VeVe - Milo Rigaud - Free ebook download as PDF File .pdf) or read book online for free. Livro que contém diversos Veves usados no Vodu haitiano. Edição. VeVe Milo Rigaud - Ebook download as PDF File .pdf) or read book online. Ve-Ve Diagrammes Rituels du Voudou: Ritual Voodoo Diagrams: Blasones de los Vodu - Trilingual ed. French English Spanish (French and English Edition) [ Milo Rigaud] on Get your site here, or download a FREE site Reading App.
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Download Milo Rigaud-Ritual Voodoo. DESCRIPTION. Libro escrito en tres lenguas, Frances, ingles y espaol. top related. LETTRES D'HATI. Read saving Ve-ve: Diagrammes Rituels Du Voudou (Trilingual Edition: French - English - Milo Rigaud To ask other readers questions about Ve-ve, please sign up. Be the first to ask . Download app for iOS Download app for Android. Download PDF by Milo Rigaud: Ve-Ve Diagrammes Rituels du Voudou: Ritual Voodoo Diagrams. By Milo Rigaud. Show description. Read Online or Download .
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Nonextraction treatment of unilateral Class II, Division 1 malocclusion with asymmetric headgear. The Rdgainer was constructed and inserted in the following way: Published online Jun 1.
The treatment plan was to move the right maxillary canine forwards by two millimetres space regainer achieve contact with the lateral incisor space regainer a fixed open coil space regainer OCSRfollowed by placement of a fixed partial denture thereafter to replace regakner missing maxillary first premolar. Post-treatment maxillary view space regainer removal of space regainer Click here to view. After the space was regained by the space regainer post-treatment.
The second premolar space regainer banded, on to which, buccal and lingual tubes 0. Pretreatment orthopantomograph showing mesially migrated 34 Click here to view. NiTi springs demonstrate a superelastic effect, with a constant load for a large range reggainer deflection. After completion Click here to view. Early loss of permanent teeth due to pathological or space regainer other iatrogenic causes precludes space regainer of normal intra-arch as well as interarch relationship.
Percy Talbot and John Macgregor observe that nsibidi ideograms from inception became subjects of interest to be adopted for studies even at formal levels of learning. More than symbols were taught to school children, recorded in manuscripts, inscribed on pottery wares, printed on cloth, inscribed on the skin as tattoos, as wall decorations and other sources of ornamentations thereby 6 understood by most people at that period.
However, some were adapted by members of notable secret societies to become closely guarded secrets for use by members alone. This has caused the gradation of nsibidi as i. The non-sacred are those generally understood or studied while the sacred are those adapted by cult sects for their esoteric uses.
Analyses reveal that adaptations of nsibidi are not restricted to the known recorded ancient scripts, but include new creations in patterns as used by various participants. For instance, through slave trade, nsibidi practice has reached Cuba and has metamorphosed into anaforuana or La Firma, meaning firm letters, or writings of the gods, and veve, meaning sacred symbols, in Haiti Milo Rigaud , Ivor Miller.
Anaforuana and veve were adaptations from the nsibidi scripts by the West African slaves, among whom were nsibidi practitioners captured within same location. In an effort to communicate with people of different languages when they arrived the ports of Cuba and Haiti, they introduced nsibidi by playing ekpe as entertainment, and to aid them in communication. The scripts were called writings of the gods and sacred symbols based on the understanding they offered the users.
Veve has subsequently been adapted to become the liturgical writing of voodoo in Haiti. It includes new creations by the natives in bids to further create patterns to represent absent ideas.
Artists and researchers have further explored the nsibidi concept, and have made aesthetic statements and expanded them to highlight their inadequacies while making efforts to boost their vocabulary and enhance their aesthetic value. However, the number of nsibidi literate people and of participants in ekpe society have reduced basically due to religious views on culture and traditional practices, ignorance as well as misunderstanding of the social and technological roles of the arts to the society, leading to perversions of important and meaningful concept Isaiah Uzoagba.
Regardless of this, studies in nsibidi have risen and many art researchers and historians have explored and adapted nsibidi for use in aesthetic enhancements in visual art and design, and other socio-cultural areas, for example, designs on fabrics, designs on such household utensils as chairs, tables, plates, and even architectural structures. Symbols are cultural bonds but can influence or be influenced by other symbols through modification of characters or mergers for creation of new symbols to achieve new concepts, meanings or understanding of fresh ideas.
Des Wilson defines indigenous communication media to be those in use before, and that transcend the modern mass media today. He enumerates them to include drums, rattles, folk tales, tattoos, symbolic writing and codes. Symbols speak elaborately to the mind without writing or spoken words.
They offer clear cut explanation and directive to the observer. Juan Cirlot observes that symbols are as old as the thought and mind of man, and act as a precise illustrator even to his in-depth intentions and imaginations.
As illustrators, symbols possess certain qualities of exuding identity of origins while at the same time communicating to the observer. Pictorial illustrations have two major components which, when synchronised, become a whole. Every aspect of print illustration falls under these two categories: i. Detailed drawings elaborate in sequences and complex ideas and intentions, while symbols depict in simple terms and precision. Therefore, where quick information or understanding is desired, symbols are better illustrators, so as to represent and explain a complex spectrum of intentions.
These are some reasons many systems and institutions adopt symbols method of illustrations for use. The advantages of symbols over detailed drawings as illustrators include: i.
It is easier to translate ii. It occupies less space iii.
Milo Rigaud - Ritual Voodoo Diagrams(1974)
It is easier to create and represent, and iv. It speaks more in less time. In mobile glances as in driving along the road while viewing, symbols are easier to be read and understood while complex drawings take longer to be interpreted and understood. One tends to see reasons why road signs, station codes as in airports, parks, computer templates, insignias and 8 corporate identity signs, highway codes, coat of arms, flag insignias etc.
In adapting symbols as illustrators, one views the characteristics that they are made of; ideograms and pictograms. Ideograms are patterns of inscriptions, most times abstractive yet representing ideas, while pictograms are images that represent objects or ideas.
Pictograms are easier to understand since the images of the objects are readily shown while ideograms, since they are most times abstractive marks, are more difficult to understand and may demand careful scrutiny and analysis to understand.
Since nsibidi inscriptions are predominantly ideograms, one recommends that for articulate perception, there may be pamphlets to expatiate on the symbols. An example is the Highway Code which is a pamphlet adopted by the Nigerian traffic authorities to enlighten the road users on codes and symbols on the roads. Education breeds enlightenment, enlightenment breeds innovation, actualisation, and confidence.
These factors encourage divergence from monotonous status quos and stereotypes imbibed through colonial inheritance, which has kept many ideas, objects and thoughts that are patterned in the colonial appeal but which in reality need identities. There is need for modifications and remodelling of such status quos and stereotypes so as to establish heritage, cultural identity and other achievements. These factors boost patriotism and native pride which contributes to foster zeal towards nation-building and responsible citizenship.
These are all encouraged through embedding cultural imperatives while weakening alien values. Such imported status quos and stereotypes, or colonial ideas include: i. The signs on Nigerian roads, ports and parks bear same marks as in England or the United States.
There are signs that could be adopted to communicate same meanings while depicting some characteristics of the Nigerian culture and identity. Even universally adopted signs could be fused by the native subjects to depict cultural identity; places like Russia, India and Korea have bounties of these native cultural signs.
Though an alien invention, software could be developed to depict formats and templates that depict native formats in our computer wares.
License could be bought and software applied to achieve applications that also depict Nigerian formats and characteristics where native signs and icons are displayed. Illustration patterns on books and literature on commodity packages should be designed to represent the native cultural affinity in forms of codes and symbols, figure characteristics and proportions.
It is common too, to behold people, especially youths, adorning apparels that depict foreign cultures. The most common of such alien signs include the Swastika, the Ankh sign, the Mayan and Irish whorl, the Greek Trinity and other representations of the hieroglyphics or Chinese scripts.
VeVe - Milo Rigaud
An adept review of a native Nigerian script symbols will most desirously promote the Nigerian culture. This study recommends a review of the nsibidi scripts for use in the wise discussed above because: i. Nsibidi is known to be one of the oldest native script writings in Africa and the oldest in Nigeria. This is enough reason to adopt it as a national flyer and project it to levels of universal acclaim, showcasing its cultural properties for greater acknowledgements.
Nsibidi suits being adopted as a form of national identity based on its originality and ingenuity, being devoid of any foreign influence on invention Mafundikwa. Nsibidi inscriptions possess certain aesthetic qualities which contain added appeal as embellishers and ornamentals where they are employed in creative exercises. They will serve as boosts in art productions and performance enhancers to artists.
Nsibidi symbols are created as unadulterated originals and have no surrogates.
They are created by their users but easily understood by first time viewers. Nsibidi is created with communication as the basic ingredient, and to act as a bridge between strangers. To present the symbols for this lexicon, a tabular format is adopted with symbols in drawings and their native names and English meanings given.
The adaptation and selection of symbols does not involve the total population of nsibidi. They are based on specific contents and characteristics which depict desired meanings as it relates to themes and proposals of this study. Some nsibidi symbols were selected from the original documented Ekoi scripts, works of notable researchers in nsibidi such as P.
Talbot, Victor Ekpuk, and Best Ochigbo. Also included are documentations from Obong John Udo Nkannang, an octogenarian from Ita Uruan, Nigeria, a custodian of relics of the ekpe society.
All 10 these are presented here by the researcher to enhance this study. The lexicon is presented below in three segments: i. Recommended to depict scenes of banking, markets, malls etc. Known for tingling sound. It symbolizes compatibility. Signs as the cross, moon and star or book may be inculcated to depict church, mosque or school. It is a exploration possible insignia for Financial Crime, Electoral, Police, Commissions or Power and energy corporation. But in strict ekpe INFINITY parlance ntinya signifies the tendency towards being unwanted and unknown, based on its adaptation; a multitude of tiny insects; flea, and a specific cassava disease.
It is used to depict trustworthiness and steadfastness. Such signs can encourage a stranger to forge on, rather than fear in a desolate or flooded road.
It is for adoption to U signify encroachment or trespass. It depicts damnation. It is a sign for seclusion and distinction. Of delicateness and fragility, to remind of the need for caution and care.
The creative components of symbols contain certain qualities which always make them appear familiar through thought processes. Symbols, even when established from different cultural origins, can influence one another without necessarily sharing same meanings. The creative thought process of the human mind shares certain similarities through cultures.
Take symbolic patterns like the whorl, the tapestry; basket and the zig zag, different cultures possess varying designs that, though independently conceived, have similarities ranging from very strong to weak semblances. There are certain complex motifs, and even some simplified enough, to depict their direct meanings.
Specifically, such complex motifs include, Emedi — welcome, Ntinya, Eduek- wealth, Afai- violence, upheaval, Okube- chameleon, Nsuana- dispersement. These refer to motifs that cannot be easily understood on face-value since their inscriptions represent ideas- ideograms, and are not direct visual representatives of their meanings- pictograms. The pictograms here that are easily understood include, Okpokoro udia- dining table, Okpoho- manila; Okoh- fence; Utin, Unwana- sunshine, light; Ikat- basket etc.
However, it is easier for a stranger to understand symbols than written words. Symbols have the innate qualities of allowing their users vast options of vocabulary.
They possess elements that give visual meanings to ideas; they have the qualities of transferring intentions to artistic imagery that can be explained through thought processes.
In varying capacities, these attributes sum up to communication. The artistic characters in symbols possess qualities that attract, lure, or encourage the observer to view information than do words in letters. Symbols contain the basic rudiments of all human understanding and serve as conveyors of all human knowledge. In his assertion, Carl Jung proposes an alternative definition of symbol, distinguishing it from the term sign.
He states that a sign stands for something known, as a word stands for its referent. He contrasts this with symbol, which he says stands for something unknown, and cannot be made precise, but is explained in sequences from the output of the symbol.
It buttresses the essence of symbols as a universal conveyor of visual messages. Communication aids interactions and understanding.Test de Wartegg completo Documents.
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