Datasets:

golabji

/

wikitext

like 0

Ahmad ibn Muhammad Quduri, also known as Imam al-Quduri, was a renowned Hanafi jurist and traditionist. He was born in Baghdad in 362 AH/973 CE and passed away on Sunday, 5th Rajab, 428 AH/1037 CE at the age of 66. He is most well known for his work “Mukhtasar al-Quduri”, which serves as a foundation for the Hanafi school of thought and methodology. ==References== Category:973 births Category:1037 deaths

Abu ʾl-Qāsim Aḥmad ibn Manṣūr ibn Muḥammad ibn ʿAbd al-Jabbār al-Samʿānī (1094 – 11 June 1140), known in Persian as Aḥmad Samʿānī, was an Arab scholar, preacher and poet. He was the author of Rawḥ al-arwāḥ fī sharḥ asmāʾ al-malik al-fattāḥ, a Persian prose commentary on the names of God in Islam that extends for some six hundred pages. According to the genealogies, the Samʿān were a branch of the Arab tribe of Tamīm. Aḥmad's family was from Merv. His father, Abu ʾl-Muẓaffar Manṣūr (1035–1096), was a noted Shāfiʿī scholar who wrote about tafsīr, ḥadīth and fiqh. In 1135, Aḥmad and his nephew ʿAbd al- Karīm, son of his elder brother Abū Bakr Muḥammad, went to Nīshāpūr to study ḥadīth. In his nephew's biographical dictionary, al-Ansāb, Aḥmad's elegant preaching and poetry are praised, but his writings are not mentioned. Rawḥ al- arwāḥ ("Comfort of Spirits") is a work of the highest literary quality. Intended for recitation, it ranks with the best prose works of the period, such as those of al-Ghazālī. It is the earliest Persian commentary on the subject of the divine names. It covers 101 names in 74 chapters. The names, however, are dealt with briefly, being in fact only starting points for discussions of salvation and love. Love is the central theme of the work. God is to be obeyed out of love not fear, and suffering exists to increase mankind's desire for God, whose mercy and compassion Samʿānī stresses over his wrath. Rawḥ al-arwāḥ was once a little-known work, but since Najīb Hirawī published an edition in 1989, it has come to be regarded as a classic of Ṣūfī literature. __NOTOC__ ==Excerpt== An example of Samʿānī's approach can be found in his discussion of the role of Adam: > In the row of purity they gave Adam, the chosen, a cup full of the unmixed > wine of love. From the distant Pleiades to the end of the earth they set up > the hat of his good fortune and the mirror of his magnificence. Then they > commanded the angels of the celestial kingdom to prostrate themselves before > him. But his magnificence, honor, eminence, good fortune, high level, and > purity did not appear in that prostration. It appeared in "Adam disobeyed" > (Qurʾān 20:121). In certainty and in truth, these words extend higher than > the Throne of God's majesty. Why? Because being treated kindly in the time > of conformity is no proof of honor. Being treated kindly in the time of > opposition is the proof of honor. The chosen and beautiful Adam sat on the > throne of majesty and perfection with the crown of prosperity on his head > and the robe of bounty across his breast. The mount of beneficence was at > the door, the pillars of his good fortune's seat were higher than the > Throne, the umbrella of kingship was opened above his head, and he himself > had raised the exalted banner of knowledge in the world. If the angels and > the celestial spheres should kiss the ground before him, that is no > surprise. What is surprising is that he fell into the pit of that slip. His > straight stature, which had been pulled up by "God elected Adam" (Qurʾān > 3:33), became bent because "Adam disobeyed." Then from the heaven of eternal > gentleness the crown of "Then He chose him" (Qurʾān 20:122) took wing. O > dervish, if God had not wanted to accept him with all his defects, He would > not have created him with all those defects. . . Do not think that Adam was > brought out of Paradise for eating some wheat. God wanted to bring him out. > He did not break any commandments. God's commandments remained pure of being > broken. Tomorrow, God will bring a million people who committed great sins > into Paradise. Should He take Adam out of Paradise for one small act of > disobedience? ==Editions== *Hirawī, Najīb M., ed. Rawḥ al-arwāḥ fī sharḥ asmāʾ al-malik al- fattāḥ. Tehran: Shirkat-i Intishārāt-i ʿIlmī wa-Farhangī, 1989. ==Notes== ==Bibliography== * * * * Category:1094 births Category:1140 deaths Category:People from Merv Category:12th-century Arabs Category:12th-century Persian-language poets Category:Persian spiritual writers Category:Sufi writers

Aḥmad al-Rāzī (April 888 – 1 November 955), full name Abū Bakr Aḥmad ibn Muḥammad ibn Mūsā al-Rāzī al-Kinānī, was a Muslim historian of Persian origin who wrote the first narrative history of Islamic rule in Spain. Later Muslim historians considered him the father of Islamic historiography in Spain and the first to provide a narrative framework rather than bare facts. A native of Córdoba, he came from a Persian merchant family. He worked for the Umayyad court, which gave him unparalleled access to official documents and archives. Besides history, he wrote genealogies. ==Life== Aḥmad al-Rāzī was born in April 888 in Córdoba, then the capital of the al-Andalus. His father was a merchant from Rayy, which is the origin of the name al-Rāzī. His work brought him to al-Andalus. He worked for the Umayyad ruler of al-Andalus as a spy in North Africa and died in 890. His family chose to remain in Córdoba, where Aḥmad spent his entire life. As a child he had the same tutor as the future caliph, ʿAbd al-Raḥmān III, which provided him with a connection to the royal court. He came to work for the central government and used his access to official documents and archives to compile his chronicle. He died in Córdoba on 1 November 955. His chronicle was continued by his son, ʿĪsā al-Rāzī. ==Writings== Aḥmad al-Rāzī wrote four known works in Arabic, but none survives complete: *Akhbār mulūk al-Andalus (Reports on the Kings of al-Andalus), his chronicle *Kitāb al-istīʿāb (Full Comprehension), a book of Andalusian genealogies *Kitāb aʿyān al-mawālī bi-l-Andalus (Eminent Clients of al- Andalus), a biographical dictionary of mawālī that may have been a part of Kitāb al-istīʿāb, mentioned by al-Qāḍī ʿIyād and Ibn al-Abbār *a description of Córdoba in imitation of the style of Ibn Abī Ṭāhir Ṭayfūr's Taʿrīkh Baghdad The Akhbār mulūk, including its continuation, is a lost work. It is known only from quotations by other historians and a late medieval translation of a part of it. Its scope was limited to Spain and it was divided into three parts. The first concerned the geography of Spain, the second its history before the arrival of Islam and the third its history from the Umayyad conquest in 711 down to the author's present. It seems that Aḥmad's work extended to the accession of ʿAbd al-Raḥmān III in 912, after which his son took over. Among those authors who quote the Akhbār mulūk are al-Zubaydī, Ibn al-Faraḍī, Ibn Ḥayyān, al-Ḥumaydī, al-Ḍabbī and Yāqūt al-Rūmī. An original translation from Arabic into Portuguese of only a part of Aḥmad's chronicle was made at the court of King Denis of Portugal around 1300. The translator, Gil Peres, had help from an Arab. This translation is lost, but it was the main source for the Cronica geral de Espanha de 1344 of King Denis's son, Pedro Afonso. This too is lost. Both Portuguese works, however, were translated into Castilian and copies of these translations survive. The Castilian version of the Akhbār mulūk, called the Crónica del moro Rasis (Chronicle of the Moor al-Rāzī), dates to about 1425/1430. It survives in three 15th-century manuscripts. It is limited to the first and second parts of the original work. The Castilian version of the Cronica geral survives in two manuscripts from between the 14th and 16th centuries. It preserves more of the original, including an abridged version of the conquest of 711 and the Islamic period. ==Notes== ==Bibliography== ===Works cited=== * * * ===Further reading=== * * Category:888 births Category:955 deaths Category:People from Córdoba, Spain Category:10th-century historians from al-Andalus Category:10th-century Arabic writers Category:10th-century Iranian historians Category:Geographers from Al- Andalus

Aṅgaja (Japanese: 因掲陀尊者, Ingada sonja) is one of the Sixteen Arhats or Rakan (Japanese: 十六羅漢, Juroku Rakan) of Buddhism, saintly men who were predecessors or disciples of the Buddha.Handbook of Japanese mythology Michael Ashkenazi p.185 Other such arhats are Binzuru sonja, Ragora sonja, Chudahandaka sonja etc... Aṅgaja is part of the Buddhist Pantheon of Mahayana and Vajrayana Buddhism. He also appears, with other Rakan except for Binzuru sonja, in the Temples and Monasteries of Zen Buddhism, where they are shown as models to be emulated. ==Notes== Category:Arhats

Aṅgula (from - 'a finger; the thumb; a finger's breadth'Sanskrit-English Dictionary by Monier-Williams, 1899) is a measure of length. Twelve aṅgulas make a Vitasti or span, and twenty-four a Hasta or Cubit. 108 Angulam make a 'Dhanusha'. These measurements are claimed to have been used since the Harappan civilization and that these were also used for the construction of Taj Mahal. One Aṅgula during the Maurya period is believed to be approximately equal to 1.763 centimetres. In the Hindu , the size of an aṅgula is considerably larger "the length of the middle digit [phalange] of the middle finger", (about 4.5 cm), but the ratios with the larger units remain unchanged. ==Notes== Category:Units of length Category:Customary units in India Category:Obsolete units of measurement

The Aṅgulimālīya Sūtra (Taishō 120Guṇabhadra, trans., 《央掘魔羅經》 'Yangjuemoluo Jing (Aṅgulimālīyasūtra),' in Taishō shinshū Daizōkyō 《大正新脩大藏經》, in Takakusu Junjiro, ed., (Tokyo: Taishō Shinshū Daizōkyō Kankōkai, 1988), Vol. 2, No. 120, Accessed 2019-03-13, http://tripitaka.cbeta.org/T02n0120.) is a Mahāyāna Buddhist scripture belonging to the Tathāgatagarbha class of sūtra,Buswell, Robert E.; Lopez, Donald S. (2014). The Princeton Dictionary of Buddhism, Princeton University Press, p. 46 which teach that the Buddha is eternal, that the non-Self and emptiness teachings only apply to the worldly sphere and not to Nirvāṇa, and that the Tathāgatagarbha is real and immanent within all beings and all phenomena. The sutra consists mostly of stanzas in verse. The Mahāyāna Aṅgulimālīya Sūtra should not be confused with the Pāli Canon's Angulimala Sutta, which is a completely different work included in the Majjhima Nikaya. == Origins and history == According to Stephen Hodge, internal textual evidence in the Aṅgulimālīya Sūtra, Mahābherihāraka Parivarta Sūtra, and the Mahāyāna Mahāparinirvāṇa Sūtra, indicates that these texts were first circulated in southern India, and they then gradually propagated up to the northwest, with Kashmir being the other major center. The Aṅgulimālīya Sūtra gives a more detailed account by mentioning the points of distribution as including southern India, the Vindhya Range, Bharukaccha, and Kashmir. Hodge summarizes his findings as follows: In the 6th century CE, Paramārtha wrote that the Mahāsāṃghikas revere the sūtras which teach the Tathāgatagarbha. == Central teachings == The Aṅgulimālīya Sūtra consists largely of teachings by Aṅgulimālīya on the correct understanding of Buddhist doctrine. According to Michael Radich, The sutra is most insistent that the Tathāgatagarbha and the self (Ātman) are real and that to deny their existence is to lapse into a state of dangerous spiritual imbalance. Thus, to seek out the Tathāgatagarbha — which is equated with the true Self — is deemed of great value. The Buddha teaches the bodhisattva Mañjuśrī that practicing the spiritual life is meaningful only because there is a 'self principle' (the Tathāgatagarbha or 'atma-dhatu' - 'essence of Self') with which the quest can be rewarded. He states: The sutra is remarkable for the vigor and passion with which Aṅgulimālīya teaches the Dharma and for its doctrine that at the heart of all beings is one unified principle: the buddha-dhatu (Buddha-nature) or Tathāgatagarbha. The doctrines of this sutra are also strikingly congruent with those of the much longer Mahāyāna Mahāparinirvāṇa Sūtra. == See also == *Anunatva-Apurnatva-Nirdesa *Dolpopa Sherab Gyaltsen *Eternal Buddha *Parinirvana *Purity in Buddhism *Śrīmālādevī Sūtra *Tathāgatagarbha Sūtra *Mahaparinirvana Sutra == References == ==External links== * Sūtra of Aṅgulimālika, translated into English by Rulu from Guṇabhadra's Chinese version Category:Mahayana texts Category:Mahayana sutras Category:Shentong

The Aṅguttara Nikāya (; , also translated "Gradual Collection" or "Numerical Discourses") is a Buddhist scriptures collection, the fourth of the five Nikāyas, or collections, in the Sutta Pitaka, which is one of the "three baskets" that comprise the Pali Tipitaka of Theravada Buddhism. This nikaya consists of several thousand discourses ascribed to the Lord Buddha and his chief disciples arranged in eleven "books", according to the number of Dhamma items referenced in them. The Anguttara Nikaya corresponds to the Ekottara Āgama ("Increased by One Discourses") found in the Sutra Pitikas of various Sanskritic early Buddhists schools, fragments of which survive in Sanskrit. A complete version survives in Chinese translation by the name Zēngyī Ahánjīng (增一阿含經); it is thought to be from either the Mahāsāṃghika or Sarvāstivādin recensions. According to Keown, "there is considerable disparity between the Pāli and the Sarvāstivādin versions, with more than two-thirds of the sūtras found in one but not the other compilation, which suggests that much of this portion of the Sūtra Piṭaka was not formed until a fairly late date."A Dictionary of Buddhism, by Damien Keown, Oxford University Press: 2004 == Translations == === Full translation === *The Book of the Gradual Sayings, tr F. L. Woodward & E. M. Hare, 1932–6, 5 volumes, Pali Text Society, Bristol *Numerical Discourses of the Buddha, tr Bhikkhu Bodhi, 2012, 1 volume, Wisdom Publications , Somerville, MA *Bhikkhu Sujato (trans.), The “Numbered” or “Numerical” Discourses, 2018, published online at SuttaCentral and released into the public domain. === Selections === * 1st 3 nipatas tr E. R. J. Gooneratne, Ceylon, c1913 * 4th nipata tr A. D. Jayasundare, London, 1925 * anthology ed & tr Nyanaponika, Buddhist Publication Society, Kandy, Sri Lanka; revised, with additions & deletions, by Bodhi, as Numerical Discourses of the Buddha, Altamira Press, Oxford/New York/Lanham, Maryland/Walnut Creek, California, 1999 == Divisions == The nipatas in this nikaya are: === Ekakanipāto (The Book of Ones) === * 1. Rūpādivaggo * 2. Nīvaraṇappahānavaggo * 3. Akammaniyavaggo * 4. Adantavaggo * 5. Paṇihitaacchavaggo * 6. Accharāsaṅghātavaggo * 7. Vīriyārambhādivaggo * 8. Kalyāṇamittādivaggo * 9. Pamādādivaggo * 10. Dutiyapamādādivaggo * 11. Adhammavaggo * 12. Anāpattivaggo * 13. Ekapuggalavaggo * 14. Etadaggavaggo * 15. Aṭṭhānapāḷi * 16. Ekadhammapāḷi * 17. Pasādakaradhammavaggo * 18. Aparaaccharāsaṅghātavaggo * 19. Kāyagatāsativaggo * 20. Amatavaggo === Dukanipāto (The Book of Twos) === * 1. Kammakaraṇavaggo * 2. Adhikaraṇavaggo * 3. Bālavaggo * 4. Samacittavaggo * 5. Parisavaggo * (6) 1. Puggalavaggo * (7) 2. Sukhavaggo * (8) 3. Sanimittavaggo * (9) 4. Dhammavaggo * (10) 5. Bālavaggo * (11) 1. Āsāduppajahavaggo * (12) 2. Āyācanavaggo * (13) 3. Dānavaggo * (14) 4. Santhāravaggo * (15) 5. Samāpattivaggo * 1. Kodhapeyyālaṃ * 2. Akusalapeyyālaṃ * 3. Vinayapeyyālaṃ * 4. Rāgapeyyālaṃ === Tikanipāto (The Book of Threes) === * 1. Bālavaggo * 2. Rathakāravaggo * 3. Puggalavaggo * 4. Devadūtavaggo * 5. Cūḷavaggo * (6) 1. Brāhmaṇavaggo * (7) 2. Mahāvaggo * (8) 3. Ānandavaggo * (9) 4. Samaṇavaggo * (10) 5. Loṇakapallavaggo * (11) 1. Sambodhavaggo * (12) 2. Āpāyikavaggo * (13) 3. Kusināravaggo * (14) 4. Yodhājīvavaggo * (15) 5. Maṅgalavaggo * (16) 6. Acelakavaggo * (17) 7. Kammapathapeyyālaṃ * (18) 8. Rāgapeyyālaṃ === Catukkanipāto (The Book of Fours) === * 1. Bhaṇḍagāmavaggo * 2. Caravaggo * 3. Uruvelavaggo * 4. Cakkavaggo * 5. Rohitassavaggo * (6) 1. Puññābhisandavaggo * (7) 2. Pattakammavaggo * (8) 3. Apaṇṇakavaggo * (9) 4. Macalavaggo * (10) 5. Asuravaggo * (11) 1. Valāhakavaggo * (12) 2. Kesivaggo * (13) 3. Bhayavaggo * (14) 4. Puggalavaggo * (15) 5. Ābhāvaggo * (16) 1. Indriyavaggo * (17) 2. Paṭipadāvaggo * (18) 3. Sañcetaniyavaggo * (19) 4. Brāhmaṇavaggo * (20) 5. Mahāvaggo * (21) 1. Sappurisavaggo * (22) 2. Parisāvaggo * (23) 3. Duccaritavaggo * (24) 4. Kammavaggo * (25) 5. Āpattibhayavaggo * (26) 6. Abhiññāvaggo * (27) 7. Kammapathavaggo * (28) 8. Rāgapeyyālaṃ === Pañcakanipāto (The Book of Fives) === * 1. Sekhabalavaggo * 2. Balavaggo * 3. Pañcaṅgikavaggo * 4. Sumanavaggo * 5. Muṇḍarājavaggo * (6) 1. Nīvaraṇavaggo * (7) 2. Saññāvaggo * (8) 3. Yodhājīvavaggo * (9) 4. Theravaggo * (10) 5. Kakudhavaggo * (11) 1. Phāsuvihāravaggo * (12) 2. Andhakavindavaggo * (13) 3. Gilānavaggo * (14) 4. Rājavaggo * (15) 5. Tikaṇḍakīvaggo * (16) 1. Saddhammavaggo * (17) 2. Āghātavaggo * (18) 3. Upāsakavaggo * (19) 4. Araññavaggo * (20) 5. Brāhmaṇavaggo * (21) 1. Kimilavaggo * (22) 2. Akkosakavaggo * (23) 3. Dīghacārikavaggo * (24) 4. Āvāsikavaggo * (25) 5. Duccaritavaggo * (26) 6. Upasampadāvaggo * 1. Sammutipeyyālaṃ * 2. Sikkhāpadapeyyālaṃ * 3. Rāgapeyyālaṃ === Chakkanipāto (The Book of Sixes) === * 1. Āhuneyyavaggo * 2. Sāraṇīyavaggo * 3. Anuttariyavaggo * 4. Devatāvaggo * 5. Dhammikavaggo * 6. Mahāvaggo * 7. Devatāvaggo * 8. Arahattavaggo * 9. Sītivaggo * 10. Ānisaṃsavaggo * 11. Tikavaggo * 12. Sāmaññavaggo * 13. Rāgapeyyālaṃ === Sattakanipāto (The Book of Sevens) === * 1. Dhanavaggo * 2. Anusayavaggo * 3. Vajjisattakavaggo * 4. Devatāvaggo * 5. Mahāyaññavaggo * 6. Abyākatavaggo * 7. Mahāvaggo * 8. Vinayavaggo * 9. Samaṇavaggo * 10. Āhuneyyavaggo * 11. Rāgapeyyālaṃ === Aṭṭhakanipāto (The Book of Eights) === * 1. Mettāvaggo * 2. Mahāvaggo * 3. Gahapativaggo * 4. Dānavaggo * 5. Uposathavaggo * (6) 1. Gotamīvaggo * (7) 2. Bhūmicālavaggo * (8) 3. Yamakavaggo * (9) 4. Sativaggo * (10) 5. Sāmaññavaggo * (11). Rāgapeyyālaṃ === Navakanipāto (The Book of Nines) === * 1. Sambodhivaggo * 2. Sīhanādavaggo * 3. Sattāvāsavaggo * 4. Mahāvaggo * 5. Sāmaññavaggo * (6) 1. Khemavaggo * (7) 2. Satipaṭṭhānavaggo * (8) 3. Sammappadhānavaggo * (9) 4. Iddhipādavaggo * (10) 5. Rāgapeyyālaṃ === Dasakanipāto (The Book of Tens) === * 1. Ānisaṃsavaggo * 2. Nāthavaggo * 3. Mahāvaggo * 4. Upālivaggo * 5. Akkosavaggo * (6) 1. Sacittavaggo * (7) 2. Yamakavaggo * (8) 3. Ākaṅkhavaggo * (9) 4. Theravaggo * (10) 5. Upālivaggo * (11) 1. Samaṇasaññāvaggo * (12) 2. Paccorohaṇivaggo * (13) 3. Parisuddhavaggo * (14) 4. Sādhuvaggo * (15) 5. Ariyavaggo * (16) 1. Puggalavaggo * (17) 2. Jāṇussoṇivaggo * (18) 3. Sādhuvaggo * (19) 4. Ariyamaggavaggo * (20) 5. Aparapuggalavaggo * (21) 1. Karajakāyavaggo * (22) 2. Sāmaññavaggo * 23. Rāgapeyyālaṃ === Ekādasako nipāto (The Book of Elevens) === * 1. Nissayavaggo * 2. Anussativaggo * 3. Sāmaññavaggo * 4. Rāgapeyyālaṃ == Appreciation == Translator Bhikkhu Bodhi wrote: "In Anguttara Nikaya, persons are as a rule not reduced to mere collections of aggregates, elements, and sense-bases, but are treated as real centers of living experience engaged in a heartfelt quest for happiness and freedom from suffering." (from Intro to Samyutta Nikaya) == See also == * Early Buddhist Texts * Digha Nikaya * Khuddaka Nikaya * Majjhima Nikaya * Pali Canon * Samyutta Nikaya * Sutta Piṭaka * Dīghajāṇu Sutta == References == ==External links== *Anguttara Nikaya in Pali, English and Sinhala (metta.lk) *English Translations of the Anguttara Nikaya (accesstoinsight.org) * English translations by Bhikkhu Bodhi of selected Suttas from the Anguttara Nikaya at Wisdom Publications Category:Theravada Buddhist texts

In Kaśmir Śaivism the world is described as being composed of four spheres () that contain a series of phenomenal elements (tattva). The four are described to appear by the means of the internal abundance of Śiva's divine powers.Essence of the Exact Reality or Paramārthasāra of Abhinavagupta, B.N. Pandit, 1991, page 21 Outside the four is Śiva tattva which is the substrate and essential nature of all the other tattvas. ==== Projected by the absolute, is the first step of creation. Also called the pure creation because at this level the divine nature of Śiva is not obscured, it manifests a state of diversity in unity. The divine powers (Śakti) gradually descend from Ānanda Śakti (bliss) to Icchā Śakti (the power of will), Jñāna Śakti (the power of knowledge) and Kriyā Śakti (the power of action), at the same time creating the basis for the dual creation. At this stage, though, the duality is only "in concept"; there is no actual division or limitation yet. This contains Śakti tattva, Sadāśiva tattva, Iśvara tattva and Śuddha-vidyā tattva (all the pure tattvas except the first one, Śiva tattva). , The Secret of the Tantric Mysticism, Abhinavagupta, Jaideva Singh, page 103 ==== The sphere of Māyā causes the divine nature and purity that exists in to be forgotten. The divine creation is covered with five limitations (kañcuka) that make the infinite, eternal, perfect in itself, all knowing and all powerful nature of God, as manifested first in the , appear limited in space (Niyati tattva) and time (Kāla tattva), incomplete (Rāga tattva), with limited knowledge (Aśuddha-vidyā tattva) and power of action (Kalā tattva). This contains seven tattvas, from Māyā tattva to . ==== describes the world as it is perceived from the common human level of consciousness. It contains the śakti of the individual soul (): , the intellect (Buddhi tattva), the ego (Ahamkāra tattva), the sensory mind (Manas tattva), the five sense organs (Jñānendriya), the five organs of action (Karmendriya), the five subtle essences (Tanmātra) and the last four physical elements (Mahābhutā) : Ākāśa tattva, Vāyu tattva, Tejas tattva and Jala tattva. ==== is the terminal point of creation – solid matter. There is only one tattva in this sphere: . This tattva has a special statute because it contains in essence all the other tattvas and is the home of . ==See also== *The 36 tattvas *Trika *Turiya ==References== Category:Kashmir Shaivism Category:Hindu philosophical concepts Category:Spiritual faculties Category:Hindu tantra

thumb|Flag Aṉangu is the name used by members of several Aboriginal Australian groups, roughly approximate to the Western Desert cultural bloc, to describe themselves. The term, which embraces several distinct "tribes" or peoples, in particular the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara groups, is pronounced with the stress on the first syllable: . ==The term== The original meaning of the word is "human being, person", "human body" in a number of eastern varieties of the Western Desert Languages (which are in the Pama–Nyungan group of languages), in particular Pitjantjatjara and Yankunytjatjara. It is now used as an Aboriginal endonym by a wide range of Western Desert Language (WDL) peoples to describe themselves. It is rarely or never applied to non-Aboriginal people when used in English, although the word now has a dual meaning in Pitjantjatjara and Yankunytjatjara. It has come to be used also as an exonym by non-Aboriginal Australians to refer to WDL- speaking groups or individuals. With regard to the term's distribution and spelling, the following table shows the main WDL dialects in which it is used (left column) along with the word spelled according to the orthography of that dialect (right column). Pitjantjatjara, Pintupi-Luritja aṉangu Southern (Titjikala) Luritja, Ngaanyatjarra, Ngaatjatjarra yarnangu Yankunytjatjara yaṉangu The reasons for the spelling variations are that some WDL dialects do not allow vowel-initial words—in these varieties the word begins with y; some orthographies use underlining (e.g. ṉ) to indicate a retroflex consonant, while others use a digraph (e.g. rn). Pitjantjatjara seems to be the best- known source for the word, but the underlining of the consonant is often ignored (or not understood) by English speakers, and is difficult to type, so the word is very commonly, but incorrectly, rendered as anangu. ==Country== The Aṉangu dwell primarily in the Central Western desert, to the south of the traditional lands of the Arrernte and Walpiri peoples. ==Culture== The inma is a cultural ceremony of Aṉangu women, involving song and dance and embodying the stories and designs of the tjukurpa (Ancestral Law, or Dreamtime). The ceremony carries camaraderie, joy, playfulness and seriousness, and may last for hours. There are many different inma, all profoundly significant to the culture. ===Aṟa Irititja project=== Aṟa Irititja (meaning "stories from a long time ago") is a project of Ara Irititja Aboriginal Corporation, which works in collaboration with the South Australian Museum and Anangu Pitjantjatjara Yankunytjatjara at Umuwa. The project began in 1994 with the aim of repatriating cultural items which had been "lost" over the years to Anangu of the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara lands. These included cultural artefacts, photographs, films and sound recordings. Some had ended up in the archives of public institutions, while others had been packed away in boxes and forgotten. By 2018, Ara Irititja had tracked down hundreds of thousands of items and made them available through interactive software, keeping them safe in a digital archive. Cultural priorities have been built into the software, and Anangu can navigate the database, add information, stories and reflections, and alert administrators to specific items requiring restricted access. This enables Anangu to have control over how their history and culture are presented to the world in future. ==See also== * Angas Downs Indigenous Protected Area, * Anangu Pitjantjatjara Yankunytjatjara (APY lands in South Australia) * Maralinga, the home of Maralinga Tjarutja, and the site of the British nuclear tests in the 1950s. ==Notes== ===Citations=== ==Sources== * * * * * * * * * * * * * * ==External links== * Web portal for Anangu Pitjantjatjara, Yankunytjatjara and Ngaanyatjarra peoples, communities and organisations * Description of Tjukurpa – the foundation of Anangu life at Department of Environment and Heritage Category:Australian Aboriginal words and phrases Category:Pitjantjatjara Category:Western Desert cultural bloc

thumb|right|Flag of the local government area Aṉangu Pitjantjatjara Yankunytjatjara, also known as APY, APY Lands or the Lands, is a large, sparsely-populated local government area (LGA) for Aboriginal people, located in the remote north west of South Australia. Some of the aṉangu (people) of the Western Desert cultural bloc, in particular Pitjantjatjara, Yankunytjatjara and Ngaanyatjarra peoples, inhabit the Lands. Governance of the area is determined by the Anangu Pitjantjatjara Yankunytjatjara Land Rights Act 1981 (or APYLRA), whereby an elected executive board reports to the Premier of South Australia. The APY administration centre of is located at Umuwa. A large portion of the APY Lands was formerly the North-West Aboriginal Reserve. ==History== ===Early history=== The Pitjantjatjara and Yankunytjatjara people (aṉangu) had lived in this area for many thousands of years. Even after the British began to colonise the Australian continent from 1788 onwards, and the colonisation of South Australia from 1836, the aṉangu remained more or less undisturbed for many more years, apart from very occasional encounters with a variety of European explorers. ===20th century=== In 1921, with white settlement now beginning to encroach on the aṉangus traditional land, the South Australian Government proclaimed the North-West Aboriginal Reserve. This Reserve consisted of most of what is now known as the APY Lands, with the exception of the eastern part of the APY Lands, which was given over to pastoral leases to Europeans. In 1937, the Presbyterian Church council, spearheaded by Charles Duguid, established the Ernabella Mission on the Lands at the place now known as Pukatja. By the 1950s, many aṉangu were living at the Ernabella Mission, while many others lived at camps on pastoral leases on what are now the Lands, or nearby, where they would work. Those pastoral leases included Granite Downs, Everard Park, Victory Downs, De Rose Hill, Kenmore Park, and Mount Cavanagh. In 1961, to prevent overcrowding at Ernabella Mission, the Church established what became the community of Amata, but which was originally known as Musgrave Park. At the same time the Church also established what is now the community of Kaltjiti, but which was then known as Fregon. In 1968, what is now the community of Indulkana was established by the South Australian Government, as a base from which to provide welfare services to aṉangu living in camps on pastoral leases, where work was becoming increasingly difficult to find. At that time, the surrounding area was excised from pastoral leases and declared the Indulkana Aboriginal Reserve. The body now known as Aṉangu Pitjantjatjara Yankunytjatjara was formed in 1981 by the passing of the Anangu Pitjantjatjara Yankunytjatjara Land Rights Act 1981 by the Parliament of South Australia under Premier Don Dunstan, and includes the Pitjantjatjara, Yankunytjatjara and Ngaanyatjarra groups. "Ara Irititja" is a project of the APY, commenced in 1994 to identify, copy and electronically record historical materials about the Anangu (Pitjantjatjara/Yankunytjatjara people). Its purpose is to prevent the loss of the history, and to allow the teaching of it to others in the community. ===21st century=== ====2000s==== The peoples of the region have not had any major economic development, apart from tourism, but there have been proposals to mine in the area. The Mintabie opal fields are located in the area, but separate from its administration. The Musgrave Block in the Lands has been viewed as having billions of dollars in potential mineral deposits and petroleum. But a _n_ angu have been wary of opening up the area to mining, concerned about the impact on sacred sites and the environment. Mining companies are conducting discussion to try to allay these worries. For decades two major issues throughout the Lands have been the low standard of health care (compared to the rest of Australia) and drug abuse, namely alcohol, petrol sniffing, cannabis and later other illicit drugs. Part of the difficulty in reducing alcohol and illicit drug use has been the straddling of the indigenous area by three jurisdictions: South Australia, Western Australia and the Northern Territory. The jurisdictional crossover has made police enforcement of drug trafficking laws difficult, but in 2007 collaboration between these jurisdictions was reported to be delivering results. In July 2007 South Australia Police in co-operation with liquor outlets in Coober Pedy (250 km to the south-east entrance to the Lands) agreed to create a register of alcohol purchases, to enable police to identify persons who purchased large quantities of alcohol in Coober Pedy potentially for transportation into Aboriginal lands. Also in July, Commonwealth Indigenous Affairs Minister Mal Brough offered federal help for a "drug and alcohol crackdown" in South Australian Aboriginal lands – such as the APY Lands. In early August 2007, the Rann South Australian Labor Government announced a$ 34 million package to "improve well-being of Aboriginal people" in the APY Lands. $25m was to be spent on improving housing and most of the remaining $8m on law enforcement in Amata and Pukatja. In November, SA Police Commissioner Mal Hyde announced the signing of a new enterprise agreement for South Australia Police that would include incentive packages to lure police to work in rural and remote areas such as the Lands. UnitingCare Wesley Adelaide (now Uniting Communities) set up a website in 2007 to monitor State and Federal Government spending promises for the APY Lands, tracking the delivery of those promises. In May 2008, retired Supreme Court judge the Hon E. P. "Ted" Mullighan QC delivered his supplementary report to his Children in State Care Commission of Inquiry, entitled the "Children on Aṉangu Pitjantjatjara Yankunytjatjara Lands Commission of Inquiry – a Report into Sexual Abuse" (aka "the Mullighan report"). ====2010s==== ===Mintabie changes and closure=== In December 2009 the South Australian Parliament passed the Aṉangu Pitjantjatjara Yankunytjatjara Land Rights (Mintabie) Amendment Bill, which was an amendment to the APY Land Rights Act 1981, the Opal Mining Act 1995 and by-laws under the APY Land Rights Act 1981, affecting the mainly non-Indigenous residents of the opal-mining town, Mintabie. This Amendment changed the licensing system for residential and commercial premises effective 1 July 2012, allowing the Minister responsible for the Opal Mining Act to grant licences. A 2017 report found many instances of non-compliance with the 2009 Amendment as well as other problems occurring in the settlement of Mintabie. It recommended closure of the township, with control reverting to APY. After an appeal by residents failed, the final eviction date for the township was set at 31 December 2019. ==Geography and location== The Musgrave Ranges, straddling the border between South Australia and the Northern Territory and the Mann Ranges and Tomkinson Ranges, both in the north-west of South Australia, stretch from east to west on the southern side of the NT border. The APY area includes isolated ranges and hills and large sandhill plains, and APY people also have affiliations with land in the NT to the Petermann Ranges, and in Western Australia. ===Geology=== There is a large palaeovalley, a geological term for an ancient, buried river, underneath the APY Lands. A map of the geological formation, complete with scientific and technical terminology, has been translated into Pitjantjatjara by a team of translators, based on the English-language map developed by government agencies. There is a long strip of limestone breaking through red soil near Fregon/Kaltjiti, where a new water source was found in 2019. The area is one of two places in the world which have landlocked tectonic plates, and drilling samples have been estimated to be between 5 and 10 million years old. ===Adjoining land=== To the north of the APY Lands, the MacDonnell Shire Council was created by the Northern Territory in 2008, renamed MacDonnell Region in 2014, spanning the south of the Territory from west to east. Western Australia lies to the west. The South Australian LGA to the south of APY Lands is Maralinga Tjarutja (with the District Council of Coober Pedy to the east of that, but not adjoining APY). The Outback Communities Authority is not an LGA, but is the statutory authority responsible for the development of areas adjoining the APY Lands (excluding the above-mentioned) as well as other large areas (63% of the state in total), to "manage the provision of public services and facilities to outback communities" which are widely dispersed across the region. ===Localities=== The APY LGA encompasses a number of settlements of a range of sizes, many of them being located in the Musgrave Ranges. An interactive map shows the location of communities and further information about each on the Paper Tracker website. The main communities include Indulkana (Iwantja), Mimili, Kaltjiti, Pukatja, Amata, Pipalyatjara, and Watarru; the larger homelands are Kalka, Kanpi, Nyapari and Yunyarinyi (homeland). The APY administration centre of the Lands is located at Umuwa. Mintabie was an opal-mining town, leased back to the Government of South Australia between 1981 and 2019, when the residents were evicted. The full list of Aboriginal communities (c) and homelands (h): * Amata (c) * Indulkana (c) * Irintata (h) * Iwantja (c) * Kaljiti/Fregon * Kalka (h) * Kanpi (h) * Mimili (c) * Murputja (c) * Nyapari (h) * Pipalyatjara (c) * Pukatja/Ernabella (c) * Tjurma (h) * Turkey Bore * Umuwa – administrative centre * Watarru (c) * Watinuma * Yunyarinyi (h) ==Governance== Governance of the area is determined by the APY Land Rights Act 1981 (amended 2017), whereby an elected executive board reports to the Premier of South Australia. The board appoints a general manager for a fixed term. Richard King was elected by the board in April 2015, and his term was extended for a year in March 2023, despite opposition by some councillors. The statutory functions of the APY body corporate, a land council, are: * to ascertain the wishes and opinions of traditional owners in relation to the management, use and control of the lands and to seek, where practicable, to give effect to those wishes and opinions; * to protect the interests of traditional owners in relation to the management, use and control of the lands; and * to negotiate with persons desiring to use, occupy or gain access to any part of the lands; * to administer land vested in Aṉangu Pitjantjatjara Yankunytjatjara. The area is usually referred to as the APY Lands. A permit is required for visitors to any community on the APY Lands, as they are freehold lands owned by the Aboriginal people. ===Electoral boundaries=== The Anangu Pitjantjatjara Yankunytjatjara Lands Rights (Miscellaneous) Amendment Act 2016 determined the boundaries of seven APY electorates to elect the executive board of Anangu Pitjantjatjara Yankunytjatjara. The electorates would be: * (i) the community groups of Pipalyatjara and Kalka; * (ii) the community groups of Kanypi, Nyapari, Angatja and Watarru; * (iii) the community groups of Amata and Tjurma; * (iv) the community groups of Kaltjiti, Irintata and Watinuma; * (v) the community groups of Pukatja, Yunyarinyi, Anilalya and Turkey Bore; * (vi) the community group of Mimili; and * (vii) the community groups of Iwantja, Amuruna, Railway Bore, Witjintitja and Wallatinna. ==Demographics== ===2016 census=== ; General The 2016 census identified the following statistics: * APY Lands had 2,276 residents, 52.4% of whom were female and 83.6% of whom were Indigenous Australians (2.8% nationally), Australian Aboriginal ancestry 71.9% (0.5% nationally). * 91.5% of the people were born in Australia (66.7% nationally); 84.9% of people had both parents born in Australia (47.3% nationally). * There were 511 families. * Median age of people was 28 years; children 0–14 years, 24.2% of the population; people aged 65+ years old, 5.2% of the population. * 19.2% considered themselves affiliated to the Uniting Church, another 20.2% Christian (3.7%, 2.6% nationally). * Languages spoken at home were: English only 12.9%; other languages included Pitjantjatjara 65.6%, Yankunytjatjara 3.0%, Western Arrarnta 0.4%, Warlpiri 0.3% and Ngaanyatjarra 0.2%. * 42.9% worked full-time (57.7% nationally) and 25.1% part-time (30.4% nationally). * 91.3% of the population rented their homes (30.9 nationally), paying median rent of $75 ($250 nationally). * 45% of dwellings had no motor vehicle (7.5% nationally). * 35.9% of households accessed the internet from the dwelling (83.2% nationally). ; Largest town populations * Pukatja (Ernabella) 412 * Amata 455 * Indulkana (Iwantja) 256 * Kaltjiti (Fregon) 220. * Mimili 283 * Pipalyatjara 189 ===Historical=== The 2006 ABS census figures were not vastly different. The total number of residents was slightly lower, at 2,230, but with a higher percentage born in Australia, at 98%. There were fewer speakers of Pitjantjatjara (58.6%), and more Yankuntjatjara (14.3%). More (46.1%) identified as being affiliated with the Uniting Church, and a similar percentage rented their homes. ==Access and facilities== ===Main Access Road upgrade=== The upgrade to the Main Access Road is a major project, originally scheduled to begin in 2015 and be completed in 2019, at a cost of m (split 80/20 between federal and state governments). It is an upgrade to of the main access road between the Stuart Highway and Pukatja/Ernabella, and of community and airstrip access roads in Pukatja, Umuwa, Kaltjiti/Fregon, Mimili and Iwantja/Indulkana. It is expected to deliver safer road travel, better access to employment opportunities, improved delivery of food supplies, improved living standards, etc. In January 2019 it was reported that construction started in 2017, and should be completed by 2021. ===Services=== Based in Umuwa, Anangu Pitjantjatjara Services (AP Services), an incorporated body established in 1993, provides essential services such as roads and housing. Regional Anangu Services Aboriginal Corporation (RASAC) was established in early 2010 as an offshoot of AP Services, and is now the biggest employer of APY people, with headquarters in Alice Springs and seven community depots. It delivers services such as rental accommodation, aerodromes, building repairs and maintenance, civil works, community patrols, fuel supplies, homeland services and municipal services. ===Housing=== A few months after his election in early 2018, Premier Steven Marshall, also responsible for Aboriginal Affairs, visited the APY Lands as part of his "whole-of-government" plan which aims to measure SA's progress on improving services to Aboriginal communities. He reported afterwards that employment, especially for young people, was a major issue that needed addressing; and the other one was housing. His government was working on a new funding agreement for remote housing with the Federal Government, after the 10-year National Partnership Agreement on Remote Housing had ended on 30 June. Susan Tilley, Uniting Communities Aboriginal policy and advocacy manager, said that there were about 75 families still on the waiting list for housing, and that maintenance of existing stock and new housing had to be continued. ===Health facilities=== The Nganampa Health Council (NHC), an Aboriginal Community-Controlled Health Organisation, runs all of the clinics in the APY Lands and runs a wide range of services, such as the Tjilpi Pampaku Ngura Aged Care facility and health-related programs "including aged care, sexual health, environmental health, health worker training, dental, women's health, male health, children's health, immunisation, eye health and mental health". In 2014, a Mobile Dialysis Unit, a specially designed truck fitted with three dialysis chairs started operation, visiting remote Aboriginal communities across South Australia, including Pukatja, Mimili, Kaltjiti and Amata in the APY Lands, as well as Marla, Yalata, Coober Pedy, and Leigh Creek. It is run from Purple House, a renal health clinic in Alice Springs, over away. In July 2018, Health Minister Greg Hunt and Ken Wyatt, then Minister for Indigenous Health, announced increased funding for a number of health initiatives, including expanding renal health units in remote parts, through the National Health and Medical Research Council (NHMRC). In November 2019, a four-bed dialysis clinic was opened in Pukatja, named after Kinyin Mckenzie, who died in Alice Springs while receiving dialysis. The first such clinic in remote South Australia, it was funded mostly by the federal government, but boosted by the sale of paintings by Ernabella Arts, which raised towards the centre. At full capacity, the clinic can provide dialysis for up to 16 patients, but there is still a need for some short-stay housing to accommodate those who travel from elsewhere for treatment at Pukatja. ===Policing=== As of 2018, the APY Lands were served by police stations situated at Amata, Ernabella, Mimili, Murputja, Umuwa and the town of Marla. Specialist policing support is located at Umuwa, including CIB and domestic violence investigators. The station at Umuwa has not been permanently manned. a new, permanent policing complex is being built at Umawa. It will accommodate officers with specialist response capabilities, as well provide a base for a mobile unit which will be deployed in Fregon/Kaljiti, Indulkana and Pipalytjara. The service will work closely with child protection service agencies address child abuse and family violence issues. The 2019–2020 Government of South Australia agency budget estimates the completion date as June 2021, with a total spend of . ===Water=== SA Water operates desalination plants at Indulkana, Mimili, Kaltjiti (Fregon) and Yunyarinyi (Kenmore Park), which treat the water from local bores. In early 2019, at a site near Kaljiti/Fregon, a new water source was found in a "palaeo-valley", where groundwater is held about below the surface (existing sources being about down). Core drill samples have been dated at 5–10 million years old. Pipes were temporarily capped, but elder Witjiti George said that he hoped the water could be used to support a cattle herd, helping to create jobs and an ongoing industry for isolated communities. The new source could also provide much needed drinking water. APY Lands general manager Richard King said the origin of the water was yet to be established, but the water is pure, with low salinity. Government experts were working with Flinders University and the CSIRO to learn more about the source. ===Feral camels=== In January 2020, the South Australian government declared that due to the 2019–20 Australian bushfire season and drought, feral camels in large numbers were destroying infrastructure and putting families and communities in danger as they searched for water sources. They were also destroying native vegetation, contaminating water supplies and destroying cultural sites. On 8 January 2020 the South Australian Department for Environment and Water began a five-day cull of the camels, the first mass cull of camels in the area. Professional shooters would kill between 4,000 and 5,000 (or up to 10,000) camels from helicopters, "...in accordance with the highest standards of animal welfare". ==Art== The APY is renowned for its artists, who are always well-represented in any exhibitions and awards for Indigenous Australian artists. In 2017, APY artists earned 25 nominations in the prestigious Telstra National Aboriginal & Torres Strait Islander Art Awards; two were named as finalists in the Archibald Prize (which was won by one of them, Vincent Namatjira); 14 APY artists' work made the shortlist for the 2019 Wynne Prize for landscape painting; Peter Mungkuri from Iwantja Arts won the inaugural Hadley's Art Prize; and in 2019, APY artists also won or were shortlisted for the Ramsay Art Prize, the Sir John Sulman Prize, the Hazelhurst Art on Paper Award the John Fries Award, and others. Nici Cumpston, artistic director of Tarnanthi Festival at Art Gallery of South Australia, regularly visits the APY art centres. ===APY Art Centre Collective=== The APY Art Centre Collective is a group of ten Indigenous-owned and -governed enterprises which supports artists from across the Lands and helps to market their work. The idea was born in 2013, when artists from seven remote art centres got together to look for ways to help the Anangu artists create a network around Australia. It was initially funded from the proceeds of art sales only, but in July 2017 was registered as a public benevolent institution, and was receiving support from the Australia Council, federal and state governments. However the artists themselves manage the collective. The individual art centres saw collaboration as a natural progression, because "We're telling the same story, and when we work together it makes us stronger"; in addition, exploitation by third parties is reduced. The collective aims to create and investigate new markets for their work, increase income for each art centre and support their business development, and in addition support collaborative regional projects, such as the renowned Kulata Tjuta project, and the APY Photography initiative. Seven art centres across the Lands support the work of more than 500 Anangu artists, from the oldest one, Ernabella Arts, to Iwantja Arts at Indulkana, whose residents include award-winning Vincent Namatjira. As well as the APY centres, Maruku Arts from Uluru, Tjanpi Desert Weavers based in Alice Springs, and Ara Iritja Aboriginal Corporation bring the number up to ten. Artist Sally Scales (who was formerly the youngest person to have been chair of the APY Executive Board) has been involved with the Collective since 2017 and is a regional project coordinator. The Collective has galleries in Darlinghurst, Sydney, and, since May 2019, a gallery and studio space on Light Square (Wauwi) in Adelaide, known as APY Gallery Adelaide. The Adelaide studio will function as another working space, the first to be established off-Country. An important aspect is that the artists are able to continue working when visiting healthcare facilities or family in Adelaide, with shuttle buses running between the centre and dialysis centre. Nearly 30% of 2019 gallery sales were made by overseas purchasers, and about 50% from the Eastern states of Australia. About 84% of artwork sales ( as of July 2020) has been returned to the communities through the APY Art centres, which are the only source of income in most of these communities apart from the government. The art centres represented are: * Tjala Arts (at Amata) * Ernabella Arts * Kaltjiti Arts * Iwantja Arts * Mimili Maku Arts * Tjungu Palya (Nyapari) * Ara Irititja (APY project) * Maruku Arts (Yulara) * Tjanpi Desert Weavers * Umoona Art Centre (Coober Pedy) In 2019, 17 APY artists were finalists in the Wynne Prize at the Art Gallery of New South Wales. In early April 2020, the Adelaide gallery had to close to the public, in line with restrictions imposed by the government owing to the COVID-19 pandemic in Australia, so the gallery went online. In May 2020 it was announced that two of the gallery's resident painters, Sammy Lyons and Leah Brady, were finalists in the Telstra National Aboriginal & Torres Strait Islander Art Awards. In April 2021, a joint exhibition of the work of Sally Scales and her mother, Josephine Mick, Irititja – Old, Kuwaritja – New, Ngali – Us (a generational story), was opened by prominent Sydney artist Ben Quilty. ==See also== * Ngangkari – traditional healers ==Notes== ===Citations=== ==Sources== * * * * * * * * * * * * * * * * * *(See p. 3,7 in the Act.) * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ==Further reading== * (Map showing location and boundaries) * Aboriginal Lands Joint Standing Committee of South Australian Parliament (2006) * ==External links== * * * *(for latest version) Category:Aboriginal communities in South Australia Category:Aboriginal land councils Category:Local government areas of South Australia

ʿAbd Allāh ibn al-Ḥasan al-Ḥāsib was an astronomer and mathematician who lived in the first half of the 10th century. Ibn an-Nadīm lists the following titles by him: #Kitāb fī Ṣunūf aḍ-ḍarb wa-l-qisma ("Book on the Art of Multiplication and Division") #Šarḥ kitāb Muḥammad ibn Mūsā al-Ḫwārizmī fi l-ğabr ("Commentary on the Book of Muḥammad ibn Mūsā al-Ḫwārizmī on Algebra") #Šarḥ kitāb Muḥammad ibn Mūsā al-Ḫwārizmī fi al-ğamʿ wa-t-tafrīq ("Commentary on the Book of Muḥammad ibn Mūsā al-Ḫwārizmī on Addition and Subtraction") == References == *Fuat Sezgin. Geschichte des Arabischen Schrifttums - Band V: Mathematik. Leiden, E. J. Brill, 1974. Category:10th-century mathematicians Category:Astronomers from the Abbasid Caliphate Category:Mathematicians from the Abbasid Caliphate Category:Year of birth missing Category:Year of death missing Category:Astronomers of the medieval Islamic world

Bukola Elemide (born 17 September 1982"There's 'Fire On The Mountain'; Where Is Asa?", Sahara Reporters, 7 October 2018.), professionally known as Aṣa ( , ), is a Nigerian-French singer, songwriter, and recording artist. ==Early life== Aṣa was born in Paris to Nigerian parents who were working and studying cinematography in France. Her family returned to live in Nigeria when she was two years old. Her parents hail from Itoku, Abeokuta South local government area, Ogun State, Nigeria. Aṣa grew up in Lagos city, in the south-western part of Nigeria, and 18 years later, returned to Paris, where her life as an artist took off. She has three older brothers. Asa's music influences grew over the years from the collection of great music her father had built up for his work as a cinematographer. These records featuring American, Nigerian and African soul classics, included artists such as Marvin Gaye, Fela Kuti, Bob Marley, Aretha Franklin, King Sunny Adé, Diana Ross, Nina Simone, and Miriam Makeba. Aṣa drew inspiration from the collection of her father's playlist. ==Career== In 2004, Asa met her manager and friend, Janet Nwose,"Why Asa and her female manager are still best of friends" GhanaWeb, 3 October 2016. who introduced her to Cobhams Asuquo, who in turn became the producer of her first studio album Asa (Asha). Aṣa returned to France at the age of 20 to study at the IMFP school of jazz music, where she was told by teachers that she should go ahead and become a recording artist because she was ready and needed no schooling. Back in Nigeria, her first single, "Eyé Adaba," was beginning to get airplay. Aṣa soon signed to Naïve Records. Partnered with Asuquo, and with the new involvement of Christophe Dupouy and Benjamin Constant, she produced her first platinum-selling self-titled album, Aṣa. The release of the album saw Aṣa charting radios across Europe, Asia, and Africa and went on to win the prestigious French Constantin Award in 2008 when she was voted the best fresh talent of 10 singers or groups by a jury of 19 music-industry specialists in Paris.Rhoads, Celeste, "Artist Biography", AllMusic. Her second album, Beautiful Imperfection, in collaboration with French composer Nicolas Mollard, was released on 25 October 2010, went platinum in 2011. The lead single from Beautiful Imperfection, titled "Be My Man", was released in late September 2010. It was reported that by 2014 Aṣa sold 400,000 albums worldwide. Asa's third studio album, Bed of Stone, was released in August 2014. The singles are "Dead Again", "Eyo", "Satan Be Gone", "The One That Never Comes" and "Moving On". She went on a world tour from 2015 to 2017. On 14 May 2019, she released a new single titled "The Beginning" and on 25 June 2019, she released the single "Good Thing"."VIDEO: Asa releases new single after five-year break", Punch (Nigeria), 14 May 2019."Asa – The Beginning", Rhythmicals, 14 May 2019. On 11 September 2019, she announced on her Twitter page that her new album, Lucid, will be released on 11 October 2019, which it was. She released yet another album on the 25th of February 2022 titled "V" featuring the likes of Wizkid, Nigerian highlife duo The Cavemen and Ghanaian artist Amaarae. She is one of Nigeria's most exposed musicians with an estimated net worth of $28 million. ==Discography== ===Studio albums=== Year Album Chart positions FRA BEL ESP SUI US Heat World 2007 Aṣa (Asha) 15 81 — 65 32 3 2010 Beautiful Imperfection 14 35 61 54 — 3 2014 Bed of Stone 38 80 — 64 — — 2019 Lucid — — — — — — 2022 V — — — — — — ===Live albums=== * Live in Paris (2009) * Live in Lagos (2017) ===Singles=== Year Title FRA BEL Album 2007 "Fire on the Mountain" — — Aṣa (Asha) "Jailer" — — 2010 "Be My Man" 89 76 Beautiful Imperfection 2011 "Why Can't We" — 94 2012 "The Way I Feel" — — "Ba Mi Dele" — — Beautiful Imperfection (re-release) 2014 "Dead Again" 109 — Bed of Stone 2015 "Eyo" — — 2019 "The Beginning" — — Lucid "Good Thing" — — "My Dear" — — ===Soundtrack appearances=== *2007: "Kokoya" - on the soundtrack to the film The First Cry *2009: "The Place To Be" - soundtrack for GTBank *2011: "Zarafa" - soundtrack for the animation movie Zarafa ==Awards and nominations== *2008: Prix Constantin *2011: French Music Awards Victoires de la Musique nomination for "Female Artist of the Year". ==See also== *List of Nigerian musicians ==References== ==External links== * Official website. Category:1982 births Category:Living people Category:21st-century French singers Category:Black French musicians Category:English-language singers from France Category:Nigerian women singer-songwriters Category:French people of Nigerian descent Category:French people of Yoruba descent Category:French women singer-songwriters Category:French singer-songwriters Category:Musicians from Paris Category:Nigerian singer-songwriters Category:Nigerian soul musicians Category:The Headies winners Category:Yoruba-language singers Category:Yoruba women musicians Category:21st-century French women singers Category:21st-century Nigerian singers Category:Naïve Records artists

Aṣíkò (Ashiko) is a musical genre similar to sákárà music from Nigeria, West Africa. Aṣíkò was the Christian version of sákárà (Sakara). == Background == It developed originally as a type of syncretic street drumming in port towns throughout Anglophone West Africa. By the 1920s it was also played by musicians inland in Yoruba towns like Abęokuta and Ibadan. Isaac O. Delano gives a detailed description of an aṣíkò ensemble in the 1930s: > Another popular native dance is the "Ashiko". It is not a Yoruba dance in > its origin, but was imported from Sierra Leone or somewhere that way. The > "Ashiko" dance is chiefly performed by Christian people, and has only one > kind of music, rather quicker than the "Sakara" . . . and resembles a fox- > trot. No stringed instruments are employed, only drums and carpenter's saw, > used occasionally to make a kind of noise on its sharp edge, as an > embellishment to "Ashiko" drum music. Sometimes a bottle is also used, a > nail beating time on it, for the same purpose. The drummers, five in number, > all beat similar drums, and produce a continuous volume of music. The > dancing is done by pairs, two ladies and two gentlemen facing each other. > The drummers sing as in the "Sakara" dance with chorus boys, but no one else > sings with them (Delano [1937] 1973:157)."Delano, Isaac. [1937] 1973. The > soul of Nigeria. Nendeln: Kraus Reprints. Aṣíkò music has its origins in the music of Sierra Leonean repatriates, from the West Indian colonies, who themselves had been influenced by Afro-Brazilian samba music. The wooden frame drums used in aṣíkò music and the carpenter's saw, were introduced by the Aguda, who introduced modern carpentry techniques to the Yoruba artisans. Often, elderly informants use the terms aṣíkò and sámbà interchangeably. Aṣíkò was popular in Accra, the capital of the Gold Coast Colony before World War I.Collins, E.J. 1977. Post-war popular band music in West Africa. African Arts 10(3): 53-60. Other influences are also possible from Dahomean, Liberian and West Indian immigrants. Lagos was a breeding ground for young Christian musicians playing aṣíkò music. They developed and rehearsed their own versions of holiday songs, for various festivals around Christmas, etc. Then when the day arrived they would take to the streets and compete. With the elders as judges, the best group would take home a cash prize. The aṣíkò drum, a square frame drum, complete with tuning pegs, was perfect for marching in a parade. It was hand held, lightweight and easy to play with one hand. The drums are made in different sizes and played using interlocking rhythms, which create a driving beat that's difficult to resist as the band marches through the streets. Delano noted European musical influences, since there is no call and response tradition within this genre. The drummers themselves are the singers. == Influence == The success of these amateur aṣíkò groups resulted in a number of them becoming full-time professional bands, which eventually entered the recording studios allowing them to reach a larger audience and become quite popular. Musicians such as A.B.O. Mabinuori, Amusa (otherwise known as 'Captain'), Jero, Tesilimi, Samu Egbo ("Samu Esu"), Ajayi Williams (alias "Ajayi Koboko") and Alabi Labilu are just a few of the most popular aṣíkò bandleaders. This syncretized music was the perfect match for the newly indoctrinated Christian converts of the day, because it incorporated "foreign" instruments with no ties to traditional religious practices; lyrical poetic song texts promoting Christianity over the òrìṣà (traditional religion) and the songs were sung in either Yoruba or Nigerian Pidgin English, which made them accessible to a large cross-section of the population. As the music grew in popularity the song texts began to change as well. By the late 1920s songs could be heard about important social events, historical events, current events and low-status occupations, like prostitution, etc. Nigerian musician Babatunde Olatunji incorporated many of these elements into his music. The samba rhythm was one of his favorites, heard on many of his albums. Much like the rhythm of James Brown identified him and his music; the samba rhythms identify the music of Olatunji. Typically, he did not use sets of drums, but rather created batteries of drums. For instance, atsimevu, djembe, congas and dunun would be played together. In the latter part of his career he also introduced a drum, now identified with him, the Boku drum from Cuba, under the name aṣíkò (ashiko). For most American drummers this is the ashiko drum, as opposed to the hand held relative of the Spanish Pandeiro. In light of his Yoruba origins and Christian upbringing, it all makes sense. As we look at his recordings we see everything from songs like Bethlehemu to Shango and from Sahara Samba to Mbira which features, not Mbira as we know it but rather, a Cuban style Marimbula or Agidigbo as it is known in Nigeria. File:ASHIKO II.JPG|An Aṣíkò (Ashiko) drum from Nigeria, West Africa ==See also== *Sakara drum *Aṣíkò drum ==References== ==Bibliography== *Howard, Joseph H., 1982. Drums. Self- published catalog of Dr. Howard's extensive collection of drums. L.A., CA. *Waterman, Christopher A., 1990. Juju: A Social History and Ethnography of an African Popular Music. University of Chicago Press. *Dietz, Elisabeth Hoffmann, Olatunji, 1965. Michael Babatunde, Musical Instruments of Africa; Their Nature, Use, and Place in the Life of a Deeply Musical People. John Day Company Category:African drums Category:Hand drums Category:Yoruba music

Aṣṭachāp (meaning "8 seals" in Hindi) is a term used to refer to a group of 8 devout poets who were disciples of Vallabhacharya and his son Vitthalnath, who sang Haveli Sangeet prayers, praises, kirtans and musical storytelling different leelas of Lord Krishna, in Dhrupad Dhamma, Dwi Padi, TriPadi, Chatus Padi, ShatPadi, Ashta Padi Prabandhहिंदी साहित्य का दूसरा इतिहास, Dr. Bachchan Singh, Radhakrishna Prakashan, Delhi, 2002, pg 128, It was established in 1565 AD with the foundation of Pushtimarg. The poet Sūrdās was the most well known member of the group the others being, Paramānanddās, Nanddās, Kṛṣṇadās, Govindsvāmī, Kumbhandās, Chītasvāmī, and Caturbhujdās.हिन्दी साहि्त्य का इतिहास, Editor Dr. Nagendra, National Publishing House, New Delhi, Second Edition 1976, page 217 Apart from astachap kirtaniya Surdas ji, KumbhandasJi was also a great pre-eminent music doyen. Each member of Astachaps, are assigned the duty of a particular part of daily worship. ==References== Category: Bhakti movement Category:16th-century Indian poets

The Aṣṭasāhasrikā Prajñāpāramitā Sūtra (Sanskrit: अष्टसाहस्रिका प्रज्ञापारमिता सूत्र; English: The Perfection of Wisdom in Eight Thousand [Lines]) is a Mahāyāna Buddhist sūtra in the category of Prajñāpāramitā sūtra literature. The sūtra's manuscript witnesses date to at least ca. 50 CE, making it among the oldest Buddhist manuscripts in existence.{https://blogs.loc.gov/international-collections/2019/07/2000-year- old-buddhist-scroll-from-ancient-gandhara-digitized-by-library-of-congress/ Library of Congress blog post] The sūtra forms the basis for the expansion and development of the Prajñāpāramitā sūtra literature. In terms of its influence in the development of Buddhist philosophical thought, P.L. Vaidya writes that "all Buddhist writers from Nāgārjuna, Āryadeva, Maitreyanātha, Asaṅga, Vasubandhu, Dignāga, down to Haribhadra concentrated their energies in interpreting Aṣṭasāhasrikā only," making it of great significance in the development of Madhyāmaka and Yogācāra thought. The sūtra deals with a number of topics, but is primarily concerned with the conduct of a bodhisattva, the realisation and attainment of the Perfection of Wisdom as one of the Six Perfections, the realisation of thusness (tathātā), the attainment of irreversibility on the path to buddhahood (avaivartika), non-conceptualisation and abandonment of views, as well as the worldly and spiritual benefit of worshipping the sūtra. ==Title== The Sanskrit title for the sūtra, Aṣṭasāhasrikā Prajñāpāramitā Sūtram, literally translates as "The Perfection of Wisdom in Eight Thousand Sūtra." The "Eight Thousand," Edward Conze indicates, refers roughly to ślokas, which have a count of thirty two syllables. Regarding this, Conze writes, "The Cambridge manuscript Add 866 of A.D. 1008 gives the actual number of slokas after each chapter, and added together they are exactly 8,411." This title is likely late in origin, as Seishi Karashima writes regarding the text from which Lokakṣema (fl. 147–189) was translating, the text was probably originally just entitled Prajñāpāramitā or Mahāprajñāpāramitā. But when different versions began circulating, the additional titles, such as references to length, were added in order to differentiate them. The name of Lokakṣema's translation thus became Dàohéng Bānruòbōluómì Jīng, "The Way of Practice Perfection of Wisdom Sūtra," with the extra element "Dàohéng" taken from the name of the first chapter. The sūtra is among the most well-established in the Mahāyāna tradition and "was the first philosophical text to be translated from the Mahāyāna literature into Chinese." It was translated seven times into Chinese, five times into Tibetan, and eight times into Mongolian. Its titles in the languages of these various countries include: * Sanskrit: अष्टसाहस्रिकाप्रज्ञापारमितासूत्रम्, Aṣṭasāhasrikā-prajñāpāramitā-sūtram, "The Perfection of Wisdom in Eight Thousand [Lines]." * Chinese: *# 道行般若波羅蜜經, Dàohéng Bānruòbōluómì Jīng, "The Way of Practice Prajñāpāramitā Sūtra." T224 (Trans. Lokakṣema, 179 CE ) *# 大明度經, Dàmíngdù Jīng, "The Great Prajñāpāramitā Sūtra." T225 (Trans. Zhī Qīan & Kāng Sēnghùi, 223-229 CE) *# 般若鈔經, Bānruò Chāo Jīng, "The Small Prajñā Sūtra." T226 (Trans. Dharmarakṣa, 386 CE) *# 小品般若波羅蜜經, Xiaŏpĭn Bānruòbōluómì Jīng, "The Small Section Prajñāpāramitā Sūtra." T227 (Trans. Kumārajīva, 408 CE) *# Assembly 4 of 大般若波羅蜜多經, Dàbānruòbōluómìduō Jīng, "The Great Prajñāpāramitā Sūtra." T220 fasc. 538–555 (Trans. Xuánzàng, 660 CE) *# Assembly 5 of 大般若波羅蜜多經, Dàbānruòbōluómìduō Jīng, "The Great Prajñāpāramitā Sūtra." T220 fasc. 556–565 (Trans. Xuánzàng, 660 CE) — Both of Xuánzàng's translations are equivalent to the Aṣṭasāhasrikā with the exception of his exclusion of the Sadāprarudita story. *# 佛母出生三法藏般若波羅蜜多經, Fómŭ Chūshēng Sānfăzàng Bānruòbōluómìduō Jīng, "The Three Dharma Treasuries for the Attainment of Buddhahood Prajñāpāramitā Sūtra." T228 (Trans. Dānapāla, 1004 CE) * Japanese: 八千頌般若経 (はっせんじゅはんにゃきょう), Hassenju Hannya Kyō, "The Eight Thousand [Line] Prajñā Sūtra." This term refers to the Sanskrit source text, rather than the Chinese translations which are prevalent in Japanese Buddhist usage. * Tibetan: ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པ་ བརྒྱད་སྟོང་པ་, Shes-rab-kyi pha-rol-tu phyin-pa brgyad stong-pa, "The Perfection of Wisdom in Eight Thousand Lines." (Trans. Ye-shes-sde, 9th C.) * Mongolian: Naĭman mi͡angat Ikh Khȯlgȯn sudar orshivoĭ, "The Perfection of Wisdom in Eight Thousand Lines." ==History== === Indian Developments === ==== Traditional Theories of Formation ==== While it is held by some in the Mahāyāna tradition that the Buddha taught the Aṣṭasāhasrikā, and the other Mahāyāna sūtras during his lifetime, some legends exist regarding its appearance in the world after the Buddha's parinirvāṇa. One such legend is that Mañjuśrī Bodhisattva came to the house of King Candragupta (321–297 BCE), preached, and left the Aṣṭasāhasrikā there. Another, related by Haribhadra (8th C), is that while the Śrāvakayāna teachings were entrusted and preserved by Ānanda, the Mahāyāna sūtras, and in particular the "Prajñāpāramitā Sūtra," were entrusted to Vajradhāra residing in the Aḍakavatī Heaven. Finally, the legend which has the most currency in East Asia, is that Nāgārjuna was gifted the sūtra from the king of the nāgas after seeing Nāgārjuna's resolve to obtain the Mahāyāna sūtras of the Buddha that were missing on earth. It is clear that Indian monastics did not see the development of the Prajñāpāramitā literature in the first millennium as an outgrowth from the Aṣṭasāhasrikā, an early opinion, but Dignāga (c. 480–540 CE), suggests "we assert that this Eight Thousand is a condensed version [of the Perfection of Wisdom] text, not short of any of the topics. It proclaims the very same topics that the longer sūtras] have proclaimed." Later, Haribhadra suggests that the Buddha "demonstrated the [Śatasāhasrikā] to bring benefit to those beings who are devoted to words and delight in extensively worked-out rendition, demonstrated the [Pañcaviṃśatisāhasrikā], through gathering all the topics together, out of affection for those beings who delight in middle-sized [renditions] and understand from selective elaboration, and taught the [Aṣṭasāhasrikā], through condensing its topics, to produce benefit for beings who are captured by headings and delight in brief explanation." Haribhadra, however, uses the topics of the Pañcaviṃśatisāhasrikā, which were the basis of the Abhisamayālaṅkāra of Asaṅga (4th C) on which his commentary relies, in order to explain the Aṣṭasāhasrikā. Chinese monastics in general also held that the translations corresponding to the Aṣṭasāhasrikā were redacted from the medium sūtras (e.g. translations of the Pañcaviṃśatisāhasrikā)—despite the fact that large portions of the shorter versions of the sūtra are absent from the larger texts. p. 47. For instance, Dào’ān (312-385 CE) theorised that Indian monks redacted the Dàohéng translation from the longer sūtras, but also that the longer sūtras could be used as commentaries on the Dàohéng. p. 48, translating from T08, no. 224, p. 425, b8-21. Similarly, Zhī Dàolín (314-366 CE) suggested that monks had redacted the Xiăopĭn translation from the medium sūtra. P. 48, translating from T55, no. 2145, p.55,b14-17. ==== Contemporary Theories on Formation ==== Contemporary scholarship holds that the shorter Prajñāpāramitā sūtras, using the Aṣṭasāhasrikā as the base, were redacted and expanded in the formation of the longer sūtras. As Jan Nattier characterises, > the evolution of the Aṣṭasāhasrikā-Prajñāpāramitā into the Pañcaviṃsati- > sāhasrikā through what we might call the “club sandwich” style of textual > formation: with the exception of the final chapters (30-32 in the Sanskrit > version) of the Aṣṭa-, which have no counterpart in the Sanskrit Pañca- and > apparently circulated separately before being incorporated into the Aṣṭa- > ... the [Pañca-] consists of the Aṣṭa- being “sliced” like a loaf of bread > and then layered with “fillings” introduced from other sources. Very little > of the text of the Aṣṭa- has been altered in the process, and only rarely > does a crumb of the “bread” seem to have dropped out. The Pañca- is not > simply related to the Aṣṭa-; it is the Aṣṭa-, with the addition of a number > of layers of new material. Similarly, Edward Conze suggested a nine-stage model of expansion. (1) A base urtext of the Ratnagunasaṃcaya Gāthā, starting with the first two chapters. (2) Chapters 3 to 28 of the Ratnagunasaṃcaya were added, which were then put into prose as the Aṣṭasāhasrikā. To this were gradually added (3) material from the Abhidharma, (4) concessions to the "Buddhism of Faith" (referring to Pure Land references in the sūtra), and then (5) the expansion into the larger sūtras, their (6) contraction into the shorter sūtras (i.e. Diamond Sūtra, Heart Sūtra, down to the Prajñāpāramitā in One Letter), which all in turn set the basis for the (7) Yogācārin commentaries and (8) Tantras and (9) Chan. Based on a similar understanding, most scholars of the Prajñāpāramitā have suggested that there is a base urtext from which the rest of the Aṣṭasāhasrikā expanded. Similar to Conze in regards to the Ratnagunasaṃcaya, scholars who hold that the first chapter of the prose sūtra is the urtext include Kōun Kajiyoshi, Yìnshùn, and Lambert Schmithausen. Ryūshō Hikata argued that the sūtra was composed in two phases from Chapter 1 to 25, but that material from Chapter 26 to 32 and references to Akṣobhya were later developments. P.L. Vaidya is alone in suggesting that the urtext is "Dharmodgata's sermon to Sadāprarudita" at Chapter 31. Matthew Orsborn presents a dissenting opinion to the urtext theories, holding that the presence of chiastic structures may point "to the entire sūtra being composed as a single and unified whole as it presently stands (more or less)," with additional materials being added around these chiastically arranged materials. Pp. 364-5. ==== Commentarial Tradition ==== The primary subject of Prajñāpāramitā commentary has been the Pañcaviṃśatisāhasrikā version. This includes the commentaries attributed to Nāgārjuna, Dignāga, and Asaṅga's Abhisamayālaṅkāra. Using the Abhisamayālaṅkāra as a basis, however, Haribhadra composed a commentary on the Aṣṭasāhasrikā, the Abhisamayālaṅkārāloka, or the "Light for the Ornament of Clear Realisation." While, owing to it being based on a commentary on a different text, the structure suggested to be present by Haribhadra does not fit perfectly, the structure as he understands it is as follows: # The Three Knowledges ## Knowledge of all Aspects Chapter 1 ## Knowledge of all Paths Chapters 2-7 ## All-Knowledge Chapter 8 # The Four Practices ## Full Awakening to All Aspects Chapters 9-19 ## Culmination Realisation Chapters 20-28 ## Serial Realisation Chapter 29 ## Instant Realisation Chapter 29 # The Dharma Body ## Full Awakening to the Dharma Body Chapters 30-32 ==== Manuscripts and Editions ==== thumb|379x379px|Aṣṭasāhasrikā manuscript. Cleveland Museum of Art. The following is a chronological survey of prominent manuscript witnesses and editions of the Sanskrit Aṣṭasāhasrikā text: * c. 50 CE — Kharoṣṭhī manuscript from the Split Collection. This is in the Gāndhārī language and was composed in Gandhāra. * c. 140 CE — Kharoṣṭhī manuscript from the Bajaur Collection. This manuscript is also in the Gāndhārī language and was composed in Gandhāra. * c. 200 CE — Fragments in late Kuṣāṇa Brāhmī from the Schøyen collection. This manuscript is in Sanskrit but was probably also composed in Gandhāra. * 985 CE — Cambridge MS Add. 1464. Composed in Bengal (see illustration) * c. 1000 CE — Cambridge MS Add. 1163. Composed in Nepal. * 1008 CE — Cambridge MS Add. 866. Composed in Nepal. * 1015 CE — Cambridge MS Add. 1643. Composed in Kathmandu, Nepal. * 1264 CE — Cambridge MS Add. 1465. Composed in Nepal. * Three other Cambridge manuscripts exist. * The Nepalese- German Manuscript Cataloguing Project lists 97 Aṣṭasāhasrikā manuscripts in archives. The following editions have been made of the Sanskrit text: * 1888 — ed. Rajendra Lal Mitra. This edition is in Devanāgarī and was prepared using: ** a Bengali transcript of a 19th-century Nepalese original ** a Nepalese manuscript provided by Brian Houghton Hodgson dating to 1061 ** a Nālandā manuscript from the Royal Asiatic Society of Great Britain dating to 12th century ** a Nālandā manuscript from the Asiatic Society of Bengal dating to 1097 ** Two manuscripts from Nepal, which Mitra judged to be older than the previous manuscript ** a 12th-century manuscript of Nepalese origin * 1932-5 — ed. Unrai Wogihara. This edition corrects many of Mitra's errata, and also features the running commentary of Haribhadra using manuscripts of the Abhisamayālaṅkārāloka loaned from Sylvain Lévi and the Calcutta Library. * 1960 — ed. Paraśurāma Lakṣmaṇa Vaidya. This edition is based on Wogihara and Mitra, and attempts to correct perceived errors in sandhi. === Translations into Western Languages === The Aṣṭasāhasrikā first became known to western scholars when Brian Hodgson had obtained manuscripts of the sūtra in Nepal and sent them to the Indologist Eugène Burnouf (1801-1852) in Paris for analysis. Burnouf's first impression was lack of interest, "because I saw only perpetual repetitions of the advantages and merits promised to those who obtain prajñāpāramitā. But what is this prajñā itself? This is what I did not see anywhere, and what I wished to learn." Later, in his 1844 work on the history of Indian Buddhism, Burnouf presented the first detailed study of the doctrines of the Prajñāpāramitā found in the west. In that work, he also produced a translation of the first chapter and stated "I have translated, for my personal use, almost all of the Prajñā in eight thousand articles". This French translation was published in 2022 by Guillaume Ducoeur (Aṣṭasāhasrikā Prajñāpāramitā, la Perfection de sagesse en huit mille stances, traduite par Eugène Burnouf (1801-1852), éditée par Guillaume Ducoeur, Université de Strasbourg, 2022) . The only full published translation remains Edward Conze's 1973 translation, The Perfection of Wisdom in Eight Thousand Lines and its Verse Summary. A translation of the first two chapters of Kumārajīva's version was published by Matt Orsborn (=Shi Huifeng) in 2018. ==Outline== The structure of the sūtra can be understood in a number of ways. But four clear divisions can be noted: # Chapters 1–2: These chapters, besides setting the stage and introducing the themes of the sūtra by defining bodhisattvas and mahāsattvas, are also considered to be the urtext by a number of scholars. # Chapters 3–16: These chapters, according to Orsborn, expand upon the theme of the bodhisattvas' approach to understanding the Prajñāpāramitā and the benefits of the sūtra, and culminate in the bodhisattva's realisation of tathatā. This marks Chapter 16 as the central turning point in the sūtra and the centre of its chiastic structure. Pp. 284-299. # Chapters 17–29: These chapters continue to expand upon the same themes, but this time the subject as bodhisattva is characterised as irreversible on the path to buddhahood. The approach to the Prajñāpāramitā in this half can be understood as that of one who has realised tathatā. # Chapters 30–32: These chapters mark a distinct break, in that they relate the past example of the bodhisattva Sadāprarudita who seeks the Prajñāpāramitā from the teacher Dharmodgata. The sūtra is concluded with an entrustment to Ānanda. === Chapters 1-2: Introduction === Chapter 1: The Practice of the Knowledge of all Modes — While at Vulture Peak, the Buddha asks Subhūti to explain how bodhisattvas realise the Prajñāpāramitā. Subhūti explains that when disciples of the Buddha who realise dharmatā teach, that is the work of the Buddha. He goes on to clarify the realisation of the Perfection of Wisdom by explaining that by cutting off the view of the inherent existence of self and phenomena, a bodhisattva can go forth on the Mahāyāna for the liberation of beings and not enter nirvāṇa halfway. However, in suchness, he points out, there are in fact no bodhisattvas, beings to save, Prajñāpāramitā, path, or nirvāṇa. thumb|200x200px|Śakra. Chapter 2: Śakra — In response to Śakra's request for further explanation, Subhūti points out that in suchness one cannot rely on any aggregate, state of being, or the path, all of which are illusions. All, including the Prajñāpāramitā, are said to be without beginning, middle, or end, and therefore are infinite. The devas declare that they will highly regard a bodhisattva who practices as Subhūti describes—the Buddha relates how he was such a bodhisattva in the past when he met Dīpankara Buddha. === Chapters 3-16: The Bodhisattva's Training in the Prajñāpāramitā === Chapter 3. Reverence for the Receptacle of the Perfections, which holds Immeasurable Good Qualities — This chapter emphasises the worldly benefits of practicing the Prajñāpāramitā and writing it as a book and worshipping it. The devas also declare that they will come and gather around one who does this. This chapter also points out that the Prajñāpāramitā is the root of the other of the Six Pāramitās. Worshipping the Prajñāpāramitā as a book is said to be superior to worshipping stūpas because it is the source of buddhas themselves. Chapter 4. The Proclamation of Qualities — Śakra points out that the Prajñāpāramitā is the source of all buddhas, thus in worshipping buddha relics one is really worshipping the Prajñāpāramitā. Prajñāpāramitā, also, ultimately contains the other five pāramitās—so practicing it allows one to practice the others. Chapter 5. The Revolution of Merit — Practicing the Prajñāpāramitā is said to be of great merit, but teaching it to others is said to be even greater. However, if it is taught in the form of annihilationist doctrine, it is called the "counterfeit Prajñāpāramitā." Finally, it is declared to be the greatest gift since it renders full buddhahood. Chapter 6. Dedication and jubilation — The chapter points out that one should rejoice in the merit of others and one's own practice and dedicate it to attaining buddhahood, but without perceiving any sign in doing so. thumb|200x200px|Naraka: Buddhist hell Chapter 7. Hell — While the Prajñāpāramitā should be considered the teacher, it is not to be thought of as procuring anything and should be practiced through non- practice: this leads beings to nirvāṇa but does not result in perceiving beings or nirvāṇa. If one obtains the sūtra, it is said to be because one encountered the buddhas previously, but that it is understood depending upon one's conditions. If, however, one rejects the Prajñāpāramitā, hell is said to be the retribution. Chapter 8. Purity – This chapter points out that ultimately the skandhas are pure, and so is the Prajñāpāramitā. Seeing this one is non-attached, but not seeing it, one develops attachment. Teaching and not teaching the Prajñāpāramitā and the skandhas is said to have no effect upon their increase or decrease, since they are ultimately like space. The Buddha points out that just as he teaches, so did all past buddhas, and so will Maitreya in the future. Chapter 9. Praise — The Prajñāpāramitā is declared to be just a name which is not produced, stopped, defiled, or pure. Beings who hear it will be free from suffering, but some people will be hostile to its spread. Nonetheless, it is said to be pure and neither proceeds nor recedes due to its unproduced and isolated nature. Chapter 10. Proclamation of the Qualities of Bearing in Mind — This chapter emphasises how people who practice the Prajñāpāramitā have planted karmic roots with past buddhas. If one encounters it and is not afraid, one is said to be near to realising the Prajñāpāramitā, and one develops one's practice in this regard by not mentally constructing the path. While Māra will try to obstruct such bodhisattvas, they will be sustained by the buddhas. It is said that the sūtra will spread long after the Buddha's nirvāṇa and that those who search for it will find it in one to two lives. thumb|Depictions of Māra's demons from an Aṣṭasāhasrikā manuscript. Chapter 11. Māra's Deeds — This chapter returns to the topic of Māra by pointing out how he will try to dissuade bodhisattvas from the Prajñāpāramitā. He does this in particular by making bodhisattvas slothful, creating obstacles between the student and his teacher, making them feel like the Śrāvakayāna sūtras are of greater value, and manifesting as people, such as an illusory buddha, who will give rise to doubts through misleading teachings. Chapter 12. Showing the World — This chapter emphasises how the Prajñāpāramitā is the mother of the buddhas: therefore they care for her, just as a child for his mother, by teaching the Prajñāpāramitā. The world to which it is taught is declared to be made up of empty skandhas, and thus the world, too, is said to be empty. Similarly all beings' thoughts are characterised by emptiness, are identical to suchness, and are inherently pure. One cannot fix onto any phenomenon, just like space, and are ultimately unknowable—viewing them thus through non-viewing is said to be viewing the world. Chapter 13. Unthinkable — The Prajñāpāramitā is said to be unthinkable and incalculable like space. The same is so of all skandhas, phenomena, attainments. All of the levels of the path are said to work through the agency of the Prajñāpāramitā as a minister does a king's work. The Prajñāpāramitā is summarised as being the non-attachment to any phenomena. It is said to be heard due to one's karmic roots, and accepting it is said to accelerate one's progress on the path. Chapter 14. Similes — This chapter points out that practitioners of the Prajñāpāramitā may have been born in a buddha-field in a previous life, but that generally they will be born as humans. If one fails to understand the Prajñāpāramitā, it may have been due to failing to question buddhas about it in the past. Moreover, the chapter suggests that if a bodhisattva does not rely upon the Prajñāpāramitā and skilful means, they may backslide to the śrāvakayāna or pratyekabuddhayāna. Chapter 15. Gods — This chapter suggests that bodhisattva training relies upon good friends who point out the Prajñāpāramitā. These are equated to bodhisattvas who abide in signless suchness, and who do not tremble in encountering the Prajñāpāramitā. It suggests that the bodhisattva aspiration is not related to phenomena, and that the non-grasping nature of the Dharma is demonstrated through non- demonstration. Chapter 16. Suchness — This chapter, being the turning point in terms of identifying the end of retrogression in the realisation of suchness, emphasises that the Buddha, suchness, and phenomena are identical and non- dual—to know this is said to be buddhahood. Those who have backslided, as suggested in Chapter 14, must rely upon the Prajñāpāramitā in order to once again enter the buddhayāna. In that regard, the difficulty of buddhahood is said to be that there is no one to attain it, and no three yānas by which to approach it—awakening is knowing this without trembling. === Chapters 17-29: The Irreversible Bodhisattva's Training in the Prajñāpāramitaa === Chapter 17. Attributes, Tokens, and Signs of Irreversibility — Having attained irreversibility, a bodhisattva has no doubt of his irreversibility. Without doubt, their conduct is pure and continue to work for beings' benefit. They cannot be dissuaded by Māra, who will be easily recognised by them. Chapter 18. Emptiness — Bodhisattva stages are equated with suchness. Reflecting upon them, a bodhisattva develops the Prajñāpāramitā. The greatest of deeds is excelled by practicing the Prajñāpāramitā for even a single day. Awakening never increases or decreases to such a bodhisattva, whose activities and merits are said to be ineffable. thumb|Akṣobhya Buddha Chapter 19. The Goddess of the Ganges — Awakening is said to arise depending upon the first and last bodhicitta aspiration, but not directly by either. In suchness, development to awakening is said to only be a convention. Objective bases are said to be that upon which discriminative actions depend, but they are said to be empty. Moreover, conditionality is said to only exist by convention of speech, but not in reality. Practicing thus without fear, a bodhisattva should endure misfortunes and dedicate them to awakening. The Goddess of the Ganges gains faith in the Prajñāpāramitā and it is predicted that after she studies under the Buddha Akṣobhya, she will become a Buddha called Suvarṇapuṣpa. Chapter 20. Discussion of Skill in Means — This chapter describes how a bodhisattva can engage in skilful means by remaining in the world and not entering nirvāṇa in order to benefit beings. They do this by holding back from realising the reality-limit. They continue by developing the pāramitās and engaging in non- attachment. They can know their own irreversibility when they see signs in their dreams, and develop powers. Chapter 21. Māra's Deeds — Returning to the topic of Māra, this chapter points out how Māra may give rise to conceit in bodhisattvas by making them mistakenly think they attained powers, or implanting false memories of past lives as monks, or predictions to buddhahood. Becoming conceited, the bodhisattvas will renounce the Prajñāpāramitā and return to the śrāvakayāna or pratyekabuddhayāna. Similarly, bodhisattvas living in isolation are said to be particularly targeted by Māra, who will give rise to their arrogance against city-dwelling bodhisattvas. It is emphasised that these can be counteracted by honouring the good friends. Chapter 22. The Good Friends — The true good friends are declared to be the Six Pāramitās, with Prajñāpāramitā as their key. Relying upon it, a bodhisattva sees all as empty and pure. Thus, the Prajñāpāramitā is equated to a precious jewel. Also, in this way, beings and the Prajñāpāramitā are said to neither increase or decrease, and by not practicing in anything one practices in the Prajñāpāramitā. Chapter 23. Śakra — It is said that by practicing and teaching the Prajñāpāramitā, all devas are surpassed by a bodhisattva. The devas will therefore protect that bodhisattva—but they can only accomplish this through the Buddha's power. Chapter 24. Conceit — If, however, a bodhisattva does not practice the Prajñāpāramitā properly, they will be open to Māra who will give rise to their conceit. However, by practicing repentance, a bodhisattva can avoid malice and regard all bodhisattvas as their teacher and avoid competitive-mindedness. Chapter 25. Training — To train in omniscience, a bodhisattva trains in suchness, without grasping onto either. It is also suggested in this chapter that the number of bodhisattvas who truly train in the Prajñāpāramitā are very few in number, but that the merit of practicing the Prajñāpāramitā is greater than any other practice. Bodhisattvas are thus able to teach śrāvakas by learning about their qualities, but do not fall to their yāna. Chapter 26. Like Illusion — While bodhisattvas surpass all except buddhas, and the merits of their bodhicitta is said to be boundless, they are an illusion, and thus cannot know the illusion that is also full awakening. Their bodhicitta, too, is an illusion. Thus, they act conventionally in the world as puppets—knowing that this is hard to do, while there is no one to do it and nothing to do. Chapter 27. The Core — In this way, bodhisattva practice is insubstantial, but they do not lose motivation because there is nothing that is there to lose motivation. Bodhisattvas practicing in this way are protected by devas, and praised by buddhas and bodhisattvas from other worlds. Chapter 28. Avakīrṇakusuma — The Buddha declares that all the monks in the assembly will become buddhas called Avakīrṇakusuma. The Buddha then entrusts the sūtra to Ānanda for the first time, declaring that it should be worshipped. The Buddha makes a vision of Akṣobhya's buddha-field arise and cease, and says that just as it arises and ceases, one should not train in a fixed idea. In this way, the Prajñāpāramitā is declared to be boundless, and thus its form in book form is not really the Prajñāpāramitā. Finally it is said that the Prajñāpāramitā is consummated through seeing non-extinction of the skandhas and seeing the links of dependent origination. Chapter 29. Approaches — The approach to the Prajñāpāramitā is said to be through non-conceptualisation in 54 aspects. The declarations of the Prajñāpāramitā are to be approached through the "roaring of a lion," but one should also know that the qualities of the skandhas are equal to those of the Prajñāpāramitā. Bodhisattvas who practice with this understanding are said to find it easy to become a buddha. === Chapters 30-32: Sadāprarudita and Conclusion === thumb|A 1307 Korean painting depicting Sadāprarudita rising in the air after learning from Dharmodgata. Chapter 30. Sadāprarudita — The Buddha teaches Subhūti that one should seek the Prajñāpāramitā just like the Bodhisattva Sadāprarudita ("Always Weeping"). In relating his story, the Buddha explains that Sadāprarudita, who seeks the Prajñāpāramitā, is told to go east by a voice, and then told by visions of the buddhas to seek the teacher Dharmodgata in Gandhavatī. Sadāprarudita's desire at that point is to know from whence the buddhas came and to where they went. Not having anything to offer the teacher as payment, Sadāprarudita offers himself for payment, but Māra deafens everyone so that they cannot hear him. Knowing this, Śakra manifests as a brahmin who offers to buy Sadāprarudita's heart, blood, and marrow. Agreeing and dissecting himself, he is saved by a merchant's daughter who offers to help him with her riches. Seeing his resolve, Śakra restores Sadāprarudita's dissected body parts and magically disappears. After finding Dharmodgata and honouring him, Sadāprarudita asks him from whence the buddhas came and to where they went. Chapter 31. Dharmodgata — In response, Dharmodgata suggests that the buddhas neither come nor go, since they are suchness. Sadāprarudita, rising in the air, offers himself to Dharmodgata. The merchant's daughter does likewise. Dharmodgata enters a samādhi for seven years—during this time, Sadāprarudita and the merchant's daughter stand outside his house for seven years. After leaving his samādhi, Dharmodgata teaches them the Prajñāpāramitā. Following this, Sadāprarudita enters millions of samādhis, including that of the "sameness of all phenomena." Chapter 32. Entrusting — The Buddha concludes by saying that Sadāprarudita, from then on, was never deprived of vision of the buddhas. After this, the Buddha again entrusts the sūtra to Ānanda, instructing him to copy and worship it as a book. He declares that so long as the Prajñāpāramitā exists, so long does the Buddha continue to teach the Dharma. == References == == Bibliography == * Category:Mahayana sutras Category:Vaipulya sutras

The (Devanagari अष्टाध्यायी) is a grammar that describes a form of an early Indo-Aryan language: Sanskrit. Authored by Sanskrit philologist and scholar Pāṇini and dated to around 500 BCE, it describes the language as current in his time, specifically the dialect and register of an élite of model speakers, referred to by Pāṇini himself as śiṣṭa. The work also accounts both for some features specific to the older Vedic form of the language, as well as certain dialectal features current in the author's time. The Aṣṭādhyāyī employs a derivational system to describe the language, where real speech is derived from posited abstract utterances formed by means of affixes added to bases under certain conditions. The Aṣṭādhyāyī is supplemented by three ancillary texts: akṣarasamāmnāya, dhātupāṭha and gaṇapāṭha.Cardona, §1-3. ==Etymology== Aṣṭādhyāyī is made of two words aṣṭa-, 'eight' and adhyāya-, 'chapter', thus meaning eight-chaptered, or 'the book of eight chapters'.Monier Monier- Williams ==Background== ===Grammatical tradition=== By 1000 BCE, a large body of hymns composed in the oldest attested form of the Proto-Indo-Aryan language had been consolidated into the Rigveda, which formed the canonical basis of the Vedic religion, being transmitted from generation to generation entirely orally. In the course of the following centuries, as the popular speech evolved, growing concern among the guardians of the Vedic religion that the hymns be passed on without 'corruption' led to the rise of a vigorous, sophisticated grammatical tradition involving the study of linguistic analysis, in particular phonetics alongside grammar. The high point of this centuries-long endeavour was Pāṇini's Aṣṭādhyāyī, which eclipsed all others before him.Burrow, §2.1.Coulson, p. xv.Whitney, p. xii. While not the first, the Aṣṭādhyāyī is the oldest linguistic and grammar text, and one of the oldest Sanskrit texts, surviving in its entirety. Pāṇini refers to older texts such as the Unādisūtra, Dhātupāṭha, and Gaṇapātha but some of these have only survived in part.Cardona, §4. ===Arrangement=== The Aṣṭādhyāyī consists of 3,959 sūtras in eight chapters, which are each subdivided into four sections or pādas. There are different types of sūtras, with the vidhisūtra - operational rules, being the main one. The other, ancillary sūtras, are:Cardona (1997) §10. * paribhāṣā - metarules * adhikāra - headings * atideśa·sūtra - extension rules * niyama·sūtra - restrictive rules * pratiṣedha- & niṣedha·sūtra - negation rules ===Related fields=== The Aṣṭādhyāyī is the foundation of Vyākaraṇa, one of the Vedic ancillary fields (Vedāṅgas), and complements others such as the Niruktas, Nighaṇṭus, and Śikṣā.James Lochtefeld (2002), "Vyākaraṇa" in The Illustrated Encyclopedia of Hinduism, Vol. 2: N-Z, Rosen Publishing, , pages 476, 744-745, 769 Regarded as extremely compact without sacrificing completeness, it would become the model for later specialist technical texts or sūtras. ===Method=== The text takes material from lexical lists (dhātupāṭha, gaṇapātha) as input and describes algorithms to be applied to them for the generation of well-formed words. It is highly systematised and technical. Inherent in its approach are the concepts of the phoneme, the morpheme and the root. A consequence of his grammar's focus on brevity is its highly unintuitive structure, reminiscent of modern notations such as the "Backus–Naur form". His sophisticated logical rules and technique have been widely influential in ancient and modern linguistics. Pāṇini makes use of a technical metalanguage consisting of a syntax, morphology, and lexicon. This metalanguage is organised according to a series of meta-rules, some of which are explicitly stated while others can be deduced.Angot, Michel. L'Inde Classique, pp.213–215. Les Belles Lettres, Paris, 2001. ===Commentarial tradition=== The Aṣṭādhyāyī, composed in an era when oral composition and transmission was the norm, is staunchly embedded in that oral tradition. In order to ensure wide dissemination, Pāṇini is said to have preferred brevity over clarityWhitney, p. xiii \- it can be recited end- to-end in two hours. This has led to the emergence of a great number of commentaries of his work over the centuries, which for the most part adhere to the foundations laid by Pāṇini's work.Coulson, p xvi. The most famous and among the most ancient of these Bhāṣyas is the Mahābhāṣya of Patañjali. Non- Hindu texts and traditions on grammar emerged after Patañjali, some of which include the Sanskrit grammar text of Jainendra of Jainism and the Chandra school of Buddhism. ===Critical responses=== In the , language is observed in a manner that has no parallel among Greek or Latin grammarians. Pāṇini's grammar, according to Renou and Filliozat, defines the linguistic expression and a classic that set the standard for Sanskrit language.Louis Renou & Jean Filliozat. L'Inde Classique, manuel des etudes indiennes, vol.II pp.86–90, École française d'Extrême-Orient, 1953, reprinted 2000. . ==Rules== The first two sutras are as follows: :1.1.1 vṛddhir ādaiC :1.1.2 adeṄ guṇaḥ In these sutras, the letters which here are put into the upper case actually are special meta-linguistic symbols; they are called IT markers or, by later writers such as Katyayana and Patanjali, anubandhas (see below). The C and Ṅ refer to Shiva Sutras 4 ("ai, au, C") and 3 ("e, o, Ṅ"), respectively, forming what are known as the pratyāhāras "comprehensive designations" aiC, eṄ. They denote the list of phonemes {ai, au} and {e, o} respectively. The T appearing (in its variant form /d/) in both sutras is also an IT marker: Sutra 1.1.70 defines it as indicating that the preceding phoneme does not represent a list, but a single phoneme, encompassing all supra-segmental features such as accent and nasality. For further example, āT and aT represent ā and a respectively. When a sutra defines the technical term, the term defined comes at the end, so the first sutra should have properly been ādaiJ vṛddhir instead of vṛddhir ādaiC. However the orders are reversed to have a good-luck word at the very beginning of the work; vṛddhir happens to mean 'prosperity' in its non- technical use. Thus the two sūtras consist of a list of phonemes, followed by a technical term; the final interpretation of the two sūtras above is thus: :1.1.1: {ā, ai, au} are called . :1.1.2: {a, e, o} are called guṇa. At this point, one can see they are definitions of terminology: guṇa and vṛ́ddhi are the terms for the full and the lengthened Indo-European ablaut grades, respectively. === List of IT markers === Markers called it or anubandha are defined in P. 1.3.2 through P. 1.3.8. These definitions refer only to items taught in the grammar or its ancillary texts such at the ; this fact is made clear in P. 1.3.2 by the word upadeśe, which is then continued in the following six rules by , Ellipsis. As these anubandhas are metalinguistic markers and not pronounced in the final derived form, pada (word), they are elided by P. 1.3.9 – 'There is elision of that (i.e. any of the preceding items which have been defined as an it).' Accordingly, Pāṇini defines the anubandhas as follows: # Nasalized vowels, e.g. bhañjO. Cf. P. 1.3.2. # A final consonant (haL). Cf. P. 1.3.3. 2\. (a) except a dental, m and s in verbal or nominal endings. Cf. P. 1.3.4. # Initial ñi ṭu ḍu. Cf. P 1.3.5 # Initial ṣ of a suffix (pratyaya). Cf. P. 1.3.6. # Initial palatals and cerebrals of a suffix. Cf. P. 1.3.7 # Initial l, ś, and velars but not in a taddhita 'secondary' suffix. Cf. P. 1.3.8. A few examples of elements that contain its are as follows: * suP nominal suffix * Ś-IT ** Śi strong case endings ** Ślu elision ** ŚaP active marker * P-IT ** luP elision ** āP ā-stems *** CāP *** ṬāP *** ḌāP ** LyaP (7.1.37) * L-IT * K-IT ** Ktvā ** luK elision * saN Desiderative * C-IT * M-IT * Ṅ-IT ** Ṅí Causative ** Ṅii ī-stems *** ṄīP *** ṄīN *** Ṅī'Ṣ ** tiṄ verbal suffix ** lUṄ Aorist ** lIṄ Precative * S-IT * GHU class of verbal stems (1.1.20) * GHI (1.4.7) ==Auxiliary texts== Pāṇini's Aṣṭādhyāyī has three associated texts. * The Śiva Sūtras are a brief but highly organised list of phonemes. * The Dhatupatha is a lexical list of verbal roots sorted by present class. * The Ganapatha is a lexical list of nominal stems grouped by common properties. === Śiva Sūtras === The Śiva Sūtras describe a phonemic notational system in the fourteen initial lines preceding the Aṣṭādhyāyī. The notational system introduces different clusters of phonemes that serve special roles in the morphology of Sanskrit, and are referred to throughout the text. Each cluster, called a pratyāhāra, ends with a dummy sound called an anubandha (the so-called IT index), which acts as a symbolic referent for the list. Within the main text, these clusters, referred through the anubandhas, are related to various grammatical functions. === Dhātupāṭha === The Dhātupāṭha is a lexicon of Sanskrit verbal roots (dhātu) of classical Sanskrit, indicating their properties and meanings. There are approximately 2300 roots in Dhātupāṭha. Of these, 522 roots are often used in classical Sanskrit. Dhātupāṭha is organised by the ten present classes of Sanskrit, i.e. the roots are grouped by the form of their stem in the present tense. The ten present classes of Sanskrit are: # (root-full grade thematic presents) # (root presents) # (reduplicated presents) # (ya thematic presents) # (nu presents) # (root-zero grade thematic presents) # (n-infix presents) # (no presents) # (ni presents) # (aya presents, causatives) The small number of class 8 verbs are a secondary group derived from class 5 roots, and class 10 is a special case, in that any verb can form class 10 presents, then assuming causative meaning. The roots specifically listed as belonging to class 10 are those for which any other form has fallen out of use (causative deponents, so to speak). === Gaṇapāṭha === The Gaṇapāṭha is a list of groups of primitive nominal stems (roots) used by the Aștâdhyāyī. Examples of groups include: # Listing of verbal prefixes (upasarga). # Listing of pronouns ("pronoun" is not an accurate translation but is commonly used as the list includes 'he', 'she', 'it', but also 'all' (from which the group gets its name), 'that'). ==Commentary== After Pāṇini, the of Patañjali on the Aṣṭādhyāyī is one of the three most famous works in Sanskrit grammar. It was with Patañjali that Indian linguistic science reached its definite form. The system thus established is extremely detailed as to śikṣā (phonology, including accent) and vyākaraṇa (morphology). Syntax is scarcely touched, but nirukta (etymology) is discussed, and these etymologies naturally lead to semantic explanations. People interpret his work to be a defence of Pāṇini, whose sūtras are elaborated meaningfully. He also attacks Kātyāyana rather severely. But the main contributions of Patañjali lies in the treatment of the principles of grammar enunciated by him. == Other information == Pāṇini's work has been one of the important sources of cultural, religious, and geographical information about ancient India, with he himself being referred to as a Hindu scholar of grammar and linguistics., Quote: "The linguistic investigations of Panini, the notable Hindu grammarian, can be ...", Quote: "The problem was, however, faced by the Hindu grammarian Panini, who apparently was conscious of the grammatical implications of his phonetic classificatory scheme." His work, for example, illustrates the word Vasudeva (4.3.98) as a proper noun in an honorific sense, that can equally mean a divine or an ordinary person. This has been interpreted by scholars as attesting the significance of god Vasudeva (Krishna) or the opposite.R. G. Bhandarkar (1910), Vasudeva of Panini IV, iii, 98 , The Journal of the Royal Asiatic Society of Great Britain and Ireland, Cambridge University Press, (Jan., 1910), pp. 168-170 The concept of dharma is attested in his sutra 4.4.41 as, dharmam carati or "he observes dharma (duty, righteousness)" (cf. Taittiriya Upanishad 1.11).; Sanskrit: ४.४.४१ धर्मं चरति ।, अष्टाध्यायी ४, Wikisource Much social, geographical and historical information has been thus inferred from a close reading of Pāṇini's grammar. ===Editions=== *Rama Nath Sharma, The Aṣṭādhyāyī of Pāṇini (6 Vols.), 2001, *Otto Böhtlingk, Panini's Grammatik 1887, reprint 1998 *Katre, Sumitra M., Astadhyayi of Panini, Austin: University of Texas Press, 1987. Reprint Delhi: Motilal Banarsidass, 1989. *Misra, Vidya Niwas, The Descriptive Technique of Panini, Mouton and Co., 1966. *Vasu, Srisa Chandra, The Ashṭádhyáyí of Páṇini. Translated into English, Indian Press, Allahabad, 1898.Books I, III, IV, V, VI, VII, VIII. == Notes == == Glossary == == Traditional glossary and notes == == Brahmic notes == ==References== ==Bibliography== * * * * * * * * * * Category:4th-century BC manuscripts Category:4th century BC in India Category:Systems of formal logic Category:Grammar books Category:Indo-European grammars Category:Ancient Indian mathematical works Category:Sanskrit texts

thumbnail|Yoruba Veranda Posts, Brooklyn Museum Ase, ashe (from Yoruba àṣẹ), or aṣe is a Yoruba philosophy that is defined to represent the power that makes things happen and produces change in the Yoruba religion. It is believed to be given by Olodumare to everything — gods, ancestors, spirits, humans, animals, plants, rocks, rivers, and voiced words such as songs, prayers, praises, curses, or even everyday conversation. Existence, according to Yoruba thought, is dependent upon it. In addition to its sacred characteristics, ase also has important social ramifications, reflected in its translation as "power, authority, command." A person who, through training, experience, and initiation, learns how to use the essential life force of things to willfully effect change is called an . Rituals to invoke divine forces reflect this same concern for the autonomous ase of particular entities. The recognition of the uniqueness and autonomy of the ase of persons and gods is what structures society and its relationship with the other-world. ==Ashe and Yoruba art== The concept of ashe influences how many of the Yoruba arts are composed. In the visual arts, a design may be segmented or seriate - a "discontinuous aggregate in which the units of the whole are discrete and share equal value with the other units." Such elements can be seen in Ifá trays and bowls, veranda posts, carved doors, and ancestral masks. Regarding composition in Yoruba art as a reflection of the concept of ashe, Drewal writes: ==The head as the site of ase== The head, or ori, is vested with great importance in Yoruba art and thought. When portrayed in sculpture, the size of the head is often represented as four or five times its normal size in relation to the body in order to convey that it is the site of a person's ase as well as his or her essential nature, or iwa. The Yoruba distinguish between the exterior (ode) and inner (inu) head. Ode is the physical appearance of a person, which may either mask or reveal one's inner (inu) aspects. Inner qualities, such as patience and self-control, should dominate outer ones. The head also links the person with the other-world. The imori ceremony (which translates to knowing- the-head) is the first rite that is performed after a Yoruba child is born. During imori, a diviner determines whether the child comes from his or her mother's or father's lineages or from a particular orisa. If the latter is the case, then the child will undergo an orisa initiation during adulthood, during which the person's ori inu becomes the spiritual vessel for that orisa's ase. To prepare for these ceremonies, the person's head is shaved, bathed and anointed. == Modern usage in the diaspora == Since at least the time of the Afrocentricity movement in the Anglophone diaspora during the late 20th century, the term "Ashe" has become a relatively common term in the US, with the general connotation being of affirmation and hopeful wishes. It has also come to be used in the Black Christian religious context as an equivalent (or replacement) of the word "Amen." ==See also== * Energy (esotericism) ==References== ==Further reading== * Bascom, W. R. 1960. "Yoruba Concepts of the Soul." In Men and Cultures. Edited by A. F. C. Wallace. Berkeley: University of California Press: 408. * Prince, R. 1960. "Curse, Innovation and Mental Health among the Yoruba." Canadian Psychiatric Journal 5 (2): 66. * Verger, P. 1864. "The Yoruba High God- A Review of the Sources." Paper presented at the Conference on the High God in Africa, University of Ife: 15–19. * Ayoade, J. A. A. 1979. "The Concept of Inner Essence in Yoruba Traditional Medicine." In African Therapeutic Systems. Edited by Z. A. Ademuwagun, et al. Waltham, Mass.: Crossroad Press: 51. * Fagg, W. B., and J. Permberton 3rd. 1982. Yoruba Sculpture of West Africa. New York: Alfred A. Knopf: 52ff. * Drewal, M. T., and H. J. Drewal. 1983. Gelede: A Study of Art and Feminine Power Among the Yoruba. Bloomington: Indiana University Press: 5–6, 73ff. * Jones, Omi Osun Joni L. 2015. Theatrical Jazz: Performance, Àse, and the Power of the Present Moment. Columbus: Ohio State University Press: 215–243. Category:Yoruba words and phrases Category:Yoruba culture Category:Yoruba religion Category:Yoruba art Category:Nigerian art Category:Energy (esotericism) Category:Vitalism

Aṭ-Ṭaībah is one of the districts of Irbid governorate, Jordan. == References == ==External Links== *Photos of Tayyiba at the American Center of Research Category:Districts of Jordan

The Aṭṭhakavagga (Pali, "Octet Chapter") and the Pārāyanavagga (Pali, "Way to the Far Shore Chapter") are two small collections of suttas within the Pāli Canon of Theravada Buddhism. They are among the earliest existing Buddhist literature, and place considerable emphasis on the rejection of, or non- attachment to, all views. ==Textual concerns== ===Position within the Sutta Pitaka=== The and the Pārāyanavagga are two small collections of suttas. They are incorporated in the Khuddhaka Nikāya as subdivisions of the Sutta Nipāta, the collection of the words spoken by the Buddha. The suttas portray the Aṭṭhakavagga as some of the Buddha's first sermons; the Udana depicts the Buddha asking a monk to recite Dhamma, and responding approvingly when he recites the Aṭṭhakavagga. ===Dating=== Some scholars regard the and the Pārāyanavagga as being considerably earlier in composition than the bulk of the canon, and as revealing an earlier form of Buddhism. They are regarded as earlier because of elements of language and composition, their inclusion in very early commentaries, and also because some have seen them as expressing versions of certain Buddhist beliefs that are different from, and perhaps prior to, their later codified versions. In this thinking, the Pārāyanavagga is somewhat closer to the later tradition than the . The Khaggavisānasutta (Rhinoceros Sutra), also in the Sutta Nipāta, similarly seems to reveal an earlier mode of Buddhist monasticism, which emphasized individual wandering monastics, more in keeping with the Indian sannyāsin tradition. In 1994, a group of texts which are among the earliest Indian manuscripts discovered were found in Gandhara. These texts include a relatively complete version of the Rhinoceros Sutra and textual material from the and Pārāyanavagga. ==Interpretations== Speaking generally, the and the Pārāyanavagga tend more strongly to emphasize the negative (i.e. those of abstention) sides of asceticism, and show a strong concern with letting go of views, regulating everyday bodily activities, and sexual desires. The Atthakavagga does not give a clear-cut goal such as nirvana, but describes the ideal person. This ideal person is especially characterized by suddhi (purity) and santi (calmness). The also places considerable emphasis on the rejection of, or non-attachment to, all views, and is reluctant to put forward positions of their own regarding basic metaphysical issues. ===Pre-Buddhist or proto-Madhyamaka=== Gomez compared them to later Madhyamaka philosophy, which in its form especially makes a method of rejecting others' views rather than proposing its own. ===Interpretation as heterodox=== Tillman Vetter, although agreeing overall with Gomez's observations, suggests some refinements on historical and doctrinal grounds. First, he notes that neither of these short collections of suttas are homogeneous and hence are not all amenable to Gomez' proposals. According to Vetter, those suttas which do lend support to Gomez probably originated with a heterodox ascetic group that pre-dated the Buddha, and were integrated into the Buddhist Sangha at an early date, bringing with them some suttas that were already in existence and also composing further suttas in which they tried to combine their own teachings with those of the Buddha. ===Interpretation as orthodox=== Paul Fuller has rejected the arguments of Gomez and Vetter. He finds that Fuller states that in the Nikayas, right-view includes non-dependence on knowledge and views, and mentions the Buddha's simile of his dhamma as a raft that must be abandoned. He finds that the Atthakavagga's treatment of knowledge and wisdom is parallel to the later Patthana's apparent criticism of giving, holding the precepts, the duty of observance, and practicing the jhanas. In his view, both texts exhibit this particular approach not as an attack on practice or knowledge, but to point out that attachment to the path is destructive. Similarly, the text's treatment of concentration meditation is intended to warn against attachment to insight, and communicate that insight into the nature of things necessarily involves a calm mind. Alexander Wynne also rejects both of Vetter's claims that the Parayanavagga shows a chronological stratification, and a different attitude toward mindfulness and liberating insight than do other works. ===Theravada interpretation=== The Theravada tradition has taken the view that the text's statements, including many which are clearly intended to be paradoxical, are meant to be puzzled over and explicated. An extended commentary attributed to Sariputta, entitled the Mahaniddesa, was included in the Canon. It seeks to reconcile the content of the poems with the teachings in the rest of the discourses.Thanissaro Bhikkhu, The Atthaka Vagga (The Octet Chapter): An Introduction. . In some cases, the Theravada commentaries blunt or negate the rejection of all views by suggestion that the views being rejected are non-Buddhist views, while affirming the necessity of the views of the Eightfold Path. ==See also== *Presectarian Buddhism *Early Buddhist schools *Early Buddhist Texts *Pāli Canon *Sutta Piṭaka *Khuddaka Nikāya *Niddesa *Gandhāran Buddhist texts *Timeline of Buddhism *Similarities between Pyrrhonism and Buddhism ==Notes== ==References== ==Sources== ===Printed sources=== * * * * * * * * ===Web-sources=== ==Further reading== * * ==External links== ===Translations=== : *Translation by Paññobhāsa Bhikkhu (1999) *Translation by Paññobhāsa Bhikkhu (2012) *Translation by Thanissaro Bhikkhu (1997) *Translation by Bhikkhu Varado (2005) *Translation by V. Fausböll (1881) *Translation by Thanissaro Bhikkhu (1997) *Translation by V. Fausböll (1881) Rhinoceros Sutra: *Translation by Thanissaro Bhikkhu (1997) *Translation by V. Fausböll (1881) ===Commentaries=== *Commentary / introduction to Atthakavagga by Thanissaro Bhikkhu *Commentary / introduction to Parayanavagga by Thanissaro Bhikkhu *"Introduction to the Sutta Nipata" (1881) by V. Fausböll *Proto-Madhyamaka in the Pali Canon Category:Early Buddhist texts Category:Khuddaka Nikaya Category:Madhyamaka

A–Z is the debut studio album by Colin Newman, lead singer of post-punk band Wire. It was released in October 1980, through record label Beggars Banquet. "A-Z was planned as the fourth Wire album, but EMI [Wire's label] cancelled studio time in the wake of failed negotiations with the band." == Critical reception == A–Z has been well received. Jim Derogatis and Wilson Neate, writing in Trouser Press, called Newman's solo work "the most rewarding" of any Wire member's projects outside the main band. Discussing A-Z and Not To, they wrote, "Both albums are inventive and full of hooks, and they continue the cinematic style of Chairs Missing and 154." In his retrospective review for AllMusic, Andy Kellman wrote, "A–Z truly deserves to be held in the same regard as Pink Flag, Chairs Missing and 154". Jason A. Parkes of Head Heritage wrote that it was "probably the best album [released] between the first and second phases of Wire". Richard Cook of the British music magazine NME was less positive, calling the album, along with Newman's subsequent work Provisionally Entitled the Singing Fish, "erratic and needlessly fussy affairs that creak under pretensions to alchemy when studio pottering is nearer the mark." == Legacy == "Not Me" and "Alone" were covered by This Mortal Coil on the albums It'll End in Tears and Filigree & Shadow, respectively. "S-S-S-Star Eyes" was covered by P-Model and released as a supplementary cassette to an issue of the band's fan club newsletter. "Alone" was used in the 1991 film The Silence of the Lambs. == Track listing == == Personnel == * Colin Newman – guitar, vocals, album cover * Desmond Simmons – bass guitar, guitar * Mike Thorne – synthesizer, keyboards, production * Robert Gotobed – drums * Charles Bullen – clarinet on "Troisieme" Technical * A. Newman – album cover * Harvey Goldberg – engineering * Dennis Weinreich – engineering * Steve Parker – engineering * Malti Kidia – sleeve layout and typography * Jack Skinner – cutting == References == == External links == * Category:1980 debut albums Category:Post-punk albums by English artists Category:Colin Newman albums Category:Beggars Banquet Records albums Category:Albums produced by Mike Thorne

The A–Z Series is a series of singles released by Northern Irish rock band Ash. Consisting of 26 singles, each represented by a letter of the alphabet, the singles were first released on a fortnightly basis from 12 October 2009 until 27 September 2010 on 7-inch vinyl and by download. Along with the 26 primary singles the series also includes 21 B-sides, 13 remixes, 7 acoustic tracks and 2 live tracks which were sporadically released in various formats. The series was later released in various other formats, including two compilation CDs Volume 1 (singles A–M) released on 19 April 2010 and Volume 2 (singles N–Z) released on 11 October 2010, a compilation of all 26 tracks on three vinyl LPs was released on 6 November 2012 through Noyes Records and finally a compact cassette featuring 15 of the band's favourite tracks from the series was released for Cassette Store Day, titled Letters from Alphabet City. The series spawned 6 radio singles; "Return of White Rabbit", "True Love 1980", "Space Shot",Spaceshot ash-official.com, 18 January 2010 "War with Me",New Ash Video – 'War With Me' NME, 16 March 2010 "Binary",Q – Binary ash- official.com, 14 April 2010 and "Carnal Love".Carnal Love Video ash- official.com, 22 July 2010 ==Background and recording== ===Split from Infectious Records=== The band's final conventional record, Twilight of the Innocents, was released on 29 June 2007. From this the band members themselves formed Atomic Heart Records, setting up headquarters in New York City, calling their new studio Atomic Heart. Band members Tim and Mark both moved to New York; "It was a dream of mine, ever since our first American tour in the mid-1990s, to live in New York", whilst drummer Rick resided in Edinburgh's Craiglockhart, commuting to the New York Studio on a regular basis and working in "intensive bursts". The announcement itself of the band's boycott on the album format came at the time of release for Twilight of the Innocents, which the band called "their final album"—sparking rumours over the possibility of Ash splitting up.Ash deny they're splitting NME, 12 June 2007 ===Recording at Atomic Heart Studio=== Upon entering the studio, the band recorded "Survivor", later titled "Ichiban", "Coming Around Again" a cover of Carly Simon, a Beach Boys cover of "Do You Wanna Dance?". Soon after several early titles of tracks surfaced on the band's official website, including "Survivor"—now titled "Ichiban", "Prypiat" which was written originally for Twilight of the Innocents, however wasn't finished in time to make the album, "Return of White Rabbit" which at the time Tim Wheeler supposedly joked about being their comeback single, "Nouvelle Adventures" which features both Tim and Mark on bass guitar, "No Face (Jesus Christ)", "Daedalus", as well as "Hospital Song" and "Lay Down Your Arms" which were both originally intended for Twilight of the Innocents.NYC Trip/New Material ash-official.com, 12 August 2008 Soon after more titles were leaked, including "Space Shot" and "Tracer (Without You)".Last night dmh came round... ash-official.com, 12 August 2009 In NME, vocalist and guitarist Tim Wheeler stated "We wanted to be the first people to do it like this" also saying, "I think it'll be great for our fans waiting every two weeks knowing they're going to get a song and wondering what it'll be like. It'll be fun".Ash to release 26 new singles in a year NME, 20 May 2009 Bassist Mark Hamilton also spoke of the merits of releasing in an alternative way; "we thought we'd come up with a different model where we never really had to be actually be away, that might work better. That was one of the reasons. We had the freedom when launching our own label as well, to try something different, so we're going to give it a go. I think if it works, a lot of people might copy it."INTERVIEW: Ash eastmagazine.co.uk, 1 October 2009 ==Artwork== Each single is assigned a specific colour and letter A–Z, prequel track "Return of White Rabbit" features the upside down stylized as ʁ, representing the rabbit. The front of each single simply shows the letter followed by the band's logo below, whilst on the back the track name is shown. The coloured artwork has also been used for the promotion of their A–Z Tour, with each colour representing a place and a letter of the alphabet, similarly the band through their forum and the assistance of their webmaster have allowed fans to create their own avatars and use emoticons in the A–Z style.Ash A-Z Series Promotion ash-official.com/forum Almost all of the artwork for the series was created by Post 98 Design and Modo Productions, with the exception of the cassette Letters from Alphabet City which was created by Elisa Dalla Tor and handmade "Return of White Rabbit" and "War with Me" CD singles which were created by the band. ==Release== The 26 singles of the A–Z Series were released once every two weeks through both digital download and 7" limited edition vinyl. The opening to the series was a free download "Return of White Rabbit", released on 18 May 2009, promoting the track were three music videos, an animated one created by Big Button,Return of White Rabbit ash-official.com, 24 June 2009 a home-made one — following the 'White Rabbit' around New York City,Return Of White Rabbit (NYC) ash- official.com, 16 September 2009 and a live footage video, filmed by fans at Thekla in Bristol.Return of White Rabbit @ Thekla ash-official.com, 9 September 2009 The first single to be announced for release was "True Love 1980", opening the series on 12 October 2009, with subscription to the series itself opening on 5 October 2009. The band in October 2009 confirmed that only the first half of the A–Z Series were "set in stone", with mastering taking place, and the artwork, pressing and release dates confirmed, however the second half of the series would at the time be decided once the series had been launched, with the band holding a then total of 44 tracks recorded, and plans to re-enter the recording studio again in late 2009, "the first six months are set in stone, but the second half is still flexible. It's nice to have that kind of freedom". ===Digital downloads=== The digital subscription for the A–Z Series is offered worldwide, however the United Kingdom service differs to the rest of the world. The subscription service in the United Kingdom is provided by 7digital, with the fortnightly single released on a Monday, and other non-subscription UK downloads through 7digital, Amazon, Play.com, HMV, iTunes and other download services providing the tracks on the day before subscribers.A-Z Series Store UK ash-official.com The rest of the world service is provided by Topspin, the band have not used Topspin in the UK as they wanted each single to be chart eligible.Ash Debuts 'A-Z' Singles Series billboard.biz, 12 October 2009 The digital subscription service was set to launch originally on 5 October 2009, however was delayed and launched two days later on 8 October 2009.Ash's A-Z store is now open for orders and subscriptions! ash-official.com, 9 October 2009 A free download of 'pre-A-Z' single "Return of White Rabbit" was launched digitally on 18 May 2009, whilst the A–Z Series was celebrated on 14 October by the release of the original 'extended mix' and an 'Atomic Heart' mix of "Return of White Rabbit", available for free download through sneakattackmedia.com.Free Return of White Rabbit Downloads: Extended Version & Atomic Heart Remix ash-official.com, 14 October 2009 ===Limited 7" vinyl=== Subscription for the 7" singles opened on 6 October 2009; the vinyl, whilst costly for both the band and customer, was something the band demanded, as with previous singles whilst still signed, the band ensured all their singles were released on 7-inch vinyl. The singles were each limited to 1000 copies and were each collectors' items; the complete vinyl subscription cost £130, or £140 including a special box to store them all in. The vinyl subscription service was provided by Recordstore.co.uk, whilst other retailers would also be given a small number of the singles, to sell at each release.Ash A-Z Series Store ash-official.com, 8 October 2009 Steve Wheeler of Recordstore commented on the partnership with Ash as "being chosen by an innovative and popular band like Ash is testament to the quality service that Recordstore.co.uk provide forward-thinking labels and artists"ASH SPREADING OVER A YEAR AS UNIQUE BUSINESS MODEL ERUPTS altsounds.com, 14 October 2009 ===Compilation CD=== The band released two compilation CDs of the series: Volume 1 covered the letters A-M and Volume 2 the letters N-Z. The compilations were released on CD, limited CD/DVD and digitally.A-Z Vol. 1 – Released 19 April ash-official.com, 4 February 2010 Some fans criticized the band's choice to release a CD, pointing out its similarity to an album, but bassist Mark Hamilton responded that it was always their intention and it was about making the A–Z Series available for everyone.A-Z Volume 1 ash-official, forum, 6 February 2010 On 24 February the Japanese version of Volume 1 was announced, featuring two disks, unlike the standard UK one-disc version, with the first disc holding the A–M singles and 7 B-sides; "Return of the White Rabbit", "Coming Around Again", "The Creeps", "CTRL-ALT-DEL", "Do You Feel It?" and exclusively "Kamakura" and "Disenchanted" with the second disc featuring 14 remixes, acoustics and already digitally released B-sides "Lay Down Your Arms" and "Gallows Hill". The CD was released earlier than the UK version, on 7 April 2010.A-Z Vol. 1 Japanese Edition ash-official.com, 24 February 2010 On 28 July 2010 RecordStore.co.uk announced the second compilation—A–Z Volume 2 for a release on 11 October 2010. The release unlike Volume 1 did not include any acoustic tracks, remixes or a DVD, and only had three bonus tracks as opposed to the previous five due to the length of Single Y "Sky Burial".Ash – A-Z Volume 2: Signed Pre-order @ Recordstore.co.uk Record Store announcement/ash-official.co.uk forum, 2 July 2010 The full track listing was revealed on 6 August 2010, with the three new B-sides being "Spellbound", "Nightfall" and David Bowie track "Teenage Wildlife". The Japanese Volume 2 also included two exclusive B-sides—"Running to the Ocean" and "Midnight in the Garden".Ash to release part 2 of their 'A-Z' singles compilation NME, 6 August 2010 thumb|right|The band's line-up for the touring and recording of the A–Z Series; bassist Mark Hamilton, drummer and backing vocalist Rick McMurray and vocalist and guitarist Tim Wheeler ===A is for Ash=== A is for Ash is a film documentary of the band's A–Z 2009 tour from Aldershot to Zennor. It was directed by Josh Klezkin and produced by the members of Ash. The documentary features interviews from Tim Wheeler, Mark Hamilton and Rick McMurray of Ash, as well as featuring BBC DJ Steve Lamacq, Emmy The Great & Ian Wright amongst others, as well as live performances on the A–Z tour of Spaceshot and Arcadia, acoustic performances, the final days of recording the A–Z Series in New York and behind the scenes at some of the TV, radio and other media appearances. The documentary was released onto Region 0 DVD, limited to 5000 copies, released on 19 April 2010 in the A–Z Volume 1 CD compilation.A-Z Volume 1 ash-official.com, 19 April 2010 During the course and after the A–Z tour the band released four short webisodes onto YouTube and NME.com, which acted as promotions for the complete documentary, featuring some footage that would be used in A Is For Ash, and some exclusive content.A-Z Tour Video – Episode One: The Gathering ash-official.com, 21 October 2010 The trailer for the complete documentary was released on 3 March 2010.A FOR ASH Trailer YouTube, 3 March 2010 ===Other releases=== Amongst the core 26 singles were a large number of studio B-sides, which were sporadically released over the course of the A–Z Series.Ash A-Z Series ash-official.com, 2009, 2010 The first three radio singles from the A–Z Series—"Return of White Rabbit", "True Love 1980" and "Spaceshot"—were each accompanied by a digital EP—The Rehash EP and Space Reshot EP, both of which were collections of remixes by Snitch Brothers, Jaymo & Andy George, Pete Doyle, Timothy Allen, Loverush UK.The Rehash EP ash-official.com, 5 October 2009Space Reshot ash- official.com, 7 December 2009 An acoustic EP, featuring 7 of the A–Z singles, was also made available on 19 April 2010.A-Z Acoustic Download EP ash- official.com, 1 March 2010 ==Promotion== ===Video=== The band worked with a number of directors and companies to produce music videos for the A–Z Series, a selection of the singles—the radio singles were given higher budgets for promotion and consequently the band worked with such people as Nico Jones on "Return of White Rabbit" and "Binary"Ash: Binary bigbutton.tv, 6 August 2010—who also directed the initial A–Z teaser trailer which previewed many of the upcoming singles.The A-Z Series bigbutton.tv, 6 August 2010The A-Z Series Subscription available from 5 October ash-official.com, 30 September 2009 Director Daniel Garcia worked on the music videos for "True Love 1980" and "Space Shot"Ash – True Love 1980 Vimeo, 9 June 2010 whilst Alex Turvey directed "Carnal Love"Ash – Carnal Love Vimeo, 19 July 2010 and Alex Beck directed "War with Me".Ash War With Me youtube.com, 13 March 2010War With Me Lyrics ash-official.com, 29 March 2010 Many of the non-radio singles also have low budget videos for them—Josh Kletzkin directed "Joy Kicks Darkness", "Arcadia" and "Tracers", KINo sequenced the video for "Neon",Neon Video ash- official.com, 3 March 2010 whilst singles such as "Pripyat" and "Ichiban" use material not specifically created for Ash.Ichiban Video ash-official.com, 11 January 2010 From 7 October 2009 Ash used NME.com to host a four-part web series of tour videos, directed by Josh Kletzkin. The videos would serve as tasters for the DVD release 'A is for Ash'. Episode 1 featured rehearsals in London, behind the scenes at Live from Studio Five, amongst other interviews. Episode 2 shows the A–Z Tour, from Aldershot to Carlisle, with Episode 3 taking Dundee through to Jersey, and Episode 4 covering the remaining dates.A-Z Tour Video – Episode One: The Gathering ash-official.com, 21 October 2009Ash take over NME.com ash-official.com, 8 October 2009 ===Competition=== Throughout the A–Z Series the band orchestrated various competitions on both their NME content area and on their official website.Meet and Greet Ash with NME.com/Ash ash-official.com, 9 October 2009 One of the first competitions launched coincided with the release of"Return of White Rabbit", the band asked fans to come up with a back-story to the song's title, "where is the white rabbit returning from?"—which would then be judged by the band, with the winner receiving a rare "Return of White Rabbit" handmade promo CD.ROWR Promo Competition #1 Winner & Competition #2 Question ash-official.com, 12 May 2009 "Why has the White Rabbit been away?" was the basis for the second competitionROWR Promo Competition #2 Winner ash-official.com, 21 June 2010 and the final of the three "Return of White Rabbit" competitions to win handmade promos asked fans to design White Rabbit related art/photos and videos.Final chance to win... ROWR Competition #3! ash-official.com, 21 June 2010 The opportunity to win "True Love 1980" test 7"s and handmade "Return of White Rabbit" CD promos began with the release of "True Love 1980". Later in November, NME offered the chance to win more test prints of "True Love 1980", "Joy Kicks" and "Arcadia"Win the A-Z Series Digital Downloads & Signed Rare Test Print 7" Vinyls ash-official.com, 16 November 2009 followed in January 2010 with "Space Shot" test vinyl.Win Rare Ash Goodies ash-official.com, 19 January 2010 NME also offered the chance to win a free subscription to the A–Z Series.Win an A-Z Series Subscription and Rare Test Press Vinyl With NME ash- official.com, 21 June 2010 Similarly a free subscription to the A-Z Series was offered every night of the A–Z Tour in 2009—with show fliers containing a unique code—a raffle would then take place and the winning flier holder would be given a free subscription—giving the fliers value.Ash – A-Z Tour Diary: Episode 2 Ash YouTube, 2 December 2009A-Z Tour Competition ash-official.com, 23 October 2009 Opportunities to win tickets to all varieties of Ash performances were also given—including exclusive radio sessions with Kerrang! RadioLive @ Kerrang! Radio – Win Tickets ash-official.com, 31 October 2010 XFMWin Tickets to Xfm Radio Session – Winners Announced ash-official.com, 7 April 2010 and tickets for Absolute Radio on 15 April 2010—tickets were also offered in a Music-News.com competition.Win tickets to see Ash at Absolute Radio Music-News.com, 24 March 2010 Festival appearances such as Hop farm festivalWin tickets to HOP FARM FESTIVAL ash-official.com, 26 June 2009 and Truck Festival 2009.Win 2 Tickets to Truck Festival ash-official.com, 23 June 2009 Tickets to dates on the 2009 A–Z tour were also offered, as well as 2010 European dates.NME Tour Competition Winners ash-official.com, 1 March 2010 Merchandise competitions included a Valentines day t-shirt draw,True Love 2010: A-Z Subscribers' Winners Announced ash-official.com, 2 February 2010 a chance to win a "Return of White Rabbit" t-shirt, an exclusive limited Atomic Heart Studios staff t-shirtJoin the Atomic Heart Studios Staff! ash- official.com, 4 March 2010 and the opportunity to design a t-shirt which would be sold throughout all of the 2010 shows around the world, and have their winning design sent to them in a special frame.Design Ash A Tour T-shirt Competition ash-official.com, 9 March 2010 Other creative competitions included remixing single "Binary"Ash Remix Contest – Binary ash-official.com, 12 June 2010 the band choose the Argyle Raver Pornographic as the winning remix,Binary Remix Contest Winner Announced! ash-official.com, 10 August 2010 and to direct a music video for B-sides to the A–Z Series.Ash Wednesday Subscribers' Competition: Be the Next Ash Video Star! ash-official.com, 16 February 2010 With the 2009 A–Z Tour the opportunity for a one-on-three meet and greet was given for fans similarly in 2010 the chance for fans to win a dinner-date with the band at any stop on the UK tour was given.Hungry for more ASH? Win a Dinner Date With Them! – Winner Announced ash-official.com, 27 March 2010 On the same tour the chance for local bands to support Ash was given—asking that those interested emailed a Myspace link and list of gigs previously played.WIN THE CHANCE TO SUPPORT ASH ash-official.com, 24 May 2010Support Band Competition Winners Announced! ash-official.com, 21 June 2010 ===Press attention=== The band gained significant media attention surrounding the A–Z Series. With interviews and other coverage running through newspapers and magazines such as The Guardian, The Herald,Ash: taking to the road less traveled 8 October 2009 M Is for Music, 15 October 2010 News of the World, Billboard,Ash Debuts 'A-Z' Singles Series Billboard.bix, 12 October 2009Billboard.biz discuss the groundbreaking A-Z Series ash-official.com, 19 October 2009 Kerrang!,Ash to release 26 singles in 12 months Kerrang!Tim Talks to this Week's Kerrang Mag ash-official.com, 26 August 2009 NME, East Mag,INTERVIEW: Ash eastmag.co.uk, 1 October 2009 TUFS,Ash talk about the A-Z series tufs.co.uk, 11 June 2009 culturedeluxe.com,Interview: Ash Tell Us More About Their Singles Project culturedeluxe.com, 14 July 2009 Sport.co.uk,Sport.co.uk's World Cup grilling: Ash sport.co.uk, 22 June 2010 Randomville,Randomville talks to Russell Lissack about his time with Ash ash- official.com, 21 June 2010 Media Wales,Ash Talk to WalesOnline – Watch Now ash-official.com, 1 July 2010 MusicRadar,Steal Their Sound: Tim Wheeler (Ash) musicradar.com – Total Guitar, 7 July 2010 Counteract Magazine,INTERVIEW: Ash counteract-magazine.com, 2 August 2010 Stereoboard,Irish Rockers Ash Talk Brit Pop, Charlotte Hatherley, Coldplay & A-Z Series stereoboard.com, 17 July 2010 and Bunch.tv.ASH – Tracers (Unplugged) bunch.tv, 14 July 2010True Love 1980 and Tracers Live and Acoustic (Watch Now) ash-official.com, 15 July 2010 Radio sessions and interviews included Kerrang!, XFM, Absolute, and BBC 6 Music.BBC 6Music Glastonbury Interview ash-official.com, 25 June 2010Tim to be on Steve Lamacq's 6 Music Show ash-official.com, 16 October 2009 Televised appearances included appearances on Live from Studio Five broadcast on Five on 15 October 2009,Ash on Live From Studio Five Thurs 15 Oct ash-official.com, 15 October 2009 BBC E24,Ash on BBC E24 Tonight (9:30pm) 9 November 2009, ash-official.com The Friday Show,Friday Show Tonight BBC NI and Sky Channel 973 ash- official.com, November 2009 Children In Need and Sky Sports Soccer AM.Ash on Soccer AM this Saturday ash-official.com, 10 November 2009 Several songs of the A–Z Series were also used on various TV adverts—"Physical World" was used for BBC's coverage of the Formula 1 Qualifying, whilst "Spheres" was used on Film4 and "There Is Hope Again" was used during Sky Sports coverage of England vs Hungary on 11 August 2010. ===Live=== thumb|right|Tim Wheeler, Rick McMurray and Mark Hamilton performing live at O2 ABC in Glasgow in April 2010 The band embarked on a 4 date UK tour consisting of performances at Brighton Concorde 2 on 3 June, Portsmouth Wedgewood Rooms the following day and two dates at the London Bloomsbury Ballroom on 6 and 7 June 2009. At the performances they showcased new material, including "Space Shot", "True Love 1980" and "Return of White Rabbit".Tour Blog Part II ash-official.comPart I of the tour blog ash-official.com Most notably of the band's touring antics during the A–Z Series was their 2009 A–Z Tour. The tour consisted of 26 dates across the United Kingdom, with each tour location based around the alphabet, choosing towns, cities and villages which correspond with letters A–Z.The A to Z Tour this Autumn ash-official.com, 26 August 2009 The tour began in Aldershot and ended in Zennor, gaining significant press coverage because of its uniqueness. Planning the tour bassist Mark Hamilton told eastmagazine.co.uk that the band looked for alternatives to the usual places they would visit on tour; "We told our agent that we don't want to go to the cities we would usually hit on a regular tour. Then he came back with a bunch of dates, but he had quite a lot of work to do on this. But that was good; it was good to make him actually work." going on to say "There were a number of venues we told him to change, saying, 'We usually play there, so get us something different". In 2009 the band also played dates in their native Ireland—Dublin and Belfast.Irish Ash Dates Announced & Ticket Info ash- official.com, 7 October 2009 It wasn't until March 2010 that the band began touring again, playing dates in Tokyo, JapanDaikanyama UNIT **SOLD OUT**, 6 April 2010 ash-official.com, 1 March 2010 New York, USA and eventually onto a conventional UK tour circuit.UK Spring Tour – New Dates Added ash- official.com, 8 January 2010Ash announce full UK tour and ticket details NME, 8 January 2010 The band announced a full UK tour soon after, scheduled from 13 May 2010 in Paris, France through Amsterdam in the Netherlands, Cologne, Hamburg, Munich, Stuttgart, Frankfurt am Main, Neuhausen ob Eck and Berlin in Germany, Oslo in Norway, Aarhus in Denmark, Vienna in Austria, Zurich in Switzerland, Brussels in Belgium and ending at Hurricane Festival in Scheeßel on 20 June 2010. Parts of this tour were rescheduled, however the majority of dates were completely canceled, with the band citing personal reasons for this decision which they did not take lightly.European Tour Postponement – Further Announcement ash-official.com, 12 May 2010 After originally being rumored to be playing a number of dates with The Automatic,The Automatic catch the hearts of Manx audience IOM Today, 7 March 2010 it was instead announced that Ash and We Are Scientists would be playing a number of co-headline shows in Australia.Ash and We Are Scientists interview each other fasterlouder.com.au, 15 July 2010 Tour dates of the A–Z Series Tour dates of the A–Z Series Tour dates of the A–Z Series Tour dates of the A–Z Series Tour dates of the A–Z Series Tour dates of the A–Z Series Date Town/City Country Venue Support 19 October 2009 Aldershot England West End Centre Panama Kings 20 October 2009 Bradford The Gasworks 21 October 2009 Carlisle, Cumbria The Brickyard 23 October 2009 Dundee Scotland Fat Sam's 24 October 2009 East Grange, Forres The Loft 25 October 2009 Falkirk Behind the Wall 27 October 2009 Gloucester, Gloucestershire England Guildhall 28 October 2009 Hastings, East Sussex Crypt 30 October 2009 Ipswich, Suffolk Corn Exchange 31 October 2009 Saint Helier Jersey St.Helier Havana Club 2 November 2009 Kingston upon Thames, London England The Peel 3 November 2009 Loughborough, Charnwood Leicestershire University 4 November 2009 Milton Keynes, Buckinghamshire Pitz Club 6 November 2009 Newport Wales Tjs 7 November 2009 Oldham, Greater Manchester England Castle 8 November 2009 Plymouth, Devon Hippo 10 November 2009 Queen's Park, London Corrib Rest 11 November 2009 Rotherham, South Yorkshire The Vault 12 November 2009 Swansea, Wales Wales Sin City 14 November 2009 Tunbridge Wells, Kent England Forum 16 November 2009 Upper Norwood, London Gipsy Hill Tavern 17 November 2009 Ventnor, Isle of Wight Winter Gardens 19 November 2009 Worcester, Worcestershire Dive Bar 21 November 2009 Exmouth, East Devon Pavilion 22 November 2009 Yeovil, Somerset Orange Box 23 November 2009 Zennor, Cornwall Village HallThe A to Z Tour this Autumn ash-official.com, 30 August 2009A is for Aldershot: Ash plot alphabetical tour of the UK and fortnightly single release drownedinsound.com 25 November 2009 Dublin Ireland Button Factory Panama Kings 26 November 2009 Belfast Belfast Spring and Airbrake 18 December 2009 Darlington England Inside Out 20 March 2010 Dublin Ireland 7UP, St Andrews Lane Republic of Loose 3 April 2010 New York City America Santos Party House 6 April 2010 Tokyo Japan Daikanyama UNIT 7 April 2010Tower Records Instore, 7 April 2010 ash-official.com, 1 March 2010 Shibuya, Tokyo Tower Records 17 April 2010 London England Record Store Day, Acoustic session, Rough Trade EastRecord Store Day, Rough Trade East Instore, 17 April 2010 ash- official.com, 24 March 2010 19 April 2010 Southampton Acoustic HMV session 19 April 2010 Southampton Southampton University El Raccoon 20 April 2010 Cambridge Acoustic Fopp session 20 April 2010 Cambridge Junction Violet Bones 21 April 2010 Norwich Acoustic HMV session 21 April 2010 Norwich Waterfront Blighters 23 April 2010 Birmingham Irish Centre The ParlotonesUK Tour Support Announced ash-official.com, 4 March 2010 24 April 2010 Leeds Metropolitan 25 April 2010 Newcastle O2 Academy 27 April 2010 Glasgow Scotland O2 ABC What the Heroes Say 28 April 2010 Manchester England O2 Academy 2 The Parlotones 30 April 2010 Bristol O2 Academy 1 May 2010 Brighton Concorde 2 May 2010 Oxford O2 Academy 4 May 2010 London Electric Ballroom 5 May 2010 Northampton Roadmenders 6 May 2010 London Koko Infadels 13 May 2010 Paris France Point FMR 14 May 2010 Amsterdam Netherlands Sugar Factory 15 May 2010 Cologne Germany Luxor 16 May 2010 Hamburg Logo 17 May 2010 Berlin C-Club 19 May 2010 Oslo Norway John Dee 20 May 2010 Aarhus Denmark Vox Hall 22 May 2010 Munich Germany 59:1 23 May 2010 Vienna Austria Flex 25 May 2010 Zurich Switzerland Abart 26 May 2010 Stuttgart Germany Roehre 27 May 2010 Frankfurt am Main Batschkapp 28 May 2010 Brussels Belgium Botanique 18 June 2010 Neuhausen ob Eck Germany Southside Festival 20 June 2010 Scheeßel Hurricane Festival 27 June 2010 Glastonbury England Glastonbury Festival, John Peel Stage 1 July 2010 Bwcle Wales The Tivoli The Hutts & Revurb 6 July 2010 Barrow-in-Furness England The Nines Switchboard Spectacular 7 July 2010 Preston England 53 Degrees 11 July 2010 Perth and Kinross Scotland T In The Park, Red Bull Bedroom Jam Futures Stage 1 August 2010 Queensland Australia Splendour in the Grass 30 July 2010 Naeba Japan Fuji Rock Festival 3 August 2010 Sydney Australia Metro We Are Scientists (co-headline) 4 August 2010 Melbourne Billboard 17 August 2010 Belfast Northern Ireland Belsonic 2010 19 August 2010 Gampel Switzerland Gampel Festival 21 August 2010 Kempische Steenweg, Kiewit Belgium Pukkelpop 26 August 2010 Manchester England Manchester Academy 3 27 August 2010 Leeds England Reading and Leeds Festivals 28 August 2010 Reading England Reading and Leeds Festivals ==Reception== ===Singles A–M (Volume 1)=== The first single from the series "Return of White Rabbit" received fairly mixed reactions, with the band showcasing a more unfamiliar electronic side of the band, however NME reacted positively "a weirdly effective funk-pop song"10 Tracks you have to hear NME, June 2009 Kerrang! also praised the release saying; "they're only doing singles now, if this new humdigger of a tune is anything to go by, then it will be a decision well made"ROWR makes Kerrang! 10 Songs You Should Hear Now! ash-official.com & kerrang magazine, June 2009 whilst The Irish Times rated the track 3/5, whilst The Times said regarding the single "...this revelatory rump-shaker, triggering pleasure sensors we didn't even know we had".Recent newspaper cuttings ash-official.com, June 2009 Bands such as New Found Glory and Young Guns have criticized the band in Rock Sound magazine, with New Found Glory posting an apology after Rock Sound supposedly twisted their words.New Found Glory slate ROWR in Rock Sound (2/10) Rock Sound, Ash- official.com, June 2009 Mark Beaumont wrote on BBC Music "they've lost none of their melodic punch since Girl From Mars fell to Earth" and praised the consistency of singles A-M "the most remarkable thing about the A–Z project is that, thus far, every track really is worthy of being a single." David Welsh of MusicOMH poked fun at the similarities between the conventional album of compilation, however was very positive of the release as a whole "Their subsequent fresh approach and retreat from the album formula appears to have reinvigorated the Downpatrick threesome with a new sense of purpose and, quite curiously, resulted in one of the best albums of their long and illustrious career" Paul Brown at Drowned in Sound described the release format as "While they haven't quite reinvented the wheel with these songs, they have certainly pumped up its tyres and given it some shiny new hubcaps", speaking with praise of singles A ("True Love 1980") through till H ("Space Shot"); "So great are the high points of the collection that it's a shame that it starts to run out of steam slightly towards the end", yet with final single of the half M ("War with Me") he believed it "revives things at the death with a grand piano motif and yet another mega chorus". Ben Walton of Contactmusic.com believed the singles lack of cohesion as a compilation was the A–Z Series main strength; "Ash have been set free to sprawl however they see fit across genre boundaries" going onto favor tracks such as "Arcadia" and "Neon", also calling "Dionysian Urge" "one of the best songs Ash have ever delivered". Phil Mongredien of Q magazine criticized the similarity between a compilation of singles and the conventional album, writing; "it's not obvious how this format differs from the peaks and troughs of a regular album, high points largely canceled out by the more workaday material", however noted the albums merits as "Arcadia" and "Joy Kicks Darkness", Jon Bye of Gigwise.com was critical of the direction taken in some of the singles which use synthesizer parts advising the band to "stick to the rock and roll you're good at" however praised the synth laced "Arcadia", comparing it to Muse. ===Singles N–Z (Volume 2)=== Mark Griffiths of Kerrang! magazine rated the compilation of singles N-Z 4/5 praising "they've lost none of their melodic abrasive songwriting genius" recommending the highlights of the 2nd half to the series as "Sky Burial", "Binary" and "Physical World". Andy Fyfe of Q magazine recommended "Binary", "Dare to Dream" and "Carnal Love", rating it 3/5—the same rating given to Volume 1. ===Sales and chart performance=== As of December 2009 the vinyl subscription sold out, with only limited amounts of past and future singles available on the band's official website and other various stores.Get in Santa's sack! ash-official.com, December 2009 Despite much publicity, none of the singles reached the UK Top 40, with only "Instinct" reaching the UK Top 75, at No.65. But the singles performed better on the UK Indie Singles Chart, with 15 of them reaching the top ten of that chart. Letter Title Chart positions Radio single UK UK IND UK DAN ʁ "Return of White Rabbit" – – 31 A "True Love 1980" 148 12 31 B "Joy Kicks Darkness" 171 16 – C "Arcadia" 114 13 – D "Tracers" 140 8 – E "The Dead Disciples" 139 11 – F "Pripyat" 165 17 – G "Ichiban" 176 18 – H "Space Shot" 129 16 22 I "Neon" 120 11 – J "Command" 131 12 – K "Song of Your Desire" 104 6 – L "Dionysian Urge" 106 8 – M "War with Me" 114 9 – Letter Title Chart Positions Radio single UK UK IND UK DAN UK ROCK N "Dare to Dream" 87 8 – – O "Mind Control" 101 5 – – P "Insects" 99 8 – – Q "Binary" 103 7 – – R "Physical World" 96 7 – – S "Spheres" 91 9 – – T "Instinct" 65 5 – – U "Summer Snow" 91 7 – – V "Carnal Love" 78 5 – – W "Embers" 79 7 – – X "Change Your Name" 84 10 – 1 Y "Sky Burial" 87 14 – 2 Z "There Is Hope Again" 92 14 – – ==Releases== There is a total of 26 singles in the A–Z Series, and 21 B-sides. Not all of the singles are radio singles; the ones that are, were accompanied by a music video. The title of each release was revealed the Wednesday after the previous release and was referred to as 'Ash Wednesday'.Ash A-Z Series Store ash-official.com Letter and Colour Song and Length Release Details Video "Return of White Rabbit" 3:56NEW SINGLE – RETURN OF WHITE RABBIT – LTD VINYL RELEASED 8th JUNE – A-Z SERIES ash-official.com, 18 May 2009 18 May 2009 Free digital download, handmade limited CD 8 June 2009 – 1000 limited vinyl 14 October 2009 – Extended and remix versionsFree Downloads (now higher res and quicker downloads) ash-official.com, 22 October 2009 Three different artworks were made available, each individual piece of artwork has been hand created by the band themselves, Rick's pack of playing cards, Tim's apocalyptic bunny rabbits and Mark's day-glo stencils. The single was released as a free download on ash-official.com on 18 May.The Return Of Ash BBC, 19 May 2009 The track itself was penned by bassist Mark Hamilton.Ash to release 26 new songs in 12 months + "Return of White Rabbit bandweblogs.com, 19 May 2009 The band confirmed that the track is a 'prequel' to the series itself.NME.com run ROWR A – Z news story ash-official.com, 20 May 2009 On 14 October the band released the original full version of "Return of White Rabbit" which lasts for 6:24, as opposed to the original 3:56 cut, along with this was an 'Atomic Heart' remix, both were made available as free downloads on Sneak Attack Media. The music video for ROWR debuted on 12 June, the music video was conceived by 'Big Button' and has an animated story to it; a boy who becomes jealous of another boy making advances on a girl he has feelings for, struggling to contain his feelings he eventually acts, crashing a car, taking his and the other boys life in the process. "Ash wanted to get away from the standard performance video in favour of something a little more interesting. As a result, Big Button was given free reign [sic] and concocted a dark tale of jealousy and horror wrapped in an accessible cartoon coating"Big Button – the people behind Ash’s new music video creativeboom.co.uk, 24 July 2009Ash: Return of White Rabbit Big Button, Ash Return Of The White Rabbit music video, 12 June 2009 The second video created for ROWR titled 'NYC Rabbit' was directed by Karen Lord and features Nickolas Kimbrell as 'the white rabbit', the video shows what a "typical night in NYC is like for a jolly ol' rabbit",NYC Rabbit' video unleashed! ash-official.com, dhm, 21 July 2009 the third video promotion for ROWR is a live version of the track, filmed at Thekla, Bristol were the band asked their audience to film the track on personal cameras.A BIG Thank You! ash-official.com, dhm, 30 July 2009Thekla Filming – Where to send your footage ash-official.com, dhm, 29 July. 2009 "True Love 1980" 4:062 new titles, 2 baby names, Thailand, and all hail Jedisteve ash-official 12 October 2009 1000 limited vinyl Digital downloadAsh to release 26 singles over one year digitalspy.co.uk, 28 May 2009 Confirmed on 20 May by NME that the series would begin in September, giving the band the chance to promote the series, 'Return of the White Rabbit' was intended as a prequel to the series itself. The track is reported to be heavily centred around the use of synthesizers and keyboards.2 new titles, 2 baby names, Thailand, and all hail Jedisteve ash-official.com, 28 May 2009 The track was premiered live on the band's June 2009 tour dates.True Love 1980 & Spaceshot Videos walking-barefoot.com, June 2009 A remix by Tiësto was released onto Myspace prior to the tracks actual release on 22 July 2009Love Rush loverushuk, myspace August 2009Tiesto Supporting Loverush UK! Remix of ASH – True Love 1980 (Loverush UK! Remix) ash-official.com, dhm, 22 July 2009 The track itself was premiered on Steve Lamacq's 6Music radio show on Monday 24 AugustTrue Love 1980 Exclusive on 6Music ash-official.com, 20 August 2009 The band shot the music video for "True Love 1980" in Portland, Oregon, the video was directed by Daniel Garcia, with acting from Meredith Adelaide.The Secret Ariat – Daniel Garcia thesecretariat.tv, 2 September 2009Meredith Adelaide modelmayhem.com, 2 September 2009 The video was added to music video stations NMETV and Bliss on 9 September 2009,True Love 1980 Video ash- official.com, 11 September 2009 and was added to the band's official website on 15 September, whilst a making of video was added to NME on 12 October 2009.Exclusive Behind the Scenes 'making of' True Love 1980 video ash- official.com, 12 October 2009Ash True Love 1980 thesecretariat.tv "Joy Kicks Darkness" 5:55B – Title Announced Joy Kicks Darkness! ash-official.com, 14 October 2009 26 October 2009 1000 limited vinyl Digital The track was announced as the third single in the series on 14 October on the band's official website. A 30 second clip of the track was added to amazon.co.uk on 17 October, whilst the track was premiered live on 19 October, at their performance in Aldershot.A is for Aldershot ash- official.com, gashed blog, 20 October 2009 The video was filmed across the A–Z tour, using live and behind the scenes footage. It was directed by Josh Kletzkin. "Arcadia" 4:02 9 November 2009 1000 limited vinyl Digital Announced on 4 November 2009 as 'C'. A budget music video was filmed on the A–Z Tour, the video features various Arcade games being played by the band. The video was directed by Josh Kletzkin.Arcadia Video ash-official.com, 24 November 2009 After the single was voted as the fan favourite of the entire series a second music video for the track was released on 5 October 2010, directed by Nico Jones for Big Button. "Tracers" 3:31 23 November 2009 1000 limited vinyl Digital Originally titled "World Without You". The track was notable performed acoustically with Emmy The Great at a number of tour dates in 2009.Ash – Tracers (Official Video) with Emmy the Great. Directed by Josh Kletzkin. YouTube, 17 December 2009 Two budget music videos were shot for Tracers, both directed by Josh Kletzkin. The first music video features guitarist & vocalist Tim Wheeler playing besides a beach, with a funfair and pier. The second music video is a live acoustic video of Tim and Emma-Lee Moss of Emmy The Great performing the song in a small room. "The Dead Disciples" 3:46 7 December 2009 1000 limited vinyl Digital One of the heaviest A–Z singles thus far, comparable to material from the band's album Meltdown, the song is also the first Ash song to use a double-kick drum. The Dead Disciples was written on a festival trip in September 2007 to Córdoba, Spain, with the lyrics making references to Irish writer and poet James Joyce and Greek myth Daedalus.The Dead Disciples Lyrics ash-official.com, 7 December 2009 A music video for The Dead Disciples has been created however has yet to be released.The Dead Disciples Fan Video ash- official.com, 9 December 2009 "Pripyat" 4:21 21 December 2009 1000 limited vinyl Digital The song's title is a reference to Prypiat, Ukraine, an abandoned city after the events of the Chernobyl disaster, which lyricist of the song Tim Wheeler describes as a lost citadel and the loneliest place on the planet.Pripyat lyrics ash-official.com, 22 December 2009 Prypiat was written and demoed originally for previous album Twilight of the Innocents.NYC Trip/New Material gashed blog, ash-official.com, 12 August 2008 The music video samples photographs from Robert Polidori's book 'Zones of Exclusion: Pripyat and Chernobyl'.Pyipyat video ash-official.com, 22 December 2009 "Ichiban" 3:09 4 January 2010 1000 limited vinyl Digital Ichiban was the first A–Z track to be performed live, appearing at concerts in 2008 for the band's 1977 shows.Ash – Ichiban (Live @ The Astoria 2008) official Ash YouTube, 13 July 2009Ichiban Lyrics ash-official.com, 4 January 2010 The music video contains footage from the British 1961 monster film Gorgo. "Space Shot" 4:14 18 January 2010 1000 limited vinyl Digital The track was performed live for the first time at Brighton Concorde 2 in June 2009. For Children in Need "Spaceshot" was televised on 20 November 2009, along with "Shining Light" and "True Love 1980", and was confirmed as letter 'H' on Jonathan Ross' radio show on 28 November. The single will be the second 'radio single' from the A–Z series.Children in Need Northern Ireland ash-official.com, 20 November 2009 Daniel Garcia, director of the video for previous radio single "True Love 1980", returned to direct. The video has a science fiction narrative, making reference to Star Wars, following a pilot escaping with a blindfolded person, pursued by soldiers and soon by space craft.Ash – Space Shot (Official Video) Directed by Daniel Garcia YouTube, 16 December 2009 The video was premiered on Myspace on 10 December 2009.Ash – Space Shot. Directed by Daniel Garcia Ash, Myspace, 10 December 2009 "Neon" 4:08 1 February 2010 1000 limited vinyl Digital Neon was the 27th song written in the A–Z series.Tim is writing Lyrics to song #27. Working title – Neon Part 2 ash-official.com, 28 March 2009 It is considered the spiritual successor to earlier A–Z track "Arcadia". Neon is described as a song about chance.Neon Lyrics ash-official.com, 31 January 2010 "Neon" was remixed by Beat Cave, which was released exclusively on the Japanese A–Z Volume 1 CD. "Neon" was performed in studio for Livestream and The Music Slut two days after release on 3 February 2010 for the first time.Live Show and Interview Broadcast – Watch Again Now! ash-official.com, 30 January 2010 Without a fourth member present in the band the synthesizer and piano parts in Neon are provided by a prerecorded backing track. The music video uses photographs taken and sequenced by KINo of the band in their New York studio, whilst a woman journeys around New York City. "Command" 2:35 15 February 2010 1000 limited vinyl Digital Command was acoustically covered in the A–Z Volume 1 acoustic bundle.Command (acoustic) ash-official.com, 19 April 2010 "Song of Your Desire" 3:36 1 March 2010 1000 limited vinyl Digital "Dionysian Urge" 4:06 15 March 2010 1000 limited vinyl Digital "War with Me" 3:33 29 March 2010 1000 limited vinyl 90 Handmade limited CDWar With Me CD competition ash-official.com, 18 April 2010 Digital The song was premiered on BBC6Music's 'Ash Wednesday' celebrations on 17 February, and was the 3rd 'radio single' of the A–Z Series. The band handmade 90 limited edition CD single versions of the track, 50 of which were awarded to new subscribers, whilst the rest were given away in a competition.Purchase Digital Subscription Now For Free Bonus Track and Handmade Artwork ash-official.com, 16 March 2010 The video was shot sporadically over 3 weeks, in China Town on 6 February 2010 and The Hamptons. Tim Wheeler was originally meant to be in the back of a 60s Mercedes in one of the scenes, however it broke down en route to the shoot, instead they used a Jaguar. The video was directed by Alex Beck. "Dare to Dream" 5:05 12 April 2010 1000 limited vinyl Digital Dare to Dream was premiered on 11 April 2010 on the band's website. The track was remixed by Mogwai; 1000 limited remix singles were also made available to celebrate Record Store Day. The remix was available digitally to all those who had subscribed by 12 April 2010, free of charge.Purchase Digital Subscription now for free Mogwai remix of 'Dare to Dream ash-official.com, 25 March 2010 "Mind Control" 2:52 26 April 2010 1000 limited vinyl Digital "Insects" 3:49 10 May 2010 1000 limited vinyl Digital "Binary" 4:06 24 May 2010 1000 limited vinyl Digital Binary was announced on 14 April, and played for the first time on Rory McConnell's BBC Radio 1 show. Binary is the 5th radio single from the A–Z Series.Q- Binary ash-official.com, 14 April 2010 A Facebook campaign was created to try to get 'Binary' into the UK Top 40.Let's get Binary by Ash into the top 40 facebook.com, April 2010join the Facebook group to get "Binary" into the top 40 ash-official.com, 29 April 2010 Bloc Party member and at-the time Ash touring guitarist Russell Lissack remixed the track under the alias CO-PILOTS. It was made available on 25 May 2010.NEW REMIX AVAILABLE NOW! ash- official.com, 25 May 2010 The first music video was directed by Nico Jones of production company Big Button – who also produced 'Return of White Rabbit' and 'The A–Z Series Trailer'. The video was shot in New York on green screen and then sent over the Atlantic to Birmingham for editing and post-production. The video has a science fiction inspired theme.Ash: Binary bigbutton.tv, 27 April 2010 The video was released on 27 April 2010 and has received airplay on Q and NME TV.Q – Binary ash-official.com, 27 April 2010 A second music video was released on 20 May 2010, exclusively on YouTube the video features long awaited footage from Slashed – an independent horror flickAsh Release Slasher Flick XFM, 27 May 2010 starring Ash, Coldplay and Dave Grohl, amongst others. It was originally shot in 2002, but was unreleased due to never being finished.Ash release DIY slasher movie featuring Coldplay and Charlotte Hatherley – video NME, 27 May 2010Slashed ash-official.com, 24 May 2010 "Physical World" 2:48 7 June 2010 1000 limited vinyl Digital Physical World was announced on 26 May 2010, it was originally coloured green, but later changed to light pink.R – Physical World ash- official.com, forum, 26 May 2010 "Spheres" 6:08 21 June 2010 1000 limited vinyl Digital Spheres is the only track in the A–Z series where the singles letter – S – corresponds with the title. It was mentioned originally in April 2009 by Mark Hamilton,Creeping closer to GO TIME! ash-official.com, 17 April 2010 and later in June 2009 when a photo of Tim recording the track's piano part was posted on ash-official.com.Tim recording 'Spheres' (18/06/09) ash- official.com, 18 June 2010 "Instinct" 3:52 5 July 2010 1000 limited vinyl Digital Instinct was officially announced on 23 June 2010 and was originally a light blue as opposed to brown.Instinct ash-official.com, 15 September 2010 It was the highest charting of the A-Z series, peaking at #65 in the UK Singles Chart. "Summer Snow" 3:30 19 July 2010 1000 limited vinyl Digital Summer Snow was announced on 1 July 2010 by Recordstore.co.uk.ash- official.com, forum, 1 July 2010 It originally corresponded with the colour purple. Summer Snow was first mentioned in a studio update by Tim in June 2009.June Gloom 23 June 2010 "Carnal Love" 4:01 2 August 2010 1000 limited vinyl Digital Carnal Love was the sixth radio single from the series, it was announced on 25 June 2010.CARNAL LOVE ash-official.com, 25 June 2010 Originally 'V' had a lime-green artwork colour.The A-Z Series Subscriptions ash-official.com, 29 September 2009 Preview photographs of the video shoot were posted on the band's website on 22 July 2010.Carnal Love Video Shoot Photos ash-official.com, 22 July 2010 On 22 July 2010 an interview was posted on the band's YouTube with director Alex Turvey talking about the upcoming video. The music video was made available on 27 July.Carnal Love Video ash- official.co.uk, 22 July 2010 The video was intended by Tim and director Alex to have a perverse theme, using a lot of visual references to sex.Carnal Love Video: The Making Of Interview – Watch Now ash-official.co.uk, 22 July 2010 Lily Vanilli was hired to prepare the cakes for the video shoot. It features sexually shaped deserts being prepared and served to Tim, who slowly eats course after course, before being covered in custard, fruits and rubbed up and down. "Embers" 4:21 16 August 2010 1000 limited vinyl Digital Embers was announced on 18 July 2010,W – Embers ash-official.com, 15 September 2010 along with its re-imagined artwork colour, originally a light grey it was changed to orange.W-Z Titles // Subscription Bonus Tracks // Final Colours ash-official.com, 18 July 2010 Embers is one of the more punk-guitar driven tracks of the later half of the A–Z series.W – Embers ash-official.com – forum, 18 July 2010 It looked set to hit an all-time high for an A–Z single in terms of chart positions, hitting number 23 in the UK midweek official chart update, before finishing at number 79. "Change Your Name" 3:20 30 August 2010 1000 limited vinyl Digital Change Your Name was announced on 18 July 2010, with a sample available on Amazon.co.uk the same day.X – Change Your Name ash-official.com, 15 September 2009 The track was written by drummer Rick McMurray, and first mentioned on the band's website on 18 May 2009.astral conversation sans ethanol ash-official.com, Rick Mcmurray blog, 18 May 2009 The song charted at number one in the UK Rock Chart. "Sky Burial" 10:16 13 September 2010 1000 limited vinyl Digital Sky Burial was announced on 18 July 2010. An instrumental, it is the longest track of the entire A–Z series standing at 10:18, and will be comparable to previous album's title track "Twilight of the Innocents".Y – Sky Burial ash-official.com, 15 September 2009 It charted at number two in the UK Rock Chart. "There Is Hope Again" 3:48 27 September 2010 1000 limited vinyl Digital There Is Hope Again was announced on 18 July 2010. A 30 second sample was added to Amazon.co.uk the same day. It was hinted on the band's website ash-official.com that fans should keep an eye on Sky Sports regarding the final single.Z – There Is Hope Again ash-official.com, 15 September 2009Z – There Is Hope Again ash-official.com forum, 18 July 2010 ===B-sides=== Song Date Release Details "Lay Down Your Arms" 22 December 2009 Free digital download Free digital download for all those subscribed to the A–Z Downloads and Vinyl collection. The track was written and demoed for Twilight of the Innocents, however never made the record stage. The track was given as a thank you to fans for subscribing and bearing with the band through the various problems with releasing earlier singles in the A–Z Series, including postal strikes and the band's distribution supplying various online retailers with the incorrect audio files, resulting in some fans experiencing sound quality issues.Lay Down Your Arms (A-Z Series Bonus Track) ash-official.com, 22 December 2009 It lasts 3:43 "Gallows Hill" 15 January 2010 Free digital download Second free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before 14 January 2010. The song is named after Gallows Hill in Downpatrick.Gallows Hill (A-Z Series Bonus Track) ash- official.com, 5 January 2010 It lasts 3:43 "Night Terrors" 2 March 2010 Free digital download Third free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before 25 February 2010. Ash's official site describes the track as: "Musically this dark and menacing memorial merges spiky new-wave punk guitars with uptempo disco beats, overdriven synthesizers and a chorus hook that would kick Dr. Who into a parallel universe."Ash Wednesday: Subscribe to the A-Z Series Now and Receive Free Bonus Track ash- official.com, 16 February 2010 It lasts 3:50 "Empire of Sand" 27 March 2010 Free digital download Fourth free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight Thursday 25 March 2010. It is described on the band's official site as: Strap yourself in for a haunting ghost ride through the nihilistic mind of Richard Wilson McMurray. Empire of Sand is a deeply honest introspection of the crushing void experienced as one's foundations crumble around a devastating life event. It lasts 3:18 "Coming Around Again" 19 April 2010 A–Z Volume 1 CD Cover of Carly Simon, the Ash version was premiered on East Village Radio on 30 March 2010.First Play of 'Coming Around Again' Plus DJ Set and Interview – Listen Now ash-official.com, 30 March 2010 "The Creeps" "CTRL-ALT-DEL" Written by Rick McMurray "Do You Feel It?" "Kamakura" 7 April 2010 A–Z Volume 1 CD (Japanese edition) The two track were made available for free at UK April/May 2010 performances on limited handmade CDs, they were not made available online due to contract reasons.Kamakura and Disenchanted (aka the Japanese exclusives) ash- official.com, forum, 18 April 2010 "Disenchanted" "Pirates Are So 2004" 4 May 2010 Free digital download Fifth free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight 29 April 2010.Pirates Are So 2004 ash-official.com, 16 April 2010 "No Heartbreaker" 1 June 2010 Free digital download Sixth free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight 1 June 2010. In addition, released as a free download on 10 November 2010 as part of the Shepherd's Bush Empire Free Download EPSubscribe to ASH – A-Z Series. Exclusive new bonus track 'No Heartbreaker' released 01/06 for subscribers only ash-official.com, 12 May 2010 "Lights Out" 6 July 2010 Free digital download Seventh free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight 6 July 2010.Subscribe to ASH – A-Z Series and get 8 exclusive bonus tracks for subscribers only ash-official.com, 23 June 2010 "Midnight Militia" 28 July 2010 Free digital download Eighth free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight 28 July 2010. "Replicants" 24 August 2010 Free digital download Ninth free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight 24 August 2010. "Nouvelles Aventures" 22 September 2010 Free digital download Tenth (and final) free B-side to the A–Z Series, released to all those subscribed to the A–Z Series before midnight 22 September 2010. "Teenage Wildlife" 11 October 2010 A–Z Volume 2 CD "Spellbound" "Nightfall" "Running to the Ocean" 11 October 2010 A–Z Volume 2 CD (Japanese edition) "Midnight in the Garden" ===Remixes=== Song Date Release Details "Return of the White Rabbit" (Jaymo & Andy George Remix) 12 October 2009 digital download 7 April 2010 CD Rehash EP A–Z Volume 1 CD (Japanese edition) "True Love 1980" (Loverush UK! Remix) "True Love 1980" (Pete Doyle's Rocksolid Remix) "True Love 1980" (Timothy Allan Remix) "Space Reshot" (Pete Doyle's Rocksolid Vocal Mix) 18 January 2010 digital download 7 April 2010 CD Space Reshot EP A–Z Volume 1 CD (Japanese edition)Space Reshot Global Download release 18 January 2010 ash-official.com, 7 December 2009 "Space Reshot" (Snitch Brothers Vocal Remix) "Space Reshot" (Snitch Brothers Instrumental Remix) "Space Reshot" (Loverush UK! Dubstrumental) "Space Reshot" (Pete Doyle's Rocksolid Instrumental Mix) "Space Reshot" (Loverush UK! Club Mix) "Neon" (Beatcave Remix) 7 April 2010 A–Z Volume 1 CD (Japanese edition) "True Love 1980" (Vince Clarke Remix) "Dare to Dream" (Mogwai Remix) 12 April 2010 1000 limited vinyl Free digital download 1000 vinyl copies were pressed to celebrate Record Store Day, it was also made available for free for subscribers of the A–Z Series.Purchase Digital Subscription now for free Mogwai remix of 'Dare to Dream' – Winners Announced ash-official.com, 25 March 2010 ===Acoustic=== Song Date Release Details "True Love 1980" (acoustic) 19 April 2010 digital download A–Z Acoustic download EP Acoustic studio tracks "Joy Kicks Darkness" (acoustic) "Arcadia" (acoustic) "Tracers" (acoustic) (featuring Emmy the Great) "Spaceshot" (acoustic) "Command" (acoustic) "War with Me" (acoustic) ===Live tracks=== Song Date Release Details "Space Shot" (live) 17 April 2010 digital download Free digital download Live tracks recorded on the band's 2009 A–Z Tour, used in the "A for Ash" tour documentary on A–Z Volume 1.Arcadia & Space Shot Live ash-official.com, 16 April 2010ASH CHAOS!!!! ash-official.com, 17 April 2010 "Arcadia" (live) ==Personnel== Over the course of the A–Z Series Tim Wheeler took on much of the production work himself, assisted by Cladius Mittendorfer who worked with the band on previous albums "Meltdown" and "Twilight of the Innocence" as a studio engineer and later a producer, and Ash members Mark Hamilton and Rick McMurray.Interview with Claudius Mittendorfer ash-official.com Musically the band collaborated with few others; a saxophone player–Daniel Rouleau on "Do You Feel It?" a B-side released on A–Z Volume 1,Johann Sebastian, Bach to the future ash-official.com, 11 April 2009 Pete Moses, James Levy and Eric Feigenbaum who provided backing vocals on "Return of White Rabbit" and "Ichiban", and later Emma-Lee Moss of Emmy The Great on an acoustic studio re-recording of single "D"–"Tracers".Ash – ROWR In The studio YouTube, 24 August 2008New Song Synopsis: Return Of White Rabbit ash- official.com 20 May 2009 ;Ash * Tim Wheeler – Vocals, guitar, piano and programming * Mark Hamilton – Bass, synthesizer, backing vocals on "Ichiban" and "Return of White Rabbit" * Rick McMurray – Drums and percussion ===Production=== * Tim Wheeler – Producer, additional engineer * Cladius Mittendorfer – Co-producer, engineer, mixing * Mark Hamilton – Co-producer * Rick McMurray – Co-producer * Brain Thorn – Piano assistant * Kabir Hermon – Piano assistant * Mike Marsh – Mastering ===Additional musicians=== * Eric Feigenbaum – backing vocals on "Return of White Rabbit" and "Ichiban" * James Levy – backing vocals on "Return of White Rabbit" * Pete Moses – backing vocals on "Ichiban" * Daniel Rouleau – saxophone on "Do You Feel It?" * Emma- Lee Moss – guitar, vocals on "Tracers" (acoustic) ;Art * Nico Jones – A–Z Volume 1 photography * Post 98 – A–Z Volume 1 design and layout * Modo Production Ltd – A–Z Volume 1 design and layout * Steve Timmis – web development and maintenance; digital distribution ===Live=== For 2009 live performances, many new tracks simply used a backing track, instead of enlisting another member, however the band had not ruled out either recruiting a completely new member, or reuniting with former guitarist Charlotte Hatherley in the future, with Tim stating "I do miss her as a friend on tour" as well as stating "It could be good to get someone in for extra guitar and keyboards and add some layers"Ash: taking to the road less travelled heraldscotland.com, 27 October 2009 whilst Charlotte in interview with NME simply said it would be a "possibility in the future" and that her and Tim regularly talk despite her having left the band in 2006.NME Magazine, interview with Charlotte Hatherley, June 2009 Tim Wheeler and Emmy The Great performed the track "Tracers" acoustically on a number of occasions in 2009, and for the 2010 release of A–Z Volume 1 an acoustic re-recording of "Tracers" was included featuring Emma-Lee Moss.Tracers Video with Emmy the Great ash- official.com, 17 December 2009 The collaboration came after Emmy The Great covered "Burn Baby Burn" as a B-side to the single "First Love", famously including the backing vocals "shit! You're a shit! You're not a shit! Lick my shit".Emmy the Great – Burn Baby Burn Cover ash-official.com, 30 January 2010Track of the day: Emmy The Great Burn Baby Burn Clash 15 October 2008 On 16 March Russell Lissack was announced as the band's touring guitarist and synthesizer player for their tour dates in New York, Japan and the United Kingdom, Tim Wheeler stated on the band's website; "We first met at the South By South West in 2005, we'd heard he and Kele Okereke met when Russell was playing Ash songs at a party, so we've always felt that connection with him. We've loved Bloc Party since their first single and have always really admired his guitar playing."ASH to be joined by Russell Lissack (Bloc Party/Pin Me Down) for UK Tour ash-official.com, 16 March 2010 This came after Russell's band Bloc Party went on hiatus at the end of 2009, NME quoted Russell saying "as soon as they called me I was really excited".Bloc Party's Russell Lissack to join Ash for UK tour NME, 16 March 2010 ==References== ==External links== * Official A–Z Page on ash-official.com Category:Ash (band) albums Category:2009 singles Category:2010 singles

A‘ea‘e is a Hawaiian music group composed of Keola Donaghy, Tarvin Makia, Kenneth Makuakāne, and Jeff Dayton. The group was established in 2022, and released its debut EP (Extended play release) on December 30, 2022. The release included a vocal performance by Māpuana Makia. A‘ea‘e is entered in ten categories for the 46th Annual Nā Hōkū Hanohano Awards to be held on July 1, 2023 at the Hawaii Theatre. A‘ea‘e’s first public performance was at the Blue Note Hawaii in the Outrigger Waikīkī Resort on May 7, 2023 at 7 PM. == Group Members == Dr. Keola Donaghy is an Associate Professor of Music and faculty coordinator of Music Studies at UH Maui College, has published numerous articles on Hawaiian language and Hawaiian music, is a prolific haku mele (composer of Hawaiian language poetry). His compositions have been recorded by Kealiʻi Reichel, The Pandanus Club, Willie K and Amy Hānaialiʻi Gilliom, the De Lima ‘Ohana, O’Brian Eselu, and many others. He has produced five CDs by students in his Institute of Hawaiian program at UHMC. These releases have garnered three Nā Hōkū Hanohano Awards: in 2016 for their compilation CD Aloha ‘Ia Nō ‘O Maui, in 2019 for their Hawaiian EP release He Lani Ko Luna, He Honua Ko Lalo, and in 2022 for their compilation CD Āwaiaulu ‘Ia E Ke Aloha No Moloka‘i. Tarvin Makia, born on O‘ahu but residing on Maui for over 40 years, played with the popular Maui groups Hau‘ula and Mele ‘Ohana, and has performed as a solo artist and sideman for fellow musicians and groups, including a multi-year stint with the group Hapa. Makia has released two full albums of his original music, including a Christmas release this year entitled Makia Kalikimaka. Jeff Dayton has also enjoyed a career of over 40 years, including a 15 year stint as guitarist and musical director for Glen Campbell. He also toured with Lee Greenwood and country music superstar Kenny Chesney, performed live with Willie Nelson, Vince Gill, Tanya Tucker, Toby Keith, Buck Owens and Bo Diddley. His compositions and recordings have been used on Hawaii Five-0 (2010 TV series) and The Voice (American TV series), and recorded by George Strait. For the past decade, he has enjoyed a successful career as a solo artist, songwriter, and songwriting clinician at venues around the world. His latest album, Tropical Troupador was released in October 2022. Kenneth Makuakāne is a legend in the Hawai‘i music industry, having composed, performed, produced and recorded with the groups Ka‘eo, The Pandanus Club, and as a solo artist. He has composed over 2,000 songs, honored with 21 Na Hoku Hanohano Awards, and produced over a hundreds releases by fellow Hawai‘i artists. He was honored with the Hawaiʻi Academy of Recording Arts “Lifetime Achievement Award” in 2016, and served on the Academy’s Board of Governors for many years. He is also currently Kahu (pastor) at the historic Kawaiahaʻo Church on O‘ahu. == Guest Artists and Other Contributors == A‘ea‘e includes recorded performances by several notable musicians: Māpuana Makia sang harmony vocals with her father Tarvin Mākia on the EP’s opening track, “Ku‘u Ipo Ma Ke Kai Loa." Māpuana appears in the Disney+ series Doogie Kameāloha, M.D. in the recurring role as Dr. Noelani Nakayama. She has also appeared in the movie Finding ʻOhana, The Good Doctor (American TV series), Castle (TV series), How to Get Away with Murder, Hawaii Five-0 (2010 TV series), Criminal Minds, and Fantasy Island (2021 TV series). Jim Riley (drummer) performed drums on A‘ea‘e's final track, “I Ka La‘i O Lahaina.” Riley was the drummer for the country group Rascal Flatts until the group disbanded in 2020. Riley is an in-demand drum clinician, and was voted "Best Country Drummer" by Modern Drummer magazine in 2017. He currently tours with former Rascal Flatts lead vocalist Gary LeVox. Andy Peake performed drums on “Tennessee Whiskey.” Peake has toured and recorded with country music artists Don Williams, Lee Roy Parnell, Delbert McClinton, and others. == A‘ea‘e Debut EP Tracks == # “Ku‘u Ipo Ma Ke Kai Loa” is an Hawaiian language interpretation of “Lover of Mine,” composed by Gaylord Kalani Holomalia of the group Kalapana (band) and former music director for Israel Kamakawiwoʻole. Both artists have previously recorded and released versions of this song. Holomalia gave permission to Donaghy to write the Hawaiian lyrics. Tarvin Makia sings the lead vocal, with harmony support from his daughter, Māpuana Makia. # “Aia I Kīlauea (‘Ā Mai)” is an original song with lyrics by Donaghy and music by Makuakāne. Mākuakāne also sang the lead vocal and harmonies. # “Tennessee Whiskey (song)” is a Hawaiian interpretation of Dean Dillon's composition of the same name. Dillon granted Donaghy permission to translate the song and allowed it to be recorded. # “When The Ocean Sleeps” is an original composition by Dayton, who also performed lead vocals. # “I Ka La‘i O Lahaina” was composed by Donaghy and Mākuakāne in 2005, and previously released by Makuakāne. It was reimagined for the A‘ea‘e EP in a modern country rock style, with Tarvin Makia providing the lead vocal. == References == Category:Hawaiian music Category:2022 in music

In the theory of operads in algebra and algebraic topology, an A∞-operad is a parameter space for a multiplication map that is homotopy coherently associative. (An operad that describes a multiplication that is both homotopy coherently associative and homotopy coherently commutative is called an E∞-operad.) == Definition == In the (usual) setting of operads with an action of the symmetric group on topological spaces, an operad A is said to be an A∞-operad if all of its spaces A(n) are Σn-equivariantly homotopy equivalent to the discrete spaces Σn (the symmetric group) with its multiplication action (where n ∈ N). In the setting of non-Σ operads (also termed nonsymmetric operads, operads without permutation), an operad A is A∞if all of its spaces A(n) are contractible. In other categories than topological spaces, the notions of homotopy and contractibility have to be replaced by suitable analogs, such as homology equivalences in the category of chain complexes. == An-operads == The letter A in the terminology stands for "associative", and the infinity symbols says that associativity is required up to "all" higher homotopies. More generally, there is a weaker notion of An-operad (n ∈ N), parametrizing multiplications that are associative only up to a certain level of homotopies. In particular, * A1-spaces are pointed spaces; * A2-spaces are H-spaces with no associativity conditions; and * A3-spaces are homotopy associative H-spaces. == A∞-operads and single loop spaces == A space X is the loop space of some other space, denoted by BX, if and only if X is an algebra over an A_{\infty}-operad and the monoid π0(X) of its connected components is a group. An algebra over an A_{\infty}-operad is referred to as an \mathbf{A}_{\infty}-space. There are three consequences of this characterization of loop spaces. First, a loop space is an A_{\infty}-space. Second, a connected A_{\infty}-space X is a loop space. Third, the group completion of a possibly disconnected A_{\infty}-space is a loop space. The importance of A_{\infty}-operads in homotopy theory stems from this relationship between algebras over A_{\infty}-operads and loop spaces. == A∞-algebras== An algebra over the A_{\infty}-operad is called an A_{\infty}-algebra. Examples feature the Fukaya category of a symplectic manifold, when it can be defined (see also pseudoholomorphic curve). == Examples == The most obvious, if not particularly useful, example of an A_{\infty}-operad is the associative operad a given by a(n) = \Sigma_n. This operad describes strictly associative multiplications. By definition, any other A_{\infty}-operad has a map to a which is a homotopy equivalence. A geometric example of an A∞-operad is given by the Stasheff polytopes or associahedra. A less combinatorial example is the operad of little intervals: The space A(n) consists of all embeddings of n disjoint intervals into the unit interval. == See also == * Homotopy associative algebra * operad * E-infinity operad * loop space == References == * * * * Category:Abstract algebra Category:Algebraic topology

A (A-flat; also called la bémol) is the ninth semitone of the solfège. It lies a diatonic semitone above G and a chromatic semitone below A, thus being enharmonic to G, even though in some musical tunings, A will have a different sounding pitch than G. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the A above middle C (or A4) is approximately 415.305 Hz. See pitch (music) for a discussion of historical variations in frequency. The notes A and G are the only notes to have only one enharmonic, since they cannot be reached in any other way by a single or double sharp or a single or double flat from any of the seven white notes. ==Designation by octave== Scientific designation Helmholtz designation Octave name Frequency (Hz) A−1 A͵͵͵ or ͵͵͵A or AAAA Octocontra A0 A͵͵ or ͵͵A or AAA Subcontra A1 A͵ or ͵A or AA Contra A2 A Great A3 a Small A4 a One-lined A5 a Two-lined A6 a Three-lined A7 a Four-lined A8 a Five-lined A9 a Six-lined A10 a Seven-lined ==Scales== ===Common scales beginning on A=== * A major: A B C D E F G A * A natural minor: A B C D E F G A * A harmonic minor: A B C D E F G A * A melodic minor ascending: A B C D E F G A * A melodic minor descending: A G F E D C B A ===Diatonic scales=== * A Ionian: A B C D E F G A * A Dorian: A B C D E F G A * A Phrygian: A B C D E F G A * A Lydian: A B C D E F G A * A Mixolydian: A B C D E F G A * A Aeolian: A B C D E F G A * A Locrian: A B C D E F G A ===Jazz melodic minor=== * A ascending melodic minor: A B C D E F G A * A Dorian ♭2: A B C D E F G A * A Lydian augmented: A B C D E F G A * A Lydian dominant: A B C D E F G A * A Mixolydian ♭6: A B C D E F G A * A Locrian ♮2: A B C D E F G A * A altered: A B C D E F G A ==See also== * Piano key frequencies * A-flat major * A-flat minor * Root (chord) Category:Musical notes

A♯ (pronounced: A sharp) is an object-oriented functional programming language distributed as a separable component of Version 2 of the Axiom computer algebra system. A# types and functions are first-class values and can be used freely together with an extensive library of data structures and other mathematical abstractions. A key design guideline for A# was suitability of compiling to portable and efficient machine code. It is distributed as free and open-source software under a BSD-like license. Development of A# has now changed to the programming language Aldor. A# has both an optimising compiler, and an intermediate code interpreter. The compiler can emit any of: * Executable stand-alone programs * Libraries, of native operating system format objects, or of portable bytecode * Source code, for languages C, or Lisp The following C compilers are supported: GNU Compiler Collection (GCC), Xlc, Oracle Developer Studio, Borland, Metaware, and MIPS C. == References == * Category:Functional languages Category:Discontinued programming languages

"A#1 Roller Rager" is a song by American rock band CKY. Written by Deron Miller and Chad I Ginsburg, it was featured on the band's 2009 fourth studio album, Carver City. It was released as the second and final single from Carver City on May 4, 2009. ==Composition and style== In a review of Carver City, guitar website Ultimate Guitar Archive noted that "A#1 Roller Rager vacillates between broody and raging". PopMatters writer Lana Cooper described the song as "wickedly melodic", and claimed that it sounded "vaguely reminiscent" of alternative rock band Foo Fighters. Phil Freeman of music website AllMusic compared the style of the track's guitar riff to the band Fu Manchu. ==Promotion and release== "A#1 Roller Rager" was released as a digital download single on May 4, 2009, the second single from the album following "Hellions on Parade". In 2015, it was included on the reissue of the compilation album The Best of CKY. ==Music video== The music video for "A#1 Roller Rager" was directed by drummer Jess Margera's brother Bam Margera and produced by Joe Frantz, with post-production effects added by Backseat Conceptions. The video was released in May 2009, shortly after the single and the album. ==Critical reception== AllMusic writer Phil Freeman identified "A#1 Roller Rager" as one of three highlights on Carver City, praising the track for its guitar riff, presence of synthesizers, and chorus. ==References== ==External links== *Music video on YouTube Category:2009 singles Category:CKY (band) songs Category:2009 songs Category:Roadrunner Records singles Category:Songs written by Deron Miller Category:Songs written by Chad I Ginsburg