In here, I spread the seeds of multicultural love, peace, dance, and song. From Asia to America to the whole world, from the origin of human history to today, from little things to great ones. Visible and invisible, looking for the gold vein of underground in languages, picking well ripened fruits, living as a fisherman of this land is very fun. Multiculturalism might be the ideal of human pursuits, as humans are not just single celled and have not just one sense of taste. Autumn times come down slightly, seducing the green climax of summer and color of nature. The sky gets dark. Maybe the weather will change.

This volume challenges existing notions of what is “Indian,� “Southeast Asian,� and/or “South Asian� art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,� “South Asian,� “or “Southeast Asian� Art. 

In here, I spread the seeds of multicultural love, peace, dance, and song. From Asia to America to the whole world, from the origin of human history to today, from little things to great ones. Visible and invisible, looking for the gold vein of underground in languages, picking well ripened fruits, living as a fisherman of this land is very fun. Multiculturalism might be the ideal of human pursuits, as humans are not just single celled and have not just one sense of taste. Autumn times come down slightly, seducing the green climax of summer and color of nature. The sky gets dark. Maybe the weather will change.

Scholarly Research Paper from the year 2013 in the subject Musicology, grade: -, The University of Malaya, language: English, abstract: Franz Liszt was born in western Hungary on October 22nd 1811 and died at Bayreuth, Germany in July 1886. He was a pianist, a teacher and a composer. He developed several musical ways such as programmatic music, technique and thematic transformation. He traveled most of his life, and composed a number of works about the places that he traveled. He met his first lover, Countess Marie d'Agoult at the end of 1832, and they had three children, Blandine, Cosima and Daniel. Liszt separated from Countess Marie d'Agoult in 1844, and he had met his second beloved one who took a very important role for Liszt's life, Princess Carolyne in 1847. His only son died at age of twenty-one in 1859, and three years later, his elder daughter Blandine died at the age of twenty-six after giving birth to her first child. Liszt's only surviving daughter, Cosima left her husband, Hans von Bulow in order to live with Richard Wagner. These three children are from Countess Marie d'Agoult. Lastly, Princess Carolyne had been trying to obtain a divorce from Prince Nicholas von Sayn-Wittgenstein in order to marry Liszt, but it was denied on the day before their planned wedding day on Liszt's fiftieth birthday, October 22, 1861. He spent most of the time composing religious music, and by this time he began to write some pieces for organ. He stayed at Rome for a long time and spent his elder life. He started a two-year retreat at the Madonna del Rosario, and he completed Two Franciscan Legends, St. Francois d'Assise: La Predication aux Oiseaux, and St. Francois de Paule: Marchant sur les flots in 1863. They were dedicated to his only surviving child, Cosima. Liszt had personal relationships with these two saints, and particularly he regarded St. Francis of Paul as his patron. Liszt programmed these two Francis Legends as followed ideas. These progra