Pernahkah kamu merasakan bahwa kamu mencintai seseorang,,
meski kamu tahu bahwa dia tidak sendiri lagi ,dan meski kamu tahu cinta kamu tdk mungkin berbalas,
tapi kamu tetap mencintainya.
Pernahkah kamu merasakan bahwa kamu sanggup melakukan apa pun demi seseorang yang kamu cintai,
meski kamu tahu dia tak akan pernah peduli ataupun ia peduli dan mengerti ,tapi ia tetap pergi??
Pernahkah kamu merasakan betapa hebatny cinta,
tersenyum kala terluka,
menangis kala bahagia,
bersedih kala bersama,
tertawa kala berpisah??
Aku pernah,,,,,
Aku pernah tersenyum meski aku terluka,
karena aku yakin TUHAN tidak menjadikannya untuk diriku,,,
Aku pernah menangis kala bahagia ..
karena aku takut kebahagiaan ini akan sirna begitu saja....
Aku pernah bersedih saat bersamanya ,
karena aku takut kehilangan dia suatu saat nanti ..
Dan,,,,
Aku juga pernah tertawa saat berpisah denganny ..
karena sekali lagi cinta tak harus memiliki dan TUHAN pasti telah menyiapkan yang lain untukku....
Aku tetap tetap bisa mencintainy,
meski ia tak bisa aku rengkuh dalam pelukanku..
Karena cinta ada didalam jiwa,bukan ada didalam raga....
Semua orang pasti pernah merasakannya,,,
Baik dari orang tua....sahabat... kekasih dan akhirnya pasangan hidupnya...
Buat teman-temanku yang sedang jatuh cinta ,,
Selamat yah..
Karena cinta itu sangat indah..
Semoga kalian berbahagia..
Buat teman-temanku yang sedang terluka karena cinta...
hidup itu bagaikan roda yang terus berputar
Suatu saat akan berada di bawah dan hidup akan terasa begitu sulit...
Tetapi itu tidak untuk selamanya.
Bersabar dan berdoalah karena cinta yang lain akan datang menghampiri..
Buat teman-temanku yang tidak percaya akan cinta ,
Bukalah hatimu
jangan menutup mata akan keindahan yg ada didunia,,
Maka cinta akan membuat hidupmu menjadi bahagia ..
Buat teman-temanku yang mendambakan cinta ,,,
bersabarlah karena cinta yang indah tidak terjadi dalam sekejab..
TUHAN sedang mempersiapkan segala yang terbaik untukmu...
Buat temanku yang mempermainkan cinta
segala sesuatu yang begitu murni dan tulus bukanlah untuk dipermainkan...
Cinta bukan suatu kehampaan.
Semoga kalian berhenti mempermainkan cinta dan mulai merasakan kebahagiaan yang seutuhnya,
Mungkin akan tiba saatnya diamana kamu harus berhenti mencintai seseorang bukan karena org itu berhenti mencintaimu,
Melainkan karena kamu menyadari bahwa org itu akan lebih berbahagia apabila kamu melepasnya...
Lihat
Tunggu
cinta akan datang dan memenuhi tujuannya,
karena cinta yang murni adalah
cinta yang mengenal satu kata : MEMBERI.
Because existence can become severe
in one day,
just sense me and I'll be there.
In the minds eye,
I'm not so far away.
If you hold out your hand,
in the whispers,
I'll become the zephyr.
and besiege you.
If your eye's upon the stars,
in the crystalline darkness,
I'll become the moon.
And the light shall guide you.
If you rest upon the ground,
in the warmth,
I'll become the grass.
And embrace you.
If you turn outside,
in the wetness,
I'll become the rain.
An upon your forehead, kiss you.
If you free the air,
in the light of day,
I'll become the sun.
And smile for you.
Between the miles-
if you need me.
If you need a friend.
Let me be the friend, I want to be.
You're my angel in the night
you're everything i think of
everything i dream of.
Yours is the voice i hear when
The moon steals the day.
Yours is the voice
i hear when the sun sneaks
in to warm me.
When my heart aches with lifes pains,
you are my angel.
I never expected someone like you.
You snuck into my life like a true
angel in the night.
Loving you is the only thing that
brought me this far.
Cuz' your my angel in the night
Dua orang berencana untuk menjelajah hutan, satu membina Kesadaran, satu tidak membina spiritual . Ternyata di dalam hutan mereka tersesat, sedangkan matahari mulai tenggelam di barat.
Keduanya sama-sama mengalami musibah yang tidak terduga dan tidak membahagiakan ini, tetapi tanggapan dan pandangan masing-masing sangat berbeda.
Yang tidak membina Kesadaran, akan mulai merasakan khawatir, takut, cemas yang terus bekelanjutan. Selanjutnya, dia akan mulai menyesalkan keadaan dirinya atau temannya, mengapa harus menjelajahi hutan, sehingga dirinya tersesat sekarang.
Melihat hari mulai gelap, dirinya juga di penuhi oleh berbagai gambaran yang menakutkan, akan binatang buas. Sedikit suara yang timbul saja, seketika itu juga membuat dirinya menjadi takut dan mengira akan datangnya binatang buas yang setiap saat muncul dan akan menerkamnya, dan sebagainya.
Berbagai macam gambaran Pikiran lainnya yang timbul silih berganti tanpa henti, dan terus membuat dirinya menjadi semakin emosinal dan sensitif. Inilah alamiah dari gambaran pikiran, yang memang akan dialami bagi mereka yang tidak membina Kesadaran.
Yang membina Kesadaran, pada awalnya mungkin juga mulai merasakan khawatir, takut, cemas juga. Tetapi kemudian dirinya mulai menyadari dan memahami timbulnya gambaran pikiran yang demikian adalah wajar, sehingga Kesadaran tetap terjenihkan. Menjelajah hutan, lalu tersesat, bahkan hingga menjelang malam, bagi pembina Kesadaran akan memahami bahwa semua itu adalah satu proses kesatuan yang tidak terpisahkan. Itu adalah bagian dari alamiah kehidupan yang sekarang dihadapi dengan Kesadaran yang tetap jernih, tanpa harus diperdaya terus oleh berbagai gambaran Pikiran yang menyeramkan.
Selanjutnya, saya tidak akan menjelaskan bagaimana dan apa yang dilakukan oleh pembina Kesadaran dalam menghadapi keadaan tersesat di hutan.
Dengan Kesadaran yang jernih, masalah Bagaimana dan Apa, masalah Tujuan dan Hasil, masalah Sebab dan Akibat, juga tidak akan mempengaruhi Kesadarannya. Jadi semua itu bukan hal yang terpenting, justru hal yang terpenting adalah menjaga Kesadaran selalu jernih setiap saat.
Walau terjadi keadaan yang terburuk, mereka mati dimakan binatang buas, saya dapat pastikan bahwa salah satu akan mati dalam ketakutan, dan dapat menjadi setan gentayangan.
Bilamana ada kesempatan untuk bertahan hidup, manakah yang mempunyai kesempatan lebih besar ?
Walau karma dan keberuntungan juga sangat menentukan, tetapi dia yang dapat menghadapi keadaan dengan lebih tenang, tentu memiliki peluang untuk mencari jalan keluar lebih baik.
Mana yang lebih menderita ?
Walau keduannya sama-sama mengalami musibah yang tidak menyenangkan, tetapi sungguh kasihan lagi bagi yang sudah mengalami musibah, dan harus ditambah dengan merasakan berbagai ketakutan dan ketidak stabilan emosi yang bersumber dari ciptaan gambaran-gambaran pikirannya sendiri.
Ini yang saya maksud dengan ungkapan saya,
“Belum masuk Neraka, sudah merasakan Panasnya Api Neraka Pikiran.
Tidak terbayangkan, bagaimana bila sudah di Neraka yang sebenarnya ?”
Manusia yang sakit akan mencari kesembuhan, mereka berusaha untuk mencari pertolongan secara medis bahkan dengan berbagai cara lainnya. Bagi umat yang sakit, saya selalu menyarankan mereka untuk memberikan kepercayaan penuh kepada dokter dan para medis untuk merawat penyakitnya terlebih dahulu, karena sebagian besar penyakit memang merupakan penyakit medis yang umum.
Walaupun kadangkala timbulnya penyakit banyak yang disebabkan oleh kesalahan dari cara berpikir dan kebiasaan negatif dari mahluk itu sendiri, hal ini dapat dipecahkan melalui konsultasikan dengan psikater.
Selain penyakit-penyakit yang umum, walaupun sangat sedikit sekali. Saya mengakui adanya suatu penyakit yang memang berhubungan dengan energi dari alam halus. Sumber penyebab penyakit ini kadang kala sangat sulit dideteksi secara ilmu pengetahuan modern, sehingga para dokter kadangkala mengalami kesulitan untuk mengambil keputusan yang pasti dalam mengatasi penyakit tersebut.
Penyakit yang berhubungan dengan energi dari alam halus, contohnya seperti: kesambet, kesurupan, terkena guna-guna, santet, pelet, dsb.
Bagi mereka yang mengetahui dan mempercayai tradisi ataupun kepercayaan akan adanya efek negatif pada hal-hal tertentu. Seperti dikalangan etnik china, dan sebagian masyarakat di Indonesia. Mereka juga mempercayai semacam satu perhitungan biorhytim. Dimana bagi yang berumur 46 tahun, 49 tahun, dan tahun-tahun yang dibelakangnya sembilan seperti: 59, 69, 79,89 merupakan tahun yang kurang baik.
Contoh lainnya adalah kontradiksi tahun dengan shio (perlambangan perputaran hewan) si sakit. Dimana pada setiap perputaran tahun, timbul energi yang dapat memberikan kebaikan bagi shio tertentu dan timbul pula energi terpancarkan yang dapat mengakibatkan dampak yang kurang baik bagi shio-shio tertentu.
Saya menganjurkan bagi yang telah mengetahui dan mempercayainya akan hal-hal ini, janganlah bersikap takabur dan menganggap rendah unsur-unsur alam. Sekali lagi saya tekankan bahwa segala pergerakan di Alam semesta ini mempunyai aturannya yang saling menunjang satu dengan yang lainnya. Alam semesta ini bukanlah bergerak tanpa aturan, bilamana ada satu unsur yang mencoba untuk melawan gerakan yang telah teratur ini, maka unsur tersebut akan mengalami dampak yang luar biasa dari yang lainnya.
Demikian pula dengan tubuh kita yang merupakan alam kecil dari alam semesta. Bilamana daya gravitasi bulan telah membuat air laut pasang dengan jarak waktu yang teratur, demikian juga pergerakan umur manusia mempunyai hubungan dengan perputaran alam semesta.
Janganlah menjadi sombong dan merasa pintar hanya karena menganggap bahwa semua tradisi hanya tahayul, omong-kosong belaka, dan tidak ada kebenarannya. Jujurlah dengan diri sendiri bilamana kita memang tidak mengetahui kebenarannya tentang segala proses yang terkandung di dalam tradisi tersebut, janganlah langsung menganggap bahwa semuanya adalah tidak benar. Hal ini justru akan memperdaya dan menjadikan diri sendiri sebagai orang yang sombong yang merasa lebih pintar dari yang lainnya. Ingatlah bahwa kesombongan yang timbul dalam diri, hanya akhirnya membuat diri anda tidak dapat menerima manfaat positifnya.
Di dunia barat dikenal dengan Biorhytim, dan ada yang menggunakan Zodiac sebagai dasar hitungannya. Zodiac yang dipergunakan oleh dunia barat di hitung berdasarkan tata letak bintang dan planet-planet. Mereka mempercayai adanya pengaruh dari gravitasi dan energi dari planet terhadap kondisi mahluk hidup.
Yang lebih modern lagi, dengan menggunakan pergerakan atom sebagai patokan perhitungan. Hitungan atom sangatlah rumit dan detail sehingga diperlukan bantuan peralatan dan komputer yang canggih untuk menghitungnya. Di masyarakat china, hitungan shio dan fung-shui juga telah menggunakan lao-pan (kompas fung-shui) sebagai alat untuk mempermudah perhitungan sejak berabad-abad yang lampau.
Bahkan sejak beribu tahun sebelum masehi hingga sekarang, telah banyak para ahli yang berusaha mengungkapkan misteri dari pengaruh pergerakan alam yang masih terselubung ini. Janganlah kita menyia-nyiakan jerih-payah yang telah mereka korbankan hanya karena kesombongan dan ketidak-tahuan kita.
Bukti-bukti adanya energi spiritual maupun energi alam semesta lainnya seperti pengaruh zodiac telah banyak diteliti dan dibuktikan kebenarannya. Hal yang kecil seperti disaat bulan purnama, dimana pada binatang dapat meningkatkan karakter khusus sudah banyak diakui oleh para ilmuwan. Pengaruh dari energi gravitasi bulan ini telah di teliti dan dimanfaatkan oleh para spiritual dan ahli lainnya lebih dari 5000 tahun yang lampau. Hingga sekarang masih banyak energi dan efek yang masih tersembunyi dari pengaruh peredaran matahari dan bulan.
Oleh karena ini, janganlah kita merasa sombong dan takabur dengan mempercayai bahwa diri kita telah mencapai tingkat telah terbebaskan dari pengaruh energi shio. Yang secara tidak langsung akan mengarah dan menganggap bahwa diri kita tidak mungkin dapat dipengaruhi lagi oleh segala unsur alam semesta. Sehingga kita secara tidak sadar dan takabur akan kesombongan untuk berkata tidak ada lagi efek kontradiksi tahun dan shio pada diri kita.
Samudra yang sangat luas, tidak akan pernah menolak daya gravitasi dari bulan yang sedemikian jauh. Sehingga perputaran bulan selalu mempengaruhi pasang surut air laut sejak awal terciptanya. Semuanya selaras dengan daya energi alam semesta, kekuatan berimbang Tao ada dimana-mana. Apalagi manusia yang sedemikian lemah dan sangat kecil dibandingkan dengan luasnya lautan, apakah pantas untuk bersombong diri membandingkan dan melawan alam semesta yang tanpa batas.
Coba renungkan beberapa menit:
Apakah kita telah dapat menguasai emosi yang timbul dan mengotori kesadaran kita?
Bila kita belum dapat menguasai dan memahami emosi yang sumbernya berasal dari dalam diri kita, bagaimana mungkin kita dapat mengatakan telah terbebas dari pengaruh shio yang kekuatan sumbernya jauh lebih besar karena berawal dari kekuatan alam semesta. Jangan menjadi takabur dan dengan mengatakan telah mengalahkan kekuatan shio yang jauh lebih besar, sedangkan kekuatan kecil dari emosi yang berasal dari dalam diri saja tidak dapat dikuasai, sehingga emosi selalu mengotori Kesadaran.
Bilamana emosi masih mengotori Kesadaran Sejati, bagaimana kita bisa mengatakan telah bebas dari pengaruh energi shio ? Pengaruh kekuatan emosi yang bersumber dari dalam diri sangat kecil sekali dibandingkan dengan pengaruh kekuatan Shio yang berasal dari alam semesta.
Saya menyetujui mereka yang ingin melakukan suatu hal yang penting sebaiknya mencarikan hari dan jam yang baik dengan bantuan spiritual ataupun secara astrologi. Terutama bagi mereka yang akan menjalankan operasi, mengadakan pernikahan, penguburan, dsb.
Pahamilah bahwa proses di dalam tubuh manusia dapat dikatakan sebagai alam kecil dari bagian alam semesta, semua bergerak secara TERATUR. Dengan memanfaatkan gerakan teratur dalam alam semesta dan tubuh (Bioritim), kiranya dapat dicarikan waktu yang lebih baik pada saat akan menjalankan operasi. Tetapi ingatlah bahwa hal ini hanya dilakukan bilamana memungkinkan dan waktunya sesuai dan memungkinkan secara medis. Dalam keadaan darurat percayakan sepenuhnya dengan keputusan dan analisa medis, dan yang terpenting pasrahkan segalanya kepada Yang Maha Kuasa sebagai Zat Tunggal yang menciptakan dan mengatur segalanya.
Untuk acara-acara lainnya seperti perkawinan, pindah rumah, penguburan, dan sebagainya. Saya serahkan kepada diri masing-masing. Apakah ada hal yang merugikan bilamana meminta nasehat kepada mereka yang lebih mengetahui?. Saya hanya dapat memberikan contoh kecil, yaitu bagaikan seorang nelayan yang dapat mengetahui letak dan posisi bintang maupun pergerakan awan sebagai petunjuk tempat lokasi yang lebih disukai oleh ikan.
Dimana nelayan yang mempunyai pengetahuan tersebut akan mempunyai kesempatan yang lebih besar untuk mendapatkan hasil yang lebih baik dibandingkan dengan nelayan yang hanya menyebarkan jalanya secara tidak menentu tanpa didasari pengetahuan.
Selain itu nelayan yang mempunyai pengetahuan lebih tentang alam semesta akan dapat memperkirakan datangnya musim badai topan, sehingga mereka dapat terhindar dari bencana badai topan atau setidaknya kesempatan mendapatkan kecelakaan atau musibah terhantam badai jauh lebih kecil dibanding nelayan lainnya.
Walaupun kadangkala adanya unsur rejeki yang lebih berperan, dalam contoh ini saya kesampingkan dahulu. Contoh nelayan ini hanyalah bagian kecil dari penjelasan tentang energi alam yang dapat mempengaruhi kehidupan para mahluk. Masih banyak energi-energi lainnya yang saling mempengaruhi. Semakin banyak energi yang digunakan untuk menunjang tujuan yang baik, maka semakin besar berkah yang akan kita dapati.
Keinginan adalah sumber awal karma,
maka semakin terpaksa melakukan suatu perbuatan,
maka akan semakin kecil karma yang dihasilkan.
Jika seseorang terpaksa melakukan perbuatan buruk, maka semakin kecil karma buruk yang dihasilkan dari perbuatannya. Demikian pula sebaliknya, bila seseorang terpaksa melakukan perbuatan baik, maka semakin kecil pula karma baik yang dihasilkan dari perbuatannya.
Jika seseorang terpaksa berbohong demi kebaikan seluruh mahluk, maka karma buruknya akan lebih ringan dibanding seseorang yang berbohong demi keuntungan dirinya.
Walau seseorang banyak berderma tetapi demi nama baiknya, maka karma baiknya juga akan lebih kecil dibanding dengan seseorang yang berderma kecil tanpa kepentingan dirinya.
Walau seseorang sering melakukan ibadah, tetapi bila pikirannya penuh dengan berbagai keinginan-keinginan, maka karma baiknya juga akan lebih kecil dibanding dengan seseorang yang melakukan ibadah dengan rasa syukur dan iklas.
Mereka yang menghianati kita, telah membuat kita penderitaan, terlebih-lebih orang-orang dekat kita.Tetapi dibalik perbuatan yang mereka lakukan terhadap kita, sebenarnya mereka adalah Guru kita juga. Mengapa demikian ?
Pertama harus dipahami bahwa Siapa yang menanam, dia yang menuai. Sehingga, segala perbuatan yang mereka lakukan, adalah bibit karma yang mereka tanam sendiri, dan akan dipetik oleh mereka sendiri pula. Jadi, apapun perbuatan mereka terhadap kita, mereka sendiri yang akan menuai buahnya. Sehingga, perbuatan mereka baik buruk atau jelek, mereka yang akan menjalankannya sendiri, dan tidak berhubungan dengan kita.
Kedua, alamiah dari Welas Asih adalah tulus tanpa kondisi apapun. Kadang Welas Asih yang kita tanam di sekitar kita, secara tidak langsung kita juga mengharapkan mereka untuk baik kepada kita. Kita secara tidak langsung telah timbul suatu pandangan bahwa mereka melakukan seperti apa yang kita harapkan, juga kita memiliki pandangan bahwa mereka jangan melakukan seperti apa yang kita kehendaki.
Dengan demikian, secara tidak langsung kita telah masuk kedalam suatu hubungan yang dibatasi oleh suatu kondisi yang tidak tertulis. Secara tidak langsung, kita telah menjadikan hubungan kita laksana suatu kontrak bisnis yang tidak tertulis.
Dalam arti kata: “Saya akan baik kepada siapapun, asalkan mereka selalu baik kepada saya.”
Hal ini bertentangan dengan pembinaan kita yaitu Welas Asih yang tulus tanpa kondisi apapun.
Jadi sesungguhnya, bukan suatu masalah dengan apa yang mereka lakukan atau tidak lakukan terhadap kita, tetapi apa yang telah kita harapkan dari mereka tidak terpenuhi.
Dengan demikian, apakah kita harus menodai pembinaan dan rasa Welas Asih yang kita jalani, hanya karena perbuatan orang lain yang tidak sesuai dengan apa yang kita harapkan?
Sebaiknya kita harus bersyukur kepada mereka bahwa secara tidak langsung, mereka sebenarnya telah menunjukan keterbatasan dari welas asih kita, yang masih memiliki banyak kondisi-kondisi yang tersembunyi. Secara sengaja atau tidak sengaja, Mereka dengan rela dan iklas menanam karma buruk, untuk menyempurnakan pembinaan Welas Asih yang kita jalankan.
"Cinta Kasih" dan "Welas Asih" adalah dua landasan dasar yang penting dalam pembinaan spiritual.
‘Cinta Kasih’ merupakan kemampuan untuk memberikan kebahagiaan kepada mahluk hidup.
‘Welas Asih’ merupakan kemampuan untuk membebaskan segala penderitaan mahluk hidup.
Demikian pula bagi para pembina "Kesadaran Sejati" dan "Roh Sejati", selalu menjunjung tinggi "Cinta Kasih" dan "Welas Asih" sebagai landasaran dasar pembinaan kehidupan spiritualnya. Tanpa "Cinta Kasih" dan "Welas Asih", segala pembinaan kehidupan spiritualnya hanya akan menjadi hampa didalam kegelapan pikiran.
"Cinta Kasih" dan "Welas Asih" bagaikan cahaya lampu yang menerangi kegelapan malam, sehingga kesadaran sejati para pembina kehidupan spiritual selalu terang dan jernih terbebaskan dari kegelapan pikiran. Bilamana kesadaran sejati selalu terang dan jernih, maka jalan menuju jalan Pencapaian Agung akan tampak terbentang didepan.
1 . Bila berjalan, dari belakang kelihatan seperti tidak memijak tanah.
Golongan wanita yang jalannya berginjat, konon wanita ini adalah wanita yang tidak jujur, bila berbohong, mulutnya laser dan menyinggung perasaan orang lain. Wanita yang berjalan seperti ini juga terkenal dengan sikap egonya. Lebih parah, wanita ini biasanya pemboros atau suka membazir uang tanpa berpikir sebelum berbelanja. Padahal, uangnya itu masih banyak kegunaannya. Tapi jangan berkecil hati, kerana wanita seperti ini biasanya menjadi pujaan lelaki.
2. Bila berjalan, sering menoleh ke kanan and kiri.
Wanita seperti ini biasanya pandai menyimpan rahasia. Walaupun ramai yang menganggap wanita seperti ini tidak jujur, suka menipu teman sendiri, dan merugikan temannya. Namun, banyak lelaki yang berusaha untuk menaklukan hatinya. Konon wanita seperti ini senang diatur.
3. Bila berjalan suka menunduk.
Cara berjalan melambangkan wanita seperti ini memiliki sifat yang tertutup. Ia hanya akan berbicara dengan orang-orang yang dekat dengannya dan dpt dipercaya untuk menyimpan rahasianya. Wanita seperti ini biasanya sukar untuk ditakluk hatinya. Disamping sikapnya yang dingin, wanita seperti ini tidak peduli dengan kehidupan cinta. Namun, jika ada lelaki yang berhasil menawan hatinya, dijamin akan mendapat kebahagiaan. Sebab, wanita jenis ini sangat setia, dan dia tidak akan mengkhianati lelaki yang dicintainya.
4. Bila berjalan menatap lurus ke depan.
Wanita seperti ini biasanya memiliki pendirian yang teguh. Jangan sekali-sekali menentang apa yang pernah dikatakannya, jika anda tidak mau mendengar dia bicara panjang lebar. Meski pendiriannya teguh, tapi selalu berselisih pendapat. Jangan heran jika wanita seperti ini hanya mau bicara
dengan orang yang berpengetahuan luas.
5. Bila berjalan badan tampak tegak.
Wanita ini tegas menentukan sikapnya sendiri. Dia tidak mau urusan pribadinya dicampuri orang lain. Gaya bicaranya serius, menunjukkan dia memiliki pendirian teguh. Yang menarik dari wanita ini, ia bertanggungjawap terhadap apa yang pernah dilakukannya. Dia menyenangi lelaki yang mandiri tanpa meninggalkan sifat-sifat romantisnya.
SHIRT CATCH
Gerakan ini terlihat mudah dan menarik, tetapi pada praktek nya, gerakan ini cukup sulit, oleh karena dibutuhkan kelenturan dan timing yang pas untuk dapat memasukkan bola ke dalam baju kita. Cara melakukannya adalah dengan men-dribble bola terlebih dahulu yang kemudian kita jepit dengan kedua pergelangan kaki kita. Setelah itu, kita lempar bola tersebut ke atas dengan kedua kaki kita, sambil kita membuka bagian belakang baju kita, sehingga bola dapat masuk dan “terkunci” untuk sesaat di belakang badan kita. Cukup menarik bukan?
THE PUNCH
Gerakan “The Punch” ini merupakan salah satu gerakan yang cukup unik dan seringkali membuat lawan terkecoh untuk merebut bola dari kita. Gerakan ini dimulai dengan menaruh bola di lantai, dan kunci dari gerakan ini adalah letak bola pada saat kita menaruh nya di lantai. Bola harus diletakkan cukup dekat dengan lawan kita, sehingga membuat dia berkeinginan untuk mengambil nya. Tetapi kita harus berhati-hati, karena apabila letak bola sangat dekat dengan lawan, maka bola tersebut dapat dengan mudah diambil oleh lawan, dan gerakan ini pun sia-sia. Dan setelah itu, ketika kita melihat lawan kita melakukan gerakan ingin mengambil bola tersebut, maka kita tarik bola tersebut dengan kaki kita dan pantulkan, disambung dengan men-dribble nya di antara kedua kaki lawan kita, sambil menuju ke ring untuk mencetak angka.
Awalnya, gerakan ini diciptakan oleh seorang streetballer bernama Rory “Disaster” Grace, yang mana ketika dia melakukan trik ini, dia “meninju” bola tersebut dengan tangannya ke antara kedua kaki lawan, sehingga oleh karena itu, gerakan ini diberi nama “The Punch”
SEE NO EVIL
Gerakan ini merupakan signature move dari Tru Baller, dan umumnya gerakan ini dilakukan oleh pemain yang memakai celana basket “oversize” atau cukup besar untuk dapat memasukkan bola ke dalam nya.
Cara melakukan trik ini adalah:
- Dribble bola beberapa kali guna membuat lawan terfokus pada bola dan gerakan kita.
- Kemudian lakukan gerakan memutar bola di atas kepala lawan kita, seakan-akan kita hendak melakukan passing, sambil memutar badan kita untuk membelakangi lawan kita. Setelah itu, dengan cepat, kita masukkan bola ke dalam celana kita, dan langsung kembali membalikkan badan lagi menghadap lawan sambil berpura-pura melakukan gerakan passing di atas kepala lawan kita.
Apabila trik ini dilakukan dengan cepat dan baik, maka lawan akan kebingungan dan akan berusaha mencari di mana bola tersebut berada, sehingga kita akan membuat nya terlihat bodoh dan akan ditertawakan.
HELTER SKELTER
Gerakan “Helter Skelter” merupakan suatu gerakan freestyle yang pada dasarnya merupakan paduan dari 3 gerakan freestyle, yaitu “spin ball”, “arm-roll”, dan “dribble between the leg”. Walaupun gerakan ini memang merupakan murni gerakan freestyle, tetapi gerakan ini dapat digunakan saat kita melakukan offense di dalam suatu pertandingan streetball, karena dapat mengecoh lawan dengan mudah nya. Terlebih lagi, para penonton yang turut menyaksikan pun pasti akan terkagum-kagum, sehingga membuat lawan kita terkejut.
Untuk memperindah lagi, gerakan dapat dipadu lagi dengan gerakan “crossover”, dan ditutup dengan easy lay-up to the basket.
SHAMMGOD
Gerakan “Shammgod” ini pertama kali diciptakan oleh God Shammgod, seorang pemain basket profesional, yang sempat bermain 1 season di Washington Wizards (1997-1998), dan kini dia bermain di klub Portland Chinooks pada kompetisi International Basketball League.
Cara melakukan gerakan Shammgod:
- Dengan menggunakan tangan kanan kita, dribble bola dan arahkan agar bola tersebut terpantul kurang lebih 20 cm di depan kaki kanan kita.
- Seiring dengan gerakan dribble tersebut, miringkan badan kita agak ke depan seakan-akan ingin melewati lawan, tetapi kemudian ambil bola tersebut dengan tangan kiri kita, dan kemudian tarik badan kita ke belakang lagi.
Apabila gerakan ini dilakukan dengan baik dan lancar, kita akan membuat lawan kita agak menjauh dari kita, sehingga tercipta jarak yang cukup baik untuk kita dapat melakukan shoot.
BACKACHE
Cara melakukan gerakan “Backache”:
- Dribble bola serendah mungkin agar membuat lawan ikut bungkuk/merendahkan badan dalam melakukan penjagaan
- Kemudian taruh bola di belakang badan lawan (punggung) dengan menggunakan 1 tangan saja
- Setelah itu, dengan tangan kita yang 1 lagi, pukul/dorong bola ke arah kita, melewati atas kepala lawan
Gerakan ini akan membuat lawan kebingungan dan kita dapat dengan mudah melewati nya untuk mencetak angka.
TORNADO
Gerakan freestyle bernama “Tornado” ini adalah salah satu gerakan offense pada streetball yang sangat menarik dan efisien. Ketika melakukan gerakan ini, pemain lawan yang sedang menjaga kita sering kali menjadi bingung dan berpikir bahwa kita sedang melakukan passing melewati kepala nya.
Dasar kekuatan gerakan Tornado ini terletak pada gerakan “spin” yang kita lakukan setelah kita berhasil memutar bola di atas kepala lawan. Alhasil, gerakan tersebut akan membuat lawan kebingungan dan terlihat seolah-olah seperti terdiam, sehingga membuat kita dapat melewati nya dengan mudah untuk mencetak angka.
" Jika seorang wanita menangis dihadapanmu,
Itu berarti dia tak dapat menahannya lagi.
Jika kamu memegang tangannya saat dia menangis,
Dia akan tinggal bersamamu sepanjang hidupmu.
Jika kamu membiarkannya pergi,
Dia tidak akan pernah kembali lagi menjadi dirinya yang dulu.
Selamanya... .
Seorang wanita tidak akan menangis dengan mudah,
Kecuali didepan orang yang amat dia sayangi. Dia menjadi lemah.
Seorang wanita tidak akan menangis dengan mudah,
Hanya jika dia sangat menyayangimu, Dia akan menurunkan rasa egoisnya.
Lelaki, jika seorang wanita pernah menangis karena mu,
Tolong pegang tangannya dengan pengertian.
Dia adalah orang yang akan tetap bersamamu sepanjang hidupmu.
Lelaki, jika seorang wanita menangis karenamu.
Tolong jangan menyia-nyiakannya.
Mungkin karena keputusanmu, kau merusak kehidupannya.
Saat dia menangis didepanmu, Saat dia menangis karnamu,
Lihatlah matanya....
Dapatkah kau lihat dan rasakan sakit yang dirasakannya?
Pikirkan....
Wanita mana lagikah yang akan menangis dengan murni, penuh rasa sayang,
Didepanmu dan karenamu.... ..
Dia menangis bukan karena dia lemah
Dia menangis bukan karena dia menginginkan simpati atau rasa kasihan
Dia menangis,
Karena menangis dengan diam-diam
tidaklah memungkinkan lagi.
Lelaki
Pikirkanlah tentang hal itu
Jika seorang wanita menangisi hatinya untukmu,
Dan semuanya karena dirimu.
Inilah waktunya untuk melihat apa yang telah kau lakukan untuknya,
Hanya kau yang tahu jawabannya.. ..
Pertimbangkanlah
Karena suatu hari nanti
Mungkin akan terlambat untuk menyesal,
Mungkin akan terlambat untuk bilang 'MAAF'!! "
pertama tama... anda harus men DL prog ini dolo
BillHack
sama ini
Net Cut v 2
Berlanjut ke Tutornya... hahaha :
1. Hidup kan kompi tersebut , maen dengan personal. (kalo paket tar tetep)
2. Buka CMD/command prompt
3. Ketik net view lalu ok
4. Disitu bakalan terlihat semua jaringan yang terhubung di warnet tersebut .
5. Cari nama admin/nama yang di gunakan oleh op tersebut
6. Ktik ping nama_sever (ping miki_deliicius) lalu ENTER
7. Maka akan muncul IP yang terpasang pada kom op tersebut ,catat IP tersebut.
8. Jalan kan billhack , billhack memiliki 2 pilihan “single client dan all client”
9. single client agar kita sendiri yang menjadi Rp.0 di billing op tersebut tapi kalaw mau membubarkan semua orang yang ada di dalam warnet tersebut pilih “all client” karna akan membuat semua billing client menjadi Rp.0 .
10. Setelah di pilih single client/all client , masukan alamat ip sever/nama ip dengan port 1500.
11. Lalu “connect”
dann.... thra...
duar duar duar... anda menang...
Cara ke 2:
1. DL NetCut 2, jalanin
2. liat hostname IP yang bawah sendiri,,
3. apalin or catet.. whad ever..
4. buka BillHack
5. all client or single client
6. isi hostname IP tadi dan port 1500
7. CONECT
Disela-sela kesibukan kerja sambil ngegame di Facebook, akhirnya ada juga kesempatan buat posting lagi. Disini saya akan memberi tahukan cara agar muncul efek gempa dengan menggunakan javascript. Jadi pada saat ada penggunjung yang masuk kedalam blog kita, maka akan timbul efek gempa pada browser penggunjung. Tapi sayangnya script ini cuma bekerja pada browser yang support dengan JS (Mozilla Firefox dan IE). Oke langsung aja tanpa banyak basa-basi lagi soalnya udah ngantuk nich.... 
Efek gempanya hanya sebentar koq tapi kalau ingin lama sampe browsernya hang silahkan ganti angka 6 menjadi angka 90 atau 99.
Happy blogging all!!
Berikut Beberapa macam efek marque atau teks berjalan:
caranya dengan menambah code berikut:
<marquee>Kalimat Anda</marquee>
<marquee direction="right">Kalimat Anda</marquee>
Cara menulisnya :
<marquee behavior="alternate">Kalimat Anda</marquee>
Cara menulisnya :
<marquee onmouseover="this.stop()" onmouseout="this.start()">Kalimat Anda</marquee>
Cara menulis :
<marquee behavior="alternate" scrollamount="18">Kalimat Anda</marquee>
Anda bisa mengatur kecepatan sesuai selera anda dengan mengganti value atau angka pada kata scrollamout
Cara menulis :
<marquee direction="up">Kalimat Anda</marquee>
Cara menulis :
<marquee direction="up" onmouseover="this.stop()" width="200" scrollamount="3" onmouseout="this.start()" height="100">Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>
</marquee>
Cara menulisnya :
<marquee direction="down" width="200" scrollamount="4" height="100">Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>
Ini dengan perintah "center" agar tulisan berada di posisi tengah form/bingkai :
</marquee>
<center>
Semoga bermanfaat!
<marquee direction="up" onmouseover="this.stop()" width="200" scrollamount="1" onmouseout="this.start()" height="100">Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>Kalimat Anda<br>
</marquee>
</center>
ke.. 
sekarang kita membahas cara mengganti Logo Rock Legends tanpa Street Cred..
Yg perlu kamu lakukan ..
- Download Add-Ons Di sini
- Setelah itu kmu Instal, dan Restart Firefox nya..
- Cari gambar yg akan di jadikan logo ( GIF, JPG, PNG, dll )
- Copy Link gambar tersebut, ( ato simpen dulu di Notepad )
- Login Facebook
- Buka App Rock Legends nya
- Click Home ato Your Band, lalu edit
- Dan keluar gambar seperti ini
- Lalu Click Toolbar Firefox View > Sidebar > Tamper Data
- Click STAR TAMPER
- Pada Edit Your Band langsung Click Save Changes Terus Click Tamper
- Lihat pada gambar kanan
- Lalu paste Link Gambar yg udah kmu siapin tadi di icon_url, lalu Click OK dan STOP TEMPER. Tunggu Loading selesai dan lht Band kmu..
- Lalu...
::Skips shooting Program::
1. Warm up
2. Stretch
3. Shoot 100 shots from anywhere on the court.
4. Make 15 right hand lay ups
5. Make 15 left hand lay ups
6. Make 15 right hand finger rolls
7. Make 15 left hand finger rolls
8. Make 15 reverse lay ups with right hand
9. Make 15 left hand reverse lay ups
10. Shoot 15 free throws
11. Water break-5 minutes
12. Form shooting inside five feet (concentrate on perfect form and not hitting the rim.)-30 shots.
13. Form shooting between 5 and 15 feet. (Concentrate on perfect form and not hitting rim.)-35 shots.
14. Spin pass into your shot from anywhere on the court-35 shots
15. Spin pass into your shot from each baseline inside 3-point arc. (Spin pass from block, catch the ball, pivot and shoot, get rebound and repeat from other side.)-35 shots.
16. Spin pass into your shot from right wing to left wing-30 shots
17. Spin pass into your shot from the key area-30 shots
18. Spin pass into your shot with one-shot fake and a dribble-30 shots
19. Shoot free throws-15 shots
20. Water break-5 minutes
21. Jump shot with dribble- 30 shots
22. Jump shot with a special move (i.e. crossover, spin move, etc..)-20 shots
23. Speed dribble into jump shot-10 shots
24. Change of pace-10 shots
25. Stutter-10 shots
26. Inside out-10 shots
27. Crossover-10 shots
28. Shoot 15 free throws
29. Water break-5 minutes
30. Creative Shots-20 shots
30. 3-pointers-35 shots
31. Beat the Rival- to 10 points
32. Shoot 100 jumpers, rcord your score and try to beat it every day.
33. Shoot 100 free throws, record your score and try to beat it every day.
Bag the Groceries
1. Put the ball in your shirt
2. Hit it out
Leg Lift
1. Dribble behind your back
2. Now bend one leg back and dribble under the shin of that leg
3. Keep doing this swicthing legs
Ball Wrap
1. With the ball in your right, bring it over to the left a bit
2. Now put your left hand on the right side of the ball
3. Now lightly toss the ball over your left hand and move your right hand back to catch it
Step Over
1. With the ball in your right, dribble it around your back so it will come out on the left side, make sure the dribble is real low
2. Now when the ball comes out, step over the ball with your right leg by bringing it accross and stepping on the left side of the ball
3. Now pick it up
Blaze Twist (by Johny Blaze from the notic)
1. With the ball in your right, bring it to the right side
2. Now bring it up by your left shoulder and swing it a lil bit behind your head but keep your arm in front fo your face
3. Once the ball gets to the right sholder drop it
4. Now spin on the left going counter clock wise
5. Grab the ball with your right
Blaze Back Twist (by Johny Blaze from the notic)
1. With the ball in your right, bring it over to the left a bit and at the same time jump a 360 counter clockwise
2. When your back is towards where you were facing before (like the imaginary D) lift your leg up (either one) and put the ball under it to the left hand
3. Land the spin facing fowards again and the ball should be in
Fire Blaze (by Johny Blaze from the notic)
1. With the ball in your right, bring it to the right side
2. Now bring it up by your left shoulder and swing it a lil bit behind your head but keep your arm in front fo your face
3. Once the ball gets to the right sholder drop it
4. Now spin on the left going counter clock wise
5. Grab the ball with your right
Banna Split (by Goosebumps from the notic)
1. Lift your left leg up and with the ball in your right put it under it and throw it up a lil bit behind your back
2. Now move over to the left so the ball will be behind your back and at the same time catch the ball with your right hand by reaching it bakc
3. Once u catch it let it bounce once on the right
4. Turn around clockwise and grab the ball with your left
Goosebumps (by Goosebumps from the notic)
1. With the ball in your left, toss it out to the left a bit
2. Now with your right, reach over and grab the ball by the top and cup it
3. Bring it bakc while and then put it behind your back to the left while spinning in the direction that it brings you
Dream Weaver (by Hope Dreams from the notic)
1. With the ball in your right, bring it under your left arm and behind you and throw it up back to your right side
2. Now with your left reach under your right arm and catch the ball
3. Now throw it back up to the left side and wit your right, bring it under your left arm and catch it
4. Etc.
Dream Roll (by Hope Dreams from the notic)
1. Sit on the ball
2. Now put your right hand down on the ground and roll away from the ball towards the left and at the same time start to roll over onto your stomach while on the ball
3. So the stomach went from under your butt to now under your stomach, now just flip off
Kick Off (by Hope Dreams from the notic)
1. Toss the ball towards your feet
2. Now kick it right back to you
Dragon Breath (by Goosebumps from the notic)
1. Do the dragon walk (found in the hot sauce moves page)
2. Now once you step over the ball with a foot, make a half turn so you are facing the opposite direction as you were when u started
3. Now continue doing the dragon walk but backwards
Dragon Claws (by Dazid Dazzle from the notic)
1. Roll the ball on the ground
2. Now with your right foot, bring it over to the left side and move it forward and around the ball back to the right side
3. Now do the same thing with your left foot but bring it to the right side and around back to the left
4. Keep doing it for as long as you like
HOW TO MAKE FREESTYLEZ
Freestylez are almost something natural. It's just showing off. Dribbling around. It's best if you have your own style of freestyling. Here are some tips to help you make some up
+ dribble in different positions
+ dribbling in and out of your leg
+ throwing the ball up and doing something
+ rolling on the ground
+ and whatever else you can think of
Hurricane
(Optional) Cross through your legz to your opposite hand
(Optional) Catch it with the other hand with your arms stretched out making your body an X
1. Bring the ball to the opposite side (where the ball originally started) and throw it under that leg back to the same hand
Flinstone Shuffle
1. With the ball in your right start driving left and throw the ball on his left side so he dosen’t see it
2. When you throw the ball flick your wrist down giving it a little backspin, keep driving so he will keep guarding you
3. After about 3 steps of driving shuffle back to his left side (your right and get the ball)
4. He should stumble back to keep up with you
Dragon/kat walk
1. Let the ball roll/bounce on the ground
2. Your right foot and step over the ball to the left side of it
3. Now take your left foot and bring it over the ball to the right side, etc
4. Keep doing it until you reach near the D
5. Now stop doing the walk and tap the ball through his legs and go around and get it
Hypnotizer
1. Get the D low and reaching for the ball
2. Bring the ball behind your back with one hand and throw it over both of your heads so it will land behind him. Do this with one hand and make sure he dosen’t see you do it
3. Fake dribble a little bit to confuse him and go around and get the ball
Jacknife
1. Get the D low
2. Bring the ball around his head and hold it behind it with both hands
3. Now throw it up towards the left and a little bit backwards
4. Now run forward to the right like if you have the ball and driving
5. Stop and come back and get the ball while he stumbles back onto D
Backstabber
1. Get the D low
2. Bring the ball around him and nail it on his shoulder blade
3. Hold it there and he won’t be able to reach it
4. When you feel like it take it off and get the ball
IF HE TURNS AROUND
5. Turn with him
6. This way he can’t get the ball even if he tries to turn around to get it
Ice
1. Get the D’s legz open
2. Bring the ball to the opposite side you have it in right now and throw it through his legs
3. Go around on the side you did the move and get the ball
Boomerang
1. Get the D low
2. Once he is bring the ball behind him, reach kinda far out
3. Now give it a flick so it will come back to you
4. Stand back and catch it
5. He should turn around, now you can throw it off his back or butt and get it again
Sauce 2k/Air Shamgod
1. Toss the ball up with one hand
2. Now before it reaches below your waits bring the opposite arm over and catch it under the ball bring it back to the side that u caught it
UFO
1. With the ball in your right, bring it over to the right side of the D's head (your left)
2. Now bring it behind his head just a lil bit and throw it up
3. Now quickly throw it up and drive to the left
4. step back and get the ball while he stumbles back on D
Slo mo cross
1. Ring the ball down like you are about to dribble through your legs reall slow
2. Suddenly when you are about to dribble speed up
Stiff leg cross
1. Your cross between your legs a couple of times
2. Pretend your gonna do it again but bring the ball and hold it on the side of your inner thigh while you bring your arm under like you crossed. try flinging the arm that you are not doing the move to like u just got the cross
3. They should move to the direction u "crosses" and just take the ball and go pass them on the other side.
Pick-up
1. Roll the ball around on the ground
2. Now slap the ball near the front having it to snap into your wrist
3. Now just kinda reach under the ball and pick it up, this is done extremely fast
Ball on head
1. Get the D low
2. Bring the ball and put it on his head
3. Roll it off back to you
Boomatwist
1. Get close to the hoop
2. Throw the ball at the board spin to the direction you kinda threw yourself into (example if I threw the ball with right I would spin left)
3. Once u finish the spin the ball should bounce off and come back to you
4. Catch it and the D should be confused
Hands up
1. Bring the ball up with your palm on the bottom
2. When it's about to hit his face kinda swing the ball upside down so ur hand is ontop
3. The D should just jump bak or put their hands up
phantom
1. Put your shirt over your face.head and play normally
Callin u out
1. Play with a cell phone
Phantom
1. Play with your shirt over your head
Twister/Tornado
1. Get the D low
2. Bring the ball over their head and continue spinning towards that direction bringin the ball with you
3. Once u finish the spin he should turn around
Twister II/Tornado II
1. Do the twister/tornado
2. This time once u finish the spin put the ball in your shirt
3. Then hit it out
Reflector
1. Do the Sauce2k except when you catch it, catch it on the outer side of the ball like your hitting/reflecting it back to you
Back Paddle
1. Do inside out dribbles behind your back like faking your gonna put it thru your legs from back to front, do this a couple of times
2. Now cross behind your back and blow pass him or roll it thru both your legs and go get it
U-Turn
1. With the ball in your right, go right like you are driving
2. Now bring the ball over to your left side and bounce it back where u came from and at the same time turn the opposite way back to where you started
Butter Roll
1. Slam the ball on the ground
2. Roll it a little bit and then do the pickup
3. Right after you pick it up slam it down again, do the pickup, slam it down, etc
1. jaga jarak.
2. kuda-kuda defense diperkuat kalo gak kamu bisa jatuh.
3. no look eyes, jangan pernah melihat mata, karena mata bisa menghipnotis, seperti pesulap yang bisa menghipnotis hanya dengan mempengaruhi matanya
4. low defense, posisi badan saat defense lebih merendah seperti dribling
5. no steal, jangan coba2 untuk steal, bisa-bisa kamu kena ankle breaker
6. gerakan tangan siap mengantisipasi trick.
7. baca kelemahan lawan, tangan mana yang menurut kamu lemah dalam driblingnya,atau kekurangan lawan apa, kalo di gak punya shooting bagus ngapain menempel ketatnya.
mungkin ini bisa bermanfaat, jangan mau kena trick lawan!
Spot the difference
Can birds raised in complete isolation evolve “normal” species song over generations?
Cold Spring Harbor, NY – During infancy, each of us emerges from a delightful but largely incoherent babble of syllables and learns to speak – normally, in the language of those who care for us. But imagine what would happen if we were somehow raised in utter isolation from other people, not only our parents but also from surrogates such as nurses and nannies. What sort of culture might we evolve if reared in isolation? Would we learn to speak? Would such a language evolve over multiple generations? If so, would it eventually resemble existing ones?Such an experiment is not practical to conduct in humans, but an analog has been performed among a species of songbirds called zebra finches. The study, which will appear online ahead of print on May 3rd in the journal Nature, provides new insights into how genetic background, learning abilities and environmental variation might influence how birds evolve "song culture" —and provides some pointers to how languages may evolve.
The study confirms that zebra finches raised in complete isolation do not sing the same song as they would if raised normally, i.e., among other members of their species. It breaks new ground in showing that progeny of these "odd birds," within several generations, will introduce improvisations that bring their song into conformity with those of "wild-type" zebra finches, i.e., those raised under normal cultural conditions. The study is the product of a collaboration between Professor Partha Mitra and Haibin Wang of Cold Spring Harbor Laboratory (CSHL) and Olga Feher, Sigal Saar and Ofer Tchernichovski at City College New York (CCNY).
Bringing culture into the laboratory
Young zebra finches learn to sing by imitating adult male songbirds. But when raised in isolation, the young sing a raspy, arrhythmic song that's different from the song heard in the wild. To find out what happens to this "isolate song" over generations, the scientists designed experiments in which these isolated singers passed on their song to their progeny, which in turn tutored the next generation, and so on. The tutors were either paired one-on-one with their progeny, or to mimic a more natural social setting, introduced into a colony of females (who, as it happens, do not sing) and allowed to breed for a few generations.
The team found that in either social setting, birds of every successive generation imitated their tutor's song but also modified it with small, systematic variations. These improvisations weren't random, however. Accumulating over generations, the introduced changes began to bring the innate, "isolate" song into approximate conformity with the song learned within normal zebra finch "society." (This "cultured" song has been labeled "wild-type" by the scientists.) By the 4th or 5th generation, birds that were descendents of the experimental "isolates" were singing songs that very closely resembled the song sung by birds raised under social conditions in the wild.
"What is remarkable about this result is that even though we started out with an isolated bird that had never heard the wild-type, cultured song, that's what we ended up with after generations," explains Mitra. "So in a sense, the cultured song was already there in the genome of the bird. It just took multiple generations for it to be shaped and come about."
"People have theorized long and hard about how the evolutionary process applies to culture," he says. "This experiment takes culture and puts it into a laboratory setting. We've tested some questions, asked by others over many years, in a mathematically and experimentally crisp manner and come up with a concrete answer."
Model motivations
What the results also mean, according to Mitra, is that the cultured song that's heard in the wild is the product of genes and learning – a combination of innate song that would be learned even in isolation, and the effects of a learning process iterated over multiple generations. This insight was initially a hypothesis that Mitra developed to address a conundrum familiar to scientists studying songbirds.
Scientists have known for decades that the "innate" song of an isolated songbird is different from the "learned" song of a songbird that was tutored by an adult. But where did that adult tutor's song come from? Obviously from it's own father, but where did this passed-down song originate? "This is a classic chicken-and-egg problem," says Mitra.
He hypothesized that if the song of an isolated songbird were transmitted over multiple generations, the normal wild-type song would somehow spontaneously emerge. Using what mathematicians call a "recursive equation," he came up with a mathematical model of how this might happen. This model, combining ideas from the literature on cultural evolution and quantitative genetics, tries to quantify the relative contributions of the songbird's genetic background, learning ability and environmental factors to the emergence of the cultured song.
Multigenerational progress towards song culture
To experimentally test his hypothesis, Mitra five years ago approached his long-time collaborator, Professor Ofer Tchernichovski, Ph.D., a songbird biologist at CCNY. Tchernichovski and his graduate student Olga Feher took up the experimental challenge, raising songbirds in soundproof boxes and collecting audio and video recordings of their subjects. Mitra and CSHL postdoctoral fellow Haibin Wang in turn analyzed these recordings, comprising a large dataset of several terabytes, which show that the innate song of an isolated bird is gradually transformed over multiple generations into a song that closely resembled the song normally found in the wild.
"I was more pleased than surprised with the experimental data," admits Mitra. "I came in with a strong bias that wild-type song culture would spontaneously emerge." His colleagues, the experimentalists, were careful to design the study to rule out potential artifacts. "There were all manner of environmental factors – the presence of the females, for instance – that could have changed the outcome and resulted in the emergence of a completely new song culture," Mitra says.
This work, the scientists maintain, now provides a unified experimental framework for researchers studying topics as diverse as cultural evolution, neuroethology (biology of song development) and quantitative genetics. "We've provided a starting point to explore the biology of cultural transmission in the laboratory," says Mitra. Read More..
TALLAHASSEE, Fla. -- For decades, a debate has simmered in the educational community over the best way to teach children how to read. Proponents of phonics, the "whole language and meaning" approach and other teaching methods long have battled for dominance, each insisting that theirs is the superior strategy.
Now, a Florida State University researcher has entered the fray with a paper in the prestigious journal Science that says there is no one "best" method for teaching children to read.
Carol M. Connor is an assistant professor in the FSU College of Education and a researcher with the Florida Center for Reading Research. Along with colleagues from FSU and the University of Michigan, she wrote "Algorithm-Guided Individualized Reading Instruction," published in Science’s Jan. 26 issue. (The magazine is available online to subscribers at www.sciencemag.org.) Connor’s paper shows that lots of individualized instruction, combined with the use of diagnostic tools that help teachers match each child with the amounts and types of reading instruction that are most effective for him or her, is vastly preferable to the standard "one size fits all" approach to reading education that is prevalent in many American elementary schools.
"There is too much of a tendency in education to go with what ‘sounds’ really good," Connor said of various educational trends that come into and fall out of fashion. "What we haven’t done very well is conduct comprehensive field trials and perform the rigorous research that are the norm in other fields of science. With this study, we sought to do just that — to take a systematic approach to what works, what doesn’t, and why" when teaching students to read.
The researchers found that "the efficacy of any particular instructional practice may depend on the skill level of the student. Instructional strategies that help one student may be ineffective when applied to another student with different skills." The trick, then, is to more precisely determine the reading skill level of each child and then find a way to cater the curriculum to each student’s individual needs.
"Instead of viewing the class as an organism, we’re trying to get teachers to view the students as individuals," Connor said.
While that may sound daunting to the typical first- or second-grade teacher, Connor has turned to technology to offer a helping hand. She, Frederick J. Morrison and Barry Fishman, professors at the University of Michigan, have developed "Assessment to Instruction," or A2i, a Web-based software program. A2i uses students’ vocabulary and reading scores and their desired reading outcome (i.e. their grade level by the end of first grade) to create algorithms that compute the recommended amounts and types of reading instruction for each child in the classroom. The software then groups students based on learning goals and allows teachers to regularly monitor their progress and make changes to individual curricula as needed.
A2i currently is being tested by about 60 elementary-school teachers in one Florida county. However, "right now A2i is just a research tool," Connor said. "Hopefully we’ll be able to make it available more widely as time goes on."
Chronic reading problems and depression appear to be related, especially among low-income children, and the reading problems precede the depression.
A new study done by researchers at the University of Delaware and West Chester University of Pennsylvania found that low-income children who take part in reading assistance programs in fifth grade are more depressed, anxious, and withdrawn than their peers, especially when they have chronic reading problems. The study is reported in the March-April 2007 issue of the journal Child Development.
Children from low-income families often have difficulties in reading and math achievement in early elementary school, and these problems increase as they rise in grade level. This study sought to determine if and when reading difficulties are associated with emotional distress.
The researchers looked at 105 4- to 12-year-old children who took part in a longitudinal study of the emotional development of disadvantaged children. Mothers and teachers provided information about reading assistance when the children were in the third and fifth grades, achievement scores documented reading difficulty, teachers rated problem behaviors in school that reflect emotional distress, and the children reported about their own recent negative emotional experiences, including sadness, shame, and fear. The study took into consideration children’s verbal abilities and family income.
Researchers found that fifth grade reading problems were associated with increases in emotional distress from third to fifth grade. Children in reading assistance programs in fifth grade showed more distressed behaviors than those in third grade, whether or not they were in reading programs at that time. And children who were in reading programs in both third and fifth grades were the most distressed.
These children also reported especially high levels of negative emotional experiences. The results tie the emotional distress to developmental changes in children’s understanding of academic ability between 9 and 12 years of age.
“Much research documents the common academic difficulties of economically disadvantaged children,” according to Brian P. Ackerman, professor of psychology at the University of Delaware and lead author of the study. “Little is known, however, about the emotional impact of these difficulties and participation in remediation programs, or whether the impact changes with age.
“Our results suggest that such difficulties have special emotional significance for preadolescent children, but perhaps not for younger children, and that attending to the emotional impact could help prevent school disengagement for disadvantaged children.”
West Lafayette, IN – July 9, 2008 – Researchers led by Steven R. Wilson of Purdue University videotaped forty mothers as they completed a ten minute play period with one of their children between the ages of three and eight years. The mothers then completed a series of questionnaires including the Verbal Aggressiveness Scale.
Mothers who scored higher on the self-reported VA Scale engaged in more frequent directing of their child's behavior during the play activities. These mothers were more likely to control activity choices as well as the pace and duration of activities. High VA mothers did so repeatedly and in a manner that tended to enforce an activity choice they had made. Low VA mothers were more likely to follow their child's lead or seek their child's input about choice of activity.
High VA mothers used physical negative touch (PNT) when trying to change their child's actions. Examples of parental PNT by high VA mothers included restraining a child by the shoulder or the wrist to prevent him or her from reaching a toy. No instances of PNT occurred for low VA mothers.
In addition, children with low VA mothers displayed virtually no resistance to their mother's directives. Children with high trait VA mothers occasionally resisted their mothers' directives, though this resistance tended to be indirect and short-lived.
"Our study has implications for parenting classes and interventions," the authors conclude. "In addition to talking about why it is important for parents to avoid lots of verbally aggressive behavior to avoid damaging their child's self-esteem, parents who have this tendency also need to learn how to follow their child's lead and read their child's signals, as opposed to just taking over the play period themselves."
Two studies that appear in the August/October 2005 issue of Current Anthropology challenge established linguistic theories regarding the language families of Amazonia.
New research by Dan Everett (University of Manchester) into the language of the Pirahã people of Amazonas, Brazil disputes two prominent linguistic ideas regarding grammar and translation. The Pirahã are intelligent, highly skilled hunters and fishers who speak a language remarkable for the complexity of its verb and sound systems. Yet, the Pirahã language and culture has several features that not known to exist in any other in the world and lacks features that have been assumed to be found in all human groups. The language does not have color words or grammatical devices for putting phrases inside other phrases. They do not have fiction or creation myths, and they have a lack of numbers and counting. Despite 200 years of contact, they have steadfastly refused to learn Portuguese or any other outside language. The unifying feature behind all of these characteristics is a cultural restriction against talking about things that extend beyond personal experience. This restriction counters claims of linguists, such as Noam Chomsky, that grammar is genetically driven system with universal features. Despite the absence of these allegedly universal features, the Pirahã communicate effectively with one another and coordinate simple tasks. Moreover, Pirahã suggests that it is not always possible to translate from one language to another.
In addition, Alf Hornborg's (Lund University) research into the Arawak language family counters the common interpretation that the geographical distribution of languages in Amazonia reflects the past migrations of the inhabitants. At the time of Christopher Columbus, the Arawak language family ranged from Cuba to Bolivia. Yet, geneticists have been unable to find significant correlations between genes and languages in the Amazonia. Moreover, Arawakan languages spoken in different areas show more similarities to their non-Arawakan neighbors than to each other, suggesting that they may derive from an early trade language. As well, Arawak languages are distributed along major rivers and coastlines that served as trade routes, and Arawak societies were dedicated to trade and intermarriage with other groups. But, the dispersed network of Arawak-speaking societies may have caused ethnic wedges between other, more consolidated language families with which they would have engaged in trade and warfare. Finally, there is increased evidence that language shifts were common occurrences among the peoples of Amazonia and were used as a way to signal a change in identity, particularly when entering into alliances, rather than migratory movement.
While communication may be recognized as a universal phenomenon, differences between languages -- ranging from word-order to semantics -- undoubtedly remain as they help to define culture and develop language. Yet, little is understood about similarities and differences in languages around the world and how they affect communication. Recently, however, two studies have emerged that aid in our understanding of cross-linguistic distinctions in language usage.
In a study examining the contrast in cross-cultural languages, known as cross-linguistics, researchers from CNRS and Université de Provence, and Harvard and Trento Universities found direct evidence to support word-order constraints during language production. Specifically, the way in which participants pronounced a set of words was dependent upon the preceding word as it varied across languages.
Psychologists Niels Janssen, F. Xavier Alario and Alfonso Caramazza presented French- and English-speaking individuals with colored objects and noted that, when the sounds were compatible, participants found color easier to pronounce than object names. For example, the object ‘rake’ in English was easier to pronounce when it was colored red than when it was colored blue, a finding that only held true for English speakers.
For French speakers, ‘râteau,’ meaning ‘rake,’ was as easy to pronounce in red as in blue, suggesting that the object-before-color syntax in French played a large part in language production.
These findings, which appear in the March 2008 issue of Psychological Science, a journal of the Association for Psychological Science, provide insight into how word-order affects language production: “No matter how complex our thoughts, when we express them in speech, we produce them one by one,” explained Janssen. “And, the order in which these words should be uttered follows tight linguistic rules in many languages. As a result, each word is affected by its predecessor.”
However, language use is not only constrained by word-order but by meaning as well. In collaboration with researchers Mutsumi Imai, Eef Ameel, Naoaki Tsuda and Asifa Majid from universities in Japan, Belgium and The Netherlands, psychologists Barbara C. Malt from Lehigh University and Silvia Gennari from the University of York investigated whether participants speaking various languages identified two different words to distinguish between the acts of walking and running.
English-, Japanese-, Spanish- and Dutch-speaking individuals watched video clips of a student moving on a treadmill at different slopes and speeds. According to past research, English and Dutch verbs tend to express manner of motion, and Spanish and Japanese verbs tend to express direction of motion; these variations assure that any shared patterns in naming could not be attributed to structural similarities.
Despite the vast differences between the four languages, however, all participants used distinct words to describe when the student was walking and to identify precisely when she began running. These results, which also appear in the March 2008 issue of Psychological Science, indicate cross-linguistic commonalities in naming patterns for locomotion and help to support the notion of certain universal rules and constraints in all languages.
“We found that converging naming patterns reflect structure in the world, not only acts of construction by observers,” Malt stated. “On a broader level, the data reveal a shared aspect of human experience that is present across cultures and reflected in every language.”
Fundamental concepts
Lexemes and word forms
The term "word" is ambiguous in common usage. To take up again the example of dog vs. dogs, there is one sense in which these two are the same "word" (they are both nouns that refer to the same kind of animal, differing only in number), and another sense in which they are different words (they can't generally be used in the same sentences without altering other words to fit; for example, the verbs is and are in The dog is happy and The dogs are happy).The distinction between these two senses of "word" is arguably the most important one in morphology. The first sense of "word," the one in which dog and dogs are "the same word," is called lexeme. The second sense is called word-form. We thus say that dog and dogs are different forms of the same lexeme. Dog and dog-catcher, on the other hand, are different lexemes; for example, they refer to two different kinds of entities. The form of a word that is chosen conventionally to represent the canonical form of a word is called a lemma, or citation form.
Inflection vs. word-formation
Given the notion of a lexeme, it is possible to distinguish two kinds of morphological rules. Some morphological rules relate different forms of the same lexeme; while other rules relate two different lexemes. Rules of the first kind are called inflectional rules, while those of the second kind are called word-formation. The English plural, as illustrated by dog and dogs, is an inflectional rule; compounds like dog-catcher or dishwasher provide an example of a word-formation rule. Informally, word-formation rules form "new words" (that is, new lexemes), while inflection rules yield variant forms of the "same" word (lexeme).There is a further distinction between two kinds of word-formation: derivation and compounding. Compounding is a process of word-formation that involves combining complete word-forms into a single compound form; dog-catcher is therefore a compound, because both dog and catcher are complete word-forms in their own right before the compounding process was applied, and are subsequently treated as one form. Derivation involves affixing bound (non-independent) forms to existing lexemes, whereby the addition of the affix derives a new lexeme. One example of derivation is clear in this case: the word independent is derived from the word dependent by prefixing it with the derivational prefix in-, while dependent itself is derived from the verb depend.
The distinction between inflection and word-formation is not at all clear-cut. There are many examples where linguists fail to agree whether a given rule is inflection or word-formation. The next section will attempt to clarify this distinction.
Paradigms and morphosyntax
A paradigm is the complete set of related word-forms associated with a given lexeme. The familiar examples of paradigms are the conjugations of verbs, and the declensions of nouns. Accordingly, the word-forms of a lexeme may be arranged conveniently into tables, by classifying them according to shared inflectional categories such as tense, aspect, mood, number, gender or case. For example, the personal pronouns in English can be organized into tables, using the categories of person, number, gender and case.The inflectional categories used to group word-forms into paradigms cannot be chosen arbitrarily; they must be categories that are relevant to stating the syntactic rules of the language. For example, person and number are categories that can be used to define paradigms in English, because English has grammatical agreement rules that require the verb in a sentence to appear in an inflectional form that matches the person and number of the subject. In other words, the syntactic rules of English care about the difference between dog and dogs, because the choice between these two forms determines which form of the verb is to be used. In contrast, however, no syntactic rule of English cares about the difference between dog and dog-catcher, or dependent and independent. The first two are just nouns, and the second two just adjectives, and they generally behave like any other noun or adjective behaves.
An important difference between inflection and word-formation is that inflected word-forms of lexemes are organized into paradigms, which are defined by the requirements of syntactic rules, whereas the rules of word-formation are not restricted by any corresponding requirements of syntax. Inflection is therefore said to be relevant to syntax, and word-formation not so. The part of morphology that covers the relationship between syntax and morphology is called morphosyntax, and it concerns itself with inflection and paradigms, but not with word-formation or compounding.
Allomorphy and morphophonology
In the exposition above, morphological rules are described as analogies between word-forms: dog is to dogs as cat is to cats, and as dish is to dishes. In this case, the analogy applies both to the form of the words and to their meaning: in each pair, the first word means "one of X", while the second "two or more of X", and the difference is always the plural form -s affixed to the second word, signaling the key distinction between singular and plural entities.One of the largest sources of complexity in morphology is that this one-to-one correspondence between meaning and form scarcely applies to every case in the language. In English, we have word form pairs like ox/oxen, goose/geese, and sheep/sheep, where the difference between the singular and the plural is signaled in a way that departs from the regular pattern, or is not signaled at all. Even cases considered "regular", with the final -s, are not so simple; the -s in dogs is not pronounced the same way as the -s in cats, and in a plural like dishes, an "extra" vowel appears before the -s. These cases, where the same distinction is effected by alternative changes to the form of a word, are called allomorphy.
There are several kinds of allomorphy. One is pure allomorphy, where the allomorphs are just arbitrary. Other, more extreme cases of allomorphy are called suppletion, where two forms related by a morphological rule cannot be explained as being related on a phonological basis: for example, the past of go is went, which is a suppletive form.
On the other hand, other kinds of allomorphy are due to the interaction between morphology and phonology. Phonological rules constrain which sounds can appear next to each other in a language, and morphological rules, when applied blindly, would often violate phonological rules, by resulting in sound sequences that are prohibited in the language in question. For example, to form the plural of dish by simply appending an -s to the end of the word would result in the form *[dɪʃs], which is not permitted by the phonotactics of English. In order to "rescue" the word, a vowel sound is inserted between the root and the plural marker, and [dɪʃəz] results. Similar rules apply to the pronunciation of the -s in dogs and cats: it depends on the quality (voiced vs. unvoiced) of the final preceding phoneme.
The study of allomorphy that results from the interaction of morphology and phonology is called morphophonology. Many morphophonological rules fall under the category of sandhi.
Lexical morphology
Lexical morphology is the branch of morphology that deals with the lexicon, which, morphologically conceived, is the collection of lexemes in a language. As such, it concerns itself primarily with word-formation: derivation and compounding.Models of morphology
There are three principal approaches to morphology, which each try to capture the distinctions above in different ways. These are,- Morpheme-based morphology, which makes use of an Item-and-Arrangement approach.
- Lexeme-based morphology, which normally makes use of an Item-and-Process approach.
- Word-based morphology, which normally makes use of a Word-and-Paradigm approach.
Morpheme-based morphology
In morpheme-based morphology, word-forms are analyzed as sequences of morphemes. A morpheme is defined as the minimal meaningful unit of a language. In a word like independently, we say that the morphemes are in-, depend, -ent, and ly; depend is the root and the other morphemes are, in this case, derivational affixes.[1] In a word like dogs, we say that dog is the root, and that -s is an inflectional morpheme. This way of analyzing word-forms as if they were made of morphemes put after each other like beads on a string, is called Item-and-Arrangement.The morpheme-based approach is the first one that beginners to morphology usually think of, and which laymen tend to find the most obvious. This is so to such an extent that very often beginners think that morphemes are an inevitable, fundamental notion of morphology, and many five-minute explanations of morphology are, in fact, five-minute explanations of morpheme-based morphology. This is, however, not so. The fundamental idea of morphology is that the words of a language are related to each other by different kinds of rules. Analyzing words as sequences of morphemes is a way of describing these relations, but is not the only way. In actual academic linguistics, morpheme-based morphology certainly has many adherents, but is by no means the dominant approach.
Applying a strictly morpheme-based model quickly leads to complications when one tries to analyze many forms of allomorphy. For example, the word dogs is easily broken into the root dog and the plural morpheme -s. The same analysis is straightforward for oxen, assuming the stem ox and a suppletive plural morpheme -en. How then would the same analysis "split up" the word geese into a root and a plural morpheme? In the same manner, how to split sheep?
Theorists wishing to maintain a strict morpheme-based approach often preserve the idea in cases like these by saying that geese is goose followed by a null morpheme (a morpheme that has no phonological content), and that the vowel change in the stem is a morphophonological rule. Also, morpheme-based analyses commonly posit null morphemes even in the absence of any allomorphy. For example, if the plural noun dogs is analyzed as a root dog followed by a plural morpheme -s, then one might analyze the singular dog as the root dog followed by a null morpheme for the singular.
Lexeme-based morphology
Lexeme-based morphology is (usually) an Item-and-Process approach. Instead of analyzing a word-form as a set of morphemes arranged in sequence, a word-form is said to be the result of applying rules that alter a word-form or stem in order to produce a new one. An inflectional rule takes a stem, changes it as is required by the rule, and outputs a word-form; a derivational rule takes a stem, changes it as per its own requirements, and outputs a derived stem; a compounding rule takes word-forms, and similarly outputs a compound stem.The Item-and-Process approach bypasses the difficulties inherent in the Item-and-Arrangement approaches. Faced with a plural like geese, one is not required to assume a null morpheme: while the plural of dog is formed by affixing -s, the plural of goose is formed simply by altering the vowel in the stem.
Word-based morphology
Word-based morphology is a (usually) Word-and-Paradigm approach. This theory takes paradigms as a central notion. Instead of stating rules to combine morphemes into word-forms, or to generate word-forms from stems, word-based morphology states generalizations that hold between the forms of inflectional paradigms. The major point behind this approach is that many such generalizations are hard to state with either of the other approaches. The examples are usually drawn from fusional languages, where a given "piece" of a word, which a morpheme-based theory would call an inflectional morpheme, corresponds to a combination of grammatical categories, for example, "third person plural." Morpheme-based theories usually have no problems with this situation, since one just says that a given morpheme has two categories. Item-and-Process theories, on the other hand, often break down in cases like these, because they all too often assume that there will be two separate rules here, one for third person, and the other for plural, but the distinction between them turns out to be artificial. Word-and-Paradigm approaches treat these as whole words that are related to each other by analogical rules. Words can be categorized based on the pattern they fit into. This applies both to existing words and to new ones. Application of a pattern different than the one that has been used historically can give rise to a new word, such as older replacing elder (where older follows the normal pattern of adjectival superlatives) and cows replacing kine (where cows fits the regular pattern of plural formation). While a Word-and-Paradigm approach can explain this easily, other approaches have difficulty with phenomena such as this.Morphological typology
In the 19th century, philologists devised a now classic classification of languages according to their morphology. According to this typology, some languages are isolating, and have little to no morphology; others are agglutinative, and their words tend to have lots of easily-separable morphemes; while others yet are fusional, because their inflectional morphemes are said to be "fused" together. The classic example of an isolating language is Chinese; the classic example of an agglutinative language is Turkish; both Latin and Greek are classic examples of fusional languages.
Considering the variability of the world's languages, it becomes clear that this classification is not at all clear-cut, and many languages do not neatly fit any one of these types. However, examined against the light of the three general models of morphology described above, it is also clear that the classification is very much biased towards a morpheme-based conception of morphology. It makes direct use of the notion of morpheme in the definition of agglutinative and fusional languages. It describes the latter as having separate morphemes "fused" together (which often does correspond to the history of the language, but not to its synchronic reality).
The three models of morphology stem from attempts to analyze languages that more or less match different categories in this typology. The Item-and-Arrangement approach fits very naturally with agglutinative languages; while the Item-and-Process and Word-and-Paradigm approaches usually address fusional languages.
The reader should also note that the classical typology also mostly applies to inflectional morphology. There is very little fusion going on with word-formation. Languages may be classified as synthetic or analytic in their word formation, depending on the preferred way of expressing notions that are not inflectional: either by using word-formation (synthetic), or by using syntactic phrases (analytic) Read More..
