scholarly journals Gudernes rum og menneskenes univers. I de mayatalende lakandoneres verdenssyn

Author(s):  
Marie-Odile Marion

In their mythology, the Lacandons - Indians living in the rain forest of Chiapas, Mexico - conceptualise a tripartite space of heaven, earth, and the underworld. The Lacandons perceive themselves as placed by the gods in the middle of a cosmic space that is created, delimitated and controlled by the two great celestial bodies: the couple of sun and moon. Through a detailed analysis of the symbolic representations of the sun and the gods of wind and rain, it is shown how all the most important features of the Lacandon universe is thought of as the outcome of complex interactions between solar and lunar principles. On the one hand, the workings of the sun (male) and the moon (female) create and recreate the essential qualities of the meteorological, climatic, and ecological spaces that constrain the forms of productive life. On the other hand, the Indians conceptualise the opposition, the alternation, and the complimentarity that characterise the relations between sun and moon as homological to the social forms of Lacandon reproduction. The ambivalent, complex, and multifacetted dialectics of lunar and solar principles reveal that cosmic equilibrium centres round the male-female bipolarity. It is argued that although the male qualities of the sun are considered higher and dominant, it is in faet the mythic image of the moon that metaphorises stability, completeness and totality.

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dewi Sinta Fajawati

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.


2021 ◽  
pp. 111-126
Author(s):  
Scott Timcke

This chapter applies theoretical insights around misrecognition to better understand the intersection of misinformation and ideology in the United States. It argues that misinformation practices are products of modernity. American modernity is characterized by contradictions between its basic social forms such as the money form, the commodity form, and so on. The contradictions create a bind for rulers. On the one hand, these contradictions mean that their rule is never stable. On the other hand, acknowledging the contradictions risks courting redress that also threatens their minority rule. Due to the imperative to mystify these contradictions, social problems are subsequently treated as anomalies or otherwise externalized; they can never be features of the capitalist political economy itself. Misinformation is a common by-product of this externalization as the capitalist ruling class uses it to weld together pacts and alliances that preserve the social hierarchy. The chapter outlines the broad argumentation offered by securocrats, reactionaries and technologists on Russia-gate. It takes a look at the proof put forward, the ethical reasoning invoked and the emotive appeals employed. It also looks at why these explanations fall short.


Author(s):  
Zoltán Kovács ◽  
Zoltán Udvarnoki ◽  
Eszter Papp ◽  
Gábor Horváth

The moon illusion is a visual deception when people perceive the angular diameter of the Moon/Sun near the horizon larger than that of the one higher in the sky. Some theories have been proposed to explain this illusion, but not any is generally accepted. Although several psychophysical experiments have been performed to study different aspects of the moon illusion, their results have sometimes contradicted each other. Artists frequently display(ed) the Moon/Sun in their paintings. If the Moon/Sun appears near the horizon, its painted disc is often exaggeratedly large. How great is the magnitude of moon illusion of painters? How different are the size enlargements of depicted lunar/solar discs? To answer these questions, we measured these magnitudes on 100 paintings collected from the period of 1534–2017. In psychophysical experiments, we also investigated the moon illusion of 10 test persons who had to estimate the size of the lunar/solar disc on 100 paintings and 100 landscape photographs from which the Moon/Sun was retouched. Compared to the lunar/solar disc calculated from reference distances estimated by test persons in paintings, painters overestimated the Moon's size on average Q  = 2.1 ± 1.6 times, while the Sun was painted Q  = 1.8 ± 1.2 times larger than the real one, where Q  =  r painted / r real is the ratio of the radii of painted ( r painted ) and real ( r real ) Moons/Suns. In landscape photos, test persons overestimated the Moon's size Q  = 1.6 ± 0.4 times and the Sun was assumed Q  = 1.7 ± 0.5 times larger than in reality, where Q  =  r test / r real is the ratio of the radius r test estimated by the test persons and the real radius r real of Moons/Suns. The majority of the magnitude of moon illusion Q  = 1.6, 1.7, 1.8, 2.1, 2.8, 2.9 measured by us are larger than the Q -values 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.8 obtained in previous psychophysical experiments due to methodological differences.


2009 ◽  
Vol 5 (S260) ◽  
pp. 135-148 ◽  
Author(s):  
Xenophon Moussas

AbstractIn this review the oldest known advanced astronomical instrument and dedicated analogue computer is presented, in context. The Antikythera Mechanism a mysterious device, assumed to be ahead of its time, probably made around 150 to 100 BCE, has been found in a 1st century BCE shipwreck near the island of Antikythera in a huge ship full of Greek treasures that were on their way to Rome. The Antikythera Mechanism is a clock-like device made of bronze gears, which looks much more advanced than its contemporary technological achievements. It is based on mathematics attributed to the Hipparchus and possibly carries knowledge and tradition that goes back to Archimedes, who according to ancient texts constructed several automata, including astronomical devices, a mechanical planetarium and a celestial sphere. The Antikythera Mechanism probably had a beautiful and expensive box; looking possibly like a very elaborate miniature Greek Temple, perhaps decorated with golden ornaments, of an elegant Hellenistic style, even perhaps with automatic statuettes, ‘daemons’, functioning as pointers that performed some of its operations. Made out of appropriately tailored trains of gears that enable to perform specialised calculations, the mechanism carries concentric scales and pointers, in one side showing the position of the Sun in the ecliptic and the sky, possibly giving the time, hour of the day or night, like a clock. The position of the Moon and its phase is also shown during the month. On the other side of the Mechanism, having probably the size of a box (main part 32×20×6 cm), are two large spiral scales with two pointers showing the time in two different very long calendars, the first one concerning the eclipses, and lasting 18 years 11 days and 8 hours, the Saros period, repeating the solar and lunar eclipses, and enabling their prediction, and the 19 year cycle of Meton, that is the period the Moon reappears in the same place of the sky, with the same phase. An additional four-year dial shows the year of all Greek Festivities, the so-called ‘games’ (Olympic, Pythian, Isthmian etc). Two additional dials give the Exeligmos, the 54 year and 34 day cycle, which provides a more accurate prediction of eclipses. It is possible that the Mechanism was also equipped with a planetary show display, as three of the planets and their motion (stationary points) are mentioned many times in the manual of the instrument, so it was also a planetarium. From the manual we have hints that the mechanism was probably also an observational instrument, as having instructions concerning a viewfinder and possibly how to orient the viewfinder to pass a sunbeam through it, probably measuring the altitude of the Sun. There are fragmented sentences that probably give instructions on how to move the pointers to set the position of the Sun, the Moon and the planets in their initial places in the ecliptic, on a specific day, or how to measure angular distances between two celestial bodies or their coordinates. This mechanism is definitely not the first one of its kind. The fact that it is accompanied with instructions means that the constructor had in its mind to be used by somebody else and one posits that he made at least another similar instrument.


2012 ◽  
Vol 16 (1 and 2) ◽  
pp. 109-117
Author(s):  
Leonid Marsadolov

The necessity of astronomical observations for nomadic peoples of Eurasia was based on the sacral meaning of time. The celestial bodies, the Sun and the Moon were parts of cult of the Sky. During annual migrations, in particular those where there were no reliable landmarks, nomads navigated with the North Star and the main constellations of the night sky. Remains left by these nomads, including rock pictures, barrows and observation posts are the legacy of a complex, organised system reflecting the relations of ancient people with the cosmos.


2020 ◽  
Vol 244 ◽  
pp. 01011
Author(s):  
Pierre Coullet ◽  
Yves Pomeau

A common observation is the one of reflection of the Sun or the Moon by the slightly perturbed surface of water. In ”Impression, soleil levant”, now in Marmottant museum in Paris, Monet painted the luminous stripe resulting of this reflection when the source is low on the horizon. As we explain this stripe originates from the fluctuations of the angle of the reflecting surface when they are big enough to spread the multiple images to make them overlap, which requires that the fluctuations of the surface angle are of the same order as the angle of the Sun (or Moon) above the horizon. At higher angle the stripe become a set of non overlapping points representing each the reflected image of the source. This makes an interesting percolation transition by a continuous change of a parameter.


2015 ◽  
Vol 32 (2) ◽  
pp. 369-392
Author(s):  
Jacob Abolafia

How is a legislator to harness the positive cohesive power of religion without falling prey to a charge of hypocrisy? As with so many theoretical puzzles, it was Plato who first recognized this paradox of civil religion. Consequently, the multi-tiered religion he proposes in the Laws should be understood as western thought’s first attempt to solve this problem. At the centre of the Laws stands a single icon – the sun – that fits within both the Olympian schema of polis-religion and a naturalistic, rationalist account persuasive to the more philosophically minded. Using the language and imagery of solar worship, Plato designed a shared ‘civil religion’ (to use an anachronistic term), that can reasonably claim to link the social forms of political life to the higher truths of reason, even if not all the city’s citizens will mean the same thing when they speak of the god and his rites.


1968 ◽  
Vol 88 ◽  
pp. 114-127 ◽  
Author(s):  
D. O'Brien

In a study earlier in this volume, ‘The Relation of Anaxagoras and Empedocles’, pp. 93–113, I listed the ancient evidence to the effect that Anaxagoras first gave the correct explanation of an eclipse, and that he was followed in this by Empedocles. A more extensive examination of the evidence raises certain difficulties. For what are, or might appear to be, Anaxagoras' theories are attributed elsewhere to earlier thinkers.There are two principal elements in this contradiction, the one direct and the other indirect.1. There is a direct contradiction when Thales, Anaximenes and some Pythagoreans are said to have given the correct explanation of an eclipse, at least if we suppose the Pythagoreans in question to have been earlier than Anaxagoras.2. There has been thought to be an indirect contradiction when several thinkers before Anaxagoras are said to have derived the moon's light from the sun. For a theory of derived light for the moon has been thought, whether rightly or wrongly, to entail the correct explanation of an eclipse.In what follows I shall attempt to solve these, and some other incidental difficulties.


2021 ◽  
Vol 11 (4) ◽  
pp. 1637
Author(s):  
Christiane Richter ◽  
Bernd Teichert ◽  
Karel Pavelka

As in many regions of the world, astronomy also played a major role in the ancient Peruvian cultures. However, the discussion of the astronomical relevance of the Nasca geoglyphs is very controversial. A really precise and extensive investigation of astronomical phenomena has not yet taken place; the necessary data were simply missing. In the Nasca project Dresden, these data have been recorded in recent years and stored in an Oracle database. In the very first step, all geoglyphs with an astronomical orientation documented by Maria Reiche were checked and verified. Subsequently, all lines of the entity “straight line” were systematically examined with regard to the celestial bodies of the Sun and bright stars. For this purpose, on the one hand, the ellipsoidal azimuths of all straight lines were calculated and, on the other hand, the elevation angles in relation to the horizon with the help of digital terrain models (DTM) were determined. Corrections for refraction, the curvature of the Earth, visibility and atmospheric disturbances were largely considered. The azimuths of the celestial bodies during the Nasca period were calculated with software developed in-house (theses by students) and compared with those of the lines. As a result, it was possible to establish that there are individual straight lines that are aligned with the Sun and the seven randomly selected bright stars. However, the number of hits found does not justify the theory that the Nasca Pampas are an astronomical calendar system.


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