Podcasts about Namazu

DJ Jesse Luscious dips into 70's punk classics from Ramones, Testors, The Avengers, The Pagans and spins new tunes from Hans Gruber and the Die Hards, Hex Code, Damian O'Neill/The Undertones, Namazu, The Halophones, Sexfaces, Vicky Vicious and the Stains, Spitfires, Infamous Stiffs, & Vida Vella. You'll also hear classic songs from NoMeansNo, War On Women, Black Flag, The Cramps, Kicked In The Teeth, Voodoo Glow Skulls, Tekulvi, Butthole Surfers, Superyob, Darkbuster, Arpioni, The Interrupters, Lenny Lashley's Gang Of One, Nick Lowe, The Mutants, Rancid, and The Undertones, & the Luscious Listener's Choice! Hex Code- Walk Into It Nomeansno- Oh No! Bruno! Ramones- Judy Is A Punk Ramones- Now I Wanna Sniff Some Glue Avengers- Teenage Rebel Testors- Voltaire (1976) Pagans- Little Black Egg Sexfaces- Feed Machine Kicked In The Teeth- Look What The Cat Dragged In Tekulvi- Distance And Focus Butthole Surfers- Graveyard Super Yob- Bang To Rights Lenny Lashley's Gang Of One- Revolution Darkbuster- Rudy Rancid- Brixton Spitfires- Where Did We Go Wrong Arpioni- Grazie A Voi Hans Gruber And The Die Hards- We're All Gonna Die Voodoo Glow Skulls- Generation Genocide Interrupters- Jailbird Nick Lowe- Heart Of The City Damian O'Neill- Beware the B-Man Undertones- My Perfect Cousin Halophones- Less Ain't More Cramps- Primitive Vicky Vicious And The Stains- Pretty Bitch Mutants- Twisted Thing Namazu- Ice 800 Black Flag- Loose Nut Infamous Stiffs- Evel Mann War On Women- The Chalice And The Blade Vida Vella- No Relief In Atlantis

Tout un Art ! est une série inédite à l'occasion de la Journée mondiale de la Baleine, le 19 février.La baleine est tellement populaire aujourd'hui qu'il est difficile d'imaginer qu'elle était perçue comme un monstre perfide au Moyen-Âge. La peur de l'inconnu, vous voyez le truc ? La réputation des baleines au Moyen-Âge a encore été aggravée par l'un des plus célèbres récits de voyage médiéval : Le Voyage de Saint-Brendan. Saint-Brendan, c'est un peu le commandant Cousteau de Moyen-Âge, une auréole à la place du bonnet rouge !Saint moine du christianisme irlandais, Brendan parcourt l'Atlantique à la recherche… du paradis terrestre ! L'un des moments les plus fous de son périple se situe près des îles Fortunées, sur les côtes atlantiques de l'Afrique. Alors qu'il célèbre la messe de Pâques sur une île, la terre se met à trembler. L'île est en fait une baleine !Les légendes japonaises imaginaient déjà qu'un animal était responsable des séismes fréquents sur les îles nippones : un dragon d'abord, puis à partir de l'ère Edo un poisson-chat nommé Namazu.Quant à l'île-baleine qui se réveille, on la retrouve dans un célèbre conte oriental : Sinbad le marin des Mille et une nuits. Il s'agit d'un ensemble  de contes qu'aurait inventés Shéhérazade pour sauver sa vie et échapper à son serial-killer de mari, Shariar. Ce roi légendaire des Perses tuait toutes ses épouses après avoir passé la nuit avec elles. Chaque soir, Shéhérazade, finaude, lui raconte une histoire qui se termine sur un cliffhanger. Le suspens est insoutenable mais Shariar doit attendre le soir suivant pour connaître la suite.Dans l'un de ces contes, Sinbad, un marchand de Bagdad, prend la mer à la recherche d'épices. Dans l'un de ses 7 voyages, il aborde avec ses compagnons sur une île paradisiaque qu'ils explorent toute la journée avant d'allumer un feu à la nuit tombée… Ce feu réveille l'île-baleine qui devient folle de rage.Les marins courent pour rejoindre leur bateau et beaucoup meurent noyés. Sinbad, lui, s'en sort en s'accrochant à un bout de bois, comme un certain Ismaël, le héros du roman Moby Dick mais ça, c'est une autre histoire …______  La série "Tout un Art !" 12x10') raconte le Vivant dans la (pop) culture, l'Art et l'Histoire, au-delà des aspects biologiques et comportementaux. Et aussi de connecter deux mondes qui se nourrissent l'un l'autre. _______Cette émission a été conçue et préparée par deux grands curieux. Sylvia Roustant est professeure, agrégée de lettres et créatrice du site Le secret derrière le tableau.Marc Mortelmans est créateur de podcasts, conférencier et auteur d'En finir avec les idées fausses sur le monde Vivant (Éditions de l'atelier 2024) et de Nomen, l'origine des noms des espèces (Ulmer 2024).contact@baleinesousgravillon.com.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Esta historia pertenece a la mitología japonesa y trata del Namazu, un bagre gigantesco que vivía en las profundidades del mar y a quien se responsabilizaba por los terremotos que sacudían a Japón.Bienvenidos a Había una vez, un podcast de cuentos para niños y niñas donde podrás escuchar cuentos cortos y divertidos. Nuestros cuentos infantiles están hechos para educar, entretener y divertir a los peques, si amas los cuentos para dormir, llegaste el lugar indicado. Hosted on Acast. See acast.com/privacy for more information.

As a regular watcher of racing from all parts of Australia I've heard Tony Wode calling the Townsville meetings many times. I've been a fan since I first heard his clear, concise race calls. At last we get around to profiling the career of a man who recently called his 40th Townsville Cup. How he got to where he is today makes for a great story and an even better podcast. Tony begins by talking about his occasional trips away from Townsville when smaller race clubs are stuck for a race caller. He reveals that he also has two brothers who've made their marks as broadcasters. Tony says he has more time to study the race form since quitting his local government job a few years ago. He tends to dabble on the punt more than he did through the busiest years. He reflects on childhood days at Southport as one of nine children. He talks of the guidance and inspiration he received from his father Phil. He talks of his dad's talents as a greyhound trainer.   Tony talks of his entry into journalism with the Townsville Bulletin. He covered many subjects for the broadsheet which was rated at the time as Australia's leading regional daily.   At this stage of his life Tony's interest in all three racing codes had become obsessive. He talks of his love of the leading racing publications of the era.   His race calling life began when appointed understudy to local greyhound commentator Richard Cowell. He tried the gallops for the first time at Ingham.   Tony recalls he was just 18 years old when invited to fill in for the  regular Cluden Park caller. He says nerves got the better of him.    He reflects on the creation of the amazing Townsville harness racing venue by Queensland Racing Minister Russ Hinze. Sadly the concept died a natural death.   Tony looks back on his overseas stint in the mid 1980's. During the trip he formed a deep admiration for a special racehorse.   The 62 year old talks of his return to Australia and the beginning of a relationship with his adored wife Shelley.   Tony talks of his recent coverage of the Townsville Cup- his 40th call of the famous NQ event.   He pays tribute to son Declan, daughter Gabrielle and two grandsons.    Like most north Queensland racing enthusiasts Tony acknowledges the deeds of three time Cup winner Party King.   He talks of two time Townsville Cup winner Namazu. The gelding's attempt to make it three wins this year went terribly wrong.   Tony pays homage to the best trainers and jockeys of his era.   He pays tribute to his all time favourite, the pony sized Tyzone.   The veteran broadcaster says he's had opportunities to work in other places, but was always reluctant to leave the famous coastal city.   Tony expresses his admiration for the work of Sky Thoroughbred Central north Queensland correspondent Michael Charge, himself a recent podcast guest.    It was a delight to catch up with a very talented north Queensland media man.

This episode we start our dive into the reign of Kashikiya Hime, aka Suiko Tenno.  This is going to be a brief overview of her reign so that we can dive more deeply into the individual subjects that come up. For more, check out our podcast blogpost at https://sengokudaimyo.com/podcast/episode-93 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 93: Time to Shake Things Up. Before we get started, a couple of shout-outs.  First to Anticia, for donating on Ko-Fi.com.  Thanks for your kind words and supporting our operations, including our website and this podcast.  And then to Lowbrow78 and to Parp for supporting us on Patreon.  If you want to join them, we have information on our website as well as at the end of every episode. Here we are, at the cusp of the 7th century.  With the death of Hasebe no Ohokimi, aka Sushun Tennou, we are about to jump into one of the most significant reigns to date: that of Kashikiya Hime, aka Suiko Tennou.  I put this right up there with the reign of Waketakiru, aka Yuryaku Tennou, and like that period, we'll need several episodes to get through everything going on here.  In fact, I've been thinking about just how to do this, and I think before we get into it we need to cover the broad strokes and talk about a few things, and then I want to delve into some specifics over the coming episodes. This means we'll cover a lot this episode at a high level.  To start with, we'll talk about the power players of this period, and just who was really running the show—we have three people to pick from based on various interpretations of this era.  And that will have us talking about Shotoku Taishi, and of course Shotoku Taishi's impact vis-à-vis Buddhism, as well as the growth of Buddhism in general.  There is also the general Sinification of the court, which means that we also get to talk about clothing styles and the appearance of a new “17 Article Constitution” as well as the new 12 rank system for court officers.  And then there is everything happening on the mainland.  In 589 the Sui dynasty came to power, followed in 618 by the Tang.  And of course we still have Baekje and Silla going at it, and Yamato just cannot leave well enough alone when it comes to Nimna.  All of that will get covered in even more detail, later.  But don't worry, it isn't all going to be generalities and vague preparations.  We also have a little tidbit for you at the end about earthquakes and the deities that cause them, because *that* is something we can easily cover here. And one more thing:  This is the last reign that we have any documentation for in the Kojiki and the Sendai Kuji Hongi, even though the Kojiki is largely just genealogical information.  That means we are getting close to the end of the “Chronicles”.  We still have a lot of material to get through, though, including assassinations, coups, military expeditions, and even a full blown civil war.  All that to come later, after we get through this period. So let's set the stage, shall we?  This reign is coming at a very tumultuous time.  We've been through several sovereigns or would-be sovereigns in a very short span, starting with Tachibana no Toyohi and then Hasebe, aka Yomei Tennou and Sushun Tennou, not to mention the failed attempt to take the throne early by Hasetsukabe Anahobe and Mononobe no Moriya.  Even Hasebe was killed by his own Oho-omi, Soga no Umako—or at least at Umako's order, if not directly by his own hand.  It's become clear you didn't want to be crossing Umako, and he was the most powerful minister at court at this point.  There wasn't a cabal of Oho-omi and Oho-muraji, there was simply Umako at the top.  However, his rule was not absolute.  He still needed the buy-in of the other ministers, the heads of their own families, as well as the nominal approval of the sovereign and the royal family.  I'm honestly surprised nobody tried to put a dagger in his back, but then again anyone who might try had so far ended up with their successors caught up in probate, and it didn't matter how powerful a position they supposedly occupied. Still, Umako couldn't take the throne himself.  Not even he could get away with that looking like anything more than a power grab.  He had already positioned Soga-descended members of the royal family so that they were in the line of succession, something that really looks like it went against tradition—though how old that tradition was is more than a little sus, as we've mentioned before.  And so, with the death of Hasebe, someone was needed on the throne, but who was available?  The political violence had even extended to some of the heirs, like Prince Hikobito, and it is unclear how many princes were even left at this point. The Chronicles tell us that the ministers therefore turned to Kashikiya Hime, and begged her to take the throne. As a reminder, Kashikiya Hime was the form queen—wife to Nunakura Futodamashiki, aka Bidatsu Tennou.  Beyond that, she was a granddaughter of Soga no Iname, making Soga no Umako her maternal uncle.  Her father was Ame Kunioshi Hiraki Hiro Niha, aka Kimmei Tennou.  During the period following Ame Kunioshi's death, she had attempted to put her finger on the scales of the power struggles that occurred, and she seemed to be a person that people listened to and took seriously in her role, though male heirs were at least initially considered before her. And so, when she was first asked to take the throne after Hasebe, she refused, but eventually the court ministers able to convince her.  Upon coming to power she  almost immediately made Prince Umayado the Heir Apparent, or Taishi—the Crown Prince.  Then we are told that, along with Prince Umayado, aka Shotoku Taishi, she and Soga no Umako, the Oho-omi, ruled the government.  And I hope I don't need to point out how exceedingly strange this wording is.  Technically it isn't unprecedented—in previous reigns we've certainly seen the Crown Prince taking an active role in the government, and the Oho-omi and the Oho-muraji, together, were frequently in positions to advise, counsel, and downright run the government, often skipping over the sovereign altogether.  So nothing here is so far outside the scope, but it is still odd that it was so blatantly stated, and there is good reason to believe that we don't have the whole story. Theories on Kashikiya Hime and her reign vary widely.  Michael Como claims that she was likely a consensus candidate—she was put forward because she was not overly objectionable to any of the other parties involved.  I suspect she had links to both sides of the dispute, so this make some sense, but I also wonder if it doesn't remove her own agency. Speaking of which, there is the possibility that she had very little agency in any of this.  There is the possibility that she was no more than a puppet—a relatively docile sovereign that Soga no Umako, or even Prince Umayado, could control, allowing them to work in the background.  Indeed, one of the things we'll see during this period is the increasing ritualization of the role of the sovereign, to the point that the Oho-omi was a powerful intermediary, receiving missives to the throne and relaying them onward, with ample opportunity to affect just how they were heard.  Often the Chroniclers found ways to deny the true agency of women on the throne, noting them less as sovereigns, and more as regents—often merely keeping the seat warm until an appropriate male heir presented himself and came of age.  That may have been the case at times, but I have a hard time seeing that in Kashikiya Hime.  Maybe when she first married Nunakura that may have been her outlook, but since then she'd seen some things.  She knew how the game worked, and we've seen her actively mentioned supporting one candidate or another, and not always agreeing with Soga no Umako's decisions.  It is possible that this was added later to support her independence in the Chronicles, but I think that the easier answer is that Kashikiya Hime was her own person, and as ruler she was the authority that held sway. Still, there are so many questions, and a lot of those revolve around her choice of successor, Prince Umayado, the Prince of the Horse Stable Door, aka Shotoku Taishi. Shotoku Taishi is one of those legendary figures, somewhere between Yamato Takeru and Abe no Seimei.  So many stories have grown up around this sage prince that it is truly hard to pry fact from fiction, and many wonder if he ever existed at all.  Others suggest that he's an amalgamation of several different historical and legendary figures.  Even by the time the Chronicles were being written his legends had reached cult like status, with numerous Buddhist temples claiming some connection to this founding sage of Japanese Buddhism, however tenuous.  It doesn't stop there, however.   Shotoku Taishi is said to have written one of the earliest national histories, and there are claims that this early history is none other than the Kūjiki, the text that we have in the Sendai Kūji Hongi. Some have speculated that this why that work and the Kojiki both stop here, with the reign of Kashikiya Hime. Of course, in the case of the Kojiki, the real narrative stopped some time ago, with the later reigns containing little more than genealogical lists.  The Sendai Kūji Hongi is a little more interesting. It Is clear that the authors of the Nihon Shoki and the Sendai Kūji Hongi were working from some of the same texts, with possibly one referencing the other, but at the same time there are small differences that suggest different authors with different purposes.  The Nihon Shoki certainly has more details on the official histories, while the Sendai Kūji Hongi contains sections on the genealogical information of the Mononobe and Owari families as well as information on various provincial governors. Personally, I find it highly questionable that the Sendai Kūji Hongi might be written by Shotoku Taishi, but I concede that it, along with the Nihon Shoki, might have both borrowed from an earlier work. Nonetheless, it does stop, and only the Nihon Shoki covers the next couple centuries, though in even greater detail.  We start to see more granular details about many items, though there are still questions. Given all of the swirl around Shotoku Taishi, however, I've had to think about just what tack to take with him, and for now we'll take a look at what the official narrative has to say, and then perhaps add a bit more context.  I'll frequently be referring to him here as Prince Umayado, and we'll focus on him primarily as a prince and a political figure. Given that, there is the question of whether or not Prince Umayado was actually running things. I'm not aware of any tradition that claims he was more than the Crown Prince, and as such a powerful advisor to the throne.  Umako seems more likely as a power behind the throne, but there are certainly clues that Umayado was up there—and of course, in later years, Shotoku Taishi's own shine meant that people were more likely than not to attribute just about anything good from this period to him and his auspices, even if it was just because he suggested it. But that brings us to the question:  Just what happened during this reign that was worth anyone taking credit for?  What happened that we are spending our time talking about it? To start with, the reign was just long.  Kashikiya Hime was taking the throne around 593 and she would reign up until her death in 628.  That was over thirty years, which is a good run for any sovereign, for reasons we've covered before, such as the fact that they are usually coming to the throne when they are older, etc.  Remember, she was probably born in the 530s, possibly 538, and so she took the throne in her late 50s or early 60s and held it until she was about 90 years old. During this period, there was a lot of change going on outside the archipelago as well as inside.  In 589, the Sui dynasty had come to power, uniting the Yellow River and Yangtze River basins.  Their reign officially ended about 618, though that wasn't necessarily a given at the time, and they were certainly a powerhouse as they united the northern and southern dynasties.  The Sui status fell in 618 only because it was replaced by a new dynasty: The Tang dynasty.  This was a dynasty founded by Li Yuan, a cousin of the Sui emperors, with a multi-ethnic background including Han and non-Han parentage, who came from a traditionally Xianbei—or by that time Tuoba—region.  Tang dynasty culture would come to influence all of the cultures on the peninsula and the archipelago, truly becoming the “Middle Country” that various states looked to as a cultural touchstone.  Tang culture spread throughout East Asia. The states on the Korean Peninsula had been absorbing the culture of the riverine courts for some time—honestly ever since the time of the Han commanderies.  As Buddhism percolated through the elite societies of Baekje, Silla, and now Yamato, it was more than just religious transmission.  Sutras had been translated into Sinic characters, and Buddhist learning often went hand-in-hand with texts on a variety of other issues, as there was no formal line drawn between science, philosophy, and religion. And so, as Yamato embraced Buddhism, there were other avenues of studies that also came over the straits, often attributed to the descendants of the Han dynasty, but largely filtered through a Baekje or even Silla lens.  We see this manifest in myriad ways, from the various physical objects left behind in tombs, etc., as well as the clothing, of which we have several indications that the islands were adopting continental practice.  However, we also have passages about the adoption of certain knowledge or technology, as well: everything from philosophy and calendar making to geomancy and even magic and the art of invisibility. And then we see another important development this reign: The first constitution in Japan.  Known as the 17-Article Constitution, it is attributed to none other than Shotoku Taishi himself, making him, in a way, the father of the country.  Granted, the constitution was light on actual details, and more like a collection of moral maxims.  This included things like anti-corruption tenets, suggesting that maybe you shouldn't do things in government just because someone paid or flattered you.  Still, these were not necessarily formative statements.  After all, the Yamato state had customs and traditions, and so these were seen as more guiding principles than the kind of generative formulae that you might find in something like the US Constitution, where they were attempting to deliberately define the legal framework for a brand new nation. Nonetheless, it is seen as the start of a new era for Yamato.  This law may have been loosely worded, but it was, eventually, written down.  It also was quickly followed by a new ranking system.  The kabane system of ranking didn't go away—not even the traditional individual honorifics, like Sukune, although that would have a bit of gap in the record.  The Kabane system remained in use to rank the various families, but then a twelve cap system was instituted to rank individual courtiers.  This was a first.  While certain courtiers certainly had privileges—for example, the heads of certain families—the ranking system, which came to be used, in one form or another, throughout east Asia, was a distinctly continental tradition.  On the face of it, this was about setting up a meritocracy.  Those who were most deserving would stand at the top, overseeing those below them.  Of course in Yamato, “most deserving” usually meant those who came from the right families, so we'll see how that evolves over time. We also see some changes in the way that Yamato was coming to view itself as the center versus the periphery.  Lands that were once sovereign units unto themselves, had gone from simply acknowledging the nominal hegemony of Yamato to finding their subservient position being written into the law.  We see an idea that individual governors—the lords of those regions now part of the larger Yamato state—should not levy their own taxes, but that there should be a single tax on the people.  This is a critical concept, and it would be interesting to see just how well it was obeyed; certainly in later periods it was often the prerogative of local governors to adjust the taxes to take into account their, ahem, overhead.  Nominally this was to cover the costs of local administration, but in many periods it was assessed by those in charge, locally, to help cover their personal costs, and was often set based on what the local administrators thought that they could get away with, as all of the excess went to line their own pockets.  This would make provincial governorships rather lucrative, though being that far from the capital and the seat of power would have its drawbacks.  This is a not uncommon model for tax collecting in different societies, where tax collectors paid themselves out of the taxes they collected. At this point in time, however, the central government was clearly trying to get a handle on this practice, and it makes sense as they were trying to assert more direct sovereignty over the land and the people.  So it would not do to have the people paying taxes to two lords, since there could be only one ultimate sovereign, and they were seated on the throne in Yamato.  This goes along with a continual thread of centralization of state control, another concept that they were likely pulling from the way that continental states were organized. And all of this came along with a healthy dose of Buddhism.  This reign we see the completion of Asukadera, one of the key temples to be set up in this time.  We also get indications of the start of Shitennouji, in modern Ohosaka, the ancient temple of Houryuji, which even today still boasts the oldest wooden building in the world, and the temple of Koryuji, in the Uzumasa district of modern Kyoto.  In addition to this we are told that the elites went on something of a temple-building craze. This temple building craze—and particularly the building of state sponsored temples—would be a new sign of elite status, but it would also pull resources away from previous traditional efforts.  Most notably, the labor going to build, staff, and maintain Buddhist temples would pull people away from the building and maintaining of monumental tombs.  This doesn't mean that they would go away, but the tombs certainly changed, and we would see them become smaller, less prominent, and, ultimately, they would be just about phased out altogether, except for a few particularly prominent examples. In addition to the growing influence of the Buddhist religion, relations with the mainland were also notable.  There are several mentions of different types of “tribute” from Baekje, Silla, Goguryeo, and even various parts of the archipelago. Of course, once more we kick off the regular attempts to “free” Nimna from Silla rule.  However, it should be noted that there isn't a lot of corroborating evidence for any of Yamato's peninsular activities.  Perhaps this is due to the fact that they were successful, and that hardly appealed to those compiling works like the Samguk Sagi, who were, after all, writing to help prop up the Silla kingdom  and their royal family just as the Japanese Chroniclers were doing for theirs.  There is also the possibility that this was something that didn't happen.  Or at least not as it is described.  It is quite possible that the impact of any attempts to chastise Silla were overblown, or even anachronistic.  Long story short, we don't see any lasting gains by Yamato this period, with many of the attempted military excursions being halted or called off for a number of reasons. We also see Yamato racing farther afield.  Although they call them the Great Tang, based on the timing it seems that Yamato made direct contact with the Sui dynasty some time after the latter had one again unified the area of eastern China.  This contact was significant in a time when the Court, in general, was turning to more Sinified continental practices.  It is also significant that Yamato approached these contacts with a certain pride, assuming an equal status in their communications.  This is borne out in the Chinese histories as well. All in all, there is a lot going on here, so we are going to deep dive into many of these topics. That said, there is one thing that I'll cover in this episode as I'm not sure it really fits well into anything else, but it is a fun diversion.  It happened in the summer of 599, about six years into Kashikiya Hime's reign.  Specifically it was the 27th day of the 4th lunar month when the peace of the realm was disturbed by a tremendous earthquake that we are told “destroyed all the houses”. Now Japan is no stranger to earthquakes.  They sit on the Pacific Rim's “Ring of Fire”, and volcanic and geologic activity is largely responsible for the islands' shape and mountainous terrain.  Not only that, but many of the volcanos across the island are still active, even today.  One stat I read suggested that 10% of the world's active volcanoes are in Japan.  We talked about two eruptions that we know about from the early 6th century back in Episode XXX, but still, those are rare enough.  There has been roughly only one significant eruption every hundred years or so, that we know of.  Meanwhile, Japan experiences about 1500 earthquakes each year.  Most of them are probably not even noticed by anyone not looking at a seismograph, of course.  Over the past decade there has been more than one earthquake each year at magnitude 7 or higher, but these are often in particular places.  Quick digression here—but if you hear about an earthquake in Japan, the numbers that they use to calculate the size are often different from what you might find in the US or other countries.  In the US we usually talk about the Richter scale, developed in 1935 by Charles Richter.  It measures the magnitude in a logarithmic scale, meaning that a category 7.0 earthquake is actually 10 times as powerful as a category 6.0.  Likewise a category 8.0 is ten times that of a 7.0, and one hundred times more powerful than a 6.0.  However, this only really provides the local magnitude, and it doesn't tell you other things, such as the type of force—a sharp crack versus rolling waves, for example—or even the duration.  In Japan, there are a few different ways that the Japanese Meterological Agency classifies earthquakes, and one of those is the Seismic Intensity scale, also known as the Shindo scale. The Shindo scale is more concerned with the effects of the earthquake than simply the magnitude, and while there are 10 different classifications, it only goes up to 7, as levels 5 and 6 are broken up into “Weak” and “Strong” intensities.  This can lead to some misunderstanding when looking at a report regarding Japanese earthquakes, as 7 is the highest they go, but they aren't measuring things the same way. However you measure it, there have been significant earthquakes, with a magnitude of 7.0 or higher, or with loss of life and property, over once a year, on average.  The damage and effects are often somewhat localized, but with modern media it is easy to learn about these earthquakes, which can certainly make it seem like they are happening all the time.  On the other hand, back in ancient times, news would take time to travel.  Still, it is remarkable to me that we really haven't seen anything in the Chronicles on major earthquakes up to this point, similar to how it is strange that we haven't really heard about any major volcanos.  There was an earthquake back in the reign of Woasatsuma no Wakugo, aka Ingyou Tennou, and we mentioned it in Episode 56.  It damaged the temporary burial of the previous sovereign, which is why it was considered of note, but otherwise it was largely just a passing mention to a natural phenomenon.  It is possible that we didn't hear about them because the Nara Basin just didn't experience anything that sizeable, or if there was, it just didn't make it into the records.  Meanwhile, the smaller quakes may have been no less common than heavy rains, and equally predictible. Compare that to later in the Nihon Shoki, where the 7th century would see at least 19 of 22 mentions of the word “earthquake”.  While it is possible that was just a particularly active century, I tend to suspect that it meant that from this point on we probably are getting better records, and thus we will get details that might not have otherwise survived if we were just relying on the historical highlights. In this case, it sounds as if the earthquake was particularly destructive, perhaps a level 6 or higher on the Shindo intensity scale.  And, of course, it impacted the Yamato elites.  We aren't told of any deaths, but it was still a traumatic event and the court took immediate action.  No, they didn't issue emergency relief funds, and they didn't provide labor to rebuild all the houses—or at least not that is mentioned.  No, the Court had something more important it needed to do:  and so orders were given to sacrifice to the “god of earthquakes.” This does make some sense.  After all, a large part of the sovereign's portfolio was in regards to the spiritual realm.  Sure, there was the administration of the state, but just about anyone could provide funding or even people to help with physical tasks.  The role of the sovereign, however, was often as the intermediary between Heaven and Earth; between the kami and human beings.   And so it was completely within Kashikiya Hime's responsibilities to try and placate the spirits that had caused this disaster and to prevent future earthquakes. Now the name of the god of earthquakes is not exactly given.  It is sometimes read as “Nawi” or “Nai” no kami, but even then it is just referencing the shaking land, or “Na”.  There are traditions that connect this kami to one that we've heard about before, Takemikazuchi. Takemikazuchi's name lets us know that he is a thunder deity, and it is not difficult to make a connection between the rolling thunder in the sky and the rolling waves of an earthquake.  Takemikazuchi's previous appearance in the Nihon Shoki was back in the Age of the Gods, when Takemikazuchi and Futsunushi came down to help pacify the land, and particularly the land of Izumo.  Today, Takemikazuchi is worshipped at Kashima Jingu, in the old land of Hitachi, and he is, in fact connected with earthquakes. There is an old belief that earthquakes were actually caused by giant catfish, or Namazu—and once again there is that “Na” component possibly making an appearance.  These old stories said that when the Namazu thrashed about, underground, the land would shake.  When this happened, Takemikazuchi found the kaname ishi, a stone at the top of the catfish's head that poked out above ground.  He struck this stone so hard that there is a divot in the rock even up to this day.  That stone sits on the grounds of Kashima shrine.  It may not look like much, but according to the shrine they tried to dig it out and found that it wasn't just a rock, but it was part of a much larger stone that continued deep into the earth.  Today this stone is a focus for worship to help prevent earthquakes. Now the kaname ishi is not only found in Kashima—there is another one a short distance away at the famous Katori shrine as well, where they worship the spirit of Futsunushi.  There are also Kaname Ishi found in Ohomura Shrine, in Iga, as well as another Kashima shrine in modern Miyagi prefecture.  These are all central to eastern Honshu, possibly indicating a common thread amongst all of them. I would note that I don't know when the tradition of the kaname ishi stone, or that story about Takemikazuchi, first came about, or if that is even the original telling of the story.  We do have an entry in the Shoku Nihongi, the successor history to the Nihon Shoki, where there were shrines to the—or an—“earthquake god” in all seven of the home provinces.  I suspect that local deities were often consulted, and different local traditions may have held some shrines, kami, and rituals as more effective than others. Regardless, I hope it has been an interesting diversion.  I know it was something I enjoyed, having recently visited Kashima and Katori shrines and seen their Kaname Ishi in person—I'll have photos up on the website.  Do you know of other earthquake related rituals or shrines?  Please hit me up online, either on Twitter—or whatever the platform is calling itself today---Facebook, or via email, at the.sengokudaimyo@gmail.com.  I'd love to hear if you know of more shrines that specialize in subduing earthquakes. Next time we'll want to start some of our deep dives.  By then I hope to have done a bit more research on some of the various topics so that we can really tie this all together. Until then, thank you for listening and for all of your support.  If you like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan. 

Mokuhanga is a personal journey. The ups and downs of the artist are many; observing the emotions and layers of an artist simply through social media and chat rooms is complicated. Seeing a person's work is a window to who they are or want to be, their fears and desires; all these things make the mokuhanga artist so interesting to me.   On this episode of the Unfinished Print, I speak with mokuhanga printmaker and artist Ben Selby. Ben's work contains subtle emotion, powerful narratives, and unique perspectives. In my mokuhanga conversation with Ben, he speaks about his, at times, very personal experiences, how he grew up and his environment. We discuss Ben's reflection on the self in his work, his MFA thesis, the power of colour, the idea of tradition in mokuhanga, working with Richard Steiner and Terry McKenna, and alligator gar.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Benjamin Selby - website, Instagram West Texas A&M University - a public university located in Canyon, Texas, established in 1910. Georgia O'Keefe (1887-1986) was head of their art department from 1916-1918. More info can be found here.  Richard Steiner - is a mokuhanga printmaker who has been making prints for over fifty years. He has lived and worked in Kyōto, Japan since 1980. He is currently still making work. His interview with The Unfinished Print can be found, here.  Peace, peace (1990)  Terry McKenna - is a mokuhanga printmaker based in Karuizawa, Nagano, Japan. He studied under Kyōto-based mokuhanga artist Richard Steiner. Terry also runs his mokuhanga school in Karuizawa. His interview with The Unfinished Print can be found here. Richard Steiner's interview with The Unfinished Print can be found here.  Kyōto International Mokuhanga School - is a mokuhanga school owned and operated by long-term mokuhanga printmaker and artist Richard Steiner. Students will learn mokuhanga from Richard in Kyoto. For more information regarding his school and price, here. Ōsaka Station - is a transfer hub located in the Japanese city of Ōsaka, Japan. It serves over 2 million passengers daily. It contains shopping and restaurants and is a labyrinth unto itself. It opened in 1874. More information can be found here.  serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.  Arizona State University - a public research university located in Tempe, Arizona, near Phoenix. It was founded as Territorial Normal School in 1885 and has undergone several name changes over the years, coming to its current iteration in 1958. More info can be found here.  Kintarō - is a Japanese fairy tale first published in English in 1908 by Y.T. Ozeki in the book Japanese Fairy Tales, published by the A.L. Burt Company. The story is about Kintarō, a brave boy whose exploits as a brave warrior are passed down throughout Japanese history. His image was widespread in ukiyo-e, as well as in sculpture, candy, and the like. He has been in modern video games, manga, and anime.  Kintarō Fighting an Eagle - Edo Period (1603-1898) by Kitagawa Tuskimaro (1794-1836). Tsukimaro was a little-known ukiyo-e print artist but was most successful under his teacher Kitagawa Utamaro (1753-1806).  International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.   Printed books in the Edo Period (1603-1868) - were books published in woodblock on low-quality paper. Yet, these books contained many exciting and beautiful designs and techniques. Jacob Bautista - is an artist and teacher based in Amarillo, Texas, USA. His work is expressed through etching and stone lithography; more information about Jacob and his work is here.   Bitten (2018) photoshop Alligator gar - is one of North America's largest freshwater fish and is considered a living fossil in that its origins go back as far as 100 million years ago. These particular gars are primarily found in the Southern United States. Spillway - a structure which controls the amount of water going into a dam or levee.  Gyotaku - are Japanese fish prints. These prints are created in various formats, such as inking the fish after its caught using washi and paste(直接法), the indirect method where washi is pasted to the fish, which is then inked on the fish (間接法), and the transfer method, (転写法), where the image is pressed onto washi which is then transferred to wood or another type of surface and pressed onto that. For more information there's a great video here, about gyotaku printmaker Bruce Koike from Oregon, who has been making these prints since the 1980's.  shin hanga - is a style of Japanese woodblock printmaking which began during the end of the ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few.  Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945). Sea of Shizuura, Namazu (1938) 15.4"x10.2" Tsuchiya Kōitsu (1870 - 1949) - apprenticed under artist and print designer Kobayashi Kiyochika (1847-1915) and worked as a lithographer. Kōitsu then joined the Watanabe atelier in 1935. Kōitsu also collaborated with Doi Sadachi publishers, amongst others.  Kintai Bridge, ca 1930's. postcard size print Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui, is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese countryside, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Takatsudo (1931) All I Knew Growing Up by Benjamin Selby (2022) Ben's lecture at the International Mokuhanga Conference, Photochemical Mokuhanga, can be found here.  tamari (溜まり) - is the pooling of ink between the carved lines of your woodblock. Pooling is exposed when testing your carving but can be fixed by recarving the part of the block causing tamari or altering the amount of ink or water used.  cyanotype - a type of work that uses iron compounds and creates various blues when exposed to UV light. More info here.  Van Dyke Brown - is a photographic printing process named after painter Anthony van Dyck (1599-1641). The method uses various chemicals, then exposes the negative of the photograph as print to ultraviolet light. The final print is a brown colour. Very similar to cyanotype, but the chemicals create a different shade of print. More info can be found on Mark Hillier's blog, and  here. sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Artist's Nude (1984) by Sekino Jun'ichirō (1914-1988) 14.7" x 10.6" Akua - are water-based pigments used in intaglio, mokuhanga, and monotype.  Kitaro Japanese Paper Company -  founded in 1872, Kitaro focuses on making high quality Japanese washi in Fukui Prefecture.  More info, here.  Alone by Benjamin Selby (2021) 10.5" x 14.5" murasaki baren - is a mid-range mokuhanga baren. “murasaki” meaning “purple” , come in two types of weight (medium and heavy), and two types of sizes (10cm and 12cm). They are reasonably priced baren.  Yuki baren -  is a heavy ball bearing baren made in Japan. It is used to print large flat colours.  baren suji zuri - is a Mokuhanga technique used with the baren and by the baren to create a circular design and can be layered with various colours. Combing Her Hair (1928) 15-1/4"x 10-1/2" by Natori Shunsen (1886-1960)  sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used. © Popular Wheat Productions opening and closing musical credit - Ahmad Jamal - Pavanne (1960) from the album Happy Moods on Verve Records  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                

The hottest thing since our new intro is the Lightning this weekend! Back at HQ were the damage was done 2 weeks ago. Mugbooker's Namazu and Hellavadancer go around, we launching? yes Enjoy this listen!

Patreon backer Tobias brings you this special episode all about a giant, earthquake-causing catfish from Japanese legend!   Here's that museum exhibit I mentioned in the episode.   If you're enjoying the show, why not consider supporting it on Patreon? You'll get access to lots of new bonus content, including my other podcast, Patron Deities! Thanks to Ray Otus for our thumbnail image. The intro music is a clip from "Solve the Damn Mystery" by Jesse Spillane, used under a Creative Commons Attribution License.

In this episode of The Balcony Show we kicking down some walls and rocking hard with our feature artists Australian band Wicked Smile and their new album “Wait For The Night”! Our dude of all things awesome Madcat has our first Reverbnation song pick “Namazu” from Cellar Twins, Bo Sommer is talking about Loudwire in this week's Indie Radar, and Donna Gallucci has the new single “The Wild” from Once Around! As always we are unpacking with some fun! Other music from Another Day Dawns, As Strange As Angels, and NeverWake!#catchingrisingstars #thebalconyshowrocks #WickedSmile #wellbelisteningwillyou See acast.com/privacy for privacy and opt-out information.

This week, we lift our spirits (oooOOOooo) with a round-up of monsters. We explore their origins and effects on us, with examples ranging from memories of very real things in the past to a hypothesis that doesn't quite have legs (unlike griffins). Links Why we'll always be obsessed with – and afraid of – monsters (The Conversation) Why the scariest monsters look almost human (Wellcome Collection) Why We Still Need Monsters (Nautilus) Why Are So Many Monsters Hybrids? (Nautilus) A History of Monsters (Aeon) Why do we want to feel sorry for monsters that scare us? (Gizmodo) Why Frankenstein is the story that defines our fears (BBC) Neanderthals, Scandinavian trolls, and troglodytes (Norwegian American) Ōnamazu (Yokai.com) Namazu-e: Earthquake catfish prints (Pink Tentacle) Namazu (World History Encyclopedia) Giant catfish and a legacy of disaster in one of the world's most seismically active regions (Phys.org) Folklore and earthquakes: Native American oral traditions from Cascadia compared with written traditions from Japan (Geological Society, London, Special Publications via ResearchGate) Why Protoceratops almost certainly wasn't the inspiration for the griffin legend (Mark Witton) Griffin Bones (American Museum of Natural History) Andrewsarchus, "Superb Skull of a Gigantic Beast" (American Museum of Natural History) Jumbies of the West Indies (The Brown Geeks) Rare Book Library Summons Tales of World's Oldest Monsters (Smithsonian) The evolution of monsters in children's literature (Nature) A Visual History of Society's Monsters (Hyperallergic) The Nazi Werewolves Who Terrorized Allied Soldiers at the End of WWII (Smithsonian) Doin' The Mash (Tedium) The strange tale of ‘Monster Mash', the graveyard smash that will never die (NME) Contact Email the Dirt Podcast: thedirtpodcast@gmail.com ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Wildnote TeePublic Timeular

This week, we lift our spirits (oooOOOooo) with a round-up of monsters. We explore their origins and effects on us, with examples ranging from memories of very real things in the past to a hypothesis that doesn't quite have legs (unlike griffins). Links Why we'll always be obsessed with – and afraid of – monsters (The Conversation) Why the scariest monsters look almost human (Wellcome Collection) Why We Still Need Monsters (Nautilus) Why Are So Many Monsters Hybrids? (Nautilus) A History of Monsters (Aeon) Why do we want to feel sorry for monsters that scare us? (Gizmodo) Why Frankenstein is the story that defines our fears (BBC) Neanderthals, Scandinavian trolls, and troglodytes (Norwegian American) Ōnamazu (Yokai.com) Namazu-e: Earthquake catfish prints (Pink Tentacle) Namazu (World History Encyclopedia) Giant catfish and a legacy of disaster in one of the world's most seismically active regions (Phys.org) Folklore and earthquakes: Native American oral traditions from Cascadia compared with written traditions from Japan (Geological Society, London, Special Publications via ResearchGate) Why Protoceratops almost certainly wasn't the inspiration for the griffin legend (Mark Witton) Griffin Bones (American Museum of Natural History) Andrewsarchus, "Superb Skull of a Gigantic Beast" (American Museum of Natural History) Jumbies of the West Indies (The Brown Geeks) Rare Book Library Summons Tales of World's Oldest Monsters (Smithsonian) The evolution of monsters in children's literature (Nature) A Visual History of Society's Monsters (Hyperallergic) The Nazi Werewolves Who Terrorized Allied Soldiers at the End of WWII (Smithsonian) Doin' The Mash (Tedium) The strange tale of ‘Monster Mash', the graveyard smash that will never die (NME) Contact Email the Dirt Podcast: thedirtpodcast@gmail.com ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Wildnote TeePublic Timeular

Patrick and Kia decide to tell each other tales about tails. The only requirements: the stories must be open domain, about animals with tails, and preferably less well known then that chick Goldilocks and her ursine antagonists. In this episode, you'll hear The Enchanted Snake as recorded by Giambattista Basile in the Pentamerone, and the myth of Namazu, the Japanese Earthquake Fish.

Predavanja u mp3 formatu od prof. Muhidina Halilovića UG Savjet i ostala udruzenja

A new study suggests there's something massive deep under the surface of the Earth. Is it a giant earthquake causing catfish? Perhaps.

dr. Zijad Ljakić Serijal pitanja i odgovora.

dr. Zijad Ljakić Serijal pitanja i odgovora.

dr. Zijad Ljakić Serijal pitanja i odgovora.

No episódio de hoje, conversamos sobre um pequeno gênero de xilogravuras japonesas e sobre uma serial killer absolutamente horrível.

Katrina and Geoff continue their discussion of geomythology. Geoff recounts the tale of the giant catfish responsible for earthquakes in Japan and shares his own experience of the infamous 2011 earthquake. Katrina retells the story of Ngurunderi and how she stumbled upon this tsunami tale while researching how to catch a ferry to Kangaroo Island in Australia.

https://www.facebook.com/endeluskk

In our third episode of the series, we bring you three more beast tribes from the faraway lands of Stormblood: the Kojin, Ananta and Namazu. We discuss the advantages and drawbacks of beast race RP, and hear from more listeners who have made it work for them. If you've enjoyed this episode, don't forget to subscribe, share, and follow us!iTunes / Stitcher / Google Play / Spotify / Android / Twitter / Facebook / Tumblr

There was a wedding. A demon might have been summoned. Also we talk parsers, crafting, and whether all Namazu are boys.

Warning - This is a FFXIV Patch 4.3 SpoilerCast! This week, Seyrr, Chille, and Klauss discuss the Main Scenario quests and the second installment of the Return to Ivalice storyline. We all get a bit sidetracked when we start talking about the Namazu, which you could probably tell by the title. Hope you enjoy! If you would like to donate to our Extra-Life campaign and help determine the fate of Klauss's beard, please go to the following webpage: https://www.extra-life.org/index.cfm?fuseaction=donate.participant&participantID=297335 Thank you! Phoenix Down Radio on Discord: https://discordapp.com/invite/FjAw3kD

本期由Cryptape 赞助， Cryptape 是一家专注于区块链底层技术的公司。 他们从零开发的区块链底层 CITA 现已全面开源。 本期节目我们邀请到了 PingCAP CTO 黄东旭, 和他一起探讨一下关于数据库以及 NewSQL 的话题。 当然我们还好好聊了聊 Go 和 Rust，干货十足，不容错过！ 我们的邮箱是：hi@teahour.fm, 欢迎你给我们写邮件。 PingCAP Codis Apache HBase TiDB Tikv Spanner F1: A Distributed SQL Database That Scales MongoDB PostgreSQL Percona MariaDB Jepsen Namazu AWS Lambda Cargo futures-rs Elixir 硅谷 大教堂与集市 UNIX编程艺术 Code Rush 操作系统革命 硅谷传奇 乌龙派出所 Special Guests: Howard and 黄东旭.

Usual high quality show with a mixture of new releases, classics and incoherent rambling from Shaun.   Tracklisting: Dave Clarkson – Coastal Footpath, South – A Red Guide to the Coastal Quicksand of the British Isles (Linear Obsessional) – Buy Dave Jackson & Dirk Serries – Cafe Oto Improvisation (edit) – Two Duos (Astral Spirits) – Buy Watch Repair – Inlands – The Orphic Door (Self Released) – Buy James Wyness – Moho (edit) – Moho (Self Released) – Buy Max Roach – Absolutions – Members, Don’t Git Weary (Atlantic) – Buy Ripsaw Catfish – Thrash (edit) Namazu (Raw Tonk) – Buy Philipp Wachsmann & Lawrence Casserley – Golden Godwit – Garuda (Bead) – Buy Tony Conrad – Sunday, March 19th, 1978 (Part 5) (edit) – Music and the Mind of the World – Website Jeph Jerman, Giacomo Salis, Paolo Sanna – 4 – Kio Ge (Confront) – Buy Talea – #06 (edit) – Cuaderno de Prácticas 2 (Six Ensemble) – Buy Viv Corringham & Lawrence Casserley – E-yan-do-ne. Wind E – Anemoi (Unreleased) – Website

When you mix dark humour with a devious puzzle game is how Nebulous came about. Borne from a group of World of Warcraft players of all things, Nebulous is the brain child of Namazu Studios. Show host Chris ORegan chats to Namazu Studios about Nebulous, part puzzle game and part platformer. The core component of the game has the player guiding an annoying and arrogant astronaut who spends most of his time floating through space while hurling abuse at the player. http://media.blubrry.com/caneandrinse/caneandrinse.com/sausage/TSF_Episode113.mp3  

Sanshiro Hanafusa shares with us his experience of being part Japanese/part American Southerner, sheds light on the difference of the Okinawan people from the rest of Japan and tells some epic legends, including that of Namazu the catfish, sisters Tsuru and Kame and talking dust thingys called makkuro. It’s all here In the Corner Back by the Woodpile, yo!

Disaster and emergency management expert, Samantha Ridler, explores the beginning of modern seismology . The earth has, since it creation been convulsed by earthquakes.   But mankind has only relatively recently come to study them in a scientific manner.  And much of this is thanks to an Englishman called John Milne. It is perhaps surprising that a man born in Liverpool in the 1850 is considered by some as the ‘Father’ of seismology.  After all the UK experiences very few earthquakes  that are of a scale even noticeable by residents. The majority of earthquakes that the UK does experience are often out in the North Sea. However John Milne studied Geology and Mining in the UK and was sent to Japan to teach about these subject, to the Japanese that had only a few decades earlier been forced from seclusion to open up to the rest of the world by the US. Now Japan is very different to the UK in it’s Geology.  Japan is part of the Pacific ring of fire and sits on top of the junction of 4 tectonic plates pushing and grinding against each other,  which means it quite regularly experiences earthquakes of a moderate to severe nature.  However at the time nobody knew about ‘Tectonic plates’ -  the Japanese superstitiously believed the reason they experienced so many earthquakes, was that beneath Japan there was a large Catfish (or Namazu in Japanese) and this huge catfish was pinned down by a god called Kashima -  whenever the god wasn’t watching or neglected his duties this catfish would wriggle and thrash and it was this wriggling and thrashing that  caused the earth to shake. So John Milne who arrived in Japan in 1876 to teach about geology, would not have been there long before he noticed the earthquakes and decided to study them. It must have been a very exciting time to be in Japan because in that period Japan was experiencing rapid change.  The majority of men and women still wore Kimonos, there were still some Samurai wearing swords and some married Japanese women would still paint their teeth black.  There was rapid development with western railroads being built, traditional wooden housing being cleared for large masonry structures and western influences creeping into a place long seeped in tradition. In 1880 a moderate earthquake shook Yokohama – a seaport town not far from Tokyo and populated by many westerners.  And it was after this quake that John Milne called together a meeting of the Japanese Seismological Society the first such society in the world –  and as no 'science of seismology' existed at the time, consisted of a  mix of scientist, engineer and amateurs.  Their first task was to try and create a measurement device for earthquakes.  At the time the European scales for assessing earthquake size was based on damage and cracking to masonry structures, but in Japan, despite the rapid growth, there were relatively few of these  - Japanese traditional wood housing would either wobble and stay upright( with little damage), or be completely flattened providing few degrees of variation to scale earthquake size. The seismographic device created was a collaborative effort between Milne and two others, Ewing and Grey.  It used a Horizontal pendulum to detect shifts in the earth which is still a concept used in the core of many seismographs today.     Although Japan has the longest written record of Earthquakes (due to it’s temples keeping records of such events), no centralised system for monitoring existed.  If you felt an earthquake in your village, you would not know where it’s epicenter was or if people in other villages had experience the same earthquake to a greater or lesser extent than yourself. John said he had ‘Earthquakes for breakfast, lunch and supper’ in Japan, and this gave him plenty of opportunity both to refine the seismograph further to make a more mobile device to distribute to locations across Japan and to establish the world's first seismic network recording ...

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