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11. The Lion Gate at Mycenae [Pensee]
... If true, this would invalidate the present belief that the Lion Gate may be dated to ca. 1300 B.C.; there also appears to be other evidence (which will be supplied below) which would justify a much later dating. Figure 2- The Phrygian Rock Monument at Büyük Arslan Tash. Velikovsky himself actually maintains an eighth century date for the buildings and fortifications of Mycenae and Tiryns (29); Ramsay had already proposed a similar dating in 1888 (30) and again in 1889 (31) for the Lion ... From: Pensée Vol. 3 No 1: (Winter 1973) "Immanuel Velikovsky Reconsidered III" Home¦ Issue Contents The Lion Gate at Mycenae Lewis M. Greenberg A Study in Art-Historical Contradictions Mr. Greenberg is assistant professor of art history and history, Moore College of Art (Philadelphia). The paper published here was first read at the Velikovsky Symposium, Lewis and Clark College, (Portland, Oregon), August 17, 1972. "According to the now accepted art historical framework, we have a renowned ...
12. Rock Art Database (RAD) [SIS Internet Digest $]
... From: SIS Internet Digest 1997:1 (Sep 1997) Home¦ Issue Contents Rock Art Database (RAD) http://www.10mb.com/rupestre/database/ RAD is a DOS-Database application derived (and translated) from EUGA- Central Alps Rock Art Archive. EUGA was compiled originally in 1992-1994 in order to facilitate the recording of the engravings of the Rupe Magna, in Valtellina (Italy), under a Rupestrian Archaeology research conducted by Footsteps of Man (Orme dell'Uomo) and promoted by the Grosio Park of the ... Rocks and by the Lombardy Archaeological Superintendency. EUGA was preceded in 1991 by GLYPHO, a DB4 database application by Gruppo Ricerche Cultura Montana (Italy), allowing researchers to compute totals and percents of the 125 typologies of the Western Alps engravings. In 1992-1994 on the Rupe Magna (RPM1) 5454 figures were recorded in a *.DBF file. Related database archives (*.DBF) contain data about the rock and about each figure. The rock record derives from the "International Record of Western Alps Engraved Rocks" (Scheda Internazionale di Arte ...
13. Letters [SIS C&C Workshop $]
... bison in the debate of doubtful value: "Was early Man confident or insecure?" requires some support from the academic field. There exists very little material evidence to clarify the meaning and purpose of the huge number of pictographs and petroglyphs which comprise Prehistoric and Neolithic rock art (25,000-4000 B.C.). Quite often, we are forced back upon the configurations themselves, which suggests rightly, or wrongly, other configurations with which we are familiar. 'Horned god', 'sorcerer', 'anthropomorphic figure', are nothing ... ), because he presided over the four seasons"- so maybe the seasons were still felt to be in need of attentive handling? For myself, however, I would not clutch at this straw. (M. L. OWEN) Scarborough Sir, Prehistoric art and early religious belief As an art-historian and anthropologist by training, I should like to rescue the Altamira bison, staunch creature though he is, from the weight of interpretation resting on his shoulders as a result of Mike Rowland's contribution (Newsletter, 2, p.7 ...
14. The Acoustics Of Rock Art [Science Frontiers Website]
... Science Frontiers ONLINE No. 86: Mar-Apr 1993 Issue Contents Other pages Home Page Science Frontiers Online All Issues This Issue Sourcebook Project Sourcebook Subjects The Acoustics Of Rock Art S. Waller has visited rock art sites in Europe, North America, and Australia. Standing well back from the painted walls, he claps or creates percussion sounds, and records the echos bouncing back. A casual observer might be tempted to call 911. It turns out, though, that rock art seems to be placed intentionally where echos are not only ... loud but are also related to the pictured subject matter. Where hooved animals are depicted, one easily evokes echos of a running herd. If a person is drawn, the echos of voices seem to emanate from the picture itself! "At open air sites with paintings, Waller found that echos reverberate on average at a level 8 decibels above the level of the background. At sites without art the average was 3 decibels. In deep caves such as Lascaux and Font-de-Gaume in France, echos in painted chambers produce sound levels of ...
15. RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : CHAPTER : [Quantavolution Website]
... antidote to her as she slept, as Puck had done to Lysander. Now she awakes and greets Oberon with joy, and the fairy world is reunited as Oberon proclaims (Music) Sound, music. Come, my queen, take hands with me. And rock the ground where on these sleepers be. [Dance Now thou and I are new in amity, And will tomorrow midnight solemnly Dance in Duke Theseus' house triumphantly, And bless it to all fair prosperity. There shall the pairs of faithful lovers be Wedded ... Quantavolution.Org E-MAIL: email@example.com TABLE OF CONTENTS RECOLLECTIONS OF A FALLEN SKY VELIKOVSKY AND CULTURAL AMNESIA CHAPTER FIVE SHAKESPEARE AND VELIKOVSKY Catastrophic Theory and the Springs of Art Irving Wolfe Etudes Anglaises Université de Montreal *[ Ed.Parts of this paper were subsequently published in Kronos: A journal of Interdisciplinary Synthesis, (Kronos Press, Glassboro, N. J.) see 1( 3): 31-45 (Fall 1975) and 1( 4): 37-54 (Winter 1976). I must begin with several caveats. First ...
16. Chronological Problems in the Archaeology of the Hittites [SIS C&C Review $]
... a whole complex of material of "14th-" and "13th-"century character found in an anomalously "late" context. Left: one of the figurines from the 7 th -century "Gold Tomb" at Carchemish. Right: the Sun-god from the rock drawings of Yazilikaya, conventionally dated to the 13th century BC In a tomb securely dated to the end of the 7th century BC, Woolley found a series of small gold figurines representing deities which bear a striking resemblance to the pantheon on the frieze at Yazilikaya near ... Most of the monuments to be studied lay in south-eastern Anatolia and northern Syria, at sites such as Hamath, Carchemish, Sakçagözü and Zinjirli. The Hittite stone reliefs and other sculpture of this area clearly showed the influence of nearby Mesopotamia, and the relationship of Hittite art to that of the Babylonians and Assyrians was evaluated. A major concern, of course, was the dating of these monuments. While much of the north Syrian art showed unmistakable Neo-Assyrian influence, placing it firmly in the 1st millennium BC, the dating of the ...
17. Poster Presentations Abstracts [SIS Internet Digest $]
... and lesser ridge systems alike, including the water and sediment that fill them, are cometary debris. These ridges, which lie directly upon older ridges, are free of fossils, show no signs of organisation by hydraulic processes and the cements necessary for their conversion to rock could not be provided from earthly sources. These ridges can be traced to a stream of "jets" of disintegrating materials emanating from shifting surfaces on a comet's nucleus. A band of these jets, captured in planetary orbit, will deposit its debris in a ... sign in the sky seen by the boy Gengis Khan forecasting his future of world master; the number of comets seen in the sky as recorded by Chinese astronomers was unusually higher. Charles Raspil, New York Hints To The Nature of Bronze Age Catastrophes Found In Ancient Art I propose that the core and purpose of ancient art was not symbol, but representation. Therefore, ancient depiction of the gods and their interactions could be seen as an embellishment of snap shots of the sky. I have coined the term trism, which I ...
18. Origins of Rock Art [Thunderbolts Website]
... views picture of the day resources team a role for you contact us Credit: Anthony Peratt home pic of the day archive subject index abstract archive Links: Holoscience Electric Cosmos The Universe Plasma Cosmology Society for Interdisciplinary Studies educational resources Aeon Journal Aug 13, 2004 Origins of Rock Art The origins of rock art recede into prehistory. Images such as this one from New Mexico are commonly assumed to have shamanistic or spiritual meaning. But this only begs the question of origins. The Hopi, for example, attribute spiritual meanings to the images ... the rocks, but they also claim the originators were the "Ancient People" who inhabited the mesas before the Hopi came. No one knows what meaning those Ancient People attributed to the images. A suggestive light is cast on this question by Anthony Peratt's recognition that rock art forms are identical to forms generated by instabilities in high-energy plasma discharges. He presented this idea in the IEEE Transactions on Plasma Science, Special Issue on Space Plasmas, December, 2003. Peratt is one of a handful of experts who have studied plasma instabilities ...
19. Is Rock Art a Sign of Universal Language? [SIS Internet Digest $]
... From: SIS Internet Digest 2002:2 (Dec 2002) Home¦ Issue Contents Is Rock Art a Sign of Universal Language? dsc.discovery.com/news/briefs/20020902/caveart.html [.." since there are so many visual similarities among prehistoric rock art around the world, it's likely that a kind of "primordial mother language," existed as Homo sapiens were getting under way "from which all the spoken languages developed," wrote Emmanuel Anati, founder of the World Archive of Rock Art, in a three-book ... published recently by the Val Camonica Center for Prehistoric Studies. [.." Comparative analysis shows that the earliest art is homogeneous all over the world, presenting the same logic structure, the same associations and symbolism. It is a mirror of the workings of Homo sapiens' mind," he told Discovery News. By Rossella Lorenzi, Discovery News. ...
20. Living Plasma [Thunderbolts Website]
... compare plasma behavior to life. Plasma Physicist Anthony Peratt has presented a paper proposing that ancient eyewitnesses observed high-energy plasma formations in their skies. Peratt has studied plasma instabilities for a quarter of a century. When it was brought to his attention that some of the odd rock art images resemble plasma discharge forms, he was intrigued. Over the past few years he has collected and classified rock art data, comparing the forms to the plasma discharge patterns he's studied in the lab. The ancient forms are not only similar to the lab ... , many can be overlaid exactly. Today, we can still see a few of the lower-energy discharge patterns in auroras. Peratt reasons that when rock art was first being carved and painted on stone cliffs all over the world, plasma in the Earth's atmosphere was much more active than it is today. He calls it an enhanced aurora. All of his eighty-seven classes of plasma instabilities can be found carved on rock. What did the ancients see? Their legends speak of a time of paradise and peace followed by a celestial war ...
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