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Communicating his ideas in the form of a classical dialogue between a youth and a wise elder, cosmologist Brian Swimme crafts a fascinating exploration into the creativity suffusing the universe. His explication of the fundamental powers of the cosmos is mystical and ecstatic and points directly to the need to activate one’s own creative powers.
Excerpt from Evolution and the Need of Atonement As the title indicates, the main object of this book is not to offer a new theory of the Atonement. Rather it is intended to Show that when the origin and history of man are studied from the scientific, and especially the biological side, the spiritual life, its partial failure, and the need for Atonement, far from receding into vagueness and unreality, are thrown into strong relief. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
On the beliefs of Gond life as narrated by the illustrator.
This book examines the application of drawing in the design process of classical architecture, exploring how the tools and techniques of drawing developed for architecture subsequently shaped theories of vision and representations of the universe in science and philosophy. Building on recent scholarship that examines and reconstructs the design process of classical architecture, John R. Senseney focuses on technical drawing in the building trade as a model for the expression of visual order, showing that the techniques of ancient Greek drawing actively determined concepts about the world. He argues that the uniquely Greek innovations of graphic construction determined principles that shaped the massing, special qualities and refinements of buildings and the manner in which order itself was envisioned.
In the rapidly changing world of the early Middle Ages, depictions of the cosmos represented a consistent point of reference across the three dominant states--the Frankish, Byzantine, and Islamic Empires. As these empires diverged from their Greco-Roman roots between 700 and 1000 A.D. and established distinctive medieval artistic traditions, cosmic imagery created a web of visual continuity, though local meanings of these images varied greatly. Benjamin Anderson uses thrones, tables, mantles, frescoes, and manuscripts to show how cosmological motifs informed relationships between individuals, especially the ruling elite, and communities, demonstrating how domestic and global politics informed the production and reception of these depictions. The first book to consider such imagery across the dramatically diverse cultures of Western Europe, Byzantium, and the Islamic Middle East, Cosmos and Community in Early Medieval Art illuminates the distinctions between the cosmological art of these three cultural spheres, and reasserts the centrality of astronomical imagery to the study of art history.
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An illustrated guide to harmonics--the sacred geometry principles that underlie the natural world--and its practical applications • Demonstrates how the vesica piscis is a matrix from which ideas and forms emanate, connecting cosmic time cycles, measures of space, and musical tones • Provides harmonic analyses of ancient sculpture, architecture, the solar system, the Earth-Moon relationship, and the structure of water and waves • Explains how to apply sacred geometry to create building floor plans, pottery figures, gardens, and sacred ceremonial spaces We are in the midst of a revival of an ancient way of looking at the world--an approach that enabled great civilizations of the past to bring forth inventions of great beauty and power. This school of thought--harmonics--envisioned the natural world and the solar system as an interlocking matrix of harmonious numbers, perfectly woven into the creative fabric of life and the surrounding universe. Exploring the art and science of harmonics, John Oscar Lieben shows how to create harmonious forms using the ancient tools of number, geometry, and musical tone--an approach that resonates with nature’s own ways of creation. He demonstrates many practical applications that result from the study of harmonics, providing analyses of ancient sculpture and architecture, as well as original examples of building floor plans, pottery figures based on planetary proportions, gardens based on harmonic principles, and ceremonial spaces that honor cosmic harmonies and sacred geometric relationships. Showing how harmonics can also be applied to the mysteries of time and space, the author demonstrates how the vesica piscis and many other variations of the vesica shape reveal numerical synchronicities and correspondences that connect cosmic time cycles, measures of space, and musical tones. The author applies harmonics and the “vesica construction” matrix to illustrate many of nature’s wonders, including the Earth-Moon relationship, the interactions of the Golden Number and the musical scale, and how the Flower of Life symbol connects the universal field with the pattern of raindrops falling on a pond. Offering an approach to sacred geometry that pairs the mystical with the practical, the cosmic with the earthly, the author reveals how the art and science of harmonics should be required study for both the artist and the seeker of eternal truths as well as the scientist who seeks an entrance into the sacred foundations of nature.
The Language of Creation is a commentary on the primeval stories from the book of Genesis. It is often difficult to recognize the spiritual wisdom contained in these narratives because the current scientific worldview is deeply rooted in materialism. Therefore, instead of looking at these stories through the lens of modern academic disciplines, such as sociology, psychology, or the physical sciences, this commentary attempts to interpret the Bible from its own cosmological perspective.By contemplating the ancient biblical model of the universe, The Language of Creation demonstrates why these stories are foundational to western science and civilization. It rediscovers the archaic cosmic patterns of heaven, earth, time, and space, and sees them repeated at different levels of reality. These fractal-like structures are first encountered in the narrative of creation and then in the stories of the Garden of Eden, Cain and Abel, and the flood. The same patterns are also revealed in the visions of Ezekiel, the book of Daniel, and the miracles of Moses. The final result of this contemplation is a vision of the cosmos centered on the role of human consciousness in creation.
First published in 1997. Image and Concept: Mythopoetic Roots of Literature here - finally - available in English, is devoted to the origins of Greek tragedy. In it, Freidenberg develops the notion that it was the very transition from thinking based on mythological images to the kind of thinking that makes use of formal-logical concepts that resulted in the appearance of literature. With the transition from mythological thinking to con­ceptual thought, the content of mythological images became the texture of the new concepts. The inherited mythological forms now were reinterpreted conceptually: causalized, ethicized, generalized, abstracted. This reinterpretation, in turn, brought about poetic figurality. Folkloric material began to be differentiated from the mythological images of the past into various disciplines such as religion, phi­losophy, ethics, literature, and art. Yet, differentiated and reinterpreted as it was, the folkloric material remained formally preserved in poetic image, structure, and plot.