Giant Swing

The Giant Swing is a religious structure in Sao Chingcha Subdistrict, Phra Nakhon District, Thailand. Located in front of Wat Suthat, it was used in an old Brahmin ceremony, is one of Bangkok's tourist attractions; the Giant Swing was constructed in 1784 in front of the Devasathan shrine by King Rama I. During the reign of Rama II the swing ceremony was discontinued as the swing had become structurally damaged by lightning. In 1920 it was moved to its current location in order to make space for a gas plant; the ceremony was again performed until 1935. The last renovations were done in 1959, after 45 years of exposure to the elements the wooden pillars were showing signs of serious damage. A major reconstruction began in April 2005. Six teak tree trunks were used; the two used for the main structure of the swing are over 3.5 m in circumference and over 30m in height. The remaining four are 2.30 m in circumference and 20 m in height. The swing was taken down in late October 2006 and the work finished in December of the same year.

The rebuilt swing was dedicated in royal ceremonies presided over by King Bhumibol Adulyadej in September 2007. The timbers of the original swing are preserved in the Bangkok National Museum. In 2005, the Giant Swing, together with Wat Suthat, was proposed as a future UNESCO World Heritage site. Wat Suthat Thep Wararam shortened to "Wat Suthat", is an important temple in Thailand. Inside the grand hall is a Phra Sri Sagaya Munee, its principal Buddha image, acquired from Wat Mahathat in Sukhothai. Wat Suthat was built by King Rama I in the center of his capital, but it was completed in the reign of Rama III. Many people make pilgrimages to worship the Buddha on holy days such as Visakha Bucha Day and Magha Bucha Day. In the quarter there is a well known and high regarded Chinese shrine, Sarn Choa Po Seu, it was a building on Bamrungmueng Road where the big Chinese communities were. King Rama V expanded the road and had the shrine relocated to the current location on Ta Nao Road near WatMahanaparam.

The site is a place of worship for Thai and Chinese people seeking success in career, money and infant fertility. It was built in King Rama III reign, 1834 and now.. Tiger God Shrine is one of the most famous shrines in Thailand. Moreover, this shrine has some antiquities. Most people come to pay respect to "Tua Lao Aie", a Chinese God to have good fortune on Chinese New Year's Day. At the heart of the quarter is LanKonMueng in front of city hall; every evening, this is the recreational area of the locals where they can exercise such as dance aerobics, stroll around, gather or just relax, bring children or pets out for a walk and enjoy the breeze. Devasathan Shrine is the most important ancient place for Brahmin-Hindu in Thailand, it was built in 1784. Which is in King Rama I's reign. According to ancient tradition, it was built for holding officiating religious ceremony in the past. Devasathan Shrine has three important sanctuaries which are Shiva sanctuary, Ganesha sanctuary, Narayana sanctuary.

An annual swinging ceremony known as Triyampavai-Tripavai was held at Giant Swings of major cities until 1935, when it was abolished for safety reasons. The name of the ceremony was derived from the names of two Tamil language Hindu chants: Thiruvempavai and Thiruppavai. Among Thai people, the ceremony was popularly known as Lo-Chin-Cha, it is known that Tamil verses from Thiruvempavai — poet pratu sivalai — were recited at this ceremony, as well as the coronation ceremony of the Thai king. According to T. P. Meenakshisundaram, the name of the festival indicates that Thiruppavai might have been recited as well. According to an ancient Hindu epic, after Brahma created the world he sent Shiva to look after it; when Shiva descended to the earth, Naga serpents wrapped around the mountains in order to keep the earth in place. After Shiva found the earth solid, the Nagas moved to the seas in celebration; the Swing Ceremony was a re-enactment of this. The pillars of the Giant Swing represented the mountains, while the circular base of the swing represented the earth and the seas.

In the ceremony Brahmins would swing. Devasathan Torii, similar in appearance but with different purposes Geographic data related to Giant Swing at OpenStreetMap Information from the Bangkok Tourism Division Newspaper article on the 2005 restoration Brahminism in Thailand 2Bangkok on the 2005 renovation

Dialect coach

A dialect coach is an acting coach who helps an actor design the voice and speech of a character in the context of an on-camera, radio or animation voiceover production. The dialect coach does original research on dialects and speech patterns, prepares training materials, provides instruction and works on lines with the actor. A dialect coach will give the actor feedback focusing on issues of credibility and clarity. A dialect coach may be employed to help comedians hone impressions of celebrities, to train non-actor public speakers in vocal character and delivery, or to help singers improve in diction and attain a balance between tone and articulation when singing in a second language; the term dialect coach persists as the primary designation for an accent or language coach in the US and Canadian entertainment businesses. However, other designations may be used; some dialect coaches will refer to themselves as dialogue coaches when working on a second language or when offering acting coaching on straight dialogue in the performer's own language or dialect.

In the opera world, coaches who help opera singers with articulation of lyrics are called diction coaches. In the United Kingdom, dialect coaches are called accent coaches and are not acting coaches; the term voice coach is applied to those who work with breathing and text in the theatre in the UK, though this usage is not common in the US film and television businesses where the term "voice coach" would be understood to refer to a singing coach. On US stage productions the term voice coach is avoided to prevent confusion with either a vocal coach or someone who coaches actors in techniques for inducing a state of heightened relaxation prior to a rehearsal or performance, who may offer guidance on breath support or vocal practices intended to promote effective placement of resonances in the upper body, the actor's availability of expression and appropriate projection. In some cases, voice warm-up coaching integrates full-body work in movement or balance. Many actors believe that such warm-ups and exercises reduce the likelihood of vocal damage, most during expression of high intensity emotion outdoors or in a large performing venue in the absence of electronic amplification.

A dialect coach may be engaged to coach voice issues in this latter sense in conjunction with theatrical dialect coaching. Not every dialect coach has the training and knowledge to do vocal coaching in a singing sense. On a film or television production, dialect coaches are hired by the line producer during pre-production to begin preparing cast far in advance of the first day of principal photography. If engaged during principal photography, it is the unit production manager, production manager, production supervisor, production coordinator or, in some cases, executive producer, to interview prospective coaches in behalf of the production. If engaged only during post-production, the coach may be hired directly by the post producer. In advance of being hired, coaches may be interviewed by the showrunner or a staff writer in the case of episodic television or by the film director in the case of a feature film. Dialect coaches may work with any members of the cast, but are brought in often to work with celebrity actors who have been cast in roles which require accents other than their own or the performance of dialogue in languages unknown to the actors.

Therefore the actors themselves will ask Production to hire a particular coach. However the coach comes to be hired, the creatives will consult with the dialect coach early in the process in order to acquaint the dialect coach with the overall creative vision and to start the actor as early as possible to allow time for the character's voice to become integrated by the actor prior to the actor's first shoot day. Once hired, the coach will prepare actors over a number of sessions either remotely, on set, at the Production Office or in the actor's own home. Coaches who work in serialized television are expected to be flexible as there may be no opportunity for a meeting between the episode director and coach, as shooting scripts may not be finalized until close to the day of the shoot and as last-minute casting decisions and limitations on actor-availability may make it difficult to schedule advance coaching. During production, the key second assistant director schedules coaching sessions. Many creatives will ask that the coach be present at read-throughs or story conferences, at production meetings and during at least some first-team rehearsals.

While a shot is set-up, the coach will be kept in close proximity to the actors to be coached. The coach will be assigned a dressing room, or, on location, a room in the honeywagon, double-banger or triple-banger near the actors' trailers. On set, the dialect coach will be issued a wireless headset and given a chair in video village in order to facilitate access to the director and to the script supervisor who may be asked by the coach to relay notes on pronunciation and clarity if the dialogue is in dialect or language unfamiliar to the post-production team. An on-set coach may work with an actor between takes if needed on last minute changes to the script; the coach may be brought back for dubbing or to pick up new lines during the post-production process, some

Problem of the creator of God

The problem of the creator of God is the controversy regarding the hypothetical cause responsible for the existence of God, presuming God exists. It contests the proposition that the universe cannot exist without a creator by asserting that the creator of the universe must have the same restrictions. This, in turn, may lead to a problem of infinite regress wherein each newly presumed creator of a creator is itself presumed to have its own creator. A common challenge to theistic propositions of a creator deity as a necessary first-cause explanation for the universe is the question: "Who created God?". Some faith traditions have such an element as part of their doctrine. Jainism posits that the universe has always existed. In Mormonism it is believed that the God of this Earth was once a mortal human, who had a father of his own. Ismailism rejects the idea of God as the first cause, due to the doctrine of God's incomparability and source of any existence including abstract objects. Osho writes: No, don't ask that.

That's. But this is strange – why not? If the question is valid about existence, why does it become invalid when it is applied to God? And once you ask who created God, you are falling into a regress absurdum. John Humphreys writes:... if someone were able to provide the explanation, we would be forced to embark upon what philosophers call an infinite regress. Having established who created God, we would have to answer the question of who created God's creator. In The God Book, Deist Michael Arnheim writes: The atheist objection is that if God created the universe, who created God? Judging by the number of times that Dawkins repeats this same point in The God Delusion, one must assume that he sees this as a killer argument against the existence of God. Alan Lurie writes: In response to one of my blogs about God's purpose in the creation of the universe, one person wrote, "All you've done is divert the question. If God created the Universe, who created God? That is a dilemma that religious folks try to avoid."

The question, "Who created God?", has been pondered by theologians for millennia, the answer is both obvious and philosophically subtle...... Whatever one thinks about the beginnings of the Universe, there is "something" at the origin, not created; this is a cosmic truth. Defenders of religion have countered that the question is improper: We ask, "If all things have a creator who created God?" Only created things have a creator, so it's improper to lump God with his creation. God has revealed himself to us in the Bible as having always existed, it is argued that the question becomes irrelevant if the Universe is presumed to have circular time instead of linear time. Creator in Buddhism Demiurge Ex nihilo Intelligent design Nothing comes from nothing Theotokos Turtles all the way down Ultimate Boeing 747 gambit