#Pasupathy

[oceanusborealis]

Kalki 2898 AD - Movie Review

TL;DR – This is a film that had moments of dire boredom but also had me sitting on the edge of my chair. I wish we got more of the latter than the first. ⭐⭐⭐ Rating: 3 out of 5. Post-Credit Scene – There is a mid-credit scene.Disclosure – I paid to watch this film Kalki 2898 AD Review – Back when RRR came out two years ago, I realised that I needed to watch more Telugu Language films, and I…

[wikiintro]

Pasupathy Age, Height, Weight, Wife, Movies, Parents

Pasupathy Some Social Media Photo/Images Pasupathy Related Video FAQs Who is Pasupathy?Pasupathy is an Indian actor born in May-1969 in Maduravoyal, Chennai, Tamil Nadu, India.What is the age of Pasupathy?Pasupathy is 54 Years Old as of Apr-2024.What is the height of Pasupathy?Pasupathy’s height is in centimeters- 175 cm, in meters- 1.75m, in Feet Inches- 5’ 9”. Some exciting and lesser-known…

[akultalkies]

Sunaina, Ananth Nag, Nivas Adithan, Vivek Prasanna, Gajaraj, Ranjan, Pasupathi Raj, Gnanavel, Bava Chelladurai, Rithu Manthra David, Boxer Dheena, Appani Sarath

[therukurals]

shut up we’re getting parvathy in the new pa.ranjith!?!?!?!

[bibliophilea]

You Are Not Immune to Saltwater

Inspired by "You Are Not Immune to Saltwater" by @camels-pen

Album artwork by @skittlespoxxum

For @invisobang 2024

One moment Vlad was going about his day, the next he was surrounded by a bunch of circus performers with a sword at his throat. He blamed Daniel.

Read the phic here: ao3 | tumblr See skittlepoxxum's art for the phic here: tumblr Listen to the song here: bandcamp | spotify

Thank you, @kinglazrus, for heading and doing so much work for Invisobang! Your spreadsheet powers are phantastic, and all the work you put into Invisobang pays off! And thank you, @strawberrycamel and @underforeversgrace, for doing so much work for Invisobang! You guys helped us stay (relatively) sane!

Invisobang is one of my favorite Danny Phantom events! I get to read phantastic phic, see amazing art, and write music for it! Some of my favorite pastimes! I'm always amazed and inspired by the phenomenal work everyone puts into Invisobang!

Berry, your phic is phantastic! I love seeing Vlad get thrown into the deep end with Buggy's crew, and I love seeing him learn so viscerally that he's outclassed (and also that he's not in the middle of a hallucination XXD)!

And Skittles, I love your art! I love how well you convey the chaos of the battle between the pirates and the marines, with Vlad caught in the middle! And the cover art is excellent - I love how it captures the vibes of the phic!

I hope this music does the phic and art you guys made justice!

[dpfantasyzine]

Socials: tumblr | ao3 | ffn | bluesky | cohost | pillowfort

"Hewwo! I'm so excited to be here, composing music and writing phics for this zine! Life is harsh, but the zine and the folks in the zine are so great, and so kind! We stay silly! ::3c " -@bibliophilea

tension (release)

Summary:

Alicia needs to find Danny. He doesn’t know these woods — probably doesn’t know any woods, and that bit of scrub Amity Park calls conservation doesn’t count. This isn’t some patch of green in the middle of a city where the most you’ll see is a stray cat. This is rural.

[compneuropapers]

Interesting Papers for Week 38, 2024

Computational Mechanisms Underlying Motivation to Earn Symbolic Reinforcers. Burk, D. C., Taswell, C., Tang, H., & Averbeck, B. B. (2024). Journal of Neuroscience, 44(24), e1873232024.

Rule-based modulation of a sensorimotor transformation across cortical areas. Chang, Y.-T., Finkel, E. A., Xu, D., & O’Connor, D. H. (2024). eLife, 12, e92620.3.

Abstract deliberation by visuomotor neurons in prefrontal cortex. Charlton, J. A., & Goris, R. L. T. (2024). Nature Neuroscience, 27(6), 1167–1175.

Synapse-specific structural plasticity that protects and refines local circuits during LTP and LTD. Harris, K. M., Kuwajima, M., Flores, J. C., & Zito, K. (2024). Philosophical Transactions of the Royal Society B: Biological Sciences, 379(1906).

Neural Correlates of Crowding in Macaque Area V4. Kim, Taekjun, & Pasupathy, A. (2024). Journal of Neuroscience, 44(24), e2260232024.

Neurocomputational model of compulsivity: deviating from an uncertain goal-directed system. Kim, Taekwan, Lee, S. W., Lho, S. K., Moon, S.-Y., Kim, M., & Kwon, J. S. (2024). Brain, 147(6), 2230–2244.

The hippocampus dissociates present from past and future goals. Montagrin, A., Croote, D. E., Preti, M. G., Lerman, L., Baxter, M. G., & Schiller, D. (2024). Nature Communications, 15, 4815.

Memory for space and time in 2-year-olds. Mooney, L., Dadra, J., Davinson, K., Tani, N., & Ghetti, S. (2024). Cognitive Development, 70, 101443.

Synergistic information supports modality integration and flexible learning in neural networks solving multiple tasks. Proca, A. M., Rosas, F. E., Luppi, A. I., Bor, D., Crosby, M., & Mediano, P. A. M. (2024). PLOS Computational Biology, 20(6), e1012178.

Two- and three-year-olds prefer mastery-oriented over outcome-oriented help. Raport, A., Ipek, C., Gomez, V., & Moll, H. (2024). Cognitive Development, 70, 101462.

Making precise movements increases confidence in perceptual decisions. Sanchez, R., Courant, A., Desantis, A., & Gajdos, T. (2024). Cognition, 249, 105832.

Equal levels of pre- and postsynaptic potentiation produce unequal outcomes. Savtchenko, L. P., & Rusakov, D. A. (2024). Philosophical Transactions of the Royal Society B: Biological Sciences, 379(1906).

Memory Reactivation during Sleep Does Not Act Holistically on Object Memory. Siefert, E. M., Uppuluri, S., Mu, J., Tandoc, M. C., Antony, J. W., & Schapiro, A. C. (2024). Journal of Neuroscience, 44(24), e0022242024.

Spatial summation for motion detection. Solomon, J. A., Nagle, F., & Tyler, C. W. (2024). Vision Research, 221, 108422.

Training enables substantial decoupling of visual attention and saccade preparation. Topfstedt, C. E., Wollenberg, L., & Schenk, T. (2024). Vision Research, 221, 108424.

Development and organization of the retinal orientation selectivity map. Vita, D. J., Orsi, F. S., Stanko, N. G., Clark, N. A., & Tiriac, A. (2024). Nature Communications, 15, 4829.

Unsupervised restoration of a complex learned behavior after large-scale neuronal perturbation. Wang, B., Torok, Z., Duffy, A., Bell, D. G., Wongso, S., Velho, T. A. F., … Lois, C. (2024). Nature Neuroscience, 27(6), 1176–1186.

Feature-selective responses in macaque visual cortex follow eye movements during natural vision. Xiao, W., Sharma, S., Kreiman, G., & Livingstone, M. S. (2024). Nature Neuroscience, 27(6), 1157–1166.

Natural scenes reveal diverse representations of 2D and 3D body pose in the human brain. Zhu, H., Ge, Y., Bratch, A., Yuille, A., Kay, K., & Kersten, D. (2024). Proceedings of the National Academy of Sciences, 121(24), e2317707121.

Negation mitigates rather than inverts the neural representations of adjectives. Zuanazzi, A., Ripollés, P., Lin, W. M., Gwilliams, L., King, J.-R., & Poeppel, D. (2024). PLOS Biology, 22(5), e3002622.

[worldwidemovies012]

Thangalaan review

: Pa Ranjith's film is intertwined with some fantasy and mystical realism. A must watch for Vikram fans.

Thangalaan is a period action drama starring Vikram, Parvathy Thiruvothu and Malavika Mohanan in the lead roles. The film is directed by Pa. Ranjith, produced by Studio Green K.E.Gnanavel Raja and the music is scored by G.V. Prakash Kumar.

Premise:

Britishers are in a wealth hunt, they take tribal people to work for them. Strange visions of Vikram to lead the troop to the Gold-rush area. What happens after forms the crux of the story.

Writing/ Direction:

Gold is the base of the film, the film showcases how it was handled in the 19th century by our rulers. Well-researched in terms of landscape, the way people look and the terms they use, which is sure to take the viewers back in time. The fantasy element is intriguing, the dynamic development of it is one of the few appreciable aspects of the film, the closure to it makes sense, sadly it is rushed by leaving no impact. The first half is like an adventure flick, with many different themes tried, but the result is extremely flat.

No clarity in the fight scenes as to who is winning and who is losing, the Black Panther sequence is a big dud with poor vision and the heavy smoke effects used lowers the visual standard.

Pasupathy’s humour portions are a big relief to the dry screenplay. The second half starts on a promising note with a few good scenes, displaying the happiness of the tribes for receiving new clothes, how the British treat the tribe with respect until they get to the Gold and shows their true nature after that, etc. Post which the film becomes dull with the slavery part not turning out to be emotional on-screen, the payoff is also very weak by bringing in a clumsy platter which is hard to consume. The biggest drawback of the film is the dialogue modulation of the artists which is probably authentic for the period, but had to go through hell to follow and understand.

Performances:

Chiyaan Vikram’s limitless efforts are evident on-screen, showing great variety in makeover, body language and expressions. Parvathy Thiruvothu is very casually natural on-screen, her scenes with the hero are lively, but the script required more to utilize the chemistry between them. Quite a challenging role for Malavika Mohanan, she has given her best, just wish she had more highlight action scenes to prove her full-potential. Pasupathy’s character started off fascinatingly, but then the arc was left abruptly without giving a proper ending it deserved. Stone-faced villains, the issue with foreign actors’ performances which the most Indian films have exists here too. The other supporting characters are written in a half-baked manner that we don’t get to feel for them.

Technicalities:

Meticulous work by G.V.Prakash, top quality songs overall, especially the Minikki Minikki track stands out and it is beautifully placed in the film. Solid score, his music made a lot of weak situations better, he has focused on what instruments to use as well. The visuals are first class, strong production value and location recce have led the team to explore new terrains, however the action is captured in an unimpressive manner. A lot of edit patterns and jump cuts are fascinating, but finesse is missing when things are simple, the packaging fails to engross. VFX is a mixed bag, the models look neat during the static shots, but the motions aren’t done right to make the sequences believable. Stunts lack punch, the approach is realistic but the output feels hurried.

Bottomline

Fantasy element is fine when it stands alone, falters when blent with reality. The film misses to hold the interest except for the initial chunk in the latter half. Had immense potential to be a hard-hitting flick, but it never took off from the ground level.

hindi:- थंगालान समीक्षा: पा रंजीत की फिल्म कुछ कल्पना और रहस्यमय यथार्थवाद से जुड़ी हुई है। विक्रम के प्रशंसकों के लिए यह फिल्म अवश्य देखें।

थंगालान एक पीरियड एक्शन ड्रामा है, जिसमें विक्रम, पार्वती थिरुवोथु और मालविका मोहनन मुख्य भूमिकाओं में हैं।

फिल्म का निर्देशन पा रंजीत ने किया है, जिसका निर्माण स्टूडियो ग्रीन के.ई. ज्ञानवेल राजा ने किया है और संगीत जी.वी. प्रकाश कुमार ने दिया है।

प्रस्तावना:

अ��ग्रेज धन की तलाश में हैं, वे आदिवासी लोगों को अपने लिए काम पर ले जाते हैं। विक्रम को सेना को गोल्ड-रश क्षेत्र में ले जाने के लिए अजीबोगरीब दृश्य दिखाई देते हैं। उसके बाद क्या होता है, यही कहानी का सार है।

लेखन/निर्देशन:

फिल्म का आधार गोल्ड है, फिल्म दिखाती है कि 19वीं सदी में हमारे शासकों ने इसे कैसे संभाला।

भूदृश्य, लोगों के देखने के तरीके और उनके द्वारा इस्तेमाल किए जाने वाले शब्दों के संदर्भ में अच्छी तरह से शोध किया गया है, जो दर्शकों को निश्चित रूप से समय में पीछे ले जाएगा।

फंतासी तत्व दिलचस्प है, इसका गतिशील विकास फिल्म के कुछ सराहनीय पहलुओं में से एक है, इसका समापन समझ में आता है, दुख की बात है कि इसे जल्दबाजी में बनाया गया है, जिससे कोई प्रभाव नहीं पड़ता।

पहला भाग एक साहसिक फिल्म की तरह है, जिसमें कई अलग-अलग थीम आजमाई गई हैं, लेकिन परिणाम बेहद सपाट है।

लड़ाई के दृश्यों में कोई स्पष्टता नहीं है कि कौन जीत रहा है और कौन हार रहा है, ब्लैक पैंथर का दृश्य खराब दृष्टि के साथ एक बड़ा डफ है और भारी धुएं के प्रभाव का उपयोग दृश्य मानक को कम करता है।

पसुपथी के हास्य भाग सूखी पटकथा के लिए एक बड़ी राहत हैं। दूसरा भाग कुछ अच्छे दृश्यों के साथ एक आशाजनक नोट पर शुरू होता है, जिसमें नए कपड़े प्राप्त करने के लिए जनजातियों की खुशी प्रदर्शित होती है, कैसे ब्रिटिश जनजाति के साथ सम्मान के साथ व्यवहार करते हैं जब तक कि वे गोल्ड तक नहीं पहुंच जाते और उसके बाद अपना असली स्वरूप दिखाते हैं, आदि।

इसके बाद फिल्म सुस्त हो जाती है क्योंकि गुलामी वाला हिस्सा स्क्रीन पर भावनात्मक नहीं बन पाता है, भुगतान भी बहुत कमजोर है क्योंकि एक भद्दा प्लेट पेश किया जाता है जिसे पचाना मुश्किल है।

फिल्म की सबसे बड़ी कमी कलाकारों के संवादों का उतार-चढ़ाव है जो शायद उस दौर के हिसाब से प्रामाणिक है, लेकिन इसे समझने और समझने के लिए नरक से गुजरना पड़ा।

प्रदर्शन:

चियान विक्रम के असीम प्रयास स्क्रीन पर स्पष्ट हैं, मेकओवर, बॉडी लैंग्वेज और भावों में बहुत विविधता दिखाते हैं।

पार्वती थिरुवोथु स्क्रीन पर बहुत सहज रूप से सहज हैं, नायक के साथ उनके दृश्य जीवंत हैं, लेकिन स्क्रिप्ट में उनके बीच की केमिस्ट्री का उपयोग करने के लिए और अधिक की आवश्यकता थी।

मालविका मोहनन के लिए काफी चुनौतीपूर्ण भूमिका, उन्होंने अपना सर्वश्रेष्ठ दिया है, बस काश उनके पास अपनी पूरी क्षमता साबित करने के लिए और अधिक हाइलाइट एक्शन दृश्य होते। पसुपति के किरदार की शुरुआत आकर्षक थी, लेकिन फिर आर्क को बिना उचित अंत दिए अचानक छोड़ दिया गया।

पत्थर के चेहरे वाले खलनायक, विदेशी अभिनेताओं के अभिनय की समस्या जो कि अधिकांश भारतीय फिल्मों में होती है, यहाँ भी मौजूद है।

अन्य सहायक पात्रों को आधे-अधूरे तरीके से लिखा गया है कि हम उनके लिए कुछ महसूस नहीं कर पाते।

तकनीकी बातें:

जी.वी.प्रकाश द्वारा किया गया बेहतरीन काम, कुल मिलाकर बेहतरीन गाने, खास तौर पर मिनिक्की मिनिक्की ट्रैक सबसे अलग है और इसे फिल्म में खूबसूरती से रखा गया है।

सॉलिड स्कोर, उनके संगीत ने कई कमज़ोर स्थितियों को बेहतर बनाया, उन्होंने इस बात पर भी ध्यान दिया कि कौन से इंस्ट्रूमेंट का इस्तेमाल करना है।

विज़ुअल बेहतरीन हैं, प्रोडक्शन वैल्यू और लोकेशन रेकी ने टीम को नए इलाकों की खोज करने के लिए प्रेरित किया है, हालांकि एक्शन को बहुत ही कमज़ोर तरीके से कैप्चर किया गया है।

एडिट पैटर्न और जंप कट बहुत आकर्षक हैं, लेकिन जब चीजें सरल होती हैं तो बारीकियाँ गायब हो जाती हैं, पैकेजिंग भी ध्यान खींचने में विफल हो जाती है।

वीएफएक्स एक मिश्रित बैग है, स्टैटिक शॉट्स के दौरान मॉडल साफ-सुथरे दिखते हैं, लेकिन दृश्यों को विश्वसनीय बनाने के लिए गति सही तरीके से नहीं की गई है। स्टंट में दम नहीं है, दृष्टिकोण यथार्थवादी है लेकिन आउटपुट जल्दबाजी में किया गया लगता है।

बॉटमलाइन

फ़ैंटेसी एलिमेंट अकेले होने पर ठीक है, लेकिन वास्तविकता के साथ घुलने-मिलने पर यह कमज़ोर पड़ जाता है।

फिल्म के दूसरे हिस्से में शुरुआती हिस्से को छोड़कर बाकी हिस्सा दिलचस्पी बनाए रखने में विफल रहा। इसमें एक दमदार फिल्म बनने की अपार संभावना थी, लेकिन यह कभी भी जमीनी स्तर पर आगे नहीं बढ़ पाई।

[dcblogs]

Kalki 2898 AD - Movie Review

India's highest budget movie till date, Kalki 2898 AD has released today. Nag Ashwin, who is just 2 films old (Evade Subramanyam & Mahanati), helming this magnum opus of science fiction interlinked with mythology, is itself a gutsy attempt. Roping in stalwarts like Amitabh and Kamal Haasan, while having "The Prabhas" and Deepika is taking it to next level. Did he live upto the expectations? Let's see.

Story :- It's 2898 AD, where there are only 3 worlds shown. Complex, Kashi and Shambala. Complex controls Kashi and all other worlds with it's dominance under the guidance of Yaskin (Kamal Haasan). They trace fertile women and use them for making Project K a success, which gives super power to Yaskin. Kashi is deprived of all resources and exploited by Complex. Shambala is a rebel group who want to bring down Complex at any cost. Sumathi (Deepika) is pregnant and crucial for Project K to become success, however she escapes from Complex to save her baby. Bhairava (Prabhas) a bounty hunter, who is desperate to shift to Complex from Kashi, wants to catch Sumathi and handover to complex. Ashwathama (Amitabh) is alive just to protect Sumathi's baby. Bhairava and Ashwathama face off each other in this process. Who wins over whom? Was Sumathi protected? Forms the rest of the story.

Performances :- Entire story revolves around Deepika. She was very good in the given scope and interval block stands out. Amitabh Bachchan has most creamy role, be it the elevations, action sequences or back story. He is outstanding in it. This could be termed as the best mass role for Amitabh in ages. Prabhas is the life of the film. What could be otherwise an serious emotional film with slow pace, was made lively with his comedy timing. His camaraderie with Bujji, one liners during action sequences, sequences with Bhramandam or other cameos, makes the movie enjoyable. His get up in the last scene bring goosebumps to fans. Kamal Haasan has limited scope and he excels in it. Despite having prosthetic and graphics, his intensity in acting arrests you. Bengali actor Saswata Chatterjee has a meatier role as commander of Complex and he was great. Shobhana, Pasupathy, Rajendra Prasad, Disha Patani, Anna Ben were fine in their roles. Lot of cameos are there throughout the movie, which surprise us occassionally.

Technicians :- Graphics of the movie is of the highest standard and on par with any Hollywood movie. The team should be applauded for the quality. Art work comes next in line for the accolades, setting up 3 worlds with contrasting premises. Action sequences were very well designed and executed, using the graphics to the maximum extent possible. Santosh Narayanan background score is excellent. Songs could have been better though. Nag Ashwin deserves a bow for the way he has conceived this story and executed it. Perfect blend of Indian mythology in a science fiction film is a very rare phenomenon, which he has aced. No one would believe that the director of Mahanati and Kalki are one and the same. Such is the contrast of these films genre are. He has a Rajamouli and a Bapu in him. Costumes & Make up have complimented the proceedings of the film.

Positives :-

Everything

Negatives :-

Lags in 1st half

Few songs

Summary :- Great story, terrific performances, top notch graphics make it must watch. It should be seen as a story based movie rather than a Prabhas movie, to enjoy it fully. Kudos to Nag Ashwin for pulling it off.

Rating :- 4.5/5 (Kalki is India's Avengers)

[nisecure]

Active Listening in communication

Niccoi Cornwall. 27 Feb. 2023

In order to effectively communicate, one must be able to listen to another person's words while also attempting to comprehend their meaning and purpose. This is known as active listening. Being an involved participant in the communication process is necessary.

Active listening techniques include:

Being fully present in the conversation Showing interest by practicing good eye contact Noticing (and using) non-verbal cues Asking open-ended questions to encourage further responses

Why Are Active Listening Skills Important?

Active listening is an important part of your communication skill set because it encourages openness, honesty, and success. When you pay attention to your conversation partner, you show that person they are being heard, thus building trust and making that person feel like their words matter to you. The benefits of active listening affect the speaker as well as you. Attentive listening makes for better living and working environments. It cuts down on miscommunication, facilitates conflict resolution and problem-solving, and generates a more positive atmosphere for sharing.

Problems in Active Listening

Active listening is not an easy skill to acquire. It demands practice. Perhaps more important, it may require changes in our own basic attitudes. These changes come slowly and sometimes with considerable difficulty. Let us look at some of the major problems in active listening and what can be done to overcome them.

To be effective at all in active listening, one must have a sincere interest in the speaker. We all live in glass houses as far as our attitudes are concerned. They always show through. And if we are only making a pretense of interest in the speaker. he will quickly pick this up, either consciously or unconsciously. And once he does, he will no longer express himself freely.

Reference

Markman, H. J., Stanley, S. M., & Blumberg, S. L. (2001). Fighting for your marriage: Positive steps for preventing divorce and preserving a lasting love. San Francisco, CA: Jossey-Bass.

Pasupathi, M., Carstensen, L. L., Levenson, R. W., & Gottman, J. M. (1999). Responsive listening in long-married couples: A psycholinguistic perspective. Journal of Nonverbal Behavior, 23, 173–193.

Stein, D. (2009). Reducing audience aggression by reflecting back. Public Management, 91, 34. Sunnafrank, M. J. (1986). Predicted outcome value during initial interactions: A reformulation of uncertainty reduction theory. Human Communication Research, 13, 3–33.

[sembulapeyalneerpol]

Is it true that there are no other dwija Savarnas in Tamil spaces (TN but also Eelam and Malaysia) other than brahmins?

Not a completely straightforward answer to this, and I am also learning and understanding what Tamil history is and the influence of vedic traditions and beliefs there as well. This is my understanding of it referencing writings of Iyothee Thass, Periyar, Ambedkar, M.S.S Pandian, Kancha Iliah Shepherd primarily.

short answer, no most nonbrahmin savarnas in tamil society are considered sudra and the concept of twice-born status is limited. the self-respect movement through marimalai adigal and periyar's writings further entrench this division along brahmin/nonbrahmin [brahmin and non brahmin m.s.s pandian goes into this history really well]

Caste among Tamils is a bit complex, primarily because the systems that exist up north did not fully integrate or passed through to the south and in eelam in Tamil communities. There were no established/institutionalized vaishya and kshatriya castes, there are claims by different communities but its not widespread. So they were generally, dalit, tribal communities, nonbrahmins (who broadly were identified as shudras) and brahmins. unlike in a lot of regions in the north, you did not have to be twice born to own land. tamil society had a strong cultivator caste, vellalars, who had varied occupations and were feudal in nature though some subcastes and communities also tilled their own land as well. brahminism became integrated into tamil society through vellalar/feudal cooperation and practices of untouchability and deeper entrenchment of caste divisions result. vellalars hold more dominant status in eelam though than vellalars in tamil nadu. you also had the bhakti movement in later eras of the sangam period which was a reformation movement of shaivite and vaishnavite traditions, and so as a result you have some communities and castes who become twice - born and wear the thread but it is not widespread. if you've seen thangalaan, pasupathy's character and the references to ramanuja are tied to that. this is a very general/broad explanation and there is so much more nuance and history too within both contexts. Ultimately, the lack of nonbrahmin twice born castes just means caste violence and contours of power in Tamil society is a bit different, like the extent that sudra castes who are considered ritually impure still hold material wealth and power, and perpetuate brahminism violently.

[livesanskrit]

Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit .

It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet

K.P. Narayana Pisharody

K.P. Narayana Pisharody (23 August 1909 – 21 March 2004) was a Sanskrit scholar, teacher and writer of Kerala, India. He was born on 23 August 1909 in Kodikkunnu near Pattambi in Palakkad district to Puthisseri Pasupathi Namboothiri and Narayani Pisharasyar. He learned Sanskrit from the renowned scholars Punnasseri Nambi Neelakanta Sharma of Pattambi and Attoor Krishna Pisharody.

After passing Sahithyashiromani examination from Sanskrit college Pattambi in 1932 he taught Malayalam and Sanskrit in various schools and colleges. After retirement from Sree Kerala Varma College, Thrissur did research under University Grants Commission fellowship. He has also received the titles "Sahitya nipunan" "Pandita thilakam" and "Sahitya rathnam." In 1999 "Ezhuthachan Puraskaram" the highest literary honour of the Kerala Government was awarded to Pisharody. He died on 20 March 2004. He was cremated with full state honours at his home in Thrissur.

#sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #kpnarayanapisharody #pisharody #scholar #teacher #writer #pattambi #palakkad #keralavarmacollege #pattambisanskritcollege #keralatourism #keralagram #thrissur #trichur #celebratingsanskrit #malayalamliterature

[karuppuezhutthu-blog]

Thangalan | நிறைய ஸ்பெஷல் சேர்ந்த ஒரு ஸ்பெஷல் இது - நடிகர் பசுபதி பேச்சு | Actor Pasupathy

Thangalan | நிறைய ஸ்பெஷல் சேர்ந்த ஒரு ஸ்பெஷல் இது – நடிகர் பசுபதி பேச்சு | Actor Pasupathy | Vikram.செய்திகளை துல்லியமாகவும் துரிதமாகவும் வழங்கும் தமிழகத்தின் முதன்மை செய்தி தொலைக்காட்சி உங்கள் நியூஸ்18 தமிழ்நாடு.

[the-hem]

"Penance." From the Atharvasiras Upanishad, “The Exploration of the Mysteries of the Rather Striking Helmet."

Next begins a fiercely monotheistic description of how Rudra, beatification works in the Self and the soul of creation:

5.1 This god is the one who pervades in all directions. He is the one who came earlier than everything. He is the one who is in the womb. He is the one who is in all the creatures which have come out till now and all those who are going to be created in future. He is also the one who sees the inside but the one who has a face which looks outside.

5.2 Rudra is one and only one. There is no second to him. He rules all worlds by his power. He pervades fully in all beings. He is the one who, at the time of deluge, absorbs all beings. He is the one who creates all beings and upkeeps them.

 5.3 He alone exists, in all organs where birth takes place. He travels among all beings and is the reason for their existence. The seeker would get immeasurable peace by searching and surrendering to this god, who gives everything to the one who asks and who is praiseworthy.

5.4 He converts fire, air, water, earth, ether and everything that exists here into ash. He who sees this and mentally realizes it and observes the “penance to Pasupathi (Lord of all beings)” and who coats ash all over his body with this ash attains the state of Brahman. By worshipping “Pasupathi (lord of all beings)” like this, the ties of bondage of all beings get cut and they attain salvation.

 5.5 There is none greater than him, on whom all the worlds are strung like beads. Over the ages, nothing so far where greater than him and nothing is going to be greater than him. He has thousands of legs but one and only one head. He pervades everywhere.

The key to turning this section into an actionable spiritual plan is found in the words, “penance to all beings”. Repentance is the seed of atonement and beatification of our suffering world. Also “he has a thousand legs and one head”.

We must all surely agree there is too much pain and suffering on this world as if we had one point of view on this. Once we know what we are seeing is true, then we need to do whatever it takes to make things work again.

This simple approach to the use of our time and money should be able to change every mind on earth and speed relief to the needy and troubled. Still, the munitions and bullets get made and shipped and buildings are collapsing, the bodies are piling up, particularly in Russia,  and tears are falling in sheets of rain.

[college-buz]

Thangalaan Team's Special Birthday Tribute to Vikram: Watch Now!

As Chiyaan Vikram celebrates his 58th birthday on April 17, the anticipation for his upcoming film, Thangalaan, reaches new heights. To mark this occasion, director Pa Ranjith and his team have unveiled a heartfelt tribute video dedicated to Vikram, offering fans a glimpse behind the scenes of the highly anticipated movie.

In response to the tribute, Vikram took to social media to express his gratitude to the Thangalaan team, sharing the YouTube link and acknowledging their efforts. The tribute video showcases Vikram's dedication and commitment to his craft, highlighting his intense performance and the challenges he faced during the filming process.

Known for his transformative roles, Vikram underwent extreme weight loss for Thangalaan, immersing himself in the role of a tribal leader amidst the scorching heat of the Kolar Gold Mines backdrop. The behind-the-scenes footage captures Vikram's raw energy as he engages in intense fight sequences and emotionally charged moments, earning praise from fans for his unwavering dedication.

Thangalaan, directed by Pa Ranjith, promises to be a gripping historical action drama, shedding light on the struggles of indigenous tribes affected by mining activities. With an ensemble cast including Malavika Mohanan, Pasupathy, Parvathy Thiruvothu, and others, the film is poised to captivate audiences with its powerful narrative and stellar performances.

Despite delays in its release due to upcoming elections, the tribute video hints at Thangalaan's imminent premiere, fueling excitement among fans. Jointly produced by Studio Green and Neelam Productions, the film boasts a talented crew, including music by GV Prakash Kumar, editing by RK Selva, and cinematography by A Kishore Kumar.

As fans eagerly await the release of Thangalaan, the special birthday tribute to Vikram serves as a testament to his exceptional talent and the passion of the entire team behind the project. Watch the video now for an exclusive glimpse into the making of this much-anticipated film.

[bibliophilea]

(Oh Please Don't) Dissect Me

Composed alongside the phic "did you just not care to realize?" by @baphospectra (tumbl why no tag?) Album artwork created and edited by me For @ecto-implosion 2023

Danny is captured by his parents. He doesn't understand how they don't recognize their own son.

Read the phic here: ao3 (mind the tags!) See the original, unedited art used for the cover here: tumblr Listen to the song here: bandcamp | spotify

Thank you so much, Ecto-Implosion mods, for running such a great event! This was only the first year, and it went off with a blast! I loved participating! Y'all made it phantastic!

Baph, your phic is so chilling, and so captivating - the way you write the Fenton parents and hunters is so horrific, and so sad, and sends a shudder down my spine - I can't look away! And your writing of Danny's perspective of everything as it happens to him is so good - it's so rooted in the moment, and so rooted in his beliefs about his parents, and how his parents confirm those beliefs in the moment breaks my heart! This is such a good dissecc phic!

I hope the song does your work justice! Thank you!