“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
Hausōs is also described as dancing: Uṣas throws on embroidered garments ‘like a dancer’ (nṛtūr iva), Ēṓs has ‘dancing-places’ (χοροί) around her house in the East, Saulė is portrayed dancing in her gilded shoes on a silver hill, and her fellow Baltic goddess Aušrinė is said to dance on a stone for the people on the first day of summer. […]
Another common trait of the Dawn goddess is her dwelling, situated on an island in the Ocean or in an Eastern house. In Greek mythology, Ēṓs is described as living ‘beyond the streams of Okeanos at the ends of the earth’. In Slavic folklore, the home of the Zoryas was sometimes said to be on Bouyan (or Buyan), an oceanic island paradise where the Sun dwelt along with his attendants, the North, West and East winds. The Avesta refers to a mythical eastern mountain called Ušidam- (‘Dawn-house’). In a myth from Lithuania, a man named Joseph becomes fascinated with Aušrinė appearing in the sky and goes on a quest to find the ‘second sun’, who is actually a maiden that lives on an island in the sea and has the same hair as the Sun. In the Baltic folklore, Saulė is said to live in a silver-gated castle at the end of the sea, or to go to an island in the middle of the sea for her nocturnal rest. […]
Source: Hausōs – Wikipedia
The dawn goddess Eos was almost always described with rosy fingers or rosy forearms as she opened the gates of heaven for the Sun to rise. In Homer, her saffron-colored robe is embroidered or woven with flowers; rosy-fingered and with golden arms, she is pictured on Attic vases as a beautiful woman, crowned with a tiara or diadem and with the large white-feathered wings of a bird.
Source: Eos – Wikipedia
Ushas (Vedic Sanskrit: उषस् / uṣás) is a Vedic goddess of dawn in Hinduism. She repeatedly appears in the Rigvedic hymns, states David Kinsley, where she is “consistently identified with dawn, revealing herself with the daily coming of light to the world, driving away oppressive darkness, chasing away evil demons, rousing all life, setting all things in motion, sending everyone off to do their duties”. She is the life of all living creatures, the impeller of action and breath, the foe of chaos and confusion, the auspicious arouser of cosmic and moral order called the Ṛta in Hinduism.
Source: Ushas – Wikipedia