Culture and Cosmos最新文献

Illuminating Mithraic Iconography: Mithras, God of Light, as the Milky Way 照亮密特拉的肖像:密特拉，光之神，作为银河系

Culture and Cosmos Pub Date : 2022-10-01 DOI: 10.46472/cc.0126.0205

R. Jelbert

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Dark Fire: Dimensions of Luminosity in the Chthonic 暗火:宇宙中光度的维度

Culture and Cosmos Pub Date : 2022-10-01 DOI: 10.46472/cc.0126.0203

Tina Burchill

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The Meaning of Dark, Light and Shadows: Inferences in Art, Materiality and Cultural Practices 暗、光、影的意义:艺术、物质性和文化实践的推论

Culture and Cosmos Pub Date : 2022-10-01 DOI: 10.46472/cc.0126.0201

Frank Prendergast

{"title":"The Meaning of Dark, Light and Shadows: Inferences in Art, Materiality and Cultural Practices","authors":"Frank Prendergast","doi":"10.46472/cc.0126.0201","DOIUrl":"https://doi.org/10.46472/cc.0126.0201","url":null,"abstract":"Our visual awareness relies on light acting on the eye to perceive materiality and colour. Medieval thought wrestled to articulate and comprehend its nature. The notebooks of Leonardo Da Vinci, for example, included his descriptions to define light and make comparisons so as to differentiate between light and shadow. His focus was on the illumination of surfaces from the perspective of a painter, seeing shadows as ‘the diminution of light by the intervention of an opaque body’ and ‘the counterpart of luminous rays’. In his mind, a shadow ‘stood between light and darkness’, with darkness being ‘the absence of light’. The anthropological record provides another gateway to such enquiry, holding oral and textual evidence on the meaning of light and cast shadows in the belief systems of some cultures. In one such example, recorded in the late nineteenth century, an observed reflection of the self in water was regarded as the person’s spirit and, significantly, the shadow cast by the body was imagined as the person’s soul. And how might such phenomena have been comprehended and used in the prehistoric past? Without ethnographic evidence the answer is unknowable and any conclusions are potentially conjecture. Researchers strive to overcome such hurdles using a suite of scientific tools and reasoning, and by drawing on the diversity of architecture and art. This paper follows a similar methodological trajectory to explore the qualitative nature of these phenomena using case studies spanning five millennia.","PeriodicalId":152044,"journal":{"name":"Culture and Cosmos","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132721545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Orbs and Spiritual Experiences: In an orbital shape of mind 球和精神体验:在一个轨道形状的心灵

Culture and Cosmos Pub Date : 2022-06-01 DOI: 10.46472/cc.0126.0211

M. Steenhuisen

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Optics and Cosmology: from Euclid to Freud 光学与宇宙学:从欧几里得到弗洛伊德

Culture and Cosmos Pub Date : 2022-06-01 DOI: 10.46472/cc.0126.0209

D. Stephenson.

{"title":"Optics and Cosmology: from Euclid to Freud","authors":"D. Stephenson.","doi":"10.46472/cc.0126.0209","DOIUrl":"https://doi.org/10.46472/cc.0126.0209","url":null,"abstract":"This paper explores how the scientific materialist worldview, where any inexplicable phenomenon is regarded as an artefact of incomplete understanding or error, arose from earlier models of the cosmos. In these earlier cosmologies, the mysterious remained an important component and the role of light was a key factor in expressing an ordered hierarchical ontology. Demonstrating the role of optics in the development and evolution of our understanding of the cosmos, the conception of light in the writings of Euclid, Plato and Ficino is surveyed. It is postulated that light starts off as an aspect of divine ineffability, and through the Scientific Revolution and Enlightenment becomes the light of human understanding. This development in understanding is traced through an examination of the optical studies of Descartes, Kircher and Bentham, and explored through four optical technologies: the spyglass, the camera obscura, the magic lantern, and the panopticon. As Jean Gebser points out in ‘The Ever Present Origin’ darkness must necessarily accompany the light, and this paper also examines the idea that the darkness that exists as the opposite of the Enlightenment, ends up located in the mind itself. This is investigated through an examination of Freud's use of the metaphor of the optical phenomenon of projection.","PeriodicalId":152044,"journal":{"name":"Culture and Cosmos","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121331042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Shadows in Renaissance Painting: 'Standing Between Darkness and Light' 文艺复兴时期绘画中的阴影:“站在黑暗与光明之间”

Culture and Cosmos Pub Date : 2022-06-01 DOI: 10.46472/cc.0126.0207

V. Shrimplin

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Francesco Borromini and the Cultural Context of Kepler’s Harmonice Mundi 弗朗西斯科·博罗米尼与开普勒《世界和谐》的文化背景

Culture and Cosmos Pub Date : 2021-10-01 DOI: 10.46472/cc.01225.0211

V. Shrimplin

{"title":"Francesco Borromini and the Cultural Context of Kepler’s Harmonice Mundi","authors":"V. Shrimplin","doi":"10.46472/cc.01225.0211","DOIUrl":"https://doi.org/10.46472/cc.01225.0211","url":null,"abstract":"The idea of circular domed architecture as imitative of the flat earth covered by the 'Dome of Heaven' was established from Byzantine times up to its revival during the Renaissance. Yet the cosmological symbolism of the circular dome was replaced in the early seventeenth century when elliptical, oval or other geometrically-inspired domes became a key feature of the Baroque. The move away from circular to oval or elliptical forms by architects such as Borromini coincides with the new cosmology and Kepler's view of elliptical orbits as the basis for the structure of the universe. Building on his Mysterium Cosmographicum (1596) and the view of perfect, regular nested solids as the basis for the organisation of the planets, Kepler focused on the ellipse as underlying the mechanics of the universe. His realisation that the universe was not based on perfect circular motion but on elliptical orbits (with the sun at one of the foci) was developed in Harmonice Mundi, linked to concepts of harmony and proportion. In turn, the work of the architect Borromini (as at S. Carlo alle Quattro Fontane 1638-41 and S. Ivo della Sapienza 1642) involve novel and complex geometric designs that significantly align Kepler's astronomical ideas. Mathematical precision underlies Borromini's seemingly extravagant schemes, in the same way that Kepler's theories sought harmony in the universe. Documentary evidence to substantiate a claim of the influence of Kepler’s theories on Borromini has yet to be found. However, it is significant that Borromini's patron in Rome was Cardinal Barberini (later Pope Urban VIII) who was well-known for his interest in astronomy. Kepler's mathematical methodology and interpretation of the geometrical structure of the universe may have appealed to Borromini and his patrons on many levels. It cannot be mere coincidence that the use of such mathematical forms in ecclesiastical architecture comes in at around the same times as Kepler's writings.","PeriodicalId":152044,"journal":{"name":"Culture and Cosmos","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122337744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Johannes Kepler, Galileo Galilei, Robert Fludd, Giordano Bruno and Nicolaus Copernicus: in absentia arguments on ‘happy Earths’ and the infinity of the cosmos 约翰内斯·开普勒、伽利略·伽利莱、罗伯特·弗洛德、佐丹奴·布鲁诺和尼古拉斯·哥白尼:缺席“幸福地球”和宇宙无垠的争论

Culture and Cosmos Pub Date : 2021-10-01 DOI: 10.46472/cc.01225.0209

A. Kuzmin

{"title":"Johannes Kepler, Galileo Galilei, Robert Fludd, Giordano Bruno and Nicolaus Copernicus: in absentia arguments on ‘happy Earths’ and the infinity of the cosmos","authors":"A. Kuzmin","doi":"10.46472/cc.01225.0209","DOIUrl":"https://doi.org/10.46472/cc.01225.0209","url":null,"abstract":"The ideas within Nicolaus Copernicus’ De Revolutionibus Orbium Coelestium (1543) and Giordano Bruno’s De l’infinito, universo e mondi (1584) created a new heliocentric image of the universe.1 The concept of an infinite space without limits was beginning to appear in astronomy. Bruno was the first to break Aristotle’s sphere, producing a mass of arguments disclaiming its presence and verifying infinite space. Johannes Kepler was more careful in his treatment of the model of an infinite cosmos, mainly because of the contradictions in his own theory as expressed in his Mysterium cosmographicum (Prodromus dissertationum cosmographicarum, continens Mysterium cosmographicum de admirabili proportione orbium coelestium: deque causis coelorum numeri, magnitudinisy motuumque periodiconim genuinis et propriis, demonstratum per quinque regularia corpora Geometrica) (1596). Galileo Galilei, on the other hand, supported the idea of an infinite cosmos, describing ways in which to prove it, although it could not be verified because of a lack of adequate telescope observations. At the same time, Robert Fludd developed a radically different concept of the stages of creation, synthesising earlier ancient cosmological ideas and the biblical world outlook, and thus anticipating cosmological models of the first half of the twentieth century.","PeriodicalId":152044,"journal":{"name":"Culture and Cosmos","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125179026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Kepler’s Harmony of the World and the Politics of Harmony 开普勒的《世界的和谐》和《和谐的政治

Culture and Cosmos Pub Date : 2021-10-01 DOI: 10.46472/cc.01225.0207

A. Rothman

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Harmony vs Symmetry: Kepler’s view and the role of Spielraum 和谐与对称:开普勒的观点和Spielraum的作用

Culture and Cosmos Pub Date : 2021-10-01 DOI: 10.46472/cc.01225.0205

Giora Hun

{"title":"Harmony vs Symmetry: Kepler’s view and the role of Spielraum","authors":"Giora Hun","doi":"10.46472/cc.01225.0205","DOIUrl":"https://doi.org/10.46472/cc.01225.0205","url":null,"abstract":"In a famous passage in De revolutionibus, Copernicus remarked that ‘in this arrangement [ordinatione] ... we discover a marvellous symmetry of the universe [mundi symmetriam], and an established harmonious linkage [harmoniae nexum] between the motion of the orbs and their size, such as can be found in no other way’. Copernicus has brought together two previously distinct aesthetic values: symmetry as proportionality in what is efficient or pleasing to the eye; and harmony as proportionality in what is pleasing to the ear. This is a critical passage where two aesthetic criteria are put to use to capture two different aspects of the universe: its design and its motion. Symmetry captures the design, that is, the relation of the parts (the planetary orbs) to the whole (the Universe), whereas motion (understood as the planetary periods) is linked to size (understood as the planetary distances from the Sun). What was Kepler’s view of these two distinct aesthetic criteria? I conclude that Kepler did not invoke the criterion of symmetry in any of his writings and appealed only to harmony, but he had a sophisticated view of this concept which required—so my argument goes—a certain degree of freedom which I call Spielraum. This view is in stark opposition to that of Galileo’s.","PeriodicalId":152044,"journal":{"name":"Culture and Cosmos","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128978305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0