Ouroboros

An illustrated essay which explores iconography that may be related to the archetype of a fish- or snake-legged Mother Earth. Topics include Sirens, mermaids and melusines;  the Gnostic god Abrasax; the Zodiac symbol Pisces; the portrayal of Behemoth and Leviathan in Ethiopian magic scrolls; the Ouroboros; the Moon trump of the Tarot deck; the dragon and pearl motif; and, in the Book of Revelation, the Woman of the Apocalypse.

This paper is an attempt to review the state-of-the-art on several physical principles related to the movement and levitation of objects. Not only normal, but also paranormal, phenomena are discussed. It is believed that this work contributes to a better understanding of present technologies and techniques used. Starting from ancient times, the antigravity properties of the caduceus carried by Hermes in Greek mythology are discussed. Next, strange paranormal phenomena related to the levitation of inanimate and living objects are systematically presented. The meaning of ether and its role in antigravity phenomena is discussed to an extent. Some magic tricks are discussed. In addition, the philosophical importance of the number eight (8), which if rotated by 90 degrees forms the infinity symbol (∞), is introduced. Based on the latter figure-eight shape, a recently announced theory in physics that shows promise for antigravity effects is discussed. Apart from a better philosophical understanding of nature, the final technological objective of similar research could be the ability to perform interstellar cruises in the future. Une étude sur la notion d'anti-gravité, de lévitation, de resonance, et des outils inspirés par le serpent Ouroboros Christopher G. Provatidis, Ph.D. Résumé Cet article examine l'état actuel des connaissances des divers principes physiques liés au mouvement et à la lévitation d'objets. On y présente des phénomènes naturels et des phénomènes paranormaux. Cette étude permet une meilleure compréhension des technologies actuelles et des techniques utilisées. Avec un retour vers les temps anciens, on y traite des propriétés du caducée qu'Hermès transportait selon la mythologie grecque. Par la suite, on y présente des phénomènes paranormaux étranges en lien avec la lévitation d'objets inanimés et animés. La signification de l'éther et son rôle dans le phénomène de l'anti-gravité font également l'objet de discussion. On y parle aussi de certains trucs de magie. Enfin, on discute de l'importance philosophique du nombre 8 qui, une fois couché sur le côté (∞), prend la forme du symbole de l'infini. En se basant sur ce dernier point concernant la forme du nombre 8, l'article présente une théorie récente et prometteuse en physique en ce qui a trait aux effets de l'anti-gravité. Outre l'acquisition d'une meilleure compréhension philosophique de la nature, un des objectifs technologiques ultimes d'une recherche similaire pourrait être la capacité de faire des voyages interstellaires dans l'avenir.

My aim in this paper is to demonstrate how Netflix series Dark (Baran bo Odar & Jantje Friese, 2017-2020) mingles scientific logics and developments with occult themes, ideas and symbols. I argue that the philosophical approach of the series challenges us to think about its themes and ideas in a distinct and perhaps counter-intuitive way; one that excludes neither scientific nor occult perspectives but requires both. This argument rests not so much on a supposed paradigmatic schism between ‘the scientific’ and ‘the occult’, but rather on the conviction that the occult influences in Dark fit a broader and more general rise of interest in the occult in the context of (Western) popular culture. This conviction informs my use of the term ‘occulture’, a theoretical proposal by Religious Studies scholar Christopher Partridge (2004). My analysis of Dark has to be situated and understood in the context of this single but elusive term.

This paper covers season 1 and 2. The release of the third season is planned for coming Saturday, June 27th.

lecturer on alchemy and its modern applications. www.DWHauck.com Go directly to the start of the text. Abstract The alchemists believed that no transformation— whether in the laboratory, in the body, or in the soul—could succeed without the presence of a mysterious ingredient known as the Materia Prima (First Matter). Nothing was more important to alchemist's work than this energetic essence, which they believed could be extracted from any substance and actually rendered tangible and visible. This paper examines the nature and properties of the elusive First Matter. We will look at how the alchemists exposed it, accumulated it, and worked with it to accomplish the regeneration of the substance at hand. We will explore how the concept of the First Matter evolved in both the scientific and esoteric traditions to become a fundamental, although often unrecognized, tenet of both modern Hermeticism and modern physics.

This paper will conduct a detail analyze on Freemasonry's symbolism codified to The Great Seal of the United States obverse and reverse sides, The Apotheosis of George Washington, The Centennial Great Seal of 1882, The Capitol Building and the mapping out of Washington DC.

Here I analyze Freemasonry ongoing enterprise of codifying esoteric symbols into the streets and monuments of Washington DC.  Most of the symbols I discuss have never been videoed or written about by previous authors or film makers.

This article aims at giving an overall view of the real and mythical topography of the Abaton of Biggeh, which housed a relic, the left leg of the God Osiris, in connection with the rituals. After a geographical and archaeological presentation, I will stress in particular the different species of trees growing on and around the Abaton. A new French translation will be provided, with commentary, of the Abaton Decree, in relation to the depictions on the Gate of Hadrian in the temple of Philae. A discussion of all the classical sources in chronological order will follow, in order to draw comparisons with the Egyptian sources. Lastly, the possible location and spatial organization of the Abaton in comparison with other sacred mounds will be addressed.

Wir haben uns bemüht, alle Copyright-Ansprüche zu berücksichten. Sollte uns dennoch ein Fehler unterlaufen sein, bitten wir um Mitteilung. Die Verwertung von Texten, Bildern, Zeichnungen und grafischen Arbeiten jeder Art ist ohne Genehmigung des Herausgebers urheberrechtswidrig und untersagt.

I originally entitled this paper ‘Why are there no uncontroversial examples of philosophical nonsense?’, but since this seemed apt to provoke rather superficial responses, I decided to re-title it.  In it I ponder the fact that, not only are there no uncontroversial examples of philosophical nonsense, there are no uncontroversial examples of what one might call ‘analogue philosophical nonsense’.  These would be non-philosophical cases of someone’s believing he means something when in reality he means nothing.  (Someone’s saying, ‘It’s 5 o’clock on the sun’ is sometimes offered as an example.)  I ask what conditions such cases would need to satisfy.  What would count as a compellingly clear case of an illusion of meaning?  Why has no one described one?

The paper presents two archaeological finds from the Prespa region with a possible connection to the "Gnostic" ideas of antiquity.
The first find is a bronze ring from the site Pločite near the village of Nakolec on the eastern shore of the Prespa Lake. The ring bears the inscription "ΑΒΡΑ / СΑΞ", leading us to the mythological being Abrasax from Gnostic tradition.
The other artifact is a small glass handle found on the floor of an Early Christian basilica on the island of Golem Grad. The glass handle is shaped as an Ouroboros - a dragon eating its own tail, one of the most common symbols in Gnosticism.
Then, in an attempt to understand and reconstruct the possible communication route(s) through which Gnostic ideas might have reached the Prespa region, the paper explores the archaeological evidence of Gnosticism and other "oriental" cults on the territory of the Roman province of Macedonia in correlation to major roads and settlements. The Via Egnatia and the eastward towns around the Thessalonica port are suggested as the most probable communication channel through which Gnostic ideas might have reached the Prespa region.
At the end, the paper asks several questions for future research and discussion, ranging from whether the already existing local religious traditions represented a good environment for welcoming Gnostic ideas, to whether the possible existence of Gnostic teachings in antiquity contributed to the strong Bogomil presence in the region during the Middle Ages.

The astrological concept of the 'dragon of the lunar nodes', responsible for eclipses of the sun and the moon, may have derived from a combination of ideas prevailing in Late Antiquity with respect to the ourobóros or 'tail-biting serpent' - that it constituted a ring of darkness, that it was bent around the sun and that it was positioned on the ecliptic band. Various Mithraic, astrological and alchemical images of celestial dragons appear to represent this aspect of the dragon.

Омаж бес крај ном об на вља њу Да ни ло Вук са но вић, Из ло жба Ма три ца. Мо но ло ги ја у Га ле ри ји Ма ти це срп ске (24. ок то бар 2020.-4. април 2021) Ма три ца. Мо но ло ги ја Да ни ла Вук са но ви ћа сед ма је из ло жба еди ци је "Тра ди ци ја и са вре ме но ства ра лаштво" ко јом Га ле ри ја Ма ти це срп ске на сто ји да дâ простор са вре ме ним умет ни ци ма, по зи ва ју ћи их на креа тив ни ди ја лог са про шло шћу. Еди ци ју о ко јој је реч као уред ник по кре нуо је упра во Да ни ло Вук са но вић, а те ме љи ак ту ел не из ло жбе, пре ма ре чи ма овог уметни ка, по ста вље ни су на оној из 2016. са те мом Ко шни ца. По пут Ко шни це на ко јој је гру па умет ни ка из ло жи ла сво је ра до ве ин спи ри са не чу ве ним сим бо лом нај стари је срп ске кул тур не ин сти ту ци је, Ма три ца. Мо ноло ги ја сна жно се ве зу је за исто ри јат, ми си ју и по сла ње Га ле ри је Ма ти це срп ске, уста но ве у ко јој је Да ни ло запо слен као кон зер ва тор-ре ста у ра тор. Из ло жбу чи не ре ин тер пре та ци је, но ва чи та ња и сло бод на раз ми шљања на те му ма трица-кли шеа ко је слу же за умно жа ва ње, а ко је је умет ник про на шао и про брао у де поу Га ле ри је. По став ка за по чи ње јед ним нео бич ним ка ме ном ко ји под сти че на раз ми шља ње. У ми то ло ги ји, ка мен је атри бут Са тур на, ко ји је у грч кој вер зи ји Кро нос, то јест вре ме. Овај ан тич ки бог гу тао је сво ју де цу све док му су пру га Реа ни је уме сто Зев са подва ли ла-ка мен. За ме њен ка ме ном, Зевс ће, кад ста са, сврг ну ти оца; ка мен ко ји га је спа сао по ста ће сим бол по бе де над Кро но сом-Вре ме ном; у ка ме ну ће љу ди кле са ти сво ја до стигну ћа да их отрг ну од за бо ра ва, а ли то граф ским ка ме ном ко ји је ко ри стио пр ви управ ник Га ле ри је Ма ти це срп ске пре мо сти ће вре ме Да ни ло, осми слив ши овај пред мет као сред ство за ми шље не ко му ни ка ци је ак ту ел не управ ни це Ти ја не Пал ко вље вић Бу гар ски и Ми ли во ја Ни ко ла је ви ћа. Управ ни ца на ка ме ну ис пи су је пи смо као по ру ку прет ход ни ку, пу бли ци и на ред ним ге не ра ци ја ма. Ма три ца. Мо но ло ги ја та ко за по чи ње тим ским ра дом, ко ји оста је обе леж је це ле из ло жбе, у хо лу на го ве ште не ани ма ци ја ма Ср ђа на Ра да ко ви ћа, пра ће не музи ком Го ра на Трај ко ског и "за пе ча ће не" пе ча том-ло го ти пом ко ји су за јед но осми сли ли ау тор из ло жбе и ва јар Лу ка Ку лић.

Clues to recognition of a more general pattern?
Complementary set of suggestive visual patterns
Configuration and animation possibilities in 3D
Experimental animations in 3D of the ouroboros pattern
Future design options for interactive 3D animations of cognitive osmosis
Circular configuration of cognitive phases framing toroidal experience?
Cognitive osmosis through topological eversion and interlocking tori -- framing outside-inside otherwise
To proprioceive or not to proprioceive -- is that the question?
Unproprioception: demining, mine-sweeping and waste management

Among Shakespeare’s history plays, Richard II is the least known and performed in Ireland. For a long time, the overthrow and murder of the anointed king was shown to English audiences with the interesting omission of the deposition scene (also known as the ‘Parliament scene’, IV, 1, 151-318), while in Ireland the play was taken for a long time to be a tragic reminder of the Island’s colonial past. It is possibly for this reason that there has been a significant lack of professional productions of Richard II in Ireland, and equally there has been a significant lack of critical attention to its fate on the Irish stage. In recent years, however, some attempts have been made to re-appropriate a canonical text whose plot lends itself to reflections on history and the past. One such instance is a production of Shakespeare’s play presented in 2013 by the Dublin-based Ouroboros, a theatre company that is no longer in operation. This study looks at the way in which Ouroboros creatively use ...

Previous 3D experiments with representations of symbols in 2D Alternative hexagram representation-as a resonance hybrid? Configuring the set of hexagrams as a toroidal Ouroboros Experimental interactive animations of the Ouroboros-Yi Jing "integration" Cognitive engagement with fundamental symbol dynamics Indications of how to experiment with the 3D animations Technical constraints of 3D applications and their cognitive implications Further 3D design possibilities and metaphors

The examination of the unique wooden box that shows the coats of arms of Nicholas (Nicolò) Madruzzo (1508-1572) and his wife Dina of Arco (d'Arco) (1499-1551) allows us to reconstruct the antiquarian interests, symbolic and esoteric that characterized the court of Prince Bishop Trento and cardinal Cristoforo Madruzzo guest of the famous Council of Trent. Urobori (Ouroboros), anfisbene and harpies are woven into refined spirals on the front of the furniture purchased from the Superintendent Giuseppe Gerola after he had been part of the extraordinary collections of the Viennese banker originally from Trieste Camillo Castiglioni and tycoons Viktor and Eugen von Miller zu Aichholz.

L’esame del singolare cassone in legno che riporta gli stemmi di Nicolò Madruzzo (1508-1572) e di sua moglie Dina d’Arco (Arco) (1499-1551) permette di ricostruire gli interessi antiquari, simbolici ed esoterici che caratterizzavano la corte del principe vescovo di Trento e cardinale Cristoforo Madruzzo ospite del famoso concilio di Trento. Urobori (Ouroboros), anfisbene e arpie si intrecciano in raffinati girali sul fronte del mobile acquistato dal soprintendente Giuseppe Gerola dopo che aveva fatto parte delle straordinarie collezioni viennesi del banchiere di origine triestina Camillo Castiglioni e dei magnati Viktor e Eugen von Miller zu Aichholz.

Among Shakespeare’s history plays, Richard II is the least known and performed in Ireland. For a long time, the overthrow and murder of the anointed king was shown to English audiences with the interesting omission of the deposition scene (also known as the ‘Parliament scene’, IV, 1, 151-318), while in Ireland the play was taken for a long time to be a tragic reminder of the Island’s colonial past. It is possibly for this reason that there has been a significant lack of professional productions of Richard II in Ireland, and equally there has been a significant lack of critical attention to its fate on the Irish stage. In recent years, however, some attempts have been made to re-appropriate a canonical text whose plot lends itself to reflections on history and the past. One such instance is a production of Shakespeare’s play presented in 2013 by the Dublin-based Ouroboros, a theatre company that is no longer in operation. This study looks at the way in which Ouroboros creatively use ...