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In this episode of Hunger for Wholeness, Ilia Delio speaks with scholar Robert Geraci about apocalyptic AI, robotics, transhumanist hope, and the religious stories embedded in technological imagination. Geraci traces how his study of robotics led him to notice strikingly religious themes in the writings of engineers and futurists: immortality, resurrection, salvation, and the future transformation of humanity.Together, Ilia and Robert explore the mid-20th-century roots of computer intelligence, the shadow of world war, and the deep eschatological hopes and fears that shaped early conversations about machines, minds, and human destiny. They consider how figures such as Hans Moravec, Ray Kurzweil, J. B. S. Haldane, Julian Huxley, Norbert Wiener, and Alan Turing reveal the religious imagination at work within technological culture.Later in the episode, the conversation turns toward technology, ecology, and responsibility. Rather than treating technology as the enemy, Ilia and Robert ask how human beings might reclaim the deeper narratives, values, and forms of belonging needed to guide technological development toward the flourishing of the whole Earth community.ABOUT ROBERT GERACIRobert M Geraci is the Knight Distinguished Chair for the Study of Religion & Culture at Knox College. His research explores religion, science and technology in the contemporary world. He is the author of Apocalyptic AI: Visions of Heaven in Robotics, Artificial Intelligence, and Virtual Reality (Oxford 2010), Virtually Sacred: Myths and Meaning in World of Warcraft and Second Life (Oxford 2014), Temples of Modernity: Nationalism, Hinduism, and Transhumanism in South Indian Science (Lexington 2018), Futures of Artificial Intelligence: Perspectives from India and the U.S. (Oxford 2022), and Futureproofing Humanity: Existential Risk and the Technomyths of Human Engineering, Artificial Intelligence, and Our Future among the Stars (self 2026). He has been a visiting researcher at Carnegie Mellon University's Robotics Institute, the Indian Institute of Science and the National Institute for Advanced Studies in Bangalore, India. His research has been supported by the US National Science Foundation, the Republic of Korea National Research Foundation, the American Academy of Religion and two Fulbright-Nehru research awards. He enjoys kayaking, hiking, videogames, and Dungeons & Dragons but doesn't really have time for any of it. Join us for the Center's 10th Anniversary Conference, November 9–11 in Villanova, Pennsylvania, with a virtual option available. In a time of deep political, social, ecological, and spiritual division, this gathering explores how love can become a compass for transformation. Learn more and register at christogenesis.org/conference. We are currently in the midst of our summer fundraiser, From Fear to Hope: Change and the Perpetual Growth of Life. As the Center marks its tenth anniversary, your support sustains our conferences, webinars, publications, and emerging global learning platform. Please consider making a generous contribution at christogenesis.org/donate.Support the showA huge thank you to all of you who subscribe and support our show! Support for A Hunger for Wholeness comes from the Fetzer Institute. Fetzer supports a movement of organizations who are applying spiritual solutions to society's toughest problems. Get involved at fetzer.org.Visit the Center for Christogenesis' website at christogenesis.org/podcast to browse all Hunger for Wholeness episodes and read more from Ilia Delio. Follow us on Facebook and Instagram for episode releases and other updates.
This week, I'm honored to be joined by all four members of one of my favorite bands of the past decade, Temples. The English rock band blends influences from the '60s and '70s with a modern psychedelic sound that's made them a standout act in today's music landscape.Ahead of the release of their fifth studio album, BLISS, out June 26, we took a trip down memory lane to discuss the band's origins as a project between friends in 2012, their creative evolution over the last decade, and the journey that's brought them to this next chapter.If you enjoy this conversation, be sure to check out Temples and pre-save BLISS using the link below. Thanks so much for listening. Don't forget to follow along on Instagram and TikTok @uhadtobetherepod, and I'll catch you next time.Pre-save BLISSFollow Temples IG
Okis, Mykki Blanco, Juste Shani, Lescop, Temples et Luca de Dios : découvrez les choix de Tsugi pour Libération cette semaine.
The Creative Process in 10 minutes or less · Arts, Culture & Society
Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember? They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:03) Architecture as a Living Transformation(1:42) The Intuitive Knowledge of Living Art(2:20) Preserving the Human Core of Expression(3:14) The Medina and the Geometry of Childhood(6:35) The Social Spaces of Rooftops(8:27) The Twin Dynamic and Confrontation with 'l'autre'(10:21) Contextual Echoes & Traces of the Site(12:12) The Temples of Water(13:15) The Mosque as Pure Spatiality(15:49) Building Culture with Yves Saint Laurent & Pierre Bergé(16:57) The Wast ed-dar (وسط الدار) and the Heart of a Building(18:31) The Smells and Sounds of Home(19:44) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.”Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember?They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:04) The Intuitive Knowledge of Living Art(4:24) The Medina and the Geometry of Childhood(8:18) The Social Spaces of Rooftops(13:46) The Intuitive Knowledge of Living Art(15:31) Contextual Echoes & Traces of the Site(19:18) The Twin Dynamic and Confrontation with 'l'autre'(26:42) The Temples of Water(33:24) The Mosque as Pure Spatiality(38:01) The Crisis Period and Structural Systems(48:24) Building Culture with Yves Saint Laurent & Pierre Bergé(51:38) The Wast ed-dar (وسط الدار) and the Heart of a Building(57:02) Preserving the Human Core of Expression(1:04:29) Urban Acupuncture in the Modern City(1:08:46) The Smells and Sounds of Home(1:10:02) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Durante toda esta semana repasamos el nuevo álbum del rapero argentino, comentado por él mismo.En el programa de hoy también sonaron nuevas canciones de Pond, Temples, Meltt, Pâin Gain, Ghinzu, Modest Mouse y Arab StrapEscuchar audio
The Joyful Manifestation Show with Sugandhii Iyer Vibrational Alignment, Materialized Spirit, and the Confidence to Manifest Love Sugandhii Iyer Opens The Joyful Manifestation Show In this episode of The Joyful Manifestation Show, host Sugandhii Iyer opens by describing the program as a high-vibration space focused on wealth and soulmate love. She begins with the idea that all desired possibilities already exist in space, much like the concept explored in What the Bleep Do We Know!? According to Sugandhii, people attract specific outcomes based on their vibrational state, meaning that what someone “vibes” or aligns with determines which possibility moves toward them. Possibilities, Attraction, and the Fictitious Jane Example Sugandhii uses the example of fictitious Jane and fictitious John to explain how many possible relationship outcomes can exist at once. John might ignore Jane, call her, be only a friend, fall in love with her, propose marriage, or offer a different kind of commitment. Sugandhii explains that Jane's attraction factor will pull toward her the possibility that best matches her vibration at that moment. She emphasizes that people should first “fix” or align themselves rather than trying to fix the whole world, because their personal vibration determines what they attract. Stalking, Mislabeling, and Romantic Fear The episode briefly turns to the modern tendency to label ordinary romantic interest as stalking. Sugandhii argues that people have become too paranoid and quick to define simple gestures, such as calling across a room or trying to reconnect, as threatening. She distinguishes genuine stalking from innocent expressions of interest and says that romantic effort depends on context, tone, and how a person approaches the other. Her broader point is that fear-based thinking can block natural connection and make people hesitant to act from affection. Time, Aging, and Personal Mastery Sugandhii then discusses aging and the way people connect age to the Earth's revolution around the sun. She argues that while the Earth's orbit may record the passage of time, it does not automatically dictate the condition, vitality, or attractiveness of a person's body. She says people age differently depending on how they live, care for themselves, and relate to time. In her view, time can become a friend rather than an enemy, and some people may improve physically, emotionally, and energetically as time passes. Temples, Faith, and Protection from Loss Sugandhii shares a recent family trip to two important temples in the Indian state where she is currently staying. One temple is associated with peace and harmony, while another is connected to a deity believed to protect people from theft. She describes a village where homes traditionally do not have doors because people believe the deity prevents robbery and brings consequences to those who steal. For Sugandhii, visiting the temple and touching the deity becomes an act of faith, blessing, and energetic protection, whether listeners understand it as divine power or as an energy force. Money Manifestation and Materialized Spirit In the money manifestation section, Sugandhii draws from Money and the Law of Attraction Cards by Esther and Jerry Hicks, sharing the message, “The physical me is materialized spirit.” She explains that money and material possessions should not be viewed as separate from spirituality, because the physical world is spirit expressed in material form. She argues that handling, attracting, spending, and receiving money are all spiritual actions. In this framing, wanting abundance is not wrong or unspiritual; it is part of participating in the physical world where spirit has materialized. Wealth Vibration, Environment, and Abundance Energy Sugandhii expands on money manifestation by describing the wealthy visual environment around her current home: swimming pools, a golf course, hills, mountains, a basketball court, and a gym with glass walls overlooking the scenery. She says environments like these carry vibrations of wealth, beauty, and abundance, and those vibrations enter a person's aura. She compares this to handling money as a cashier or being surrounded by elegant objects such as chandeliers and décor. Even if someone physically parts with money, she says the vibration of money and abundance can remain attached to their energy field and influence what they attract next. Soulmate Love, Standards, and Personal Alignment In the soulmate manifestation section, Sugandhii teaches that people must set their own physical, emotional, mental, and relational standards rather than allowing others to dictate what well-being should look like. She cautions against automatically accepting advice such as leaving a partner because they failed to bring flowers or meet someone else's expectations. Instead, she says each person must decide what matters in their own love story. Once someone aligns with their true relationship desire, Sugandhii says love can flow more easily, because no love truly disappears when a person is properly aligned with it. Confidence, Affirmations, and Closing Encouragement Sugandhii closes the show with affirmations focused on confidence, soulmate love, divine support, and the belief that life is always working out. She encourages listeners to feel lovable, believe their soulmate loves them, and trust that what they want can come toward them through alignment. She also reminds listeners not to model their relationships after soap operas or outside drama, because those stories often exaggerate conflict rather than showing healthy solutions. The episode ends with Sugandhii wishing listeners a fantastic week and month, encouraging them to manifest as much as possible through the rest of June.
“Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.”Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember?They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:04) The Intuitive Knowledge of Living Art(4:24) The Medina and the Geometry of Childhood(8:18) The Social Spaces of Rooftops(13:46) The Intuitive Knowledge of Living Art(15:31) Contextual Echoes & Traces of the Site(19:18) The Twin Dynamic and Confrontation with 'l'autre'(26:42) The Temples of Water(33:24) The Mosque as Pure Spatiality(38:01) The Crisis Period and Structural Systems(48:24) Building Culture with Yves Saint Laurent & Pierre Bergé(51:38) The Wast ed-dar (وسط الدار) and the Heart of a Building(57:02) Preserving the Human Core of Expression(1:04:29) Urban Acupuncture in the Modern City(1:08:46) The Smells and Sounds of Home(1:10:02) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Praveen Mohan is an explorer of ancient megalithic sites and appeared on History Channel's Ancient Aliens TV show in September 2016. He has traveled to several countries documenting his findings on YouTube, and his videos have received tens of millions of views. His content has also appeared on TV shows, magazines and other media. Praveen has researched several historic mysteries including ancient Mounds in Ohio, Ellora Caves in India and Machu Picchu in Peru. He has also discovered Out of Place Artifacts which prove the existence of ancient European and even African presence in India. Praveen initially started posting his findings about Coral Castle on YouTube in early 2015. His videos on the uniqueness of Edward Leedskalnin's telescope, revolving gate and sundial received high ratings and his subscribers encouraged him to write a book about Coral Castle. Praveen Mohan is also scheduled to appear on BBC in December 2016.https://www.youtube.com/channel/UCe3OmUXohXrXnNZSRl5Z9kAhttps://www.facebook.com/praveenmohanfansBecome a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.
Novedades| Anni B Sweet, Temples, De Staat, Mystery Jets, Truls, Nothing But Thieves, The Last Dinner Party, Spacey Jane, Lori Meyers, El Último Vecino, Barry B, Puzzles y Dragones, Flores de Kyoto, Me Acuerdo de Todo, Baloncesto, La Milagrosa, Arde Bogotá, La Trinidad, Sarriá, Anouck The Band, Maria Antonietta e Colombre, Depedro, Amatria, Jovanotti, Ermal Meta, Francesco Gabbani, Malika Ayane, Christopher Saint Booth ¡Suscríbete a nuestro canal en Telegram! https://t.co/d64vSXTYT9 ¡Suscríbete a nuestro canal en WhatsApp! https://whatsapp.com/channel/0029VaRw86Q1yT2FeNzrfv2g ¡Escríbenos! info@hnmag.es ¡Síguenos en Twitter! https://twitter.com/HNMagES ¡Síguenos en Instagram! https://www.instagram.com/hnmages/ ¡Síguenos en Facebook! https://www.facebook.com/HNMagES ¡Síguenos en Threads! https://www.threads.net/@hnmages
Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember? They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:03) Architecture as a Living Transformation(1:42) The Intuitive Knowledge of Living Art(2:20) Preserving the Human Core of Expression(3:14) The Medina and the Geometry of Childhood(6:35) The Social Spaces of Rooftops(8:27) The Twin Dynamic and Confrontation with 'l'autre'(10:21) Contextual Echoes & Traces of the Site(12:12) The Temples of Water(13:15) The Mosque as Pure Spatiality(15:49) Building Culture with Yves Saint Laurent & Pierre Bergé(16:57) The Wast ed-dar (وسط الدار) and the Heart of a Building(18:31) The Smells and Sounds of Home(19:44) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
A powerful High Priest of Amun, declining kingship, and an Egypt in Chaos. In this episode of the Mummy Movie Podcast, we examine the fascinating polish film, Pharaoh (1966).By many, this is considered the most accurate film set in ancient Egypt ever made. But is this true? As well as reviewing the film, we shall assess its history to see if this accolade is deserved.Email: mummymoviepodcast@gmail.comPatreon: www.patreon.com/MummyMoviePodcastBibliographyDodson, A. (2012). Afterglow of empire: Egypt from the fall of the New Kingdom to the Saite Renaissance. Cairo: American University in Cairo PressEaton, K. (2017). Ancient Egyptian temple ritual: performance, pattern, and practice. New York: RoutledgeFletcher, J. (2002). Ancient Egyptian hair and wigs. The Ostracon: The Journal of the Egyptian Study Society (Vol 13). 2-8.Janssen. (1970). Commodity prices from the Ramesside Period. Leiden: BrillLeahy, A. (1985). The Libyan Period in Egypt: An Essay in Interpretation. Libyan Studies, 16, 51-65Peden, A. (2011). The community of workmen at Deir el-Medina in the Ramesside Period: an overview of rank and roles. In Collier, M and Snape, S (Eds), Ramesside studies in honour of K, A Kitchen (pp. 381-387). Bolton: RutherfordRicem M. (2001). Who's who in Ancient Egypt. London: RoutledgeShafer, B, E. (2005). Temples, priests, and rituals, an overview. In Shafer, B, E (Ed), Temples of Ancient Egypt (pp. 1-31). London: TaurisSpalinger, A. (2013). Reviewed work(s): The Libyan Anarchy: Inscriptions from Egypt's Third Intermediate Period by Robert K. Rittner. Journal of the American Oriental Society, 133, 595-596.Warburton, D, A. (1997). State and economy in ancient Egypt: fiscal vocabulary of the New Kingdom. Fribourg: University Press. Hosted on Acast. See acast.com/privacy for more information.
With the 2026 FIFA World Cup just around the corner, Dan Orlowitz re-joins the Krewe to preview Japan's tournament outlook. We break down Samurai Blue's final roster, key players to watch, group-stage matchups, and what a successful World Cup would look like for Japan. Plus, Dan shares his predictions for the tournament's biggest surprises, disappointments, and who he thinks will be lifting the trophy when it's all said and done. Whether you're a diehard soccer fan or a once-every-four-years World Cup viewer, this episode is the perfect primer before kickoff. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts. Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Sports-Related Episodes ------ Bridging Communities Through MLB Players Trust ft. Amy Hever & Chris Capuano (S6E18) Japanese Soccer on the World Stage ft. Dan Orlowitz (S6E6) Meet the J.League ft. Dan Orlowitz (S6E4) Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16) The Life of a Sumotori ft. 3-Time Grand Champion Konishiki Yasokichi (S4E10) Talking Sumo ft. Andrew Freud (S1E8) ------ About Dan Orlowitz ------ Dan's Socials & Writings J-Talk Podcast ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!
“Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.”Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember?They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:04) The Intuitive Knowledge of Living Art(4:24) The Medina and the Geometry of Childhood(8:18) The Social Spaces of Rooftops(13:46) The Intuitive Knowledge of Living Art(15:31) Contextual Echoes & Traces of the Site(19:18) The Twin Dynamic and Confrontation with 'l'autre'(26:42) The Temples of Water(33:24) The Mosque as Pure Spatiality(38:01) The Crisis Period and Structural Systems(48:24) Building Culture with Yves Saint Laurent & Pierre Bergé(51:38) The Wast ed-dar (وسط الدار) and the Heart of a Building(57:02) Preserving the Human Core of Expression(1:04:29) Urban Acupuncture in the Modern City(1:08:46) The Smells and Sounds of Home(1:10:02) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember? They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:03) Architecture as a Living Transformation(1:42) The Intuitive Knowledge of Living Art(2:20) Preserving the Human Core of Expression(3:14) The Medina and the Geometry of Childhood(6:35) The Social Spaces of Rooftops(8:27) The Twin Dynamic and Confrontation with 'l'autre'(10:21) Contextual Echoes & Traces of the Site(12:12) The Temples of Water(13:15) The Mosque as Pure Spatiality(15:49) Building Culture with Yves Saint Laurent & Pierre Bergé(16:57) The Wast ed-dar (وسط الدار) and the Heart of a Building(18:31) The Smells and Sounds of Home(19:44) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
There is a theological thread woven throughout Scripture that many Christians have never fully traced—a theme that stretches from Eden to eternity, from the wilderness tabernacle to the New Jerusalem. It is the story of God dwelling with humanity.In this episode, we explore the "Seven Temples" of the Bible and uncover how each temple reveals something profound about God's character, humanity's rebellion, Christ's redemptive work, and the ultimate purpose of history itself. From the Ark of the Covenant and the glory of Solomon's Temple to the New Testament believer and the future temple yet to come, this conversation brings together prophecy, theology, typology, and the gospel into one sweeping biblical narrative. If you enjoy seeing how the whole Bible connects, this episode will be deeply rewarding.To discuss today's topic, we are joined by Sam Miles, President of the Living Faith Bible Institute and a Biblical Studies instructor at LFBI.For more information, please follow the link to read the notes for Episode 272.Visit http://lfbi.org/learnmore
About: While many dangers lurk in various Dungeons, Temples and Palaces during your gaming journeys, there are often incredible background themes to help you slay, search and survive. We take a listen to some of the varied styles found in these tracks. Artwork: The Legend Of Zelda: Majora's Mask 00:00 - Ark [Persona 5] by Shoji Meguro > 01:57 - Unbreakable [Final Fantasy XIV: Heavensward] by Ryo Takahashi, Masayoshi Soken > 05:22 - Electric Talk [Trials Of Mana] by Ryo Yamazaki > 08:11 - Clockwork [Castlevania III: Dracula's Curse] by Hidenori Maezawa, Jun Funahashi, Yukie Morimoto, and Yoshinori Sasaki > 10:29 - Underground Dungeon - The Lost Talisman [Sorcerian] by Falcom Sound Team JDK > 11:20 - Waterfall Woodlands [Etrian Odyssey] by Yuzo Koshiro > 16:19 - Zaubermärchen [SaGa Frontier II] by Masashi Hamauzu > 19:02 - Aiming For That Future [Trails In The Sky SC] by Falcom Sound Team JDK > 21:03 - The Watery Relic [Rogue Galaxy] by Tomohito Nishiura > 22:43 - Last Dungeon [Skies of Arcadia] by Yutaka Minobe, Tatsuyuki Maeda > 25:24 - Stone Tower Temple [The Legend Of Zelda: Majora's Mask by Koji Kondo > 27:21 - The Cave Of Djinni [Dark Cloud] by Tomohito Nishiura > 28:24 - Kama Palace [Persona] by Shoji Meguro > 30:14 - Secret Base [Persona 4] by Shoji Meguro > 32:37 - Prelude To The Void [Final Fantasy V] by Nobuo Uematsu > 36:27 - A Long Land Dead [Final Fantasy XIV: Shadowbringers] by Masayoshi Soken > 40:46 - Price [Persona 5] by Shoji Meguro > pixelbeatpod@icloud.com >
Send us Fan MailWhen your “instruments” fail in the clouds, your body can swear you're level while you're actually turning into danger. I open with a real C-130 cockpit moment where two attitude indicators disagreed and the only way to survive was to trust the right reference. Then I connect that to modern spiritual life: identity confusion, anxiety, outrage culture, distraction, and dopamine addiction can make truth feel optional and emotions feel like facts.The anchor is a warning and a promise from Doctrine and Covenants: you will hear of wars and rumors of wars, but if you are prepared, you will not fear. Preparation looks like standing in holy places and refusing to be moved. We talk about why holy places are more than temples (though temple covenants matter deeply) and how your home can become a holy place through prayer, scripture, Sabbath worship, better media standards, and protecting the Spirit at the center of family life.I also share true examples of people who stood firm under pressure, from the Danish rescue of Jews in World War II to the 2,000 stripling warriors who were spiritually ready before the battle began. You'll leave with a simple checklist to audit what spirit shapes your mind and your home, plus a direct challenge: remove one spiritually toxic influence, create one new holy habit, and turn your home into a sanctuary of peace. If this helps you, subscribe, share it with a friend, and leave a five-star review.Support the showYou can reach me anytime at email: tandrewsen.monat@gmail.comInstagram @toddtalks_ig
In this episode of Pray the Word on Joshua 5:15, David Platt teaches us the implications of the Holy Spirit's dwelling in our lives.Explore more content from Radical.
If you enjoy this episode, we're sure you will enjoy more content like this on The Occult Rejects. In fact, we have curated playlists on occult topics like grimoires, esoteric concepts and phenomena, occult history, analyzing true crime and cults with an occult lens, Para politics, and occultism in music. Whether you enjoy consuming your content visually or via audio, we've got you covered - and it will always be provided free of charge. So, if you enjoy what we do and want to support our work of providing accessible, free content on various platforms, please consider making a donation to the links provided below. Thank you and enjoy the episode!Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsBIBLIOGRAPHYLoaded Ground and Temple GrammarBradley, Richard. An Archaeology of Natural Places. Key use: Natural features as ritual centers: springs, caves, mountains, watery places, unusual stones, and the way landscape itself becomes an active participant in sacred behavior.Bradley, Richard. The Significance of Monuments: On the Shaping of Human Experience in Neolithic and Bronze Age Europe. Key use: Monumentality, repeated movement, ritual landscapes, and how built earth/stone structures anchor memory and collective story.Scarre, Chris, ed. Monuments and Landscape in Atlantic Europe: Perception and Society During the Neolithic and Early Bronze Age. Key use: Landscape archaeology, perception, monument placement, sacred routes, and social memory.Tilley, Christopher. A Phenomenology of Landscape: Places, Paths and Monuments. Key use: Embodied movement through sacred landscapes. Good for explaining why approach, walking, turning, climbing, entering, and returning matter as much as the site itself.Ruggles, Clive. Ancient Astronomy: An Encyclopedia of Cosmologies and Myth. Key use: Archaeoastronomy, horizon alignment, sky events, and methodological caution against sloppy “everything is a star map” claims.Ruggles, Clive. Astronomy in Prehistoric Britain and Ireland. Key use: Prehistoric monuments, solar/lunar alignments, and sky-ground relationships.Watson, Aaron, and David Keating. “Architecture and Sound: An Acoustic Analysis of Megalithic Monuments in Prehistoric Britain.” Antiquity 73, no. 280 (1999): 325–336. Key use: Archaeoacoustics, megalithic sound environments, echo, resonance, and how ancient monuments may have shaped movement and perception through sound as well as sight.Eliade, Mircea. The Sacred and the Profane: The Nature of Religion. Key use: Sacred space, center, axis mundi, threshold, and the difference between ordinary space and holy space.Smith, Jonathan Z. To Take Place: Toward Theory in Ritual. Key use: Ritual as place-making. Useful for the idea that sacred places are not merely found; they are produced through repeated action, interpretation, and return.Tuan, Yi-Fu. Space and Place: The Perspective of Experience. Key use: Lived place, memory, orientation, and the difference between abstract space and meaningful place.van Gennep, Arnold. The Rites of Passage. Key use: Separation, threshold, and incorporation. Useful for crossings, caves, temples, initiation, and the movement from ordinary to sacred space.Turner, Victor. The Ritual Process: Structure and Anti-Structure. Key use: Liminality, betweenness, communitas, and why thresholds create psychological and social transformation.Vitruvius. Ten Books on Architecture / De Architectura. Key use: Classical architecture, proportion, order, temple siting, and the ancient architectural concern with harmony, geometry, and orientation.Scully, Vincent. The Earth, the Temple, and the Gods: Greek Sacred Architecture. Key use: Greek temples in relation to landscape, sightlines, deity, terrain, and sacred placement.Ward-Perkins, J. B. Roman Imperial Architecture. Key use: Roman monumental space, basilicas, civic authority, imperial architecture, and the built environment Christianity later inherits.Wycherley, R. E. How the Greeks Built Cities. Key use: Greek civic and sacred urban planning, temple placement, public space, and the relationship between architecture and city order.Onians, John. Bearers of Meaning: The Classical Orders in Antiquity, the Middle Ages, and the Renaissance. Key use: Classical orders as carriers of meaning, authority, proportion, and inherited architectural language.Assmann, Jan. The Search for God in Ancient Egypt. Key use: Egyptian sacred space, temple theology, divine presence, ritual service, and cosmic order.Shafer, Byron E., ed. Temples of Ancient Egypt. Key use: Egyptian temple structure, processional access, restricted interiors, ritual activity, light/dark progression, and the temple as cosmic environment.Levenson, Jon D. Sinai and Zion: An Entry into the Jewish Bible. Key use: Temple, mountain, divine presence, sacred center, covenant, and the biblical imagination of holy place.Levine, Lee I., ed. Jerusalem: Its Sanctity and Centrality to Judaism, Christianity, and Islam. Key use: Jerusalem, sacred center, Temple memory, pilgrimage, and the later religious mapping of holiness.The Bible, especially Exodus, Leviticus, 1 Kings, Ezekiel, Psalms, the Gospels, Hebrews, and Revelation. Key use: Tabernacle, Temple, altar, priesthood, sacrifice, holiness, veil, divine presence, living water, pilgrimage, heavenly city, and sacred orientation.Misstear, Bruce. “The Hydrogeology of Sacred Wells: Insights from Ireland.” Hydrogeology Journal, 2024. Key use: Sacred wells as real groundwater systems, including hydrogeological settings, water chemistry, cultural meaning, and anthropogenic impacts. This supports the line that holy wells are both sacred sites and physical water systems.Bord, Janet, and Colin Bord. Sacred Waters: Holy Wells and Water Lore in Britain and Ireland. Key use: Holy wells, healing traditions, local water lore, offerings, vows, and repeated devotional return.Rattue, James. The Living Stream: Holy Wells in Historical Context. Key use: Historical context for holy wells, Christianization, local devotion, and the persistence of sacred water sites.Ray, Celeste. The Origins of Ireland's Holy Wells. Key use: Irish holy wells, sacred water, pilgrimage, healing, local tradition, and the complex relation between Christian practice and older water sites.National Churches Trust. “Medieval Bridge Chapels.” Key use: Bridge chapels as medieval crossing sites, often chantry chapels connected to prayers for founders, benefactors, travelers, and pilgrims.Green, Edward. “Bridge Chapels.” Building Conservation. Key use: Bridge chapels as Christian worship sites built on or near bridges for travelers, safe arrival, and the sacralization of movement.Research report. The Bridge Chapels of Medieval Britain. Key use: Bridge construction and maintenance as pious and charitable work, chapels and crosses at bridges, safe passage, tolls, repairs, and the link between devotion and infrastructure.Walsham, Alexandra. The Reformation of the Landscape: Religion, Identity, and Memory in Early Modern Britain and Ireland. Key use: How sacred geography, wells, crosses, shrines, roads, memory, and local religious landscapes were reclassified and contested during the Reformation.Ren, L., et al. “GIS-Based Viewshed Analysis on the Visibility of Historic Towns.” ISPRS Archives, 2021. Key use: Viewshed analysis, line-of-sight, historic structures, and the use of GIS to study visibility in built heritage environments. Useful for keeping claims about towers, spires, and landmark dominance grounded in method.Vaz de Freitas, I. “Historical Landscape: A Methodological Proposal to Characterise the Landscape of Monasteries in Early Medieval Portugal.” Religions 15, no. 10 (2024): 1158. Key use: Early medieval monastic landscapes, GIS method, religious siting, and environmental variables. Useful for sacred visibility, water proximity, slope, altitude, and landscape choice.Kilde, Jeanne Halgren. Sacred Power, Sacred Space: An Introduction to Christian Architecture and Worship. Key use: Broad Christian architecture source for power, worship, sacred space, and the way buildings shape religious experience.Kieckhefer, Richard. Theology in Stone: Church Architecture from Byzantium to Berkeley. Key use: Church architecture as theology in built form. Useful as a bridge from ancient sacred grammar into later Christian architectural expression.Also want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A
Join Derek Walker as he delves deep into the spiritual significance of the Water Ceremony at the climax of the Feast of Tabernacles, and how it is fulfilled in us as Temples of the Holy Spirit, as we allow the Holy Spirit (the River of Life) flow through us.
Join Derek Walker as he delves deep into the spiritual significance of the Water Ceremony at the climax of the Feast of Tabernacles, and how it is fulfilled in us as Temples of the Holy Spirit, as we allow the Holy Spirit (the River of Life) flow through us.
The Rev. Matt Wilkins-Pentecost-Acts 2:1-11 Temples of the Spirit The Rev. Matt Wilkins-Pentecost-Acts 2:1-11
Listen along as we continue our time in 1 Peter. Notes//Quotes: Faith: 1 Peter 3:1-7 Title: The Way Home “Submission is not something being taken from me, but is something I'm choosing to give. The truth that Jesus, being fully God, willingly entered into this world, becoming fully man and submitting His will to God the Father and giving His life to justify us as well as the Spirit's role of illuminating and pointing people to Jesus is proof that the differing roles God has for men/women and husbands/wives is not about value or worth. Submission actively happens in the Trinity. If Jesus submitted even unto death, how can I stand on my “rights” and ultimately demand to always be the one in authority?” - Kathy Keller “Renounce yourself, take up your Cross and follow Me. To recognize one's own nonentity and discover the secret of the Kingdom is not enough: the King of Love must be enthroned in our mind and heart, take undivided possession of our will and make of our very bodies the Temples of the Holy Ghost. This small particle of the Cosmos, which is our soul and body must be conquered, freed by a lifelong struggle from enslavement to the world and to the devil, freed as if it were an occupied country and restored to its legitimate King.” - Anthony of Sourozh, Sayings of the Desert Fathers
Ep. 400: Eric Hynes on Cannes 2026: Paper Tiger, Bola Negra, 9 Temples to Heaven, Thank You for Coming Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. With the 2026 Cannes Film Festival underway, I was happy to chat once again with Eric Hynes of the Jacob Burns Film Center. Among the films discussed were Paper Tiger (directed by James Gray, discussed with perhaps evident New York homesickness?), Bola Negra (Javier Calvo and Javier Ambrossi), 9 Temples to Heaven (Sompot Chidgasornpongse), and Thank You for Coming (Alain Cavalier), plus an additional pick by Mr Hynes. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
Almost exactly one year after Season 6's Expo 2025 deep dive with Sachiko Yoshimura, the Krewe closes the loop with two people who were actually there. Lea Disimone & Bridget McCarthy served as Youth Ambassadors at the US Pavilion during Expo 2025 Osaka, and they share what the program was really like from the inside, from a day in the life to the lasting impact it left on them. Two New Orleans connections, one world's fair, and a conversation worth the wait. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts. Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, Threads: @kreweofjapanpodcast & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Episodes ------ Expo 2025: Japan on the World Stage ft. Sachiko Yoshimura [S6E2] Hanging Out In Hyogo ft. Rob Dyer of The Real Japan [S5E14] Checking Out Miyagi ft. Ryotaro Sakurai (Guest Host, William Woods) [S5E5] Explore Matsue ft. Nicholas McCullough [S4E19] Travel Hiroshima ft. Joy Jarman-Walsh [S4E4] Travel Aomori ft. Kay Allen & Megan DeVille [S3E17] Hungry For Travel ft. Shinichi of TabiEats [S3E15] Henro SZN: Shikoku & the 88 Temple Pilgrimage ft. Todd Wassel [S3E12] ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!
Bhojshala is just the BEGINNING
The New Covenant isn't a restoration of ancient temple rituals or a performance-based "covenant path," but a relationship with the person of Jesus who already finished the work for us. When He sat down at the right hand of God, He ended the "waiting game" of religious worthiness and opened the veil for everyone to enter His rest. --The Unveiling Mormonism podcast pulls back the curtain on Mormon history, culture and doctrine. Join us for new episodes every Monday. Find resources to talk about these episodes at pursueGOD.org/mormonism.Help others go "full circle" as a follower of Jesus through our 12-week Pursuit series.Click here to learn more about how to use these resources at home, with a small group, or in a one-on-one discipleship relationship.Got questions or want to leave a note? Email us at podcast@pursueGOD.org.Donate Now--Are We There Yet? Finding Rest in the New CovenantMany of us grew up feeling like we were on a spiritual road trip that never quite reached its destination. In the backseat of faith, we constantly ask, "Are we there yet? Am I worthy enough? Have I done enough?" For those coming from a background in Latter-day Saint (LDS) theology, this feeling is often amplified by the teaching that we live in a "restoration" of ancient patterns—new temples, new rituals, and a "covenant path" that can feel more like a performance-based contract than a relationship.However, the book of Hebrews offers a "game-changer" for anyone exhausted by the waiting game. The Word of God shows us that the destination isn't a future point of perfection we reach through our own effort; the destination has already been reached in the person of Jesus Christ.From Contracts to CovenantsIn our daily lives, we understand contracts: "I do this, you do that, and if one of us fails, the deal is off." It is purely transactional. A covenant, in the biblical sense, is relational—like a marriage. It is God saying, "I will be your God, and you will be my people."While many religious systems turn the "covenant path" into a contract—where blessings are earned through tithing, temple attendance, and dietary codes—the New Covenant flips the script. It isn't about what you do to stay on the path; it's about what Jesus did to become the path.The Fulfillment of Every PromiseThe Old Testament is a series of layers building toward a climax. Jesus didn't just add another layer; He fulfilled them all:The Noahic Covenant: God promised never to destroy the earth again, symbolized by a "war bow" pointed toward heaven. Jesus took the arrow of that judgment upon Himself.The Abrahamic Covenant: God promised a "seed" to bless all nations. Jesus is that promised seed.The Mosaic Covenant (The Law): This was a conditional covenant that Israel failed to keep. The sacrificial system acted like a "credit card statement"—it showed the debt of sin but could never pay it off.The Sacrifice That Ended All SacrificesHebrews 10:12 provides a direct challenge to the idea that we need to restore ancient temple rituals: "But our High Priest offered himself to God as a single sacrifice for sins, good for all time. Then he sat down."In the ancient Tabernacle, there were no chairs because a priest's work was never finished. The fact that Jesus sat down is a beautiful, definitive statement. If His sacrifice was good for all time, we no longer need animal sacrifices or modern temples with veils. When Jesus died, the veil was torn, signifyng that the "waiting game" is over.Living in the "Already and Not Yet"We still live in a broken world where we struggle with sin and sickness. Theologians call this the "already and not yet." Our sins are already forgiven and the debt is paid, but the world is not yet fully made new.The difference for a believer is the move from anxiety to assurance. We aren't waiting to see if our check clears at the bank of heaven; the check has already cleared. We are simply waiting for the final statement. You don't need a temple; through the Holy Spirit, you are the temple. You don't need to earn your way; Jesus is the way. It's time to step out of the car and enter His rest.
“Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.”Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember?They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:04) The Intuitive Knowledge of Living Art(4:24) The Medina and the Geometry of Childhood(8:18) The Social Spaces of Rooftops(13:46) The Intuitive Knowledge of Living Art(15:31) Contextual Echoes & Traces of the Site(19:18) The Twin Dynamic and Confrontation with 'l'autre'(26:42) The Temples of Water(33:24) The Mosque as Pure Spatiality(38:01) The Crisis Period and Structural Systems(48:24) Building Culture with Yves Saint Laurent & Pierre Bergé(51:38) The Wast ed-dar (وسط الدار) and the Heart of a Building(57:02) Preserving the Human Core of Expression(1:04:29) Urban Acupuncture in the Modern City(1:08:46) The Smells and Sounds of Home(1:10:02) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
In our first reading today, St. Paul arrives in the throbbing heart of Greek culture --Athens. We will witness man's ancient pursuit of truth converge with the revelation of Jerusalem. --- Help Spread the Good News --- Father Brian's homilies are shared freely thanks to generous listeners like you. If his words have blessed you, consider supporting this volunteer effort. Every gift helps us continue recording and sharing the hope of Jesus—one homily at a time. Give Here: https://frbriansoliven.org/give
Now on air: Prog & Roll with George & Nihal 0:48 RUSH A Farewell τo Kings 5:55 #20: A Farewell to Kings (1977) (2015 Remastered) RUSH Cinderella Man 4:23 #20: A Farewell to Kings (1977) (2015 Remastered) RENAISSANCE The Vultures Fly High 3:08 #19/18: Scheherazade and Other Stories (1975) RENAISSANCE Ocean Gypsy 7:09 #19/18: Scheherazade and Other Stories (1975) RUSH 2112: Overture & The Temples of Syrinx 6:44 #19/18: 2112 (1976) RUSH A Passage to Bangkok 3:35 #19/18: 2112 (1976) EMERSON, LAKE & PALMER Tarkus Pt.6: Battlefield 3:52 #17/16: Tarkus (1971) EMERSON, LAKE & PALMER A Time and a Place 3:01 #17/16: Tarkus (1971) GENESIS Watcher of the Skies 7:23 #17/16: Foxtrot (1972) (2014 Remastered) GENESIS Can-Utility and the Coastliners 5:45 #17/16: Foxtrot (1972) (2014 Remastered) Prog & Roll Radio Show with George and Nihal 0:14 WISHBONE ASH Leaf and Stream 4:07 #15: Argus (1972) WISHBONE ASH Throw Down the Sword 5:55 #15: Argus (1972) JETHRO TULL Mother Goose 3:53 #14: Aqualung (1971) JETHRO TULL Cross-Eyed Mary 4:09 #14: Aqualung (1971) CAMEL Rhyander / Rhyander Goes to Town 8:23 #13: The Snow Goose (1975) YES And You and I 10:09 #12: Close to the Edge (1972) SUPERTRAMP Hide in Your Shell 6:49 #11: Crime of the Century (1974) SUPERTRAMP Crime of the Century 5:34 #11: Crime of the Century (1974)
“Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.”Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember?They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:04) The Intuitive Knowledge of Living Art(4:24) The Medina and the Geometry of Childhood(8:18) The Social Spaces of Rooftops(13:46) The Intuitive Knowledge of Living Art(15:31) Contextual Echoes & Traces of the Site(19:18) The Twin Dynamic and Confrontation with 'l'autre'(26:42) The Temples of Water(33:24) The Mosque as Pure Spatiality(38:01) The Crisis Period and Structural Systems(48:24) Building Culture with Yves Saint Laurent & Pierre Bergé(51:38) The Wast ed-dar (وسط الدار) and the Heart of a Building(57:02) Preserving the Human Core of Expression(1:04:29) Urban Acupuncture in the Modern City(1:08:46) The Smells and Sounds of Home(1:10:02) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
with Pastor Cory Henderson from Christian Life ChurchSunday 5-3-26https://www.bible.com/events/49602139
Howdy at: thebottomforty@gmail.com
Last episode we briefly talked about what happened when Ōama passed away, including the apparent conspiracy around the Royal Prince Ōtsu, and then the question as to why his son, Crown Prince Kusakabe, didn't then succeed him to the throne. This episode we are taking a look at that period, but more focused on the rituals and what went into a royal funeral, and then take a look all the way to the eventual ascension to the throne of not Crown Prince Kusakabe, but instead his mother, Ōama's queen, Uno no Sarara. She would eventually be known as Jitō Tennō. For photos and links to other episodes, check out our blog post: https://sengokudaimyo.com/podcast/episode-148 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua and this is Episode 148: A Nation Mourns Crown Prince Kusakabe approached the temporary palace structure that had been hastily assembled in the courtyard in front of the Kiyomihara Palace. Solemnly arrayed around him, dressed in their court garments, were the ministers and government officials. Together, they approached the palace building, where the Crown Prince's father, Ohoama, also known as Ame no Nunahara oki no Mabito, lay in state. He had passed away, and according to the imported Confucian values of filial piety, Kusakabe was now expected to mourn in ritual fashion. The court ritualists had seen to every detail of what should be done and even said, to the extent that the crown prince's actions almost felt like a performance of grief, rather than a heartfelt tribute. And yet, Kusakabe could not help but feel some emotion at the sight of his father, once the most powerful man under heaven, now laid out in this place of temporary interment. There would be many more ceremonies and rituals before the final mausoleum would be built and the former sovereign's body finally laid to rest. Until then, even though Ohoama's spirit had left, his body would remain as a symbol to the people, and as the centerpiece of an elaborate ritual, designed, in part, to continue to bolster the state he had helped to create. Last episode we went into some of the shenanigans around the death of Ohoama and the succession to the throne. As we saw, not everyone was apparently on board with the idea that Crown Prince Kusakabe would take the throne, leading to the arrest and execution of Prince Ohotsu. However, we noted that Crown Prince Kusakabe didn't end up on the throne after all: for whatever reason, he never ascended to the honor, and died in 689 – not even three years after the death of his father. And so we saw Uno no Sarara, Ohoama's wife and queen and mother of Crown Prince Kusakabe, formally take the reins of state and go on to reign as the sovereign, the Sumera Mikoto, or Tennou, until 697. From there she would become the first ever Retired Sovereign, keeping her hand in government until her death in 703. This episode we are going to look a little more in depth regarding everything that went on around Ohoama's death and the various rites accompanying his passing. Ohoama's was obviously not the first royal death that we have seen in the Chronicles. It is perhaps, however, one of the best documented in terms of the funerary arrangements and the various rituals that accompanied his passing. Some of those arrangements are mentioned previously in the Chronicles, but not to the same extent as we see for Ohoama. This leaves me wondering: are we seeing something novel—new rites for a new type of sovereign, perhaps? Or was this just the first time the ritual had been documented to this level of detail?. Before jumping into what we see this time around, we should probably look back at what we have seen around the death of previous sovereigns, and which are still going on here. First and foremost is the creation—or at least the designation—of a "Palace of Temporary Interment". This is the Mogari no Miya, with "mogari" being the term for the period between an individual's death and their eventual burial. In the Nihon Shoki we see this practice go back to the earliest times. After all, most deaths do not occur on a set schedule, and once someone has passed away, funerary arrangements would need to be made. Now, if all you are doing is putting a body into a box and lowering it into the ground, you can probably bring it all together rather quickly. However, for centuries the burial practices on the archipelago had been significantly more elaborate. Even those without royal blood might be afforded a special mound, or kofun. There would be giant stones selected to create the chamber, and then tons of earth and pebbles placed on top. There might also be haniwa—clay cylinders—which then might even be topped with special figures. All of this had to be planned out and taken care of, and in some cases, such as the creation of haniwa, it appears as there was a major industry involved in funerary preparations. In the case of royal family members things got even more elaborate, and based on the size of many of the kofun that we see one can assume that their construction took time. In fact, I would not be surprised if the construction of a new tomb mound might not have kicked off on or near the ascension of the sovereign just to make sure it would be ready, but even still it would take time for all of the rites associated with a royal burial to be ready to go. And so it was common practice that one would have to wait before a burial could actually take place. Since you couldn't just leave a body out in the open in the community, the corpse would be deposited, instead, in a temporary building. These are sometimes referred to as mogari huts, which would likely be placed well away from others. Here we should also take into account the general pollution associated with death in its various forms. So you would want to have the body kept out of sight and away from people as best you could while you prepared for the actual burial at some later date. For sovereigns, this mogari hut, or hut of temporary interment, was eventually referred to as a "miya", or "palace". In some cases it seems as if one of the buildings of the sovereign's old palace was used for this purpose, while a new palace was then also built for the new reign. In addition to the place of temporary interment, one of the common traditions we see in funerals in the Chronicles is the role of the eulogy. While a person lay in state during their temporary interment, we are told that people could come to eulogize and lament. In the case of a sovereign, the high ministers and politically connected would come together and deliver speeches. This served multiple purposes. On the one hand, these rituals reinforced concepts of the State and the central authority in the body of the sovereign. On the other hand, they also served as markers of status for those delivering the speeches, and provided opportunities to be seen and heard, signaling their support of the system that provided them their own power and authority. So all of this process and ritual that we see for Ohoama is familiar, from previous royal deaths. However, it's interesting to note that in the most recent years before Ohoama's funeral, a lot of these traditions seem to have been scaled back. For one thing, there was the decline of large, keyhole shaped kofun, ever since the introduction of Buddhism in the 6th century and the move to memorial temples over large tombs. Furthermore, as part of the Taika era reforms we see regulations on how long temporary interment may last for those of princely rank and below—though nothing is clearly stated for the sovereign themselves. Let's look at the most recent royal death's before Ohoama's, but since the beginning of the Taika era. There are at least three we've talked about. First off is the death of Karu, aka Koutoku Tennou. Karu's death is barely remarked upon—he was buried about two months after he passed away, and very little fanfare is given. One can't help but wonder if this was, in part at least, due to the fact that Naka no Oe was actually in charge and running things at the Crown Prince. Takara hime, aka Saimei Tennou, would pass away in the middle of the Baekje war against the Silla-Tang alliance. Her body was sent back to Yamato, but the Crown Prince and many of the elites established themselves in Tsukushi—modern Kyushu—to better conduct the war on the peninsula. Not only was her interment thus delayed, but Naka no Oe's own ascension wouldn't take place for several more years, possibly because of the new capital he was building in Ohotsu. Naka no Oe's own funerary arrangements were interrupted by the events of the Jinshin no Ran. In fact, the building of his tumulus was used by the government as a cover to bring in soldiers to prepare for the conflict. There may have been various funerary rituals planned or even carried out by the Afumi court, but if so they were overshadowed by the civil war that broke out between the two claimants to the throne. As such, Ohoama's appears to be the first royal funeral of this magnitude in a while, and in this case they really pulled out all the stops. There were various activities and rituals associated with Ohoama's passing up through the 11th month of 688, over two years later, when he was finally buried. So let's go over what happened and maybe what dragged it out so much longer. First off were the immediate lamentations and eulogies. Ohoama passed away on the 9th day of the 9th month, according to the Nihon Shoki. It was the year 686 according to the western calendar. Two months later the erection of the temporary palace of interment began in the southern courtyard—presumably the area south of the Asuka Kiyomihara palace, where they had previously held the various archery competitions. This took a couple of weeks, and Ohoama's body was finally placed in the temporary palace as of the 24th of that month. While ritual lamentations were raised at the start of the building of the mogari palace and when the sovereign's body was interred, the major rites appear to have started three days after he was laid to rest, on the 27th day, proceeding for the next three days, from the 27th until the 30th. The rites started with Buddhist monks and nuns who arrived before sunrise and began to perform lamentations in the courtyard of the mogari. Later that day, we see food offerings, apparently for the first time in the Chronicles. Offering food to the dead is not unique to Japan. Some in Japan will offer food to their ancestors, especially during the Obon festival. People will also offer food to kami. In the case of Obon, a bowl of rice is often served with two chopsticks sticking straight out of it. This has actually led to a social taboo on leaving your chopsticks "stuck" in food, as it looks as though you are offering the food up to the dead. Instead, chopsticks will be placed on a chopstick rest, on the table, or even across the top of a dish, just not sticking up out of the food, especially the rice. In this case it isn't clear exactly how the food offering was done, nor what happened to the food afterwards. In the case of food offered to the kami, it is often the case that once the kami have had enough time to partake of the aura of the food—its spiritual essence—the food will then be removed and often consumed by people. So for Ohoama's funerary offerings, something similar may have happened—possibly with a feast of some kind to which the various nobles were also invited. Along with the offering of food, we are told of a whole list of individuals who gave eulogies—though we aren't told what the content was. It is likely that these eulogies were largely ritual utterances—stock phrasing by the participant to demonstrate their active performance of the rituals, rather than a deeply thought sermon about the sovereign. After all, this seems to have gone on at a rather constant pace for the next several days. The ritual order seems to have stayed the same, with priests and nuns kicking things off with lamentations in the courtyard, and various nobles presenting their eulogy. The third day, the 29th, was the same. On the fourth day, the 30th, the last day of the month, the priests and nuns raised lament, and the eulogies were given by a Baekje prince in exile, on behalf of his father, as well as the various Miyatsuko of the various provinces. In addition there were all performances of all manner of singing and dancing—which makes it sound more like a wake than anything else. With the close of the 9th month, we have a break in the tale of Ohoama's funeral, as the narrative switches over to the next part of the Chronicles covering the reign of Uno no Sarara, aka Jitou Tennou. The first order of business—other than telling us who Uno no Sarara was and covering some of her history—was to deal with the Prince Ohotsu conspiracy. So we see Prince Ohotsu arrested, along with 30 conspirators. Prince Ohotsu was killed at his residence, where his wife and consort ran to him and took her own life as well. That all happened the 2nd and 3rd days of the 10th month. The 30 co-conspirators were apparently held for about twenty-seven days while the court debated what to do with them. Finally, the decree was made to pardon all except Toki no MIchidzukuri, who was only banished instead of executed, and the monk Heng-sin, who was exiled to a temple in Hida, over on Kyushu. The month after that, Ohotsu's sister, Royal Princess Ohoku, returned to the capital from Ise Shrine where she had been serving as the Shrine Princess—though we aren't told who replaced her. And so it isn't until the twelfth month that we see what appears to be the rites for Ohoama's passing seem to resume. This takes the form of a universal great assembly held in Ohoama's name at the Five temples, listed as Daikandaiji, Asukadera, Kawaradera, Toyoradera in Woharida, and Sakadadera. This is an interesting list, as one would have expected that the rites would have occurred at the National Temples established previously—for more on the National temples, we talked about that back in Episode 142.. Daikandaiji, Asukadera, and Kawaradera were, of course, national temples. Yakushiji is not mentioned, probably because it was still under construction. At this date it's only been dedicated, and we won't see it show up in the Chronicles until 688—a year and change from the current gathering. Toyoradera was the nunnery of Toyoura temple, and Sakada temple appears to be another nunnery, formerly known as Kongoji. It is said to have been in MInabuchi, and ruins of a temple are found in the southeast of Asuka, in an area known today as, funnily enough, Sakada. There is also a modern temple known as Kongoji nearby, though I can't tell if there is any connection between the two other than the name— whether its a true successor temple or just given that name because of the proximity of the ruins. Either way, in this phase of the funerary rites, we have a combination of temples and nunneries involved. I wonder if that was so that men and women could gather in spaces for them. Either way, it is clear that these rites were held specifically to build merit for Ohoama. This was probably also the intent behind the actions of the court a week later, when presents of cloth and silk were made to orphans, as well as childless, widowed, and elderly men and women of the capital—those who didn't have someone else to look after them or who were assumed to not have a stable income. Come the first day of the new year of 687, we see a return to the palace of temporary interment, and this time it is in a new and different fashion. We are told that the Crown Prince, accompanied by ministers and public functionaries, proceeded to the Palace of Temporary Interments and made lament. We are told that it was the Nagon, Fuwe no Ason no Miaruji, who performed the eulogy, after which everyone once again raised a lament. Then the common people raised a lament. Then Ki no Ason and others of the High Stewards of the Palace made food offerings. After this, the Uneme of the Steward's department raised a lament and then music was performed by the officials of the Department of Music. This clearly indicates an involved ceremony, with set roles and functions. It is being headed by Ohoama's son, Crown Prince Kusakabe, and attended by all the high ministers, and it is being held on the first of the year in place of other festivities for that day. Other than the timing, the basic pattern of events is similar to the other rituals of lamentation. . The contents of the ceremony might be different, and it was always someone new who was chosen to give the formal eulogy, but there does seem to be some ritual and pattern to the rites performed. For major ceremonies, we are told of the Crown Prince, the ministers, and the various public functionaries who are there, in attendance, but in other instances we are just told of who is providing the lamentations or the eulogy. For example, on the 5th day of the first month—four months after the big ceremony, we are told that everyone—Crown Prince down to the common people—proceeded to the Palace of temporary interment and made lamentations. Either way, the period for the next year and change is filled with various ceremonies either at the palace of temporary interment, where Ohoama's body lay in state, or elsewhere in the capital, such as at various temples. There were also various gifts from the court. All of this was as much political spectacle as it was grieving. There are some suggestions that, according to Confucian tradition, a son was expected to mourn the loss of his father for up to three years. So perhaps that is part of what was happening—the royal family was participating in some costly signaling to both raise Ohoama—and thus, themselves—up on a pedestal and to try to demonstrate the virtue of Crown Prince Kusakabe. After all, the Queen and her son had been effectively running the government before Ohoama had passed, so it wasn't like there was any actual change and only minor risk. The timeframe also allowed the court time to send messengers out to inform the far reaches of the archipelago of Ohoama's passing and give them time to come and do homage. They even sent messengers to Silla, no doubt to both let them know about what had happened and possibly to solicit a condolence embassy. All of that would also play into the pageantry and mythmaking of the moment, further strengthening the position of the Yamato court, which was, of course, under the control of Uno no Sarara and her son. And so we see numerous, and quite public, displays. Besides the lamentations and the eulogies, we see repeated gifts to the underprivileged, like giving gifts of coarse and floss silk to those residents of the Capital who were at least 80 years old, as well as to invalids with little hope as well as to the poor people who had no other means to support themselves. All of it being done in Ohoama's name, even though the reputation no doubt was actually accruing to his son and widow. In the third month we see a special mention: an ornamental chaplet of flowers, known as a mikage, was offered at the Palace of Temporary Interment. Today, flowers are often found in abundance at Japanese funerals. Certain flowers may be "gifted" to the deceased as a last gift from mourners, and large, elaborate flower constructions are often used to decorate the funeral parlor where the corpse is laid out. Groups and individuals may pay exorbitant sums to place flowers with a name card indicating who donated it, and some flowers may be for the grieving family to take home. There are meanings behind the type of flowers, and often white flowers are preferred, as white is often seen as the color of death. Some of this appears to be influenced by the West, but flowers have long been symbols and used in various ceremonies and rites. It is possible that some of this was influenced by Buddhist and Tang court rituals. Or maybe they just wanted something that was sweet smelling to help cover up the inevitable odor that no doubt resulted from leaving a body out for about six months at that point. Whatever the purpose, we aren't given too many details on just what this floral display was. Aston calls the "mikage" a "chaplet" and Bentley simply describes it as decorative flowers placed at the mogari palace—the palace of temporary interment. Once the flowers were placed, then Taji no Mabito no Maro performed the ceremony of the eulogy. Next, in the 5th month, we see the Crown Prince and various government officials once again involved. This time they were accompanied by the chiefs of the Hayato and the Ata of Ohosumi, accompanied by their people, advancing and providing a eulogy. The Hayato and the Ata were both indigenous groups of people from southern Kyushu, who were considered to be outside of the Yamato polity, with distinct cultural differences. It is unclear if they were ethnically Wa people. Evidence from that area suggests that the people there, whatever their ethnicity, had adopted many of the Yayoi and Kofun cultural life-ways. This was not without some differences, such as distinct burial practices, such as underground burial chambers. Hayato were also known in Yamato for their shields, which are often depicted as long, thin pentagonal shapes with red, white, and black figural paintings. The propaganda-slash-merit making continued over the next few months. In the 6th month we see an amnesty, where criminals were pardoned, and in the 7th month the court unilaterally cancelled out any interest on debts contracted in the year 685 or earlier. In cases where the debtors already owed service to their creditors, for some reason, they made it so that the creditors could not demand that they provide additional service. People still had to pay back the balance, but they didn't have to pay back anything extra. The next ceremony at the palace of temporary interment wasn't for about three months later, in the 8th month of 687. We are told that offerings of food were made, and that only awokimono—green things—were offered. Bentley translates this passage to say that it was the feast of first fruits, the Niinamesai, and they do use the character for "namé", but not the full name. As for "Awokimono" – Aston translates this as plain, boiled rice, and says it is meant that it was without meat of any kind. Indeed, the characters appear to be for blue or green cooked rice. There is another reading for "Awokimono" as "Hijikioono", and Aston suggests that there may have been some hijiki, or seaweed, involved. Regardless this appears to have been specifically a funerary tradition. A day after the food was offered—and we aren't told who did that—the elderly people of the capital, both men and women—some possibly with new duds thanks to the silk they had received earlier—came and made lamentation west of the bridge. I suspect that this means they didn't enter the actual courtyard where the palace of temporary interment was set up, but simply gathered on the west side of the Asuka River, which flowed past the west side of the courtyard. Later that month, we see another Buddhist ceremony. Fujiwara no Ason no Ohoshima and Kibumi no Muraji no Ohotomo invited 300 Buddhist dignitaries, known as Ryuuzou and Daitoku, to Asukadera. There they gave each one of them the present of a kesa—a Buddhist sash worn as part of their vestments. Kesa were typically stitched together from cloth donated by Buddhist laypersons, and we are told that these kesa were made from the garments of the late sovereign. The language of the decree itself was apparently so painful—Aston translates it as pathetic—that it couldn't be fully set forth. That sounds to me like someone forgot to write it down. Eleven days after the assembly at Asukadera, a national Buddhist feast was sponsored at all of the Temples in the capital. The day after that, a feast was sponsored at the mogari palace. Later that same month, Silla ambassadors arrived at the archipelago. The Dazai, the viceroy of Tsukushi, met with them and informed them of what had happened. It is likely that they had left before any word had reached the peninsula, so this was the first they heard of it. Nonetheless, they all put on mourning clothes, turned to face the East, and bowed three times and raised lamentations. This was all being done in Kyushu, but nonetheless it was clearly important to the people who were recording these interactions. A similar note in the record appears on the 23rd day of the first month of the following year, where we are told that Ohoama's death was announced to the Silla ambassador, Gim Sangnim, and his colleagues. They, in turn, made their lament three times. It is possible that these are records of the same event, and I even wonder if one was recorded on the date they arrived and the other was recorded on the date that they were formally told what was happening. Either that, or the events of the 9th month of 687 were an informal notice, so that they could get ready, after which they traveled the three months and change to Asuka, where they then were given the formal notification. Moving on to finish out the year 687: on the 22nd day of the 10th month, the Crown Prince and government officials, along with all of the governors and Kuni no MIyatsuko—and not forgetting the common people—all began work on the sovereign's tomb. This is one of the few tombs that we have some confidence in, though it isn't a keyhole shaped kofun like many others from previous eras. Today it looks mostly like a round hill, but originally it seems to have been an eight-sided tomb with five distinct levels. Eight sides suggests a Buddhist influence, as eight is an auspicious number, such as in the 8-fold path. I can't help but wonder if the five levels were connected to concepts of five in Confucian and Daoist teachings. For instance, there was the idea of five Confucian virtues as well as the Wuxing, or Gogyou, where we have five specific elements. Given the importance and influence of continental thinking at the time, neither one would surprise me. The tomb would take almost a year to complete, which almost doesn't seem like enough time given everything that they did. It is possible that they had already prepped much of what they needed and that the 10th month of 687 was simply the date they broke ground, but either way it was an impressive feat. Meanwhile, as the construction was ongoing, the public displays of mourning continued. Once again, new year's day celebrations of 688 were postponed in favor of public mourning, with the Crown Prince and all of the ministers making their lamentations on the first day of the year, followed by a company of priests the following day. On the 8th day of the first month of the year we are told that there was a public great congregation of priests held at Yakushiji. This is the first official event held at Yakushiji, and so presumably the temple was now finished—or at least finished enough. Since Ohoama isn't mentioned, it is certainly possible that this wasn't directly connected to the ceremonies around the official mourning of Ohoama. On the other hand, Yakushiji was commissioned by Ohoama for the health of his wife, Uno no Sarara, so I have a hard time thinking that there weren't any connections at all. In the second month of 688, we get a decree that has a few different interpretations. The decree states that, "in the future, on all days of national mourning, it is absolutely necessary that abstinence be practiced." Bentley translates this to mean that there would be a feast on the day of national mourning every year after. The key contention appears to be whether or not the day of mourning was a monthly or annual thing. The court appears to have been creating a national holiday around the memory of Ohoama, and it may have chosen the second month for that day of mourning and remembrance. Alternatively, this was for a day of mourning each month of the current year. The wording is vague. It is like the question of whether or not "Bi-weekly" means twice a week or once every two weeks, and I don't know that there is any consensus. Still, it is interesting that they created their own holiday to remember Ohoama, and as far as I can tell this is the first such example of a holiday being used to remember a person in this way. Once again on the 22nd day of the third month, flowers were again presented at the palace of temporary interment. This was only two days different from when the mikage had been set up in the previous year, so it would seem that the timing was significant—possibly because it was spring and the flowers were blooming. Fujiwara no Ason no Ohoshima, the same individual who had helped gather the various priests together at Asukadera to hand out kesa made of the sovereign's own garments, presented the eulogy. The ceremonies are then put on hold for a bit. There is an account from the 11th day of the 6th month where prisoners guilty of capital crimes would have their punishment mitigated one degree while those in prison for lighter offenses would be pardoned altogether. In addition, only half of the commuted taxes were to be levied. This might have been more merit-working for Ohoama or it may have been because the nation itself was undergoing a drought and they were seeking the Buddha's favor to bring the rains. Once again in the 8th month we see offerings of food are made, and a lament raised inside the palace of temporary interment. This time the eulogy was performed by Ohotomo no Sukune no Yasumaro. The day after that, Prince Ise was given commands regarding how the upcoming funeral was to be handled, which was to happen three months later. The 11th month kicked off with the Crown prince and the ministers once more going to the palace of temporary interment, this time on the 4th day of the month. They had with them guests from the "frontier lands" as Aston notes—Bentley says foreign countries. Offerings of food were made, and the Tatefushi dance was performed. This was a dance with shields and swords, according to later records. It seems that the dancers also wore armor, or something to approximate armor. All of the ministers then advanced, each in turn, and pronounced a eulogy, with each recounting the services that their ancestors had rendered to the throne. The following day, there was further ceremony as over 190 Emishi brought tribute in on their backs, and pronounced a eulogy for the departed sovereign. Six days later, on the 11th day of the 11th month, Fuse no Ason no Miaruji and Ohotomo no Sukune no Mimiyuki both pronounced eulogies, and then Tahema no Mabito no Chitoko recited, as a eulogy, the succession to the throne of the royal ancestors. And when that was finished, Ohoama's body was finally placed in the Ohouchi tomb and the tomb was sealed. And with that, the sovereign was put to rest, after over two years of mourning and ceremony, specifically designed to put on display the court's apparent grief. Whether they were actually grieved or not, the importance was the performance of grief through the rituals set forth by the state. Individuals and groups demonstrated their loyalty through their participation. Noble families used the platform to recount their service and thus demonstrate their own history and pedigree and thus why they were deserving of their status in the court. Furthermore, during all this ceremony around the funerary arrangements, to try to also have an ascension ceremony for the new sovereign was probably a little too much to try and push through. It would have also meant that they would been holding a ceremony that should be joyful and august under the pall of the mourning period. For the Crown Prince to don the robes of office while his father's body lay in the courtyard was probably, as they say, a bad look. And, as I mentioned earlier, it wasn't like it was making any real, practical difference. The ship of state was hardly rudderless, with Kusakabe and his mother both guiding it through the various ceremonies. Sure enough, in the following year, 689, the new year ceremonies were no longer about mourning and lamentation. The queen gave an audience to all the lands in the Front Hall, and the following day the Ministry of Education presented 80 wooden staves, presumably for an old form of the Setsubun festival. Today, Setsubun, the day before Spring, is celebrated with soybeans, which are tossed at characters in oni masks, and then inside the house. The cries ring out "Oni ga soto" – "Demons Out" and then again, "Fuku ga uchi" – "Good luck inside!" Thus evil spirits are kept at bay and good fortune is welcomed into the home. In the older version of a similar ritual, it seems that wooden staves were used to symbolically drive the demons out, rather than just a handful of auspicious beans. The first month of year 689 continued to look a lot like previous years, prior to Ohoama's death. There was a banquet given to the Ministers, and gifts of clothing were handed out to them. And then, halfway through the month, the various officials brought presents of firewood to the palace. And then a meal was given to the various public functionaries. A few days after that, Queen Uno left to visit the Yoshino palace for a few days, returning two days later. There is something that is not mentioned in all of this that I suspect was happening. First of all, they had no doubt torn down the palace of Temporary Interment, and they were likely preparing for Crown Prince Kusakabe's ascension. There are some that suspect Prince Kusakabe was waiting until three years had passed before taking the throne, mimicking a tradition sometimes observed on the continent, but nothing is explicitly said. Instead, we see that on the 24th day of the 3rd month there was another amnesty across the realm, and we are explicitly told that crimes that hadn't been pardoned in ordinary amnesties were also excepted in this amnesty. Amnesties typically seem to be part of merit-making to either prevent disaster or to celebrate something auspicious. Was this clearing the way for the ascension ceremony to take place? Or had something befallen the royal family? We aren't given many details, but on the 13th day of the 4th month, we are simply told that Crown Prince Kusakabe died. We aren't told that he had previously been ill, or that anything in particular had happened. It is just a simple line in the text. And yet, this must have had tremendously serious consequences. I think we can fairly safely assume that he was prepared to ascend the throne—unless he was thinking of pulling something like Naka no Oe and running things from behind the scenes. However, there is plenty of evidence that Uno no Sarara was more likely to be the one to step back and be the power in the shadow. She had operated from that position before. Whatever the plan was, clearly that plan was no more. Crown Prince Kusakabe was dead, and his only heir was still a young child. He also had no brothers to take the throne. The Chronicles don't mention it, but this must have been a moment of incredible weakness for the court and the Queen. History as we know it could have turned out very differently from this point. Also, sidebar—Prince Kusakabe's death is recorded on the 13th day of the 4th month. While 13 would not necessarily be an inauspicious day until the Western superstition was introduced in recent times, the number 4 has long been associated with death because the pronunciation, "Shi" is the same as—or at least very similar to—the pronunciation of the character for death. This is also the case in Chinese, and so the number four is often avoided and seen as unlucky. Sometimes hotels will skip both the 4th and 13th floors in Asia to avoid any inauspicious vibes. In Japanese, the numbers 4—"Shi" and seven—"Shichi"—will often be pronounced with their kun'yomi readings, so "yon" and "nana" respectively. So I just find it rather an unfortunate coincidence that Crown Prince Kusakabe died on the 13th day of the 4th month. Yikes. Anyway, if there was any wavering or grief by Uno no Sarara, it isn't mentioned in the Chronicles. They continue to march on. Later that same month, Prince Kasuga passed away. Prince Kasuga was a non-royal prince, and the death of Prince Kasuga and the Crown Prince were met with an equal lack of fanfare or explanation. Compare to the death of Prince Ohotsu, who was given an entire eulogy about how he was really well liked. Instead, the Chronicle simply moves on. The rest of the year passes by as though nothing had happened. The government continued with Uno no Sarara at its head. In the first day of the first month of the following year, Uno no Sarara formally ascended to the royal dignity in a ceremony where Mononobe no Maro set up the shields, Nakatomi no Ohoshima recited a prayer for the blessings of Heaven, and Imbe no Shikofuchi delivered the divine seal, sword, and mirror to her majesty. At that point all of the ministers and government officials made their obeisance in turn, clapping their hands as they did so. One has to wonder if this ceremony wasn't a little bittersweet, given everything that had happened. A few things about the ceremony to note. First are the three families mentioned: Despite the fact that the Mononobe house had been defeated by the Soga centuries back, here they stand in their traditional role as soldiers, raising up the shield. Then we see Nakatomi no Ohoshima—earlier mentioned as Fujiwara no Ohoshima—as the director of the Ministry of Kami matters, handling the ceremony. And then there is the Imbe, in some ways the rival to the Nakatomi and their descendants, the Fujiwara, who is handling the regalia. Also of note is that the three regalia here are not the jewel, sword, and mirror, but the seal, sword, and mirror. We mentioned this many episodes back when we had seen these same three used for the ascension ceremony, and noted then that a royal seal appears to be used, rather than mention of a jewel. The character used, on the continent, referred to the imperial seal of the dynasty, which itself would have been carved into jade, or a jewel. And in Japan the character is also said to refer to the "Yasakani-magatama", the sacred jewel. So was it the jewel, and they just called it the seal? Or is that a later attribution to try and maintain the concept that the three regalia remained the same? I couldn't honestly say, but either way we see the concept of these three regalia as central to the ceremony. And with that, Uno no Sarara, known to us as Jitou Tennou, ascended the throne. She would continue the process of making updates to the court and to the laws and regulations. She would also see the creation of the Fujiwara palace and accompanying city—designed as the first permanent capital city in all of Japan. She would also take a hard line with Silla and make her mark on the world stage, as well. But we'll talk about that in future episodes. And so, until next time, if you like what we are doing, please 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 reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com. Thank you, also, to Ellen for their work editing the podcast. And that's all for now. Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.
What if the Appalachian Mountains are hiding ancient places built for something far darker than history will admit? In this episode, Tony sits down with Bo Kennedy to explore the unsettling possibility of hidden Nephilim temples buried deep in Appalachia, where legends of giants, serpent mounds, cryptids, witchcraft, and spiritual warfare still seem to echo through the mountains. Bo shares the real research and personal experiences that inspired his novel, Army of God: Terror by Night, a story rooted in biblical warfare, ancient curses, forgotten mounds, and the fight between prayer and the powers of darkness. As the conversation unfolds, the mystery of Appalachia becomes more than folklore. It becomes a warning about what may still be hidden in the land, and what it means to stand firm in Christ when the darkness pushes back.Please pray for Tony's wife, Lindsay, as she battles breast cancer. Your prayers make a difference!If you're able, consider helping the Merkel family with medical expenses by donating to Lindsay's GoFundMe: https://gofund.me/b8f76890Become a member for ad-free listening, extra shows, and exclusive access to our social media app: theconfessionalspodcast.com/joinThe Confessionals Social Network App:Apple Store: https://apple.co/3UxhPrhGoogle Play: https://bit.ly/43mk8kZThe Counter Series Available NOW:The Counter (YouTube): WATCH HEREThe Counter (Full Episode): WATCH HERETony's Recommended Reads: slingshotlibrary.comIf you want to learn about Jesus and what it means to be saved: Click HereBigfoot: The Journey To Belief: Stream HereThe Meadow Project: Stream HereMerkel Media Apparel: merkmerch.comBo KennedyNew Book | Podcast | WebsiteSPONSORSSIMPLISAFE: simplisafe.com/confessionalsGHOSTBED: GhostBed.com/tonyQUINCE: quince.com/tonyIVERMECTIN: twc.health/tonyVENICE AI: https://venice.ai/theconfessionalsRUMBLE WALLET: https://rumblewallet.onelink.me/bJsX/ConfessionalsCONNECT WITH USWebsite: www.theconfessionalspodcast.comEmail: contact@theconfessionalspodcast.comMAILING ADDRESS:Merkel Media257 N. Calderwood St., #301Alcoa, TN 37701SOCIAL MEDIASubscribe to our YouTube: https://bit.ly/2TlREaIReddit: https://www.reddit.com/r/theconfessionals/Discord: https://discord.gg/KDn4D2uw7hShow Instagram: theconfessionalspodcastTony's Instagram: tonymerkelofficialFacebook: www.facebook.com/TheConfessionalsPodcasTwitter: @TConfessionalsTony's Twitter: @tony_merkelProduced by: @jack_theproducerOUTRO MUSICJoel Thomas - AdiósYouTube | Apple | Spotify
In this Parsha Review on Tazria-Metzora, Rabbi Aryeh Wolbe explores tzara'at (a leprosy-like affliction) as a spiritual consequence of lashon hara (slander), not a contagious disease. The afflicted must tear clothes, grow hair long, cover their mouth, announce “Tamei, Tamei” (I am contaminated), and isolate outside the camp—mirroring how they separated others through negative speech.Key lessons:Lashon hara separates — Speaking negatively about someone distances them from their spouse, family, or community; the punishment forces the speaker to experience isolation.Community & unity — Don't isolate; be part of a congregation (beit knesset = place of gathering). The Jewish people received the Torah as “one nation, one soul.” Synagogues and study halls are miniature Temples for nurturing relationships with God and others.Practical speech — Avoid negative talk entirely. When warning about potential harm (e.g., a swindler), do so discreetly without details or slander (“I would not approach this”—enough for intelligent people to understand). Media, anonymous sources, and public shaming are modern lashon hara pitfalls.Jewish pride — In Egypt, Jews kept distinct names, language, and dress—yet found favor because Hashem granted it. Don't assimilate or hide identity (yarmulke, tzitzit, tefillin) to gain favor; authentic Judaism draws divine chen (favor).Modern application — Small acts of unity and positive speech build community; isolation weakens us. Torah is practical—apply lessons to daily life (media consumption, relationships, self-improvement).The Torah calls us to elevate speech, foster unity, and live proudly Jewish—small, consistent improvements create lasting impact._____________This episode of the Parsha Review Podcast is dedicated in honor of Lenny & Teresa FriedmanDownload & Print the Parsha Review Notes:https://drive.google.com/drive/folders/1ncaRyoH5iJmGGoMZs9y82Hz2ofViVouv?usp=sharingRecorded at TORCH Meyerland in the Levin Family Studios (B) to a live audience on April 28, 2026, in Houston, Texas.Released as Podcast on April 30, 2026_____________Subscribe: Apple Podcasts (https://podcasts.apple.com/us/podcast/parsha-review-podcast-rabbi-aryeh-wolbe/id1651930083)Spotify (https://open.spotify.com/show/22lv1kXJob5ZNLaAl6CHTQ) to stay inspired! Share your questions at awolbe@torchweb.org or visit torchweb.org for more Torah content. _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life. To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#Torah, #Parsha, #Leviticus, #TazriaMetzora, #LashonHara, #Tzaraat, #JewishUnity, #JewishPride, #Community, #SpeechEthics, #AvoidSlander ★ Support this podcast ★
In this Parsha Review on Tazria-Metzora, Rabbi Aryeh Wolbe explores tzara'at (a leprosy-like affliction) as a spiritual consequence of lashon hara (slander), not a contagious disease. The afflicted must tear clothes, grow hair long, cover their mouth, announce “Tamei, Tamei” (I am contaminated), and isolate outside the camp—mirroring how they separated others through negative speech.Key lessons:Lashon hara separates — Speaking negatively about someone distances them from their spouse, family, or community; the punishment forces the speaker to experience isolation.Community & unity — Don't isolate; be part of a congregation (beit knesset = place of gathering). The Jewish people received the Torah as “one nation, one soul.” Synagogues and study halls are miniature Temples for nurturing relationships with God and others.Practical speech — Avoid negative talk entirely. When warning about potential harm (e.g., a swindler), do so discreetly without details or slander (“I would not approach this”—enough for intelligent people to understand). Media, anonymous sources, and public shaming are modern lashon hara pitfalls.Jewish pride — In Egypt, Jews kept distinct names, language, and dress—yet found favor because Hashem granted it. Don't assimilate or hide identity (yarmulke, tzitzit, tefillin) to gain favor; authentic Judaism draws divine chen (favor).Modern application — Small acts of unity and positive speech build community; isolation weakens us. Torah is practical—apply lessons to daily life (media consumption, relationships, self-improvement).The Torah calls us to elevate speech, foster unity, and live proudly Jewish—small, consistent improvements create lasting impact._____________This episode of the Parsha Review Podcast is dedicated in honor of Lenny & Teresa FriedmanDownload & Print the Parsha Review Notes:https://drive.google.com/drive/folders/1ncaRyoH5iJmGGoMZs9y82Hz2ofViVouv?usp=sharingRecorded at TORCH Meyerland in the Levin Family Studios (B) to a live audience on April 28, 2026, in Houston, Texas.Released as Podcast on April 30, 2026_____________Subscribe: Apple Podcasts (https://podcasts.apple.com/us/podcast/parsha-review-podcast-rabbi-aryeh-wolbe/id1651930083)Spotify (https://open.spotify.com/show/22lv1kXJob5ZNLaAl6CHTQ) to stay inspired! Share your questions at awolbe@torchweb.org or visit torchweb.org for more Torah content. _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life. To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#Torah, #Parsha, #Leviticus, #TazriaMetzora, #LashonHara, #Tzaraat, #JewishUnity, #JewishPride, #Community, #SpeechEthics, #AvoidSlander ★ Support this podcast ★
Ce 29 avril, l'émission démarre en force avec "Baba O'Riley" de The Who. La sélection fait la part belle à The Pretenders, Radiohead, Kiss, Gossip, Faith No More, The Beatles, Grandaddy et The Clash. S'y ajoutent Soul Asylum, America, Herman's Hermits, Cake, Placebo et The Cure. Marjorie Hache célèbre par ailleurs l'anniversaire de Tom Smith en diffusant le nouveau morceau de son groupe Editors, "Call It In". Les Français de Howlin' Jaws s'illustrent avec "Troubled Mind". Temples dévoile "Jet Stream Heart", tandis que Rob Zombie fait résonner "I'm A Rock N Roller". On retrouve aussi la collaboration entre Anna Calvi et Iggy Pop sur "God's Lonely Man", Yung Lean et Lana Del Rey. La primeur de la soirée marque le retour de Tricky, qui s'associe à la chanteuse Marta Zlakowska sur "Out Of Place", premier extrait de son quinzième disque. L'album de la semaine continue d'explorer le nouveau disque des Foo Fighters, "Your Favourite Toy", illustré aujourd'hui par le titre "Unconditional". Enfin, la reprise du jour est l'œuvre du groupe électro pop Chromatics, qui s'approprie avec sa touche singulière l'immense tube "Running Up That Hill" de Kate Bush. The Who - Baba O'Riley Howlin' Jaws - Troubled Mind Editors - Call It In Gossip - Standing In The Way Of Control Faith No More - Epic The Beatles - With A Little Help From My Friends Miles Kane - Rearrange Titre - Pour Rotation The Pretenders - Brass In Pocket Grandaddy - Am 180 The Clash - Rock The Casbah Temples - Jet Stream Heart Chromatics - Running Up That Hill Soul Asylum - Runaway Train Rob Zombie - (I'm A) Rock "N" Roller America - Ventura Highway Radiohead - Jigsaw Falling Into Place Anna Calvi - God's Lonely Man (Feat. Iggy Pop) Herman's Hermits - No Milk Today Cake - Short Skirt - Long Jacket Tricky - Move On (Feat. Marta) Kiss - Rock And Roll Hell (2022 Remaster) Placebo - Pure Morning Yung Lean - Horses The Cure - Boys Don't Cry Lana Del Rey - First Light Manfred Mann's Earth Band - Blinded By The LightHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
In this episode of Pray the Word on Numbers 35:34, David Platt explains what it means to honor God as temples of his Spirit.Explore more content from Radical.
We unpack the powerful story of Paul at Mars Hill in Athens, where he addressed a city full of idols and introduced them to the "Unknown God". We explore how Jesus Christ, the exact representation of God's glory, provides hope for past failures and future longings. Learn how Paul engaged in meaningful spiritual conversations with philosophers without compromising the truth of the gospel. We dive into the magnitude of a Creator who is the Lord of heaven and earth, transcending human-made temples and inviting every person to authentically seek Him. . Speaker: Greg Holder
"Temples for God's Glory" Sunday morning's sermon from Jeff Colón Website: www.lighthouseontherockky.org
Faith, Forgiveness, and the Prayer of God's People 04/26/26 In the morning, as they went along, they saw the fig tree withered from the roots. Peter remembered and said to Jesus, “Rabbi, look! The fig tree you cursed has withered!” “Have faith in God,” Jesus answered. “Truly I tell you, if anyone says to this mountain, ‘Go, throw yourself into the sea,' and does not doubt in their heart but believes that what they say will happen, it will be done for them. Therefore I tell you, whatever you ask for in prayer, believe that you have received it, and it will be yours. And when you stand praying, if you hold anything against anyone, forgive them, so that your Father in heaven may forgive you your sins.” — Mark 11:20-25 NIV Truly I tell you, if anyone says to this mountain, ‘Go, throw yourself into the sea,' and does not doubt in their heart but believes that what they say will happen, it will be done for them. v 23 ‘My house will be called a house of prayer for all nations' Mark 11:17 b NIV In the morning, as they went along, they saw the fig tree withered from the roots. Peter remembered and said to Jesus, “Rabbi, look! The fig tree you cursed has withered!” “Have faith in God,” Jesus answered. vv 20-22 Therefore I tell you, whatever you ask for in prayer, believe that you have received it, and it will be yours. v 24 …I will do whatever you ask in my name… — John 14:13 If you remain in me and my words remain in you, ask whatever you wish, and it will be done for you. — John 15:7 NIV And when you stand praying, if you hold anything against anyone, forgive them, so that your Father in heaven may forgive you your sins. v 25 “…anything against anyone…” v 25 “Everyone thinks forgiveness is a lovely idea until he has something to forgive” C.S. Lewis “…forgive them, so that your Father in heaven may forgive you your sins.” v 25 Unforgiveness happens when someone else's sin becomes bigger than the cross. The debt others owe us seems bigger than the debt we owed God. — Jason Meyer. As God's living temple, we are a praying people who trust Him and choose to forgive.
Hello, Puzzlers! Puzzling with us today: author of Where'd You Go, Bernadette, Maria Semple! You can order her new book Go Gentle at this link!Join host A.J. Jacobs and his guests as they puzzle–and laugh–their way through new spins on old favorites, like anagrams and palindromes, as well as quirky originals.Subscribe to Hello, Puzzlers! wherever you get your podcasts! And come join our growing puzzle community over on Patreon, where you can find bonus episodes and other exclusive content!Our executive producers are Neely Lohmann and Adam Neuhaus of Neuhaus Ideas.The show is produced by Claire Bidigare-Curtis.Our Chief Puzzle Officer is Greg Pliska. Our associate producer is Andrea Schoenberg.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
For fantastic extra content, join us at https://www.patreon.com/c/EnlightenEdgeEDU , where you will also be supporting the podcast. This week the extra content will help learn more about your temple worship by examining Egyptian temples with Kerry.This is a special episode to go with the Come Follow Me program's extra thoughts about Temple and Sacrifice. Kerry explores with Rabbi Jarrod Grover how the temple was about creating a relationship with God, and about overcoming what happened in the Garden of Eden. They also look at the Tree of Life symbolism and how God wants to be with us and we want to be with Him, and how God walks among us when we go to the temple. Then Kerry and Rabbi Joe Charnes talk about how temples are about holy encounters, such as holy encounters with place and with God, and how we must make place for the holy, and for God, within us. Then Kerry explores the tabernacle as a model for our journey to be with God again, drawing on symbolism and making room for Christ to make us new and like Him. We are grateful for our executive producers, P. Franzen, J. Parke, D. Watson, B. Van Blerkom, the Dawsons, M. Cannon, M. Rosema, B. Fisher, J. Beardall, D. Anderson, M. Zitar, J. Edwards, A. Dixon, and H. Umphlett, and for all our generous and loyal donors. We are also very grateful for all our Patreon members. We are so thankful for Beehive Broadcast for producing the podcast and for Rich Nicholls, who composed and plays the music for the podcast.
“Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.”Salwa and Selma Mikou are the founders of Paris-based Mikou Architecture. Born in Fez, Morocco and educated in Paris, they have spent the last two decades reimagining the relationship between the built environment and the cultural landscape.After honing their craft under two of the world's most iconic architects, Jean Nouvel and Renzo Piano, they founded their own studio. For them, architecture is a living interaction with landscape and what they call the Atlas of Resonance, interpreting the hidden layers of a territory, geology, memory, and craft. It is a philosophy that rejects the generic, seeking instead to weave together technological innovation with local materials. Whether it is a mosque in the north of England or a hybrid innovation hub in a former royal manufactory, their work asks a fundamental question: How does space shape the way we think, learn and remember?They were selected by Rem Koolhaas to represent Morocco at the Venice Biennale. Most recently, they were commissioned by Hermès to create a 17,000-square-meter facility that bridges industrial performance with poetic expression. At the heart of their practice is a belief that architecture is not just about building—it's about shaping relationships: between people, between past and future, between technology and craft.(0:04) The Intuitive Knowledge of Living Art(4:24) The Medina and the Geometry of Childhood(8:18) The Social Spaces of Rooftops(13:46) The Intuitive Knowledge of Living Art(15:31) Contextual Echoes & Traces of the Site(19:18) The Twin Dynamic and Confrontation with 'l'autre'(26:42) The Temples of Water(33:24) The Mosque as Pure Spatiality(38:01) The Crisis Period and Structural Systems(48:24) Building Culture with Yves Saint Laurent & Pierre Bergé(51:38) The Wast ed-dar (وسط الدار) and the Heart of a Building(57:02) Preserving the Human Core of Expression(1:04:29) Urban Acupuncture in the Modern City(1:08:46) The Smells and Sounds of Home(1:10:02) Balance, Nature, and SisterhoodEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
David Boice is a faith-based storyteller and traveler originally from Wausau, Wisconsin, and the creator of the YouTube series 52 Churches in 52 Weeks. What began as a personal search for a spiritual home became a nationwide journey through nearly 200 congregations, documenting not just what churches teach, but how they receive those walking in for the first time. His work offers a unique window into the lived experience of faith, community, and belonging across modern Christianity. Through these road stories, David has developed a thoughtful perspective on the subtle dynamics that shape religious communities—hospitality, fellowship, teaching, and the process by which a stranger becomes an insider. His content blends spiritual curiosity with candid reflection, inviting viewers to engage faith in a more personal and experiential way. In April 2024, David was baptized into The Church of Jesus Christ of Latter-day Saints. He recently relocated to Utah and is now developing 52 Temples in 52 Weeks, a companion project exploring temple worship, symbolism, and covenant faith. Alongside his content, he has used his platform to support causes such as St. Jude Children's Research Hospital. When he's not traveling or filming, David can usually be found writing, editing, or wrestling with deeper questions—like whether dad jokes qualify as a spiritual gift. Links YouTube @52churchesin52weeks YouTube @52temples Watch the video and share your thoughts in the Zion Lab community Transcript available with the video in the Zion Lab community Highlights David discusses his unique journey of visiting various denominations before joining The Church of Jesus Christ of Latter-day Saints. The conversation focuses on the impact of church culture, the power of a welcoming environment, and the lessons Latter-day Saint leaders can learn from the strengths and weaknesses of other faith traditions. 00:03:38 – David’s Background and Spiritual Journey 00:05:51 – Fallout with the Lutheran Church 00:07:45 – The Idea of Visiting 52 Churches 00:10:05 – Documenting the Church Visits 00:12:17 – The Need for Community and Church 00:13:41 – First Visit to The Church of Jesus Christ of Latter-day Saints 00:18:25 – Insights on Church Culture and Leadership 00:21:02 – The Importance of Welcoming Visitors 00:22:04 – Generational Disconnect in Churches 00:25:24 – The Role of Missionaries in Church Culture 00:26:16 – Cleaning Assignments and Ownership 00:30:16 – Communion Practices Across Different Churches 00:32:23 – The Significance of Communion in Worship 00:36:19 – Differences in Communion Timing and Structure 00:40:03 – The Role of Communion in Community and Faith 00:45:09 – Unique Takeaways from Church Visits and Experiences Key Insights Welcoming Environment: David emphasizes the importance of a communal atmosphere in churches. He found that Latter-day Saint congregations were notably more welcoming, with members actively engaging with visitors, which contrasted sharply with his experiences in other churches. Communion Practices: The sacrament in Latter-day Saint services is conducted early in the meeting, which David found refreshing compared to other traditions where communion is often the main event. This practice fosters a sense of community and shared purpose. Involvement and Ownership: David appreciated the opportunities for active participation in the Latter-day Saint community, such as cleaning assignments, which gave him a sense of ownership and responsibility within the ward. Generational Engagement: He noted the generational dynamics in church attendance, observing that many mainline Protestant churches struggle to engage younger generations, while Latter-day Saint congregations maintain a strong sense of family and community. Cultural Differences: David highlighted the differences in how various churches approach worship, including the use of sensory elements in Catholic services versus the more straightforward approach in many Protestant services. Leadership Applications Foster a Welcoming Culture: Latter-day Saint leaders can prioritize creating a welcoming environment by encouraging members to actively greet and engage with newcomers, ensuring that visitors feel valued and included. Encourage Participation: Leaders should provide opportunities for members to take on responsibilities within the ward, fostering a sense of ownership and community involvement that can enhance engagement and commitment. Focus on Community Building: By emphasizing the importance of family and community in church activities, leaders can help bridge generational gaps and create a more inclusive atmosphere that resonates with all members. The award-winning Leading Saints Podcast is one of the top independent Latter-day Saints podcasts as part of nonprofit Leading Saints’ mission to help Latter-day Saints be better prepared to lead. Find Leadership Tools, Courses, and Community for Latter-day Saint leaders in the Zion Lab community. Learn more and listen to any of the past episodes for free at LeadingSaints.org. Past guests include Emily Belle Freeman, David Butler, Hank Smith, John Bytheway, Reyna and Elena Aburto, Liz Wiseman, Stephen M. R. Covey, Benjamin Hardy, Elder Alvin F. Meredith III, Julie Beck, Brad Wilcox, Jody Moore, Tony Overbay, John H. Groberg, Elaine Dalton, Tad R. Callister, Lynn G. Robbins, J. Devn Cornish, Bonnie Oscarson, Dennis B. Neuenschwander, Kirby Heyborne, Taysom Hill, Coaches Jennifer Rockwood and Brandon Doman, Anthony Sweat, John Hilton III, Barbara Morgan Gardner, Blair Hodges, Whitney Johnson, Ryan Gottfredson, Greg McKeown, Ganel-Lyn Condie, Michael Goodman, Wendy Ulrich, Richard Ostler, and many more in over 800 episodes. Discover podcasts, articles, virtual conferences, and live events related to callings such as the bishopric, Relief Society, elders quorum, Primary, youth leadership, stake leadership, ward mission, ward council, young adults, ministering, and teaching.
Dr. Jonathan Stapley, author of Holiness to the Lord, dives deep into the complex history of women & temple sealings, the historical evolution of the sealing ceremony, the persistent changes to the endowment, and the shifting architectural purposes of Latter-day Saint temples. https://youtu.be/9GLMfnUxqdU Don't miss our other discussions with Jonathan. https://gospeltangents.com/people/jonathan_stapley Copyright © 2026 Gospel Tangents All Rights Reserved Complex History of Women & Temple Sealings: Egalitarian Sealings? When examining the history of the sealing ceremony, Stapley points out a stark contrast between Joseph Smith’s era and Brigham Young’s era. The earliest known sealing text, written by Joseph Smith in 1842, was much more egalitarian than the Nauvoo Temple text later published by Orson Pratt in 1852, which incorporated Brigham Young’s views subordinating women. While the Church has made significant revisions since 1990 to reintroduce more egalitarian language, certain disparities between men and women remain. Dilemma for Widows A poignant example of this is the church’s current sealing policy regarding widows. Before the 1890s, women were regularly sealed to multiple men sequentially, but by the 1920s, a rule was formalized restricting living women to a single sealed husband. Curiously, in the 1960s, the church changed the rules to allow deceased women to be sealed to multiple men to fix family history roadblocks, yet the restriction remained for living women. This leaves many modern widows feeling anxious or hesitant to remarry, and Stapley notes that the current theological answer regarding how these complex marriages will be resolved in the afterlife is simply, “we don’t know.” Debunking the 4-8-Hour Endowment Myth Stapley also pushes back against modern fundamentalist assumptions that the original Nauvoo endowment was a massive, 4-8-hour ordeal. In reality, historical records from William Clayton indicate that the Nauvoo endowment took roughly 90 minutes. When the ritual did take longer, it was often because every participant was acting as a main character, and there were limited temple workers to facilitate the liturgy. Stapley emphasizes that the endowment has never been static; it has always been iterating. Significant milestones include the formalization of temple worker roles in the Endowment House, the writing down of the liturgy and introduction of proxy endowments in the St. George Temple, Wilford Woodruff’s introduction of white pants for men, and the monumental 20th-century shift from live acting to film presentation. Assembly Rooms and the 24 Temples of Zion We also explore how the physical space of the temple has changed. The Kirtland Temple was a semi-public building that hosted private, charismatic “solemn assemblies” for priesthood officers. Later pioneer temples—like Manti, St. George, and Salt Lake—were built with massive assembly halls that are rarely used today, rendering them “architectural anachronisms.” Finally, Stapley addresses Joseph Smith’s famous “Plat of Zion” which outlined 24 temples for the city of Independence. He cautions against comparing these to modern temples, explaining that in the 1830s, the term “temple” was used aspirationally to describe multi-purpose civic buildings, not the private liturgical spaces we know today. Ultimately, the church’s theology simply outgrew the 24-temple model. 0:00 Sealing More Egalitarian? 13:33 Evolution of Endowment Ceremony 24:48 Temples Used to Be Public 35:27 24 Temples
There is a friendship that goes all the way back to 1976 that you should know about. It goes back to where the two of them worked at a consulting group together. These two men are ride or die. Maybe an emphasis on the die. Do you guys know who I'm referring to? I am going to tell you today. 00:00 - Start. 00:53 - Netanyahu's Utah bestie. 22:42 - The CIA connection. 31:39 - The discontinued FBI forensic technique used on the JFK assassination being used again. 38:56 - Trump tells Erika Kirk to sue people. 42:19 - Comments. PreBorn! To donate, dial #250 and say they keyword “BABY" or by visiting https://preborn.com/candace Field of Greens Visit http://fieldofgreens.com and use my code CANDACE for 20% off your order! Balance of Nature Save Over 30% when you subscribe on http://BalanceofNature.com! Join hundreds of thousands of customers in one simple routine that's changing the world. Paleovalley Get 20% off your order with promo code CANDACE at http://www.paleovalley.com Candace Clips Channel: https://www.youtube.com/@ClipsCandaceOwens Candace Official Website: https://candaceowens.com Candace Merch: https://shop.candaceowens.com Candace on Apple Podcasts: https://t.co/Pp5VZiLXbq Candace on Spotify: https://t.co/16pMuADXuT Candace on Rumble: https://rumble.com/c/RealCandaceO Candace en Español: https://www.youtube.com/@CandaceOwensEnEspanol Candace Owens em Português: https://www.youtube.com/@CandaceOwensemPortugues Candace Owens en Français: https://www.youtube.com/@CandaceOwensEnFrançais Learn more about your ad choices. Visit megaphone.fm/adchoices
Here are some resources for your Holy Week studies:https://www.outofthedust.org/193-2/ https://www.churchofjesuschrist.org/c... Trina Boice's book "Via Dolorosa": https://www.amazon.com/s?k=via+doloro... Resources and Ideas for a Christ-centered Easter Season | https://www.lanihilton.com/easter/ In this episode Kerry and Lani Hilton discuss Holy Tuesday and the important events of that day, including Christ's teachings at the temple, His teachings about the temple, His prophecies about His coming again, and how that relates to the Triumphal Entry. They provide ideas for how you can celebrate Holy Tuesday, including the idea of going to the temple.We are grateful for our executive producers, P. Franzen, J. Parke, D. Watson, B. Van Blerkom, the Dawsons, M. Cannon, M. Rosema, B. Fisher, J. Beardall, D. Anderson, M. Zitar, J. Edwards, A. Dixon, and H. Umphlett, and for all our generous and loyal donors. We are also very grateful for all our Patreon members. We are so thankful for Beehive Broadcast for producing the podcast and for Rich Nicholls, who composed and plays the music for the podcast.
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