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Interconnectedness: the Motherly Compassion of Teteoinan and Kuan Yin

Interconnectedness: the Motherly Compassion of Teteoinan and Kuan Yin (see:

In the Nahuatl culture of Mexico, the goddess of the sweat bath was Temazcalteci, "the grandmother of the baths." A manifestation of the goddess Teteoinan, "the mother of the gods", or, as she is also called, "our grandmother", the principal goddess among the higher Nahuatl divinities. In truth this goddess was the goddess of medicine & of the medicinal herbs; adored by doctors & surgeons, bleeders & also by midwives. Teteoinan evokes the name "Kuan Yin" as a derivation of a Chinese name for the goddess that is energy of motherly compassion. These principles are understood in quite the same way and for quite the same purposes. In her subtle presence, Kuan Yin appears to be one of those very rare deities who quietly imbues multiple manifestations at once.

This also helps bring us back to Benjamin Lee Whorf's famous dictum that speakers of different languages are ‘not equivalent as observers’.  And how vital indigenous language speaking -- especially in observing, sensing, feeling and healing.

“Over-reliance on strictly English labels means researchers [and healing practitioners] can end up overlooking important dimensions of variation in how humans conceptualize the world.“

The feel of good vibes in fabric skillfully woven requires no words.

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Comment by Randy Eady on November 4, 2022 at 8:03am

Whorf's famous dictum that speakers of different languages are "not equivalent as observers".   Nor are they as LISTENERS . . .

And how vital is indigenous language expression -- especially in observing, sensing, feeling and healing?

 With the 30th anniversary of the founding of the World Forum for Acoustic Ecology, the WFAE holds its first international conference on acoustic ecology in the USA.

This gathering will consider how we can collectively and differently learn from the past, to imagine new futures based on a diversity of listening practices and acoustic relationships in our worlds.

Critical directions in sound studies have addressed the legacies of the World Soundscape Project and acoustic ecology directly: this is a chance, as a community, to reflect, look back, and re-imagine the core values of the sonic / vibro-acoustic field, its central approaches, methods, and key theorists of past, present, and future. With acoustic ecology and soundscape studies at the core -- there's much to give and receive -- at this moment of pivotal sensorium-environmental awakening. 

Among the appeals of this conference are Soundscape Field Station artist resident and the related programming of the Soundscape Fest -- to immerse participants in a Soundwalk and Sound Art Installation --especially crafted to share a vision & soundscape of community engagement.

Located near the Canaveral National Seashore, in the unceded lands of the Seminole people, Atlantic Center for the Arts offers access to the beauty of this wild coastal habitat. Mangroves, manatees, and Spanish moss are here in one of the region’s last remaining areas protected from development.

My proposed talk is:

Homo Musicus: Embracing Visceral Sonic Engagement in Sacred Space

This is in the context of exploring how we can emulate/mimic/simulate or reproduce the healing benefits of 'Nature's Soundscape' in a way to naturally make us feel closer to a sense of being in nature.

For example, this ancient architectural masterpiece symbolizes the beginnings of sacred, ceremonial (spatial atmospherics) related to the fascinating and mysterious influence of field energy  ~~  as it relates to felt infratones, sounds and light immersion.

How might AI/deep-learning aid us to process and ultimately engage with spatial models allowing for a more accurate analysis of surfaces, volumes, internal structures, and density of materials of ancient instruments?
How might these methods enable us to explore the ancient sonic interactions/spatial configurations of sacred sanctuaries, theatres and even bathhouses, in their respective landscapes and environment (in order to experientially explore the ritual use of auralisation/vibro-acoustics, as well as experimental interpretation via 4D acoustic models to accomplish non-invasive recreation of ceremonials)?

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