Adoration, which is known as latria in classical theology, is the worship and homage that is rightly offered to God alone. It is the acknowledgement of excellence and perfection of an uncreated, divine person. It is the worship of the Creator that God alone deserves.Veneration, known as dulia in classical Catholic theology, is the honor due to the excellence and a created person. This refers to the excellence exhibited by the created being who likewise deserves recognition and honor. We see a general example of veneration in events like the awarding of academic awards for excellence in school, or the awarding of the Olympic medals for excellence in sports. There is nothing contrary to the proper adoration of God when we offer the appropriate honor and recognition that created persons deserve based on achievement in excellence.
Here a further clarification should be made regarding the use of the term "worship" in relation to the categories of adoration and veneration. Some schools of theology use the term "worship" to introduce both adoration and veneration. They would distinguish between "worship of adoration" and "worship of veneration." The word "worship" (in the same way the theological term "cult" is traditionally used) in these classical definitions was not at all synonymous with adoration, but could be used to introduce either adoration or veneration. Hence Catholic writers will sometimes use the term "worship" not to indicate adoration, but only the worship of veneration given to Mary and the saints.
Church theologians have long adopted the terms ''latria'' for the type of worship due to God alone, and ''dulia'' for the veneration given to saints and icons. Catholic theology also includes the term ''hyperdulia'' for the type of veneration specifically paid to Mary, mother of Jesus, in Catholic tradition. This distinction is spelled out in the dogmatic conclusions of the Seventh Ecumenical Council (787), which also decreed that iconoclasm (forbidding icons and their veneration) is a heresy that amounts to a denial of the incarnation of Jesus.
Now, the Roman Catholic tradition has a well established philosophy for the veneration of the Virgin Mary via the field of Mariology with Pontifical schools such as the Marianum specifically devoted to this task.
In Green Christianity (or Creation-centered theology) animals, plants, and other parts of nature may be said to be ''venerated'' simply by taking good care of them, thereby showing honor and respect for God who made them. Creation, being regarded as an icon of the Creator, is a valid object of veneration.
Philologically, to venerate derives from the Latin verb, ''venerare'', meaning to regard with reverence and respect.
Category:Eastern Orthodoxy Category:Sainthood Category:Catholic spirituality Category:Religious behaviour and experience Category:Christian terms
cs:Kult svatých de:Heiligenverehrung es:Veneración de santos fr:Dulie ia:Veneration de sanctos it:Venerazione nl:Heiligenverering pl:Kult świętych pt:Veneração sv:Vördnad zh:敬奉This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Massimo and Pierce had previously been well known as artists in Switzerland and Italy, but they gained international attention when their performance piece, ''Plastic Spider Thing'', became part of the industrial band Coil's European tour in 2002.
After this tour, Black Sun Productions continued performing throughout Europe. These performance pieces were often controversial, involving nudity, sexuality and urinating on stage. In 2003, their offices in Zurich were raided by police who seized computers and files, among other things. Undeterred, they continued working, turning again to recording. In 2004 they emerged with two CDs, ''Astral Walk'' and ''Toilet Chant''.
In 2005 Massimo and Pierce issued a new release. ''OperettAmorale'' is a tribute to Bertolt Brecht and includes covers of his songs with such guest musicians as Coil, doing a version of "A List Of Wishes", recorded with John Balance before he died; "The Ballad Of Sexual Dependency" with Lydia Lunch providing vocals; and H.R. Giger performing "Seeräuber-Jenny" and providing cover images . Massimo and Pierce have also collaborated with the Italian industrial music project Mariae Nascenti in performance and on the CDs ''Morituri Te Salutant'' and ''Anarcadian Night''.
In 2006 Black Sun Productions released the double album titled ''The Impossibility of Silence'', featuring Massimo & Pierce and guest artists such as Lydia Lunch, Val Denham, Sudden Infant and Sonne Hagal. Throughout the year the collective played a number of live performances including Darkness Is Enlightening at Paradiso, Amsterdam, on a multiple bill with Psychic TV, Lydia Lunch and Val Denham.
In 2007 Black Sun Productions ceased to be a collective. Down to a duo, Massimo & Pierce released in April the album Chemism and the EP Dies Juvenalis and played a number of live performances, including the Transformer Festival in Biel, Switzerland (with Val Denham) the IV Congresso Post Industriale in Prato, Italy and the Dada Industrial Nights in Pavia, Italy. In November, Massimo & Pierce's short film Uncle Billy was premiered in NYC at the 20th MIX Festival. Two compilations featuring Black Sun Productions' tracks were released in 2007: Radio Intereference from Unknown Orgasm (Somnimage) and Old Europa Cafe (OEC100).
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | William A. Albrecht |
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Birth date | 1888 |
Birth place | Illinois, USA |
Death date | 1974, aged 86 |
Nationality | American |
Occupation | Agronomist }} |
Twenty years before the phrase 'environmental concern' crept into the national consciousness, he was lecturing from coast to coast on the broad topic of agricultural ecology. (C. Edmund Marshall, In Memoriam, 'Plant and Soil' vol 48.)
Albrecht later returned to Illinois to gain a B.S. degree in biology and agricultural science. He then started graduate research in Botany whilst also teaching in the department of botany. This period was key to his lifelong devotion to scientific study of plant physiology and agriculture. It enabled him to take a microbiological view of plant structure whilst addressing the soil as a variable environment (either favourable or unsuitable). He presented his doctoral research in 1919, and it was published in the journal ''Soil Science'' in 1920 titled 'Symbiotic nitrogen fixation as influenced by nitrogen in the soil' His paper concluded that the nitrogen level in soil had no significant effect on fixation by legumes.
From the late 1930s, as Chairman of the Department of Soils at the University of Missouri, he began work at the Missouri Agricultural Experiment Station investigating cation ratios and the growth of legumes. He had been investigating cattle nutrition, having observed that certain pastures seemed conducive to good health, and at some point he came to the conclusion that the ideal balance of cations in the soil was "H, 10%; Ca, 60 to 75%; Mg, 10 to 20%; K, 2 to 5%; Na, 0.5 to 5.0%; and other cations, 5%".
While Albrecht was a highly respected soil scientist, he discounted soil pH, stating that "plants are not sensitive to, or limited by, a particular pH value of the soil." Instead, he believed that the benefits of liming soil stem from the additional calcium available to the plant, not the increase in pH. This belief has continued to be held by followers to this day, despite much evidence to the contrary. Like much of the early research into BCSR where soil pH was not controlled, it is difficult to draw solid conclusions from Albrecht's research in support of BCSR.
Throughout his life, Albrecht looked to nature to learn what optimizes soil, and attributing many common livestock diseases directly to those animals being fed poor quality feeds. He observed that :
Albrecht was a prolific author of reports, books and articles that span several decades, starting with his reports on nitrogen fixation and soil inoculation in 1919. MVG
He laid the blame as:
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Wayne Escoffery |
---|---|
background | non_vocal_instrumentalist |
born | February 23, 1975, London, England |
instrument | Saxophone |
genre | Jazz |
years active | |
associated acts | Carolyn Leonhart |
website | |
notable instruments | }} |
Wayne Escoffery (born 23 February 1975 in London, England) is a jazz saxophonist based in New York City.
In addition to performing with his own Quartet and Quintet, Escoffery currently performs and tours with Ben Riley's Monk Legacy Septet, The Mingus Band, Abdullah Ibrahim's Akaya, The Carolyn Leonhart Group, and Jazz at Lincoln Center: The Music of Miles Davis. He is a member of The Tom Harrell Quintet.
:"This is a talented youngster capable of long, flowing lines, noteworthy creativity, and a broad range of expressiveness." - J. Robert Bragonier, writing in ''All About Jazz'' magazine
At eleven Escoffery joined The New Haven Trinity Boys Choir and began taking saxophone lessons from Malcolm Dickinson. At sixteen he left the choir and began a more intensive study of the saxophone, attending The Jazz Mobile in New York City, the Neighborhood Music School in New Haven, and the ACES Educational Center for the Arts in New Haven. During his senior year in high School, he attended the Artists Collective in Hartford, Connecticut. He met Jackie McLean, a well known alto saxophonist and founder of the jazz program at The Hartt School.
Escoffery was awarded a scholarship to attend The Hartt School, where he studied with McLean for four years, and earned a Bachelor’s degree in Jazz Performance ''summa cum laude'' in 1997. He then attended the Thelonious Monk Institute of Jazz Performance at the New England Conservatory in Boston, Massachusetts (1997–1999). During this time he toured with Herbie Hancock and performed and studied with several jazz greats. In 1999 he graduated with a Masters degree and moved to New York to begin his professional career.
Escoffery married vocalist Carolyn Leonhart in 2004. The two have one child and have collaborated on many performances. They appear together on several albums.
Category:1975 births Category:Living people Category:English emigrants to the United States Category:American saxophonists Category:Jazz tenor saxophonists Category:The Hartt School alumni
de:Wayne EscofferyThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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