்டாம், அங்கும் புதிய மனிதர்கள், ஆண்களுடன் அறையை பகிர்ந்துகொள்ளும் ஒரு புதிய வாழ்க்கை முறை, என்று இன்னொரு புது உணர்வை, புது உலகைக் காண்கிறாள் .
இந்தச் சம்பவங்களும் மனிதர்களும் தரும் படிப்பினைகளில் தனது சுயம் என்ன என்பதை மெல்ல உணர்கிறாள்..
ராணியின் வாழ்க்கையில் முதல் கிஸ் பாரீஸில்... அந்த காட்சியில் முக பாவனைகள் செம.... :P
மிஸ் பண்ணா கூடாத படம்... படம் பெயர் Queen - Hindi
You enjoy a movie even more if it has the unforeseeable factor adjoined to its premise. Thankfully, a number of storytellers in Bollywood are aiming to surprise, shock and charm you with attention-grabbing yarns you haven't witnessed earlier on the Hindi screen. Some get it right, some don't, but what needs to be lauded is the effort to break the mould, to go beyond the stereotype. Vikas Bahl's QUEEN also dares to push the envelope.
The promos of QUEEN bring back memories of TANU WEDS MANU, partly because the protagonist [Rani] seems like a distant cousin of Tanu. But let's get one thing clear: The presence of Kangna Ranaut and North India setting apart, there's no commonality between TANU WEDS MANU and QUEEN. However, one can draw parallels with ENGLISH VINGLISH, since Shashi in ENGLISH VINGLISH and Rani in QUEEN are vulnerable and low on self-esteem, but eventually find their own voice once they resolve to venture out on their own accord.
QUEEN is about a shy and timid girl who travels to Paris and Amsterdam for her honeymoon all alone, when her beau calls off the wedding at the last minute. A quirky concept, yes. But this coming of age story is indeed enjoyable, despite the hiccups.
First, the premise! Rani [Kangna Ranaut] hails from a Punjabi family in Delhi. She has led a sheltered life, having been surrounded by her over-protective, but caring parents, doting grand-mom and younger brother Chintu. Rani is introduced to Vijay [Rajkummar Rao], the son of their family friend. Vijay is attracted to Rani and woos her relentlessly. Eventually, Rani gives in to Vijay's charms.
Vijay and Rani get engaged. Vijay is posted in London, but when he returns to Delhi for the wedding, he's a changed man. He calls off the wedding at the eleventh hour. Rani is heartbroken, her family is shattered as well. Rani resolves to take charge of her life. She decides to go on her honeymoon to Europe. All by herself...
QUEEN starts off as yet another attempt to encapsulate the middle class Punjabi set-up [based in New Delhi yet again!], replete with resplendent song-and-dance spectacle prior to the wedding, but quickly changes lanes as Rani sets out for Paris. Steering away from the conservative route of the woman wallowing in self-pity, Vikas Bahl tells Rani's story with insight and understanding and along with his team of writers [screenplay: Parveez Shaikh, Chaitally Parmar, Vikas Bahl] injects loads of optimism, besides spirited and lively episodes, to portray Rani's emotional rollercoaster journey.
What really works is the way Vikas presents Rani, his lead character. Rani [in her 20s] is no bimbette or abla naari, is stuck somewhere between tradition and modernity, but has a mind of her own. Her experiences outside the comfort zone [on foreign land], the interaction with varied people she encounters in Paris first and Amsterdam later, the atmospherics... the writers unfurl a tale that's utterly believable, besides creating a colorful canvas that's brimming with characters who are *not* cardboard cut-outs. Sure, a couple of episodes may seem quirky, but gel wonderfully in the scheme of things.
Having said that, QUEEN isn't fool-proof either. The bloated run time -- almost 2.30 hours -- acts as a roadblock. Also, the story stagnates in the second half. Besides, there are too many songs, especially in the first hour. As a result, the film feels elongated and also indulgent at times. Thankfully, the film is back on tracks towards the closing stages, when Rani meets Vijay in Delhi. The final act is indeed brilliant!
There seems to be an overdose of songs [Amit Trivedi] here. 'London Thumakda', 'Hungama' and 'O Gujariya' are effervescent compositions, while a couple of tracks only add to the run time. Cinematography deserves special mention. The DoP [Bobby Singh; additional cinematography: Siddharth Diwan] captures the sights and sounds of Paris and Amsterdam wonderfully. Dialogue [Anvita Dutt; additional dialogue: Kangna Ranaut] come across real.
It's hard to take your eyes off Kangna, who captures the nuances of her character spot-on. She's simply outstanding! Even when the goings-on appear stretched, Kangna doesn't miss a beat. The earnestness and sincerity she invests in her performance is for all to see. Additionally, the deglam look and the attire [jeans, kurtas, sweaters, handbag] makes it so believable. It won't be erroneous to state that she turns Rani into the most real woman you've encountered on the Hindi screen lately. Rajkummar Rao sparkles in a role not many actors would've dared to take up, while Lisa Haydon is simply delightful and supremely confident, complimenting Kangna through and through.
Mish Boyko [as Olik], Jeffrey Ho [as Taka], Guitobh Joseph [as Tim] and Marco Canadea [as Marcello] contribute wonderfully to their respective parts. The actors enacting the part of Kangna's parents, especially the grand-mom, are lovely.
On the whole, QUEEN reinvents the genre with its non-formulaic screenplay and skilled direction. A charming little film, this one's made with heart and feeling and it shows. Absolutely recommended!
thanks: bollywoodhungama.com
thanks: bollywoodhungama.com
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