Hello, Ding Junhui played some brilliant snooker again, 7 centuries in his semi final match with an in form McManus 17-11, the other semi was a struggle, en route they recorded the longest frame ever played during a worldchampionship 77 minutes, in the end it was the current world #1, Mark Selby who prevented an all Chinese final by beating Marco Fu 17-15. Tens of million Chinese will be watching the final, the pressure on Ding will be huge, hopefully he'll handle it. He's really been the best player by far this year and Selby, well for once he won't be the favorite.
Meanwhile over at Sochi's olympic park Hamilton is makig a habit of breaking down on qualification day, luckily he had no trouble on racing day thusfar. He can start to overtake from 10th, his teammate Rosberg proved how superior Mercedes is by an unpressured qualifing, almost a second faster as Vettel who after penalty starts 7th, could be interesting tomorrow behind Rosberg..
Today's artist (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
According to a blessing Milarepa uttered towards the end of his life, anyone who but hears the name Milarepa even once attracts an instant blessing and will not take rebirth in a lower state of existence during seven consecutive lifetimes. This was prophesied by Saints and Buddhas of the past even before his lifetime.
Milarepa of Tibet
Milarepa is one of the most widely known Tibetan Saints. In a superhuman effort, he rose above the miseries of his younger life and with the help of his Guru, Marpa the Translator, took to a solitary life of meditation until he had achieved the pinnacle of the enlightened state, never to be born again into the Samsara (whirlpool of life and death) of worldly existence. Out of compassion for humanity, he undertook the most rigid asceticism to reach the Buddhic state of enlightenment and to pass his accomplishments on to the rest of humanity. His spiritual lineage was passed along to his chief disciples, Gambopa and Rechung. It was Rechung who recorded in detail the incidents of Milarepa's life for posterity. The narrative of his life has thus been passed down through almost a millennium of time and has become an integral part of Tibetan culture. In addition to Rechung's narrative of his life, summarized below, Milarepa extemporaneously composed innumerable songs throughout his life relevant to the dramatic turns of events of himself and his disciples in accordance with an art form that was in practice at the time. These songs have been widely sung and studied in Tibet ever since and have been recorded as the Hundred Thousand Songs of Milarepa. His faithful devotion, boundless religious zeal, monumental forbearance, superhuman perseverance, and ultimate final attainment are a great inspiration today for all. His auspicious life illumined the Buddhist faith and brought the light of wisdom to sentient beings everywhere.
Milarepa was born into the family of Mila-Dorje-Senge in the year 1052. His father was a trader in wool and had become wealthy by the standards of the time when his wife bore a son. The son was named Thopaga which means delightful to hear, and Thopaga, later known as Mila-repa (Mila, the cotton clad), lived up to his name as he had a beautiful voice and charmed his companions with his singing. The family lived in a large stone house that consisted of three stories held in place by a large central pillar and supporting columns - a mansion in comparison to the modest homes of his neighbors. The brother and sister of Milarepa's father had also settled in the area along with their families, and the clan would often congregate at the great stone house of Mila-Dorje-Senge. The family was well to do and generous and became the darling of all the relatives and neighbors in the area. They would often gather at the house to enjoy feasts. The gathering of friends and neighbors would often fawn over the small children - the young son Milarepa (then called Thopaga), and his sister, Peta who was four years younger. During this period the family enjoyed the admiration and attention of their neighbors, ate only the finest food and wore nothing but fancy clothes and jewelry.
About this time the father, Mila-Dorje-Senge, became gravely ill and accepting his impending death, called together the extended family and made known to all that he wanted his entire estate and all possessions put into the care of his brother and sister until such time as Milarepa had grown and married Zesay, one of the neighboring girls who had been betrothed to him in childhood according to the tradition of the times.
When his father died, Milarepa's uncle and aunt took all of the family's wealth. At his mother's demand, Milarepa left home and studied sorcery. While his aunt and uncle were having a party to celebrate the impending marriage of their son, he took his revenge by summoning an earthquake to demolish their house, killing 35 people, although the uncle and aunt are supposed to have survived. The villagers were angry and set off to look for Milarepa, but his mother got word to him, and he sent a hailstorm to destroy their crops.
Milarepa later lamented his evil ways in his older years in conversation with Rechungpa: "In my youth I committed black deeds. In maturity I practised innocence. Now, released from both good and evil, I have destroyed the root of karmic action and shall have no reason for action in the future. To say more than this would only cause weeping and laughter.
"If you do not acquire contentment in yourselves,
Heaped-up accumulations will only enrich others.
If you do not obtain the light of Inner Peace,
Mere external ease and pleasure will become a source of pain.
If you do not suppress the Demon of Ambition,
Desire for fame will lead to ruin and to lawsuits"
Milarepa
Milarepa's lama was Marpa Lotsāwa, whose guru was Naropa, whose guru in turn was Tilopa. Milarepa is famous for many of his songs and poems, in which he expresses the profundity of his realization of the dharma. His songs were impulsive, not contrived or written down, and came about while he was immersed in enlightened states of consciousness.[citation needed]
Milarepa's life represented the ideal bodhisattva, and is a testament to the unity and interdependency of all Buddhist teachings – Theravada, Mahayana and Vajrayana. He showed that poverty is not a deprivation, but rather a component of emancipating oneself from the constrictions of material possessions; that Tantric practice entails discipline and steadfast perseverance; that without resolute renunciation and uncompromising discipline, as Gautama Buddha Himself stressed, all the sublime ideas and dazzling images depicted in Mahayana and Tantric Buddhism are no better than magnificent illusions. He also had many disciples, male and female, including Rechung Dorje Drakpa and Gampopa His female disciples include Rechungma, Padarbum, Sahle Aui and Tsheringma. It was Gampopa who became Milarepa's spiritual successor, continued his lineage, and became one of the main lineage masters in Milarepa's tradition.
Nyanang Phelgyeling Monastery, also known as Sonam Gompa later in Nepal, which later became very famous in Nepal, is a Tibetan Buddhist monastery in a tiny village called Nyanang in Tibet near the border of Nepal. Fortunately Nyanang Phelgyeling Monastery has the rare statue of Milerapa which was created by his own disciple (Bhu Rechung Pa ). The statue was created in the life time of Milarepa. The cave is consecrated to Milarepa. It is built around the cave where he once lived. "It was destroyed but has now been rebuilt and decorated by Nepali artisans. This is one of many caves associated with Milarepa between Langtang and Jomolungma."
xxxxx xxxxx xxxxx xxxxx xxxxx
This profound work of electronic music on three CDs is based on the composer's complete immersion in Tibetan Buddhist teaching, and takes its title from Thomas Merton's Trilogy on Death: "Going beyond death in this life, beyond the dichotomy of life and death, and so to become a witness to life itself." The first "chapter" is "Kyema," composed during the years 1985-1988. It was inspired by texts of the Bardo-Thödol (a book of the dead) and "evokes the six intermediate states which constitute the 'existential continuity' of being: Kyene (birth), Milam (dream), Samtem (contemplation and meditation), Chikai (death), Chönye (clear light), and Sippai (crossing and return)." The slowly changing timbres create quite physical resonances and density modulations, suggesting encounters with traveling personalities, some comforting, some evoking deep and strange spirits. "Kyema" is dedicated to the composer's son Yves Arman, who passed away in a car accident shortly before its completion. . "Koumé," the third chapter, emphasizes the transcendence of death. The title of "Koumé"'s fourth subsection quotes the Bible in Corinthians XV ("O Death, where is thy victory?"): "Ashes of illusion becoming light. Descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Actively re-beginning. Eternity -- a perpetual becoming."
Profound and serenely meditative electronic music inspired by the Bardo Thodol (Tibetan Book of the Dead). Six states: Kyene (Birth), Milam (Dream), Samten (Contemplation), Chikai (Death), Chonye (Clear Light), Sippai (Becoming). This is the real thing.
Eliane Radigue - Kyema, Intermediate States (flac 263mb)
01 Kyema, Intermediate States 61:22
xxxxx xxxxx xxxxx xxxxx xxxxx
The second chapter, "Kailasha" (1988-1991), is "an imaginary journey around the most sacred of the Himalayan mountains, Mount Kailash," but since the mountain is considered a "natural mandala," the work also attempts to recreate the illusion found in works of visual artists Albers and Escher, where one perspective overlaps and flips over into another, involuntarily. The composer considers "Kailasha" to be "the most chaotic part of the trilogy" and deeply unnerving
Eliane Radigue - Kailasha (flac 213mb)
02 Kailasha 56:08
xxxxx xxxxx xxxxx xxxxx xxxxx
"Koumé," the third chapter, emphasizes the transcendence of death. The title of "Koumé"'s fourth subsection quotes the Bible in Corinthians XV ("O Death, where is thy victory?"): "Ashes of illusion becoming light. Descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Actively re-beginning. Eternity -- a perpetual becoming."
Eliane Radigue - Koumé (flac 227mb)
03 Koumé 51:17
xxxxx xxxxx xxxxx xxxxx xxxxx
Eliane Radigue - June 20, 1973
“Before the greatest achievement
Before the greatest detachment.
At the limit of the frontier space of the unconscious - tuned waves - "consonant things vibrate together".
Where does the change happen? In the inner field of perception or the exterior reality of moving things in the course of becoming.
"And time is no longer an obstacle, but the means by which the possible is achieved".
"Transamorem - Transmortem" was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, "Transamorem - Transmortem" was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.
In their original form, Eliane Radigue's works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc.
During this period Eliane Radigue's compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90's, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the "Song of Milarepa" LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP). For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70's to the 90's.
It was in 2004, when she accepted aid in digitizing her archives, . "Transamoren - Transmorten" is recognizable as one of the most radical of Radigue's compositions, comparable to the first "Adnos," the work that follows "Transamoren - Transmortem" chronologically. Very few transformations, an apparent formal aridity that is then contradicted by the physical play of the frequencies as the listener turns her head gently from right to left, or better yet as the listener moves slowly throughout the music space. Moving through zones of specific frequencies, the listener's body experiences localized zones of low, medium and treble frequencies which vary according to the acoustic properties of the space. As Radigue wrote of "Adnos": "to displace stones in the bed of a river does not affect the course of water, but rather modifies the way the water flows." Here, we find the same meditative tension proposing a peaceful movement through the spaces created by the different frequencies that compose "Transamoren - Transmortem."
Eliane Radigue - Transamorem - Transmortem (flac 330mb)
01 Transamorem - Transmortem 67:03
xxxxx xxxxx xxxxx xxxxx xxxxx
Meanwhile over at Sochi's olympic park Hamilton is makig a habit of breaking down on qualification day, luckily he had no trouble on racing day thusfar. He can start to overtake from 10th, his teammate Rosberg proved how superior Mercedes is by an unpressured qualifing, almost a second faster as Vettel who after penalty starts 7th, could be interesting tomorrow behind Rosberg..
Today's artist (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
According to a blessing Milarepa uttered towards the end of his life, anyone who but hears the name Milarepa even once attracts an instant blessing and will not take rebirth in a lower state of existence during seven consecutive lifetimes. This was prophesied by Saints and Buddhas of the past even before his lifetime.
Milarepa of Tibet
Milarepa is one of the most widely known Tibetan Saints. In a superhuman effort, he rose above the miseries of his younger life and with the help of his Guru, Marpa the Translator, took to a solitary life of meditation until he had achieved the pinnacle of the enlightened state, never to be born again into the Samsara (whirlpool of life and death) of worldly existence. Out of compassion for humanity, he undertook the most rigid asceticism to reach the Buddhic state of enlightenment and to pass his accomplishments on to the rest of humanity. His spiritual lineage was passed along to his chief disciples, Gambopa and Rechung. It was Rechung who recorded in detail the incidents of Milarepa's life for posterity. The narrative of his life has thus been passed down through almost a millennium of time and has become an integral part of Tibetan culture. In addition to Rechung's narrative of his life, summarized below, Milarepa extemporaneously composed innumerable songs throughout his life relevant to the dramatic turns of events of himself and his disciples in accordance with an art form that was in practice at the time. These songs have been widely sung and studied in Tibet ever since and have been recorded as the Hundred Thousand Songs of Milarepa. His faithful devotion, boundless religious zeal, monumental forbearance, superhuman perseverance, and ultimate final attainment are a great inspiration today for all. His auspicious life illumined the Buddhist faith and brought the light of wisdom to sentient beings everywhere.
Milarepa was born into the family of Mila-Dorje-Senge in the year 1052. His father was a trader in wool and had become wealthy by the standards of the time when his wife bore a son. The son was named Thopaga which means delightful to hear, and Thopaga, later known as Mila-repa (Mila, the cotton clad), lived up to his name as he had a beautiful voice and charmed his companions with his singing. The family lived in a large stone house that consisted of three stories held in place by a large central pillar and supporting columns - a mansion in comparison to the modest homes of his neighbors. The brother and sister of Milarepa's father had also settled in the area along with their families, and the clan would often congregate at the great stone house of Mila-Dorje-Senge. The family was well to do and generous and became the darling of all the relatives and neighbors in the area. They would often gather at the house to enjoy feasts. The gathering of friends and neighbors would often fawn over the small children - the young son Milarepa (then called Thopaga), and his sister, Peta who was four years younger. During this period the family enjoyed the admiration and attention of their neighbors, ate only the finest food and wore nothing but fancy clothes and jewelry.
About this time the father, Mila-Dorje-Senge, became gravely ill and accepting his impending death, called together the extended family and made known to all that he wanted his entire estate and all possessions put into the care of his brother and sister until such time as Milarepa had grown and married Zesay, one of the neighboring girls who had been betrothed to him in childhood according to the tradition of the times.
When his father died, Milarepa's uncle and aunt took all of the family's wealth. At his mother's demand, Milarepa left home and studied sorcery. While his aunt and uncle were having a party to celebrate the impending marriage of their son, he took his revenge by summoning an earthquake to demolish their house, killing 35 people, although the uncle and aunt are supposed to have survived. The villagers were angry and set off to look for Milarepa, but his mother got word to him, and he sent a hailstorm to destroy their crops.
Milarepa later lamented his evil ways in his older years in conversation with Rechungpa: "In my youth I committed black deeds. In maturity I practised innocence. Now, released from both good and evil, I have destroyed the root of karmic action and shall have no reason for action in the future. To say more than this would only cause weeping and laughter.
"If you do not acquire contentment in yourselves,
Heaped-up accumulations will only enrich others.
If you do not obtain the light of Inner Peace,
Mere external ease and pleasure will become a source of pain.
If you do not suppress the Demon of Ambition,
Desire for fame will lead to ruin and to lawsuits"
Milarepa
Milarepa's lama was Marpa Lotsāwa, whose guru was Naropa, whose guru in turn was Tilopa. Milarepa is famous for many of his songs and poems, in which he expresses the profundity of his realization of the dharma. His songs were impulsive, not contrived or written down, and came about while he was immersed in enlightened states of consciousness.[citation needed]
Milarepa's life represented the ideal bodhisattva, and is a testament to the unity and interdependency of all Buddhist teachings – Theravada, Mahayana and Vajrayana. He showed that poverty is not a deprivation, but rather a component of emancipating oneself from the constrictions of material possessions; that Tantric practice entails discipline and steadfast perseverance; that without resolute renunciation and uncompromising discipline, as Gautama Buddha Himself stressed, all the sublime ideas and dazzling images depicted in Mahayana and Tantric Buddhism are no better than magnificent illusions. He also had many disciples, male and female, including Rechung Dorje Drakpa and Gampopa His female disciples include Rechungma, Padarbum, Sahle Aui and Tsheringma. It was Gampopa who became Milarepa's spiritual successor, continued his lineage, and became one of the main lineage masters in Milarepa's tradition.
Nyanang Phelgyeling Monastery, also known as Sonam Gompa later in Nepal, which later became very famous in Nepal, is a Tibetan Buddhist monastery in a tiny village called Nyanang in Tibet near the border of Nepal. Fortunately Nyanang Phelgyeling Monastery has the rare statue of Milerapa which was created by his own disciple (Bhu Rechung Pa ). The statue was created in the life time of Milarepa. The cave is consecrated to Milarepa. It is built around the cave where he once lived. "It was destroyed but has now been rebuilt and decorated by Nepali artisans. This is one of many caves associated with Milarepa between Langtang and Jomolungma."
xxxxx xxxxx xxxxx xxxxx xxxxx
This profound work of electronic music on three CDs is based on the composer's complete immersion in Tibetan Buddhist teaching, and takes its title from Thomas Merton's Trilogy on Death: "Going beyond death in this life, beyond the dichotomy of life and death, and so to become a witness to life itself." The first "chapter" is "Kyema," composed during the years 1985-1988. It was inspired by texts of the Bardo-Thödol (a book of the dead) and "evokes the six intermediate states which constitute the 'existential continuity' of being: Kyene (birth), Milam (dream), Samtem (contemplation and meditation), Chikai (death), Chönye (clear light), and Sippai (crossing and return)." The slowly changing timbres create quite physical resonances and density modulations, suggesting encounters with traveling personalities, some comforting, some evoking deep and strange spirits. "Kyema" is dedicated to the composer's son Yves Arman, who passed away in a car accident shortly before its completion. . "Koumé," the third chapter, emphasizes the transcendence of death. The title of "Koumé"'s fourth subsection quotes the Bible in Corinthians XV ("O Death, where is thy victory?"): "Ashes of illusion becoming light. Descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Actively re-beginning. Eternity -- a perpetual becoming."
Profound and serenely meditative electronic music inspired by the Bardo Thodol (Tibetan Book of the Dead). Six states: Kyene (Birth), Milam (Dream), Samten (Contemplation), Chikai (Death), Chonye (Clear Light), Sippai (Becoming). This is the real thing.
Eliane Radigue - Kyema, Intermediate States (flac 263mb)
01 Kyema, Intermediate States 61:22
xxxxx xxxxx xxxxx xxxxx xxxxx
The second chapter, "Kailasha" (1988-1991), is "an imaginary journey around the most sacred of the Himalayan mountains, Mount Kailash," but since the mountain is considered a "natural mandala," the work also attempts to recreate the illusion found in works of visual artists Albers and Escher, where one perspective overlaps and flips over into another, involuntarily. The composer considers "Kailasha" to be "the most chaotic part of the trilogy" and deeply unnerving
Eliane Radigue - Kailasha (flac 213mb)
02 Kailasha 56:08
xxxxx xxxxx xxxxx xxxxx xxxxx
"Koumé," the third chapter, emphasizes the transcendence of death. The title of "Koumé"'s fourth subsection quotes the Bible in Corinthians XV ("O Death, where is thy victory?"): "Ashes of illusion becoming light. Descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Actively re-beginning. Eternity -- a perpetual becoming."
Eliane Radigue - Koumé (flac 227mb)
03 Koumé 51:17
xxxxx xxxxx xxxxx xxxxx xxxxx
Eliane Radigue - June 20, 1973
“Before the greatest achievement
Before the greatest detachment.
At the limit of the frontier space of the unconscious - tuned waves - "consonant things vibrate together".
Where does the change happen? In the inner field of perception or the exterior reality of moving things in the course of becoming.
"And time is no longer an obstacle, but the means by which the possible is achieved".
"Transamorem - Transmortem" was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, "Transamorem - Transmortem" was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.
In their original form, Eliane Radigue's works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc.
During this period Eliane Radigue's compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90's, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the "Song of Milarepa" LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP). For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70's to the 90's.
It was in 2004, when she accepted aid in digitizing her archives, . "Transamoren - Transmorten" is recognizable as one of the most radical of Radigue's compositions, comparable to the first "Adnos," the work that follows "Transamoren - Transmortem" chronologically. Very few transformations, an apparent formal aridity that is then contradicted by the physical play of the frequencies as the listener turns her head gently from right to left, or better yet as the listener moves slowly throughout the music space. Moving through zones of specific frequencies, the listener's body experiences localized zones of low, medium and treble frequencies which vary according to the acoustic properties of the space. As Radigue wrote of "Adnos": "to displace stones in the bed of a river does not affect the course of water, but rather modifies the way the water flows." Here, we find the same meditative tension proposing a peaceful movement through the spaces created by the different frequencies that compose "Transamoren - Transmortem."
Eliane Radigue - Transamorem - Transmortem (flac 330mb)
01 Transamorem - Transmortem 67:03
xxxxx xxxxx xxxxx xxxxx xxxxx
10 comments:
Thank you very much. Have a nice sunday.
Selby dug really deep to beat Fu (though Fu didn't help himself by missing some long pots in the last session). Ding is probably the "best player...this year" but it is by no means "by far". Also the pressure on him to win may be too great so the result is by no means a certainty. We will see.
wonderful stuff. thank-you, thank-you, thank-you!!! HenryR
Could you please re-up the 3 Trilogie De La Mort cds in flac?
Eliane Radigue - Kyema, Intermediate States
Eliane Radigue - Kailasha
Eliane Radigue - Koumé
I somehow missed these first time round.
Hello I'm sorry Nothe but i draw the line at 12 months before re-upping posts and the Eliane Radigue one i posted only 15 weeks ago, some of it should be still be available. I expect to be around this next year so if you really want it ask again later.
No worries Rho.
Hi can you please re-up the elaine radigue files? Thanks.
Thanks again!
Would you please re-up the Eliane Radigue files from this post? Thank you.
Dear Rho,
I don't know what the rules are on making too many requests in one go but I fear I be about to tread well beyond the line of good manners. Here goes... might it be possible for you to kindly re-up the following?
Eliane Radigue - Kyema, Intermediate States
Eliane Radigue - Kailasha
Eliane Radigue - Koumé
Eliane Radigue - Transamorem - Transmortem
For the purposes of full disclosure, I'm also the person who asked for a re-up of Jetsun Mila by the same artist the other day (possibly yesterday, I have difficulty telling the days apart these days).
Refusal and rebuke will not offend.
Kind regards,
tf
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