Baimin – About Festivals

Two recordings in which Mr Baimin Mungre talks about festivals. This consists of two sound files: nst-mun_20170106_03_SM_H5_Baimin_AboutFestivals nst-mun_20170106_04_SM_H5_Baimin_AboutFestivals The details of these recordings are as follows: nst-mun_20170106_03_SM_H5_Baimin_AboutFestivals_Duration 4’27”, About the festivals – based on the reading of Dewar (1931: 293). Tsam Wi is the first festival.. nst-mun_20170106_04_SM_H5_Baimin_AboutFestivals_Duration 5’01”, About the festivals. He lists the Tsam Yang Phaw, Sam Jaq Toq, Lam Re, Tsam Ran Roq, the Seiqrin Kok, then Buffalo sacrifice, then Deq Toq. At the time of Seiqrin Koq, they will sing the Wihu Shi. There is one more Wu Tai Kok/ At 1’12” he gives the order of festivals as Tsam (Yang) Phaw, Mol, Wu Tai Kok, Tsam Yaq Toq, Lam Re, Tsam Ran and Tsam Ran Roq, the Seiqrin Kok. In total there were 7. The Wu Tai Kok was only celebrated by the Mungre and ran for 7 days, and neighbouring villages were warned that they could not enter during those 7 days; if they wanted to come and stay they must come in advance and stay for all the 7 days. If unknowingly they come in the middle they must stay to the end. If they try to leave early, they will kill them. During this festival they tell the whole history of their people – the do not sing it. They tell of the story of old battles and explain about moving villages and the meaning of the skulls. They may say that from Haqlum village so many men were killed and they can witness these skulls. And while telling men keep the dao on the left side and spear on the left side, showing their traditional dignity. Like this people can witness. Now without informing if some people came, they would be questioned and a traditional case might be filed

Baimin – About songs

One recording in which Mr Baimin Mungre talks about song sung by the Mungre. This consists of one sound file: nst-mun_20170106_02_SM_H5_Baimin_AboutSongs The details of this recording are as follows: nst-mun_20170106_02_SM_H5_Baimin_AboutSongs_Duration 9’42”, Names of songs which are sung by the Mungre: (1) Saqpolo, (2) Seqwi Shi / Wihau Shi, (3) Ngoyo Shi, also called Sheldong Shi, (4) Shammai Shi, (5) Waw Shi also De Taw Shi (slave cut song)– this is the sacrifice song which was practiced by the Mungre. The sacrifice would occur on the steps to the house, into the rin area, the sitting area, (6) House construction song We Dam Tvsang Shi We = bamboo floor tvsang means pressing down so that in future the family will not be disturbed. This is the song recorded by Kham Lann’s uncle. (7) No Chen Shi, lullabies. Then followed a discussion about other songs. Mulon, according to Baimin was from another tribe, he doesn’t know which. Mulon was a man who sang for the whole of his life. As for Wajom Shi, he said it might be Jiingi or Ronrang or Shangthi, he also spent his whole life singing. He had not heard about the Khixrenc Shi

Baimin – About Sahpolo

Three recordings in which Mr Baimin Muingray sings and talks about the Sahpolo song. This consists of 3 sound files: nst-mun_20140303_01_SM_H4n_Baimin_Sahpolo nst-mun_20140303_02_SM_H4n_Baimin_Sahpolo nst-mun_20140303_03_SM_H4n_Baimin_Sahpolo The details of these recordings are as followws: nst-mun_20140303_01_SM_H4n_Baimin_Sahpolo_Duration 3’04”, About the part of Sahpolo song which refers to the Konnu (Yawngkon) people. At that time the Hewa people and the Konnu were enemies. The line konnu konsa chha wang i means ‘let us go up to exploit the Konnu and Konsa.’ He pointed out that these days people want to be friends with them and it may not be approriate to sing this song in this way The earlier phrase refers to surveying konnu konsa la wang i (la ‘look’), first survey then exploit nst-mun_20140303_02_SM_H4n_Baimin_Sahpolo_Duration 1’28”, Singing a small section of the Sahpolo konnu konsa la wang i ‘Let us go and survey the Konnu and Konsa (area)’ pek mai mu le sa pi do lep wang i nst-mun_20140303_03_SM_H4n_Baimin_Sahpolo_Duration 2’13”, A further section of Sahpolo. Partly based on a second section that was given by Wanglung Mossang, but different in form. The meaning of the section was that the wild deer (chok pung) are reaching, with rope we are pulling down and then the elephants are coming It refers to the wik nu and la nu rivers there is the sound of water flowing over the stones making a soun

Baimin – Original Mungre villages

Three recordings in whcih Mr Baimin Mungre talks about the orginal Mungre villages. This consists of 3 sound files: nst-mun_20170106_01_SM_H5_Baimin_MapOfVillages nst-mun_20170106_05_SM_H5_Baimin_Villages nst-mun_20170106_06_SM_H5_Baimin_Villages The details of these recordings are as follows: nst-mun_20170106_01_SM_H5_Baimin_MapOfVillages_Duration 6’38”, Discussing the British map, NE ; he gives the name of the two Talai and Tacha; and the original village was Mungre Longkung. After the Mungre people left there, first came was the Chamkok; there is a Chamkok village near on the map. After the Chamkok the Langching came and then after that other Naga people. The word Tai means liquid and Lai means ‘flows directly, crossing direct’. Cha means a big stagnant, does not flow directly. This is reflected in the map. nst-mun_20170106_05_SM_H5_Baimin_Villages_Duration 2’00”, The girl’s dormitory is called lap piu and the boy’s lap pong. But at the same time. We discussed the villages of the Morang listed at Dewar 1931: 295 nst-mun_20170106_06_SM_H5_Baimin_Villages_Duration 2’16”, Discussing the Brief Notes of the Naga Hills, 1942, but we could not find the Morang there

Anong – Yam Tasang Song (New house song)

Two recordings in which Mr Anong sings and explains the Yam Tasang Song (New house song). This consists of two sound files: nst-mun_201301_03_BKL_H4n_Anawngs_YamTasangShis nst-mun_20140303_04_SM_H4n_Baimin_HouseBuildingSong The details of these recordings are as follows: nst-mun_201301_03_BKL_H4n_Anawngs_YamTasangShis_Duration 6’15”, Yam Tasang Shi – this sound is only sung by Mungre people. Recorded by Kham Lann in his own village. It is about when the new house building is finished, then this song is sung. Yam Tasang Shis nst-mun_20140303_04_SM_H4n_Baimin_HouseBuildingSong_Duration 2’58”, About the recording of the house building song from Bynn Kham Lann and Shu Maung

Research on Mechanism of Knowledge diffuseness in Technology Innovation

Technology innovation means the complete activity that begins with new idea from technology, passes through research and development or technologies combination, goes up to obtaining practical application and gives birth to the economic or social benefits. Its essence is the course of knowledge diffuseness. By the analysis on the phases in the course of technology innovation, we can design the mechanism of knowledge diffuseness in technology innovation from the following four parts: socialization, externalization, combination and internalization. It is helpful for people to understand in profound the course of technology innovation from the point of view of knowledge process.The original publication is available at JAIST Press http://www.jaist.ac.jp/library/jaist-press/index.htmlKICSS 2007 : The Second International Conference on Knowledge, Information and Creativity Support Systems : PROCEEDINGS OF THE CONFERENCE, November 5-7, 2007, [Ishikawa High-Tech Conference Center, Nomi, Ishikawa, JAPAN

Frontal Alpha Complexity of Different Severity Depression Patients

Depression is a leading cause of disability worldwide, and objective biomarkers are required for future computer-aided diagnosis. This study aims to assess the variation of frontal alpha complexity among different severity depression patients and healthy subjects, therefore to explore the depressed neuronal activity and to suggest valid biomarkers. 69 depression patients (divided into three groups according to the disease severity) and 14 healthy subjects were employed to collect 3-channel resting Electroencephalogram signals. Sample entropy and Lempel–Ziv complexity methods were employed to evaluate the Electroencephalogram complexity among different severity depression groups and healthy group. Kruskal–Wallis rank test and group t-test were performed to test the difference significance among four groups and between each two groups separately. All indexes values show that depression patients have significantly increased complexity compared to healthy subjects, and furthermore, the complexity keeps increasing as the depression deepens. Sample entropy measures exhibit superiority in distinguishing mild depression from healthy group with significant difference even between nondepressive state group and healthy group. The results confirm the altered neuronal activity influenced by depression severity and suggest sample entropy and Lempel–Ziv complexity as promising biomarkers in future depression evaluation and diagnosis