The early Celtic monasteries were like small villages, where the people were taught everything from farming to religion, with the idea in mind that eventually a group would split off, move a few miles away and establish another monastery. In this way, the Celtic way of life, and the Celtic Church propagated its way across Ireland and eventually to Western Britain and Scotland.
Source: Insular monasticism – Wikipedia
“…the name for fresh water from underground aquifers which was given a religious fertilising quality in Sumerian and Akkadian mythology. Lakes, springs, rivers, wells, and other sources of fresh water were thought to draw their water from the abzu. In this respect, in Sumerian and Akkadian mythology it referred to the primeval sea below the void space of the underworld (Kur) and the earth (Ma) above.”
Source: Abzu – Wikipedia
“Focus your eye on some point––any point will do––along the contour of the model,” Nicolaïdes wrote. “Place the point of your pencil on the paper. Imagine that your pencil point is touching the model instead of the paper.” Once you’re convinced that the tip of the pencil is synonymous with the sight of the eye, Nicolaïdes told artists to begin to slowly follow the contour of the model across the surface of the page. “Be guided more by the sense of touch than by sight,” he instructed.
In the mythology of Valmiki, the composer of the Hindu epic Ramayana, it is claimed that his first verse was inspired by the sight of a hunter kill the male of a pair of demoiselle cranes that were courting. Observing the lovelorn female circling and crying in grief, he cursed the hunter in verse. Since tradition held that all poetry prior to this moment had been revealed rather than created by man, this verse concerning the demoiselle cranes is regarded as the first human-composed meter.
Source: Demoiselle crane – Wikipedia
The name “Birds’ Path” is used in several Uralic and Turkic languages and in the Baltic languages. Northern peoples observed that migratory birds follow the course of the galaxy while migrating at the Northern Hemisphere. The name “Birds’ Path” (in Finnish, Estonian, Latvian, Lithuanian, Bashkir and Kazakh) has some variations in other languages, e.g. “Way of the grey (wild) goose” in Chuvash, Mari and Tatar and “Way of the Crane” in Erzya and Moksha.
The earth-terma are physical objects — which may be either an actual text, or physical objects that trigger a recollection of the teaching. The mind-terma are constituted by space and are placed via guru-transmission, or realizations achieved in meditation which connect the practitioner directly with the essential content of the teaching in one simultaneous experience. Once this has occurred, the tertön holds the complete teaching in mind and is required by convention to transcribe the terma twice from memory (if of textual nature) in one uninterrupted session. The transcriptions are then compared, and if no discrepancy or inconsistency is evident the terma is sealed as authentic.
Source: Terma (religion) – Wikipedia
Most often, transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories. This process of world-building encourages an encyclopedic impulse in both readers and writers. We are drawn to master what can be known about a world which always expands beyond our grasp. […]
Transmedia storytelling expands what can be known about a particular fictional world while dispersing that information, insuring that no one consumer knows everything and insure that they must talk about the series with others (see, for example, the hundreds of different species featured in Pokemon or Yu-Gi-O). Consumers become hunters and gatherers moving back across the various narratives trying to stitch together a coherent picture from the dispersed information.
They contain a built-in memory given by self-resonance with a morphic unit’s own past and by morphic resonance with all previous similar systems. This memory is cumulative. The more often particular patterns of activity are repeated, the more habitual they tend to become.
By providing both food and microhabitats for many species, coarse woody debris helps to maintain the biodiversity of forest ecosystems. Up to forty percent of all forest fauna is dependent on CWD. Studies in western North America showed that only five per cent of living trees consisted of living cells by volume, whereas in dead wood it was as high as forty percent by volume, mainly fungi and bacteria. Colonizing organisms that live on the remains of cambium and sapwood of dead trees aid decomposition and attract predators that prey on them and so continue the chain of metabolizing the biomass.
The list of organisms dependent on CWD for habitat or as a food source includes bacteria, fungi, lichens, mosses and other plants, and in the animal kingdom, invertebrates such as termites, ants, beetles, and snails, amphibians such as salamanders, reptiles such as the slow-worm, as well as birds and small mammals. One third of all woodland birds live in the cavities of dead tree trunks. Woodpeckers, tits, chickadees, and owls all live in dead trees, and grouse shelter behind woody debris.
Source: Coarse woody debris – Wikipedia