THE SECRET SCIENCE BEHIND MIRACLES by Max Freedom Long, [1948]
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Ordinary Council
ORDINARY COUNCIL PUBLIC MINUTES WEDNESDAY 26 APRIL 2017 AT 1.05PM Council Members >> The Mayor, Councillor Jenny Hill Councillor Russ Cook Councillor Verena Coombe Councillor Colleen Doyle Councillor Ann-Maree Greaney Councillor Paul Jacob Councillor Mark Molachino Councillor Kurt Rehbein Councillor Margie Ryder Councillor Maurie Soars Councillor Les Walker At this meeting contributions made by members of the public may be recorded by way of audio recording which will be used for the purpose of developing minutes of the meeting and decision making of council. Townsville City Council is bound by the Information Privacy Act 2009 to protect the privacy of personal information. Under Local Law 1 Section 35(3) a person must not make an audio or video recording of a local government meeting, a standing committee meeting, a special committee meeting or an advisory committee meeting unless the chairperson at the meeting gives consent in writing to the recording of the meeting. Further information may be found on council's website at www.townsville.qld.gov.au. TOWNSVILLE CITY COUNCIL ORDINARY COUNCIL WEDNESDAY 26 APRIL 2017 Goals and Strategies of Townsville City Council >> Corporate Plan >> Goal 1: Economic Sustainability - A strong diverse economy which provides opportunities for business and investment with an integrated approach to long term planning where the city’s assets meet the community needs. 1.1 Create economic opportunities for Townsville to drive economic and community prosperity. 1.2 Maximise opportunities through engagement and partnership with stakeholder achieve a strong resilient economy. 1.3 Utilise the City Plan to inform the development of current and future infrastructure needs of Townsville. -
Legacy – the All Blacks
LEGACY WHAT THE ALL BLACKS CAN TEACH US ABOUT THE BUSINESS OF LIFE LEGACY 15 LESSONS IN LEADERSHIP JAMES KERR Constable • London Constable & Robinson Ltd 55-56 Russell Square London WC1B 4HP www.constablerobinson.com First published in the UK by Constable, an imprint of Constable & Robinson Ltd., 2013 Copyright © James Kerr, 2013 Every effort has been made to obtain the necessary permissions with reference to copyright material, both illustrative and quoted. We apologise for any omissions in this respect and will be pleased to make the appropriate acknowledgements in any future edition. The right of James Kerr to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. A copy of the British Library Cataloguing in Publication data is available from the British Library ISBN 978-1-47210-353-6 (paperback) ISBN 978-1-47210-490-8 (ebook) Printed and bound in the UK 1 3 5 7 9 10 8 6 4 2 Cover design: www.aesopagency.com The Challenge When the opposition line up against the New Zealand national rugby team – the All Blacks – they face the haka, the highly ritualized challenge thrown down by one group of warriors to another. -
Fire Performance Art Permit
Policy Grants Pass Department of Public Safety 4XX Fire Policy Manual Fire Performance Art Permit 4XX.1 PURPOSE AND SCOPE The purpose of this policy is to provide guidelines to advise fire performance venues and artists of safety considerations and practices consistent with fire and life safety codes and public assembly safety concerns. 4XX.2 POLICY This policy applies to all acts of fire performance art occurring within all areas in which Grants Pass Department of Public Safety has authority. Fire art refers to performances or demonstrations such as fire breathing, fire juggling, fire dancing, etc. Not included: pyrotechnics and flame effects (these are addressed in a different policy and require a separate permit). The business owner, event coordinator and the fire performer are responsible for all aspects of fire and life safety. Failure to possess a current permit and follow the minimum requirements set forth in this document may result in revocation of permit, future permits and/or issuing of citation(s). Fire performance artists shall: 1. Be at least 18 years of age. a. EXCEPTION: Performers age 16 to 18 may be allowed at the discretion of the Fire Marshal’s Office with written consent from a parent or legal guardian. They must be under the direct supervision of an adult fire performance troupe leader or instructor. 2. Have valid, state issued identification and Fire Performance Permit readily accessible at each performance. 3. Audience: It should be recognized that audiences, especially youthful ones, may not fully understand the dangers associated with fire performance art. Every effort should be made to emphasize the safety precautions and dangers of such activity. -
University Micr6films International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the fllm is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in "sectioning" the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Culture and the Place of Haka in Commemoration at Gallipoli
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli Hemopereki Simon University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Simon, Hemopereki, "Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli" (2015). Faculty of Law, Humanities and the Arts - Papers. 2971. https://ro.uow.edu.au/lhapapers/2971 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli Abstract This article is an extensive discussion from a Maori perspective into issues around the use of Maori cultural terms, in particular haka, to commemorate the fallen in WWI. Embedded in the article are key theories of cultural memory, 'war culture' and 'post-war culture'. The research outlines the differences between European and Indigenous war and post war cultural practices focusing on Maori. It seeks to understand the reluctance of Turkish officials to see haka being performed when it was apparently banned from ceremonies in 2005. It outlines the media reporting on the issue and the subsequent reintroduction of haka in August 2015 at the centenary of the Chunuk Bair battle. -
Fire Producer E-28 Fire Performer E-29
FIRE DEPARTMENT ● CITY OF NEW YORK STUDY MATERIAL FOR THE EXAMINATION FOR CERTIFICATE OF FITNESS FOR Fire Producer E-28 Fire Performer E-29 © 12/2015 New York City Fire Department - All rights reserved 1 Table of Contents NOTICE OF EXAMINATION ............................................................................. 4 ABOUT THE STUDY MATERIAL ...................................................................... 9 Introduction .................................................................................................. 11 a. Worst Case Scenario .......................................................................... 12 b. Definitions ......................................................................................... 13 Class of Flammable and Combustible Liquids Reference Chart ................ 17 Part I. General Information............................................................................ 17 1. Permits .............................................................................................. 17 2. General requirements for Fire Effects ................................................. 18 3. Fire Performances .............................................................................. 19 Part II. Safety, Handling and Use................................................................... 20 1. Clothing, Costumes, Makeup ............................................................. 21 a. Fiber content ..................................................................................... 21 b. Characteristics -
ROCHELLE SCHIECK Founder, Qoya Movement Praise for Rochelle Schieck’S QOYA: a Compass for Navigating an Embodied Life That Is Wise, Wild and Free
“The Qoya were the sacred women of the Inka, daughters of the Sun, the ones chosen to uplift humanity to our grandest and greatest possibilities. Rochelle accomplishes this great task in this stunning book.” —Alberto Villoldo, PhD, author of Shaman, Healer, Sage and One Spirit Medicine Q YA A Compass for Navigating an Embodied Life that is Wise, Wild and Free ROCHELLE SCHIECK Founder, Qoya Movement Praise for Rochelle Schieck’s QOYA: A Compass for Navigating an Embodied Life that is Wise, Wild and Free “Through the sincere, witty, and profound sharing of her own life experiences, Rochelle reveals to us a valuable map to recover one’s joy, confidence, and authenticity. She shows us the way back to love by feeling gratitude for one’s own experiences. She offers us price- less tools and practices to reconnect with our innate intelligence and sense of knowing what is right for us. More than a book, this is a companion through difficult moments or for getting from well to wonderful!” —Marcela Lobos, shamanic healer, senior staff member at the Four Winds Society, and co-founder of Los Cuatro Caminos in Chile “Qoya represents the future – the future of spirituality, femininity, and movement. If I’ve learned anything in my work, it is that there is an awakening of women everywhere. The world is yearning for the balance of the feminine essence. This book shows us how to take the next step.” —Kassidy Brown, co-founder of We Are the XX “Rochelle Schieck has made her life into a solitary vow: to remem- ber who she is – not in thought or theory – but in her bones, in the truth that only exists in her body. -
The Secret Science Behind Miracles
THE SECRET SCIENCE BEHIND MIRACLES By Max Freedom Long Bird Publisher, 2010 CONTENTS 1. The Dicsivery that may chabge the World ________________________________________________ 4 2. Fire-walking as an introduction to Magic _______________________________________________ 14 3. The incredible force used in Magic, where it comes from, and some of its uses ______________ 27 4. The two Souls of Man and the proofs that there are two instead of one _____________________ 35 5. The Kahuna system and the three »Souls« or Spirits of Man, each using its own voltage of Vital Force. These Pririts in union and in separation ___________________________________ 43 6. Taking the Measure of the Third Element in Magic, that of the invisible substance through which consciousness acts by means of Force _____________________________________________ 51 7. Psychometry, crystal gazing, visions of the past, visions of the future, etc., explained by the Ancient Lore of the Kahumas __________________________________________________________ 55 8. Mind Reading, Clairvoyance, Visions, Previsions, Chrystal Gazing, and all ot the psychometrically related phenomena, as explained in Terms of the Ten Elements of the Ancient Huna System _________________________________________________________________ 59 9. The significance of seeing into the future in the psychometric phenomena and dreams _______ 67 10. The easy way to dream into the future _________________________________________________ 72 11. Instant Healing through the High Self. The proofs and methods __________________________ 79 12. Raising the dead, permenantly and temporarily _________________________________________ 83 13. The life-Giving secrets of Lomilomi and Laying of Hands _______________________________ 92 14. Starling new and different ideas from the Kahunas concerning the Nature of the Complex and Healing ________________________________________________________________ 99 15. The Secret Kahuna method of treating the Complex ____________________________________ 105 16. -
Dancing Into the Chthulucene: Sensuous Ecological Activism In
Dancing into the Chthulucene: Sensuous Ecological Activism in the 21st Century Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kelly Perl Klein Graduate Program in Dance Studies The Ohio State University 2019 Dissertation Dr. Harmony Bench, Advisor Dr. Ann Cooper Albright Dr. Hannah Kosstrin Dr. Mytheli Sreenivas Copyrighted by Kelly Perl Klein 2019 2 Abstract This dissertation centers sensuous movement-based performance and practice as particularly powerful modes of activism toward sustainability and multi-species justice in the early decades of the 21st century. Proposing a model of “sensuous ecological activism,” the author elucidates the sensual components of feminist philosopher and biologist Donna Haraway’s (2016) concept of the Chthulucene, articulating how sensuous movement performance and practice interpellate Chthonic subjectivities. The dissertation explores the possibilities and limits of performances of vulnerability, experiences of interconnection, practices of sensitization, and embodied practices of radical inclusion as forms of activism in the context of contemporary neoliberal capitalism and competitive individualism. Two theatrical dance works and two communities of practice from India and the US are considered in relationship to neoliberal shifts in global economic policy that began in the late 1970s. The author analyzes the dance work The Dammed (2013) by the Darpana Academy for Performing Arts in Ahmedabad, -
Bibliography of Occult and Fantastic Beliefs Vol.4: S - Z
Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia Bibliography of Occult and Fantastic Beliefs vol.4: S - Z © Neuss / Germany: Bruno Buike 2017 Buike Music and Science [email protected] BBWV E30 Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia Bibliography of Occult and Fantastic Beliefs - vol.4: S - Z Neuss: Bruno Buike 2017 CONTENT Vol. 1 A-D 273 p. Vol. 2 E-K 271 p. Vol. 3 L-R 263 p. Vol. 4 S-Z 239 p. Appr. 21.000 title entries - total 1046 p. ---xxx--- 1. Dies ist ein wissenschaftliches Projekt ohne kommerzielle Interessen. 2. Wer finanzielle Forderungen gegen dieses Projekt erhebt, dessen Beitrag und Name werden in der nächsten Auflage gelöscht. 3. Das Projekt wurde gefördert von der Bundesrepublik Deutschland, Sozialamt Neuss. 4. Rechtschreibfehler zu unterlassen, konnte ich meinem Computer trotz jahrelanger Versuche nicht beibringen. Im Gegenteil: Das Biest fügt immer wieder neue Fehler ein, wo vorher keine waren! 1. This is a scientific project without commercial interests, that is not in bookstores, but free in Internet. 2. Financial and legal claims against this project, will result in the contribution and the name of contributor in the next edition canceled. 3. This project has been sponsored by the Federal Republic of Germany, Department for Social Benefits, city of Neuss. 4. Correct spelling and orthography is subject of a constant fight between me and my computer – AND THE SOFTWARE in use – and normally the other side is the winning party! Editor`s note – Vorwort des Herausgebers preface 1 ENGLISH SHORT PREFACE „Paul Smith“ is a FAKE-IDENTY behind which very probably is a COLLCETIVE of writers and researchers, using a more RATIONAL and SOBER approach towards the complex of Rennes-le-Chateau and to related complex of „Priory of Sion“ (Prieure de Sion of Pierre Plantard, Geradrd de Sede, Phlippe de Cherisey, Jean-Luc Chaumeil and others). -
Mana for a New Age Rachel Morgain
11 Mana for a New Age Rachel Morgain From chakra healing to African drumming, sweat lodges to shamanic journeys, New Age movements, particularly in North America, are notorious for their pattern of appropriating concepts and practices from other spiritual traditions. While continental Native American and Asian influences are perhaps most familiar as sourcing grounds for New Age material, the traditions of Pacific Islanders, particularly Hawaiians, have not escaped New Age attention. In particular, the movement known as ‘Huna’ has introduced Hawaiian-sounding words and concepts to the New Age vocabulary. Chief among these is the concept of ‘mana’, controversially subsumed within what is often a large laundry list of non-western religious and philosophical nomenclature, under the generic category of ‘energy’ or ‘life force’. Continually adapted through succeeding generations of Huna teachings, and further adopted into sections of the related contemporary Pagan movement through the tradition known as ‘Feri’, the concept of ‘mana’ displays some consistent themes across these traditions, quite different from its meaning in Hawaiian contexts. In being adopted into these movements, it has been transformed to fit within a field of ideas that have developed in western esoteric traditions from at least the late eighteenth century. In this chapter, I trace some of the ideas that have come to be attached to the concept of mana through several iterations of New Age movements in North America. Beginning with the foundational 285 NEW MANA works of Max Freedom Long, I look at the spiritual practice known as Huna, popularised from the late 1930s through a series of Long’s texts and his Huna Research organisation. -
Huna Kane Des Training
Huna Kane Practitioner Certification Training – Add a Powerful Modality to Your Healing Arts! Huna Kane (pronounced 'hoonah kahnay') is a form of healing grounded in ancient Hawaiian Huna wisdom. Huna means secret and kane means man or spirit man. Huna Kane means “the inner knowing of your Higher Self” -- your inner Spirit. Connecting with your Higher Self allows for the re-awakening of your spiritual abilities and gifts. Huna Kane strengthens, balances and unites the intuitive and logical minds. Clients often have revelations, and they leave the sessions feeling harmony, balance, and peace. The practitioner meditates on a set of symbols from the Kofutu Touch Healing system (www.Kofutu.com). This allows for the client to access a state of mind that encourages spiritual development and the opportunity to align with their highest potentials. It is common for clients to become aware of visions, ideas, and insights about their life situations and how they can take action to make desired changes. The energy balancing is enhanced by the Dance of Creation – an energy technique applied to the body with a spiral motion of the forearm. This clears fear patterns, tension, and stress from the body and mind. Old emotions and beliefs that were stored throughout the body transform into positive thoughts that are based on universal truths. The process opens the flow of Universal Life Force Energy; allowing connection with one’s true essence. People feel relaxed, as the energy flow in and around the body is re-established. Huna Kane was originally practiced on Hawaiian royalty, so that kings and queens could be fully clear prior to their coronation.