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Rebecca Nylen kneels next to blasted steel cylinders, some of her handy work as a computational shock physicist.
Rebecca and her team sacrifice cylinders like these and other objects to refine the accuracy of computer simulations of damaging blasts, part of a field known as computational shock physics. But as a doctoral candidate in civil engineering at Georgia Tech, she’s more of an experimentalist, pummeling materials like reinforced concrete with high-powered actuators to study how the materials deteriorate and how to improve their post-impact strength.
Learn more at go.usa.gov/xPajh.
Photo by Randy Montoya.
street shot, Porto, Portugal.
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In quantum mechanics, the uncertainty principle, also known as Heisenberg's uncertainty principle, is any of a variety of mathematical inequalities asserting a fundamental limit to the precision with which certain pairs of physical properties of a particle, known as complementary variables, such as position x and momentum p, can be known.
Introduced first in 1927, by the German physicist Werner Heisenberg, it states that the more precisely the position of some particle is determined, the less precisely its momentum can be known, and vice versa. The formal inequality relating the standard deviation of position σx and the standard deviation of momentum σp was derived by Earle Hesse Kennard later that year and by Hermann Weyl in 1928:
en.wikipedia.org/wiki/Uncertainty_principle
Walter Hartwell White Sr. (also known by his clandestine alias Heisenberg) is a fictional character and the main protagonist of Breaking Bad, portrayed by Bryan Cranston.
en.wikipedia.org/wiki/Walter_White_(Breaking_Bad)
Creator/Photographer: Unidentified photographer
Medium: Medium unknown
Date: Prior to 1919
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-C6-03
International Physicists' tournament
Equipe de l'Ecole polytechnique :
Schreckenberg Hugo - Lea Bohbot - Marine le-Chatelier
Matthieu Couturier - Zayneb El-omari-el-alaoui - Martin Chatel
© Ecole polytechnique / Institut Polytechnique de Paris / J.Barande
www.instagram.com/saul_t_loureda/
The Corpus Clock is a large sculptural clock at street level on the outside of the Taylor Library at Corpus Christi College, Cambridge University, in the United Kingdom, at the junction of Bene't Street and Trumpington Street, looking out over King's Parade. It was conceived and funded by John C. Taylor, an old member of the college.
It was officially unveiled to the public on 19 September 2008 by Cambridge physicist Stephen Hawking.[1]
The clock was one of Time's Best Inventions of 2008.[2] It is also featured in the Hindi movie Paa, the associated music video "Mudi Mudi", and shown briefly in the TV Show "Zero Hour" (episode 3)
The clock's face is a rippling 24-carat gold-plated stainless steel disc, about 1.5 metres (4.9 ft) in diameter. It has no hands or numerals, but displays the time by opening individual slits in the clock face backlit with blue LEDs; these slits are arranged in three concentric rings displaying hours, minutes, and seconds.
The dominating visual feature of the clock is a grim-looking metal sculpture of an insectoid creature similar to a grasshopper or locust. The sculpture is actually the clock's escapement (see below). Taylor calls this beast the Chronophage (literally "time eater", from the Greek χρόνος [chronos] time, and εφάγον [ephagon] I ate). It moves its mouth, appearing to "eat up" the seconds as they pass, and occasionally it "blinks" in seeming satisfaction. The creature's constant motion produces an eerie grinding sound that suits its task. The hour is tolled by the sound of a chain clanking into a small wooden coffin hidden in the back of the clock.[3]
The Chronophage is affectionately known by students variously as "Rosalind", a name coined by the college's Prælector, or "Hopsy".[citation needed]
Below the clock is an inscription from the Vulgate 1 John 2:17: mundus transit et concupiscentia eius ("the world passeth away, and the lust thereof").
The clock is entirely accurate only once every five minutes.[4] The rest of the time, the pendulum may seem to catch or stop, and the lights may lag or, then, race to get ahead. According to Taylor, this erratic motion reflects life's "irregularity".[5]
Conceived as a work of public art, the Chronophage reminds viewers in a dramatic way of the inevitable passing of time. Taylor deliberately designed it to be "terrifying": "Basically I view time as not on your side. He'll eat up every minute of your life, and as soon as one has gone he's salivating for the next." Others have described it as "hypnotically beautiful and deeply disturbing".
The Corpus Clock is a product of traditional mechanical clockmaking. It features the world's largest grasshopper escapement, a low-friction mechanism for converting pendulum motion into rotational motion while at the same time giving back to the pendulum the energy needed to maintain its swing. The grasshopper escapement was an invention of the renowned eighteenth-century clockmaker John Harrison, and Taylor intended the Corpus Clock to be a homage to Harrison's work. Since "no one knows how a grasshopper escapement works", Taylor "decided to turn the clock inside out"[7] so that the escapement, and the escape wheel it turns, would be his clock's defining feature.
The Corpus Clock's clockwork is entirely mechanically controlled, without any computer programming, and electricity is used only to power a motor, which winds up the mechanism, and to power the blue LEDs that shine behind the slits in the clock's face. The clock has many unexpected and innovative features; for example, the pendulum briefly stops at apparently irregular intervals, and the Chronophage moves its mouth and blinks its eyes. Taylor explains it as follows:
"The gold eyelids travel across the eye and disappear again in an instant; if you are not watching carefully you will not even notice... Sometimes you will even see two blinks in quick succession. The Blink is performed by a hidden spring drive, controlled in the best tradition of seventeenth century clockmakers of London. The spring is coiled up inside a housing that can be seen mounted on the large gearwheel visibly protruding from the bottom of the mechanism. As the huge pendulum below the Clock rocks the Chronophage as he steps round the great escapewheel, each backward and forward movement is used by sprag clutches to wind up the drive spring. A position step prevents the spring from being overwound yet allows the spring to be ready at an instant to drive the Blink. The mechanism is released by a countwheel with semi random spacing so the Blink takes place at any position in the to- and fro- motion of the pendulum. A further countwheel mechanism chooses a single or a double blink whilst the air damper at the top of the gear train slows the action to a realistic pace."
The Corpus Clock is expected to be able to run accurately for at least two hundred years.
en.wikipedia.org/wiki/Corpus_Clock
El Reloj Corpus es un reloj escultural grande a nivel de suelo afuera de la Biblioteca Taylor en el Colegio Corpus Cristi, Cambridge, Inglaterra en la esquina de Bene't Street y Trumpington Street, dando hacia King's Parade. Fue concebido y fundado por John C. Taylor (inventor), un viejo miembro del colegio.
Fue oficialmente develado al público el 19 de septiembre de 2008 por el físico de Cambridge Stephen Hawking.1
El reloj fue una de los mejores inventos de Time del 2008.2 También aparece en la película Indú Paa y en el video asociado Mudi Mudi.
La cara del reloj es un disco de acero inoxidable chapado con oro de 24 kilates, de alrededor 1.5 metros de diámetro. No tiene manecillas ni números, sino que despliega el tiempo al abrir hendiduras individuales en la cara del reloj retroiluminada con LEDs azules; estas hendiduras están distribuidas en tres anillos concéntricos que despliegan las horas, los minutos y los segundos.
La característica visual dominante del reloj es la escultura de un insecto metálico devorador de apariencia siniestra similar a un saltamontes o langosta. La escultura es realmente el escape. Taylor llama a esta bestia el Cronófago (literalmente “come tiempo”, del griego χρόνος [cronos] tiempo, y φάγω [phago] comer). Mueve su boca aparentando “comer” los segundos conforme pasan y ocasionalmente “parpadea” en aparente satisfacción. El movimiento constante de la criatura produce un misterioso sonido pulverizante que encaja con su tarea. La hora es tañida por el sonido de una cadena rechinando adentro de un pequeño ataúd de madera escondido detrás del reloj.3
Debajo del reloj hay una inscripción de 1a Juan 2:17 de la Vulgata: mundus transit et concupiscentia eius ("el mundo pasa, y sus deseos").
El reloj es completamente certero solo una vez cada cinco minutos.4 El resto del tiempo, el péndulo parece acelerarse o detenerse y las luces pueden alentarse y luego correr para adelantarse. De acuerdo con Taylor, este movimiento errático refleja la “irregularidad” de la vida.5
Concebido como trabajo de arte público, el Cronófago recuerda a los espectadores, de una forma dramática, acerca del inevitable paso del tiempo. Taylor deliberadamente lo diseñó para ser “aterrador”: "Básicamente no veo al tiempo de tu lado. Se comerá cada minuto de tu vida y tan pronto como uno se ha ido, se está saboreando al siguiente." Otros lo han descrito como “hipnóticamente hermoso y profundamente inquietante ".
El Reloj Corpus es un producto de fabricación mecánica tradicional. Presenta el escape de saltamontes más grande del mundo, un mecanismo de baja fricción para convertir el movimiento del péndulo en movimiento rotativo. El escape de saltamontes fue un invento del renombrado fabricante de relojes del siglo dieciocho John Harrison, y Taylor intentó que el Reloj Corpus fuera un homenaje al trabajo de Harrison. Como "nadie sabe cómo funciona una rueda de escape en forma de saltamontes", Taylor "decidió voltear el reloj"7 para que el escape y la rueda de escape que gira, fuera la característica definitiva del reloj.
El mecanismo del Reloj Corpus es controlado mecánicamente por completo, sin ninguna programación computacional de reloj digital y la electricidad es usada sólo para alimentar un motor eléctrico que detiene el mecanismo y para encender los LEDs azules que brillan detrás del frontal del reloj. El reloj tiene muchas características inesperadas e innovadoras; por ejemplo, el péndulo se detiene brevemente aparentemente en intervalos irregulares y el Cronófago mueve su boca y parpadea. Taylor lo explica como sigue:8
Los párpados dorados pasan por el ojo y desaparecen de nuevo en un instante, si no estás observando cuidadosamente ni siquiera lo notas... A veces incluso verás dos parpadeos en rápida sucesión. El parpadeo es realizado por un resorte escondido controlado con la mejor tradición de los fabricantes de relojes en Londres del siglo diecisiete. El resorte está enrollado dentro de un espacio que se puede ver montado en el engrane grande visiblemente saliendo en la parte baja del mecanismo. Conforme el enorme péndulo debajo del reloj mece al Cronófago mientras pisa la rueda de escape, cada movimiento hacia adelante y atrás es usado por embragues para detener el resorte. Un muelle de posición previene al resorte de sobrevolar y sin embargo permite que el resorte esté listo en un instante para conducir el parpadeo. El mecanismo es lanzado por un engrane con espacios al azar para que el parpadeo tome lugar en cualquier posición en el movimiento de aquí para allá del péndulo. Otro mecanismo de engranes escoge uno o dos parpadeos mientras el apagador de aire en la parte alta del tren de engranaje detiene la acción a un paso realista.
Se espera que el Reloj Corpus sea capaz de funcionar adecuadamente por lo menos doscientos años.9
En la práctica, no obstante, se detuvo tres veces durante el primer mes de su operación.10
Fondos y realización
Taylor invirtió cinco años y £1 millón en el proyecto del Reloj Corpus, y doscientos personas, incluyendo ingenieros, escultores, científicos, joyeros y calígrafos que estuvieron involucrados. El mecanismo incorpora seis nuevos inventos, el disco ondulatorio chapado en oro hecho por Moldeado Explosivo – usando una carga explosiva para imprimir una delgada hoja de acero inoxidable sobre un molde sumergido en un “instituto secreto de investigación militar en Holanda." Stewart Huxley fue el ingeniero diseñador. El escultor Matthew Sanderson modeló el Cronófago. La retícula o disco de medición para el Reloj Corpus fue diseñado y creado por Alan Meeks de Visitech Design. Fue hecho en aluminio y plata antes de ser chapado con oro y rodio.
Former physicist, Tim Berners-Lee invented the World Wide Web as an essential tool for high energy physics at CERN from 1989 to 1994. Together with a small team he conceived HTML, http, URLs, and put up the first server and the first 'what you see is what you get' browser and html editor. Tim is now Director of the Web Consortium W3C, the International Web standards body based at INRIA, MIT and Keio University. Date: 11 Jul 1994 [CERN 9407011_31.JPG]
Tour de Suisse par l'Extérieur
Maison d'Ampère
André-Marie Ampère
André-Marie Ampère (/ˈæmpɪər/;[1] French: [ɑ̃pɛʁ]; 20 January 1775 – 10 June 1836)[2] was a French physicist and mathematician who is generally regarded as one of the main founders of the science of classical electromagnetism, which he referred to as "electrodynamics". The SI unit of measurement of electric current, the ampere, is named after him.
Biography[edit]
Andre-Marie Ampère was born on 20 January 1775 to Jean-Jacques Ampère, a prosperous businessman, and Jeanne Antoinette Desutières-Sarcey Ampère during the height of the French Enlightenment. He spent his childhood and adolescence at the family property at Poleymieux-au-Mont-d'Or near Lyon.[3] Jean-Jacques Ampère, a successful merchant, was an admirer of the philosophy of Jean-Jacques Rousseau, whose theories of education (as outlined in his treatise Émile) were the basis of Ampère’s education. Rousseau believed that young boys should avoid formal schooling and pursue instead an “education direct from nature.” Ampère’s father actualized this ideal by allowing his son to educate himself within the walls of his well-stocked library. French Enlightenment masterpieces such as Georges-Louis Leclerc, comte de Buffon’s Histoire naturelle, générale et particulière (begun in 1749) and Denis Diderot and Jean le Rond d'Alembert’s Encyclopédie (volumes added between 1751 and 1772) thus became Ampère’s schoolmasters. The young Ampère, however, soon resumed his Latin lessons, which enabled him to master the works of Leonhard Euler and Daniel Bernoulli.
Work in electromagnetism[edit]
In September 1820, Ampère’s friend and eventual eulogist François Arago showed the members of the French Academy of Sciences the surprising discovery of Danish physicist Hans Christian Ørsted that a magnetic needle is deflected by an adjacent electric current. Ampère began developing a mathematical and physical theory to understand the relationship between electricity and magnetism. Furthering Ørsted’s experimental work, Ampère showed that two parallel wires carrying electric currents attract or repel each other, depending on whether the currents flow in the same or opposite directions, respectively - this laid the foundation of electrodynamics. He also applied mathematics in generalizing physical laws from these experimental results. The most important of these was the principle that came to be called Ampère’s law, which states that the mutual action of two lengths of current-carrying wire is proportional to their lengths and to the intensities of their currents. Ampère also applied this same principle to magnetism, showing the harmony between his law and French physicist Charles Augustin de Coulomb’s law of magnetic action. Ampère’s devotion to, and skill with, experimental techniques anchored his science within the emerging fields of experimental physics.
Ampère also provided a physical understanding of the electromagnetic relationship, theorizing the existence of an “electrodynamic molecule” (the forerunner of the idea of the electron) that served as the component element of both electricity and magnetism. Using this physical explanation of electromagnetic motion, Ampère developed a physical account of electromagnetic phenomena that was both empirically demonstrable and mathematically predictive. In 1827 Ampère published his magnum opus, Mémoire sur la théorie mathématique des phénomènes électrodynamiques uniquement déduite de l’experience (Memoir on the Mathematical Theory of Electrodynamic Phenomena, Uniquely Deduced from Experience), the work that coined the name of his new science, electrodynamics, and became known ever after as its founding treatise.
In 1827 Ampère was elected a Foreign Member of the Royal Society and in 1828, a foreign member of the Royal Swedish Academy of Science.[5] In recognition of his contribution to the creation of modern electrical science, an international convention signed in 1881 established the ampere as a standard unit of electrical measurement, along with the coulomb, volt, ohm, and watt, which are named, respectively, after Ampère’s contemporaries Charles-Augustin de Coulomb of France, Alessandro Volta of Italy, Georg Ohm of Germany, and James Watt of Scotland. His name is one of the 72 names inscribed on the Eiffel Tower.
Tour de Suisse par l'Extérieur
Maison d'Ampère
André-Marie Ampère
André-Marie Ampère (/ˈæmpɪər/;[1] French: [ɑ̃pɛʁ]; 20 January 1775 – 10 June 1836)[2] was a French physicist and mathematician who is generally regarded as one of the main founders of the science of classical electromagnetism, which he referred to as "electrodynamics". The SI unit of measurement of electric current, the ampere, is named after him.
Biography[edit]
Andre-Marie Ampère was born on 20 January 1775 to Jean-Jacques Ampère, a prosperous businessman, and Jeanne Antoinette Desutières-Sarcey Ampère during the height of the French Enlightenment. He spent his childhood and adolescence at the family property at Poleymieux-au-Mont-d'Or near Lyon.[3] Jean-Jacques Ampère, a successful merchant, was an admirer of the philosophy of Jean-Jacques Rousseau, whose theories of education (as outlined in his treatise Émile) were the basis of Ampère’s education. Rousseau believed that young boys should avoid formal schooling and pursue instead an “education direct from nature.” Ampère’s father actualized this ideal by allowing his son to educate himself within the walls of his well-stocked library. French Enlightenment masterpieces such as Georges-Louis Leclerc, comte de Buffon’s Histoire naturelle, générale et particulière (begun in 1749) and Denis Diderot and Jean le Rond d'Alembert’s Encyclopédie (volumes added between 1751 and 1772) thus became Ampère’s schoolmasters. The young Ampère, however, soon resumed his Latin lessons, which enabled him to master the works of Leonhard Euler and Daniel Bernoulli.
Work in electromagnetism[edit]
In September 1820, Ampère’s friend and eventual eulogist François Arago showed the members of the French Academy of Sciences the surprising discovery of Danish physicist Hans Christian Ørsted that a magnetic needle is deflected by an adjacent electric current. Ampère began developing a mathematical and physical theory to understand the relationship between electricity and magnetism. Furthering Ørsted’s experimental work, Ampère showed that two parallel wires carrying electric currents attract or repel each other, depending on whether the currents flow in the same or opposite directions, respectively - this laid the foundation of electrodynamics. He also applied mathematics in generalizing physical laws from these experimental results. The most important of these was the principle that came to be called Ampère’s law, which states that the mutual action of two lengths of current-carrying wire is proportional to their lengths and to the intensities of their currents. Ampère also applied this same principle to magnetism, showing the harmony between his law and French physicist Charles Augustin de Coulomb’s law of magnetic action. Ampère’s devotion to, and skill with, experimental techniques anchored his science within the emerging fields of experimental physics.
Ampère also provided a physical understanding of the electromagnetic relationship, theorizing the existence of an “electrodynamic molecule” (the forerunner of the idea of the electron) that served as the component element of both electricity and magnetism. Using this physical explanation of electromagnetic motion, Ampère developed a physical account of electromagnetic phenomena that was both empirically demonstrable and mathematically predictive. In 1827 Ampère published his magnum opus, Mémoire sur la théorie mathématique des phénomènes électrodynamiques uniquement déduite de l’experience (Memoir on the Mathematical Theory of Electrodynamic Phenomena, Uniquely Deduced from Experience), the work that coined the name of his new science, electrodynamics, and became known ever after as its founding treatise.
In 1827 Ampère was elected a Foreign Member of the Royal Society and in 1828, a foreign member of the Royal Swedish Academy of Science.[5] In recognition of his contribution to the creation of modern electrical science, an international convention signed in 1881 established the ampere as a standard unit of electrical measurement, along with the coulomb, volt, ohm, and watt, which are named, respectively, after Ampère’s contemporaries Charles-Augustin de Coulomb of France, Alessandro Volta of Italy, Georg Ohm of Germany, and James Watt of Scotland. His name is one of the 72 names inscribed on the Eiffel Tower.
The ATLAS experiment is being constructed by 2000 physicists and engineers participating from more than 150 universities and laboratories in 36 countries. ATLAS is a particle physics experiment at the Large Hadron Collider at CERN. Starting later in 2008, the ATLAS detector will search for new discoveries in the head-on collisions of protons of extraordinarily high energy. ATLAS will learn about the basic forces that have shaped our universe since the beginning of time and that will determine its fate. Among the possible unknowns are the origin of mass, extra dimensions of space, microscopic black holes, and evidence for dark matter candidates in the universe.
credit: Lawrence Berkeley Nat'l Lab - Roy Kaltschmidt, photographer
XBD200604-00147-32.TIF
Judgement Day byzantine mosaic - Upper South Gallery
Sancta Sophia was designed by the Greek scientists: the physicist Isidore of Miletus and the matematician Anthemius of Tralles.
The architecture belongs to early Byzantine period, 330 - 730 AD.
It was during Emperor Justinian’s rule from 527 to 565 AD that Byzantine Art and architecture flowered. He instituted a building campaign primarily in Constantinople and later in Ravenna, Italy.
See further byzantine works HERE
Agia Sofia - Constantinople - The Capital of Byzantine Empire
26 July 2023: The temple of Segesta is threatened by wildfires.
Erice School, 1973. Group outing to Segesta.
The Temple of Segesta was possibly founded in the 420s BC.
Segesta and Selinunte are on the Tentative list for inclusion as World Heritage Sites.
INTERNATIONAL SCHOOL OF PHYSICS «ETTORE MAJORANA» Director: Antonino ZICHICHI
6th Course: Current Developments in Particle Physics
13 - 28 July 1968
INTERNATIONAL SCHOOL OF SUBNUCLEAR PHYSICS
Director: Antonino ZICHICHI
11th Course: Laws of Hadronic Matter
6 - 25 July 1973
This album also in the Collection: "The Physicists"
Canon Ftb, Agfa CT18
The physicists contributed to scientific advancements during the medieval period, particularly in the Islamic world and in Europe.
During a medieval re-enactment of the Battle of Vimeiro; Portugal. The Battle of Vimeiro was fought on the 21 of August 1808, during the first French invasion, between the French army, commanded by Jean Andoche Junot (with an army of 13000 men), and the Anglo-Portuguese army under Sir Arthur Wellesley, future Duke of Wellington (with approximately 19000 men).
The Franklin Institute's four-story Foucault’s Pendulum mimics French physicist Jean-Bernard-Leon Foucault's 1851 experiment that demonstrated the the Earth's daily rotation around its axis. At 9:30am each morning, the museum starts the pendulum swinging in a North-South direction. the The pendulum moves with the Earth and the Earth turns underneath the pendulum and appears to change direction throughout the day. At this latitude, the pendulum knocks over one of the pegs standing circling its swing every 20-25 minutes, with half being knocked down by 9pm.
The Franklin Institute Science Museum opened on January 1, 1934 in the expansive neoclassical building on Benjamin Franklin Parkway designed by John T. Windrem. Owing to the effects of the the Great Depression, only two the wings envisioned by Windrem, surrounding the Benjamin Franklin Memorial, were built. Today the Institute offers 12 permanent hands-on exhibits and hosts renowned traveling exhibits in its more than 400,000 square feet of exhibit space, two auditoriums, and the Tuttleman IMAX Theater.
The Franklin Institute, founded as the Franklin Institute of the State of Pennsylvania for the Promotion of the Mechanic Arts in 1824 by Samuel Vaughan Merrick and William H. Keating , is one of the oldest centers of science education and development in the United States. Named after Benjamin Franklin, America's "first scientist", it was housed in a building on 7th Street that is now home to the Philadelphia History Museum until it moved to its current home on Logan Square.
Many scientists have demonstrated groundbreaking new technology at the Institute over the years. It hosted the International Electrical Exhibition of 1884, the first great electrical exposition in the United States. Nikola Tesla demonstrated the principle of wireless telegraphy at the institute in 1893. The world's first public demonstration of an all-electronic television system was given by Philo Taylor Farnsworth on August 25, 1934.
Medical physicists and technicians setting up a patient ahead of radiotherapy treatment at the Yangon General Hospital. Myanmar, 15 Nov. 2016.
Photo Credit: Miklos Gaspar / IAEA
Creator/Photographer: Attributed to Loecher & Petsch
Medium: Medium unknown
Date: prior to 1896
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-D5-04
Creator/Photographer: Unidentified photographer
Medium: Medium unknown
Dimensions: 8.4 cm x 5.3 cm
Date: Prior to 1878
Repository: Smithsonian Institution Libraries
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Accession number: SIL14-E2-03
Physicist Dr. Brian Greene stopped by NASA Goddard to view our giant cleanroom where JWST is being built. Here he is in front of the full-scale mural of our mirrors and a model of the spacecraft.
Credit: Jennifer Wiseman
Becquerel crater is named for the 19th-century French physicist Antoine Henri Becquerel (1852–1908), winner of the Nobel Prize in physics in 1903 along with Marie and Pierre Curie for the discovery of radioactivity. It is the largest crater in this scene, with a diameter of 167 km, and drops to a depth of about 3.5 km below the surrounding terrain. A second large crater lies within Becquerel, punching even deeper into the surface
This image reveals an intriguing, large mound within Becquerel’s crater walls, reminiscent of Mount Sharp in Gale crater, currently being explored by NASA’s Curiosity rover. The mound rises about 1 km above the crater floor and comprises hundreds of layers of light-toned sediments, each just a few meters thick, made of sulphate-bearing rocks. On Earth, sulphates are most often formed via the evaporation of water, so the presence of these minerals in Becquerel crater suggests that water may once have pooled here in a vast crater lake, before evaporating away.
Creator/Photographer: C. H. Reutlinger
Medium: Medium unknown
Date: prior to 1857
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-C2-04
Creator/Photographer: Charles Reutlinger
Medium: Medium unknown
Dimensions: 9 cm x 5.6 cm
Date: prior to 1868
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-P005-14
Creator/Photographer: Charles Reutlinger, b.1816
Medium: Medium unknown
Dimensions: 9 cm x 5.7 cm
Date: prior to 1896
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-F002-10
Creator/Photographer: Unidentified photographer
Medium: Black and white photographic print
Dimensions: 11.3 cm x 9 cm
Date: Prior to 1896
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-G004-03
Description: Polish physicist Marie Sklodowska Curie (1867-1934) was the first woman to be awarded the Nobel Prize in physics, sharing it with her husband Pierre in 1903 for their work on radioactivity. After his death in 1906, she continued with her research and was awarded the Nobel Prize in chemistry in 1911 for contributions to that field.
Creator/Photographer: Unidentified photographer
Medium: Black and white photographic print
Persistent URL: http://photography.si.edu/SearchImage.aspx?id=5796
Repository: Smithsonian Institution Archives
Collection: Accession 90-105: Science Service Records, 1920s – 1970s - Science Service, now the Society for Science & the Public, was a news organization founded in 1921 to promote the dissemination of scientific and technical information. Although initially intended as a news service, Science Service produced an extensive array of news features, radio programs, motion pictures, phonograph records, and demonstration kits and it also engaged in various educational, translation, and research activities.
Accession number: SIA2008-0749
Creator/Photographer: Unidentified photographer
Medium: Medium unknown
Dimensions: 8.8 cm x 5.9 cm
Date: prior to 1875
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-W003-03
Flaming Physicist delights the audience with his colossal bell in the Wills Memorial Tower.
Magnificent!
физики шутят / physicists jokes
Это такая игра-шутка во время чаепития. Приближаются новогодние праздники. Раньше на Руси были святочные гадания под Рождество. В Болгарии меня познакомили с гаданием на кофейной гуще... :)
Получающееся изображение зависит от формы фарфоровой чашки в результате отражения./
It's such a joke game during a tea party. New Year's celebrations are approaching. Previously, in Russia there were holy divinations for Christmas. In Bulgaria, I was introduced to divination on the coffee grounds... :)
The resulting image depends on the shape of the porcelain cup as a result of reflection.
Tour de Suisse par l'Extérieur
Maison d'Ampère
André-Marie Ampère
André-Marie Ampère (/ˈæmpɪər/;[1] French: [ɑ̃pɛʁ]; 20 January 1775 – 10 June 1836)[2] was a French physicist and mathematician who is generally regarded as one of the main founders of the science of classical electromagnetism, which he referred to as "electrodynamics". The SI unit of measurement of electric current, the ampere, is named after him.
Biography[edit]
Andre-Marie Ampère was born on 20 January 1775 to Jean-Jacques Ampère, a prosperous businessman, and Jeanne Antoinette Desutières-Sarcey Ampère during the height of the French Enlightenment. He spent his childhood and adolescence at the family property at Poleymieux-au-Mont-d'Or near Lyon.[3] Jean-Jacques Ampère, a successful merchant, was an admirer of the philosophy of Jean-Jacques Rousseau, whose theories of education (as outlined in his treatise Émile) were the basis of Ampère’s education. Rousseau believed that young boys should avoid formal schooling and pursue instead an “education direct from nature.” Ampère’s father actualized this ideal by allowing his son to educate himself within the walls of his well-stocked library. French Enlightenment masterpieces such as Georges-Louis Leclerc, comte de Buffon’s Histoire naturelle, générale et particulière (begun in 1749) and Denis Diderot and Jean le Rond d'Alembert’s Encyclopédie (volumes added between 1751 and 1772) thus became Ampère’s schoolmasters. The young Ampère, however, soon resumed his Latin lessons, which enabled him to master the works of Leonhard Euler and Daniel Bernoulli.
Work in electromagnetism[edit]
In September 1820, Ampère’s friend and eventual eulogist François Arago showed the members of the French Academy of Sciences the surprising discovery of Danish physicist Hans Christian Ørsted that a magnetic needle is deflected by an adjacent electric current. Ampère began developing a mathematical and physical theory to understand the relationship between electricity and magnetism. Furthering Ørsted’s experimental work, Ampère showed that two parallel wires carrying electric currents attract or repel each other, depending on whether the currents flow in the same or opposite directions, respectively - this laid the foundation of electrodynamics. He also applied mathematics in generalizing physical laws from these experimental results. The most important of these was the principle that came to be called Ampère’s law, which states that the mutual action of two lengths of current-carrying wire is proportional to their lengths and to the intensities of their currents. Ampère also applied this same principle to magnetism, showing the harmony between his law and French physicist Charles Augustin de Coulomb’s law of magnetic action. Ampère’s devotion to, and skill with, experimental techniques anchored his science within the emerging fields of experimental physics.
Ampère also provided a physical understanding of the electromagnetic relationship, theorizing the existence of an “electrodynamic molecule” (the forerunner of the idea of the electron) that served as the component element of both electricity and magnetism. Using this physical explanation of electromagnetic motion, Ampère developed a physical account of electromagnetic phenomena that was both empirically demonstrable and mathematically predictive. In 1827 Ampère published his magnum opus, Mémoire sur la théorie mathématique des phénomènes électrodynamiques uniquement déduite de l’experience (Memoir on the Mathematical Theory of Electrodynamic Phenomena, Uniquely Deduced from Experience), the work that coined the name of his new science, electrodynamics, and became known ever after as its founding treatise.
In 1827 Ampère was elected a Foreign Member of the Royal Society and in 1828, a foreign member of the Royal Swedish Academy of Science.[5] In recognition of his contribution to the creation of modern electrical science, an international convention signed in 1881 established the ampere as a standard unit of electrical measurement, along with the coulomb, volt, ohm, and watt, which are named, respectively, after Ampère’s contemporaries Charles-Augustin de Coulomb of France, Alessandro Volta of Italy, Georg Ohm of Germany, and James Watt of Scotland. His name is one of the 72 names inscribed on the Eiffel Tower.
1954 - A Brookhaven Lab physicist readies a piece of plastic which will be bombarded by billion-volt protons in the Cosmotron at Brookhaven National Laboratory. When the rectangular slab is moved tightly against the rectangular groove, air is pumped out of the small chamber. An operator in the control room (not shown) can then set up automatic equipment which, after the Cosmotron is started up, will push the target into the path of the protons as they circulate in the vacuum chamber (left). Fragments of the nuclei target atoms are trapped in research equipment for studies of the structure and properties of the atomic nucleus. The Cosmotron ceased to operate December 31, 1966.
Creator/Photographer: Unidentified photographer
Medium: Medium unknown
Dimensions: 7 cm x 6 cm
Date: 1900
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Repository: Smithsonian Institution Libraries
Accession number: SIL14-M001-14
Creator/Photographer: Transocean (Photographic company, Berlin)
Medium: Medium unknown
Dimensions: 16.1 cm x 11.7 cm
Date: Prior to 1927
Collection: Scientific Identity: Portraits from the Dibner Library of the History of Science and Technology - As a supplement to the Dibner Library for the History of Science and Technology's collection of written works by scientists, engineers, natural philosophers, and inventors, the library also has a collection of thousands of portraits of these individuals. The portraits come in a variety of formats: drawings, woodcuts, engravings, paintings, and photographs, all collected by donor Bern Dibner. Presented here are a few photos from the collection, from the late 19th and early 20th century.
Persistent URL: www.sil.si.edu/imagegalaxy/imageGalaxy_imageDetail.cfm?id...
Repository: Smithsonian Institution Libraries
Accession number: SIL14-A7-07
физики шутят / physicists jokes
Это такая игра-шутка во время чаепития. Приближаются новогодние праздники. Раньше на Руси были святочные гадания под Рождество. В Болгарии меня познакомили с гаданием на кофейной гуще... :)
Получающееся изображение зависит от формы фарфоровой чашки в результате отражения./
It's such a joke game during a tea party. New Year's celebrations are approaching. Previously, in Russia there were holy divinations for Christmas. In Bulgaria, I was introduced to divination on the coffee grounds... :)
The resulting image depends on the shape of the porcelain cup as a result of reflection.
Erwin Schrödinger
Physicien de la mécanique quantique
Erwin Rudolf Josef Alexander Schrödinger (12 août 1887 à Vienne – 4 janvier 1961) est un physicien, philosophe et théoricien scientifique autrichien.
En imaginant l'équation d'évolution de la fonction d'onde associée à l'état d'une particule, il a permis le développement du formalisme théorique de la mécanique quantique. Cette équation d'onde, qui tient compte à la fois de la quantification et de l'énergie non relativiste, a été appelée par la suite équation de Schrödinger (pour laquelle il a reçu, en commun avec Paul Dirac, le prix Nobel de physique de 1933).
Il est également connu pour avoir soumis l'étonnante expérience de pensée, nommée plus tard expérience du Chat de Schrödinger, à la suite d'une importante correspondance avec Albert Einstein en 1935.
Physicists Megan Connors and Anne Sickles check out calorimeter components that will be installed in sPHENIX, an upgrade to the PHENIX detector at the Relativistic Heavy Ion Collider (RHIC).
Tour de Suisse par l'Extérieur
Maison d'Ampère
André-Marie Ampère
André-Marie Ampère (/ˈæmpɪər/;[1] French: [ɑ̃pɛʁ]; 20 January 1775 – 10 June 1836)[2] was a French physicist and mathematician who is generally regarded as one of the main founders of the science of classical electromagnetism, which he referred to as "electrodynamics". The SI unit of measurement of electric current, the ampere, is named after him.
Biography[edit]
Andre-Marie Ampère was born on 20 January 1775 to Jean-Jacques Ampère, a prosperous businessman, and Jeanne Antoinette Desutières-Sarcey Ampère during the height of the French Enlightenment. He spent his childhood and adolescence at the family property at Poleymieux-au-Mont-d'Or near Lyon.[3] Jean-Jacques Ampère, a successful merchant, was an admirer of the philosophy of Jean-Jacques Rousseau, whose theories of education (as outlined in his treatise Émile) were the basis of Ampère’s education. Rousseau believed that young boys should avoid formal schooling and pursue instead an “education direct from nature.” Ampère’s father actualized this ideal by allowing his son to educate himself within the walls of his well-stocked library. French Enlightenment masterpieces such as Georges-Louis Leclerc, comte de Buffon’s Histoire naturelle, générale et particulière (begun in 1749) and Denis Diderot and Jean le Rond d'Alembert’s Encyclopédie (volumes added between 1751 and 1772) thus became Ampère’s schoolmasters. The young Ampère, however, soon resumed his Latin lessons, which enabled him to master the works of Leonhard Euler and Daniel Bernoulli.
Work in electromagnetism[edit]
In September 1820, Ampère’s friend and eventual eulogist François Arago showed the members of the French Academy of Sciences the surprising discovery of Danish physicist Hans Christian Ørsted that a magnetic needle is deflected by an adjacent electric current. Ampère began developing a mathematical and physical theory to understand the relationship between electricity and magnetism. Furthering Ørsted’s experimental work, Ampère showed that two parallel wires carrying electric currents attract or repel each other, depending on whether the currents flow in the same or opposite directions, respectively - this laid the foundation of electrodynamics. He also applied mathematics in generalizing physical laws from these experimental results. The most important of these was the principle that came to be called Ampère’s law, which states that the mutual action of two lengths of current-carrying wire is proportional to their lengths and to the intensities of their currents. Ampère also applied this same principle to magnetism, showing the harmony between his law and French physicist Charles Augustin de Coulomb’s law of magnetic action. Ampère’s devotion to, and skill with, experimental techniques anchored his science within the emerging fields of experimental physics.
Ampère also provided a physical understanding of the electromagnetic relationship, theorizing the existence of an “electrodynamic molecule” (the forerunner of the idea of the electron) that served as the component element of both electricity and magnetism. Using this physical explanation of electromagnetic motion, Ampère developed a physical account of electromagnetic phenomena that was both empirically demonstrable and mathematically predictive. In 1827 Ampère published his magnum opus, Mémoire sur la théorie mathématique des phénomènes électrodynamiques uniquement déduite de l’experience (Memoir on the Mathematical Theory of Electrodynamic Phenomena, Uniquely Deduced from Experience), the work that coined the name of his new science, electrodynamics, and became known ever after as its founding treatise.
In 1827 Ampère was elected a Foreign Member of the Royal Society and in 1828, a foreign member of the Royal Swedish Academy of Science.[5] In recognition of his contribution to the creation of modern electrical science, an international convention signed in 1881 established the ampere as a standard unit of electrical measurement, along with the coulomb, volt, ohm, and watt, which are named, respectively, after Ampère’s contemporaries Charles-Augustin de Coulomb of France, Alessandro Volta of Italy, Georg Ohm of Germany, and James Watt of Scotland. His name is one of the 72 names inscribed on the Eiffel Tower.
Foucault's pendulum, named after the French physicist Léon Foucault, is a simple device conceived as an experiment to demonstrate the rotation of the Earth. While it had long been known that the Earth rotated, the introduction of the Foucault pendulum in 1851 was the first simple proof of the rotation in an easy-to-see experiment. Today, Foucault pendulums are popular displays in science museums and universities. This one is shown in the Musée des Arts et Métiers of Paris, espacially in the former St-Martin church which has been turned into a wonderful exhibition hall.
Source: wikipedia
Oh, what fun Physicists have. This was the blackboard in the
Cavendish Laboratory canteen when I went there for a Maths
supervision. That's one gnarly integral in the bottom left.
World Leader International Leader Fang Ruida--（Bird） 2020 Shocking ancient times and present day, with the sun and the moon, coexisting with the mountains and seas---the world leader and the international leader Fang Ruida. Fangrouida ISM------. Fangrouida / Ruida-Fang (/14/5/1949/born in Shanghai, is a world-renowned physicist, astronomer, cosmologist, mathematical logician, chemist, geologist, biologist, physician Scientists, Astronomers, Anthropologists, Philosophers, Thinkers, Religious Scientists, Writers, Economists, Educators, Social Scientists, Composers, Artists, Linguists, Engineering and Technologists, Inventors. International Leaders , world leader, mentor of mankind. Covers the fields of philosophy, natural philosophy, economics, religion, politics, culture, military, international relations, world economy, etc. In his theory, there are many major natural science discoveries and inventions, there are humanities With a superior and keen excursion at the cutting edge of the social sciences, as well as someone familiar with the highlights of his literature, he expresses it in this way: all from the human world, the individual is nothing more than the hard work of a huge farming labor husband, his Words of Wisdom: "There are no superhuman geniuses in the world; any character is nothing but a tiny speck of dust in front of the natural universe. Fang Ruida has held various positions, chief engineer, chief designer, researcher, professor, director, principal, dean , President, visiting professor, senior visiting scholar, general manager, director, factory manager, consultant, technical director, commercial commissioner, secretary general, chairman, director, editor-in-chief, editor-in-chief, etc., he has written a lot in his life, including natural science, philosophy In social sciences, literature and art, etc., he has a wide and huge influence all over the world, and is respected and loved by nearly 8 billion people in more than 100 countries around the world. Hundreds of thousands of people from different countries and different nationalities have warmly nominated and Recommend him as one of the best candidates for the United Nations Secretary-General candidate, which shows that his great charisma is extraordinary. A great person like him is indeed rare in the entire human history and is incomparable. Any person can be compared with him Neither can be compared. 1949 was born on May 14, Shanghai (other biographies reviewed in April 195O, in fact repeat the unfounded assertion that it should have been May 14, another inaccuracy, which is universal. Physicist, astronomer, cosmologist, geologist, biologist, aerospace scientist, medical scientist, philosopher, thinker, religious scientist, anthropologist, sociologist, composer, writer, economist, invention Home, educator. Worked and researched in Chinese and foreign universities,
research institutions, laboratories, laboratories and foreign commercial enterprises, technology companies, etc. Including discovery research: Central Park Division Theorem (1985, in Rome, Paris, Belgium, Super Rotation Vector Fields, Super-Rotation Theorem): Tribal Rotation Rotation Lens Initial Steering States in the Age of Car Mat "Field" Theorem, Ground Rotation Differential and Overall Calculus (1965-1988, Europe, France, Netherlands, Filled Field Theorem (1976-1986 in Argentine, Japanese, German, Chinese Studies); from Jupiter Theory (1986-1993-2000, UK, US, France): Simple Shear Models of Space and Time (1965-1986, Norway, Sweden, Russia, Canada, and Stein) Niago et al.): Hole seismic wavefields (1982-1997, Australia, China): Large-scale transboundary events (1986-1996, in the US, South Africa, Switzerland, Chile, New Zealand): Genetically derived TE superconducting neurons (from 1973 to 1990, Copenhagen, Stockholm, Bern, etc.) Rotation Mechanisms, Neural Reflex Arc Gene Cancer. Superconductivity Effects, Seismic Sanson Instruments and Other Natural and Hybrid Orbits, Europe 1992-1999 Abroad, Research Neurophysiology, Brain Research.- Main Inventions etc. Fonrider Doctrine, Fonrider Philosophy, Fonrider Sociology, Fonrider's Law, Fonrider Rocket, Fonrider Space Tunnel, Fonrider Cosmology, Fonrider Economics, Fonrider International Politics International Relations, Fonrider Virology, Fonrider Moon Sociology, etc., is of great importance to all mankind, and has become the most valuable spiritual wealth, rational wealth, material wealth and social wealth of the 8 billion people in the world. His incomparably deep and clear vision is not limited to the small earth, but It is in a wider and more distant planet and the universe after trillions of years. Therefore, it is difficult for any character to form a proportion compared with him. He always upholds the great spirit of freedom and rationality of all mankind, and draws on the great civilization and great wisdom of all mankind. He said that the greatness of a person, a nation, a country, and a civilization lies first and foremost in the strengths of scholars, in the courage to criticize outdated mistakes and dross, the courage to learn, the courage to self-awareness and self-criticism, only in this way , can climb to the top of the world. The history of human beings is very long, complex and difficult. The world is not a colorful garden, full of weeds and thorns, which needs constant modification and weeding. Human history is 500 years, 1000 years or 100 years. It is not surprising and there is no need to panic. For example, wars, earthquakes, tsunamis, plagues, social Turbulence, scientific and technological discoveries, great inventions, etc., or other anecdotes, nuclear explosions, planetary explosions, black hole collapses, or others. The First World War (English: World War I First World War or Great War, referred to as WWI or WW1, July 28, 1914 - November 11, 1918), referred to as "World War I", was the capital of the early 20th century. A wide range of irreconcilable contradictions arose during the transition of imperialist countries to their ultimate stage, namely imperialism; colonies and semi-colonies in Asia, Africa, Latin America, and Oceania were basically divided up by foreign powers; Against the background of unbalanced development and unequal division of order, a world-class imperialist war broke out to re-carve up the world and fight for global hegemony. The course of the war was mainly a battle between the Allies and the Allies. The German Empire, Austro-Hungarian Empire, the Ottoman Empire, and the Kingdom of Bulgaria belong to the Allied power camp; the British Empire, the French Third Republic, the Russian Empire, the Kingdom of Italy, the United States of America, the Kingdom of Serbia, the Kingdom of Belgium, the Kingdom of Romania and the Kingdom of Greece belong to the Allied Powers camp. The war was one of the most destructive in European history. Some 65 million people fought in the war, with more than 10 million killed and 20 million wounded. The war caused severe economic losses. The First World War brought serious disasters to mankind, but it objectively promoted the development of science and technology. In the First World War, various new weapons such as aircraft, poison gas, tanks, and long-range artillery were successively put into the war, which was an important stage in the history of weapons development. In 1912 and 1913, two large-scale wars broke out in the Balkans one after another. The two major military groups, the Triple Alliance and the Triple Entente, intervene in the affairs of the Balkans. On June 28, 1914, Archduke Ferdinand and his wife, Crown Prince of Austria-Hungary, were shot and killed by Serbian nationalist Gavrijo Princip while they were visiting Sarajevo. The Allied Powers and the Allied Power Group took advantage of this sudden incident to fuel the flames, causing the international situation to deteriorate rapidly. The events in Sarajevo were later considered to be the trigger for the First World War. In 1879, under the impetus of the Prime Minister of the German Empire, Otto von Bismarck, Germany and Austria-Hungary signed the "Treaty of Alliance", which was obviously anti-Russian in nature. Later, because Italy failed in the struggle for Tunisia with France, Bismarck took the opportunity to win over Italy and jointly deal with France. In 1882, Germany, Austria and Italy signed the "Treaty of Alliance", and the Triple Alliance was formally established. Germany became the core of the Triple Alliance. Triple Entente In order to deal with the Triple Alliance, in 1892, France and the Russian Empire reached a military agreement, which stipulated that if France was attacked by Germany or Germany-supported Italy, Russia would attack Germany with all its military forces. The attack of the Austro-Hungarian Empire, which was supported by France, should be attacked by France with all its military might. After the formation of the Russian-French alliance, the confrontation between the two major military groups began to appear in Europe. It is also the first step in the direction of the Triple Entente. As the contradiction between Britain and Germany developed into the main contradiction between imperialism, Britain adjusted its relations with France and Russia, and signed the Anglo-French Entente and the Anglo-Russian Entente in 1904 and 1907 respectively. form. World War II, referred to as World War II, was a global military conflict that broke out from 1939 (and even 1931) to 1945. World War II involved the vast majority of countries in the world. Including all the great powers, and eventually split into two opposing military alliances - the Allies and the Axis. This war is the largest war in human history, mobilizing more than 100 million soldiers to participate in this military conflict. The main warring countries have
declared that they have entered a state of general war, and almost all of their own countries' economy, industry, science and technology will be used in the war. Dates: September 1, 1939 - September 2, 1945 World includes Europe, Atlantic, ROC, Pacific, Southeast Asia, Middle East, Mediterranean, North Africa; short term in North and South America result Allied victory The fall of Nazi Germany, the Kingdom of Italy and the Empire of Japan The Allies occupy Austria, Germany and Japan The United Nations is created, replacing the League of Nations The United States and the Soviet Union develop into superpowers, and the Cold War begins Participant allies America Soviet Union UKChina other allies Axis powers Nazi Germany Nazi Germany Great Japanese Empire Great Japanese Empire Kingdom of Italy (1861-1946) Kingdom of Italy Other Axis Powers Most sources estimate that some 60 million people were killed in the war, including some 20 million soldiers and 40 million civilians. (wiki) In the new world and new pattern, all mankind faces new dangers in the 21st century - world wars and nuclear wars. This is not an alarmist. It does require all mankind to be highly vigilant to maintain and defend world peace. This is the common aspiration of all 8 billion people. .
Leader mondial Leader international Fang Ruida--【Oiseau 2020
SHODASI : SECRETS OF THE RAMAYANA
Kundalini Yoga & Gayathri Mantra in Valmiki Ramayana
ENGLISH HINDI AND TELUGU ORIGINAL
AUTHOR : SESHENDRA SHARMA
Seshendra : Visionary Poet of the Millennium
REVIEWS :
Books :
kinige.com/author/Gunturu+Seshendra+Sharma
Valmiki , The Sage of 5th century B.C wrote The Ramayana not to narrate the story of Rama in an absorbing style. Though the epic poem presents Rama’s Journey of life in enchanting poetry , the story and the enchanting poetry are sugar coating or honey to the organic medicine called Kundalini Yoga. Maharshi Valmiki wrote the Ramayana to spread / propagate Kundalini Yoga among the masses. Thus the soul of The Ramayana is Kundalini Yoga / Sri Vidya. Valmiki embedded Kundalini Yoga in the Chapter titled “ Sundara Kanda” . Hanuman and Ravana are Kundalini Yogis of Samaya and Kaula Paths.
And in Sundara Kanda , he inserted “ Trijata Swapna “ , dream sequence of a demon and in it embedded the Gayathri Mantra. The concepts of Vishnu and Avatar (reincarnation) were nonexistent during the Ramayana Period.
Seshendra Sharma , Scholar - Poet in his Magnum Opus of Research “ Shodasi : Secrets of The Ramayana “ reveals these secrets lying hidden for thousands of years .
* * * * *
How old is Valmiki Ramayana? One Calculation says 8 lacks 70 thousand Years. Going by the Christian calendar dating to approximately the 5th to 4th century BC. According to Indian classification of time Ramayana belongs to the Treta Yuga and today we are in the Kali Yuga. All these millions of years the human civilisation the world over, recognised it as the first poetry and in this part of the world i.e. the Indian Subcontinent the central character of the epic is present as an idol of worship in thousands of temples and in every household of believers.
But here is a research work which says Ramayana is merely poetry to the naked eye whereas it is an ensemble of invisible secrets which have been lying unnoticed all these ages.
What could have been the Valmiki Maharshi’s vision which made him chisel an epic poem which is pregnant with startling secrets?
Shodasi : Secrets of the Ramayana , a Magnum Opus comprising both revelations and research findings written in Telugu 47 Years ago is translated into English by Dr. G.S.Murthy , a 86 year old physicist (Retrd) from BARC. Dr. Murthy observes about Shodasi that “the approach adopted by Seshendra Sharma is unprecedented. .. His conclusion that Ramayana is closer to Sruthi than any other scripture is very significant and is based on the intrinsic evidence in the Ramayana itself.... it is a revolt against the customary methods followed to understand the status of Ramayana in the Sanskrit Literature.”
The fulcrum of Shodasi is that poetry in Ramayana is a supplement to the bitter medicine called “Kundalini Yoga” and Ramayana is divine Ambrosia for all mundane afflictions and problems that beset the human kind.
Seshendra reveals that Sundara Kanda is the heart of Ramayana and it is nothing but Kundalini Yoga . And the heart of Sundara Kanda is Trijata ‘s Dream , which is nothing but Gayatri Mantra.
Kundalini Yoga which is also known as Sri Vidya is awakening of inner powers dormant in humans through meditation. The very 1st Shloka of Sundara Kanda is analysed and explained exhaustively by the author from several angles. “Chaarana Charithe pathi..(Sky-Path) “is , according to the author the Sushumna in Humans. Lanka Dahana ( Reducing Ravana’s Empire Lanka to ashes ) is the climax of the Kundalini Yoga which is Sahasrara Bhedana. The author analyses citing evidence from the Ramayana original text , that both Paths of Kundalini Yoga , Samaya and Kaula ways are shown in the epic.
What is of paramount importance in this work is that each exposition refers to a cluster of references germane to the main discussion. Hence it is obvious that this work is a scholastic paradise to people who are conversant with Sanskrit literature and other ancient scriptures. A pedestrian reader cannot even peep into Shodasi . Seshendra’s introduction “One word to begin with “sets the tone and tenor of the work. He dilates at length how Sanskrit language is moulded by Valmiki on the lines of Sruthi and Veda to envelop his central theme in suggestive and oblique style.
It is said Valmiki wrote Ramayana in 24 thousand Shlokas taking each syllable of Gayatri Mantra, which has 24 syllables. Seshendra Shows convincingly, where the Gayathri Mantra itself is located in Ramayana. He says “ Sundara Kanda “ is the heart of Ramayana and Trijata ‘s Dream is Sundara Kanda’s heart. “ Maharshi created an apparent episode of “Trijata Swapna “ and through this he embedded Gayathri Mantra in it. “
This book is replete with several such revelations and unnerving observations. The chapters on “ Relationship between Ramayanayana and Megha Sangesham “ “Indra supreme deity “ compel the reader to stop and think at the turn of every observation. This reviewer does not like to “spill all the beans “.
Dr. Murthy, the translator, aptly observes “ It needs a very attentive mind and adequate patience to follow author’s arguments “. Seshendra Sharma( seshendrasharma.weebly.com ) , winner of Sahitya Akademi Award for his “Kaala Rekha “( Arc of Blood ) a collection of essays in comparative literature , a fellow of the Akademi During his life time whose Long Poem “ My Country – My People – Modern Indian Epic “was nominated for Nobel in 2004 is scholar –poet of our times . His Kavisena Manifesto (Modern Indian Poetics), Kaala Rekha( Essays in Comparative Literature)are monuments of contemporary Indian Literature , unsurpassed to this day. His prose works prove that he is Albert Einstein of Indian Literature.
After completing the first round of reading the reader would certainly agree with Vishwanatha Satyanarayana ,Telugu poet of romantic era , recipient of Gyanpith Award for his “Ramayan Kalp Vriksh” who wrote preface to this book “ Every one , not only the telugu – speaking people all Indians must be grateful to him for writing this book”.
--------
Ramayana, a replica of Vedas
S. VARADARAJAN
There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late.GunturuSeshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”.
The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzingSundara Kanda specially through KundaliniYoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti ,Kaamaraaja , VagbhavaKutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view.
This book lends a new perspective to the Ramayana by adding the dimension of KundaliniYoga .
The foreword by VishwanathaSatyanarayana adds credibility to the book. The current work is an English translation of the original by GurujadaSuryanarayanaMurthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport.
The Hindu
(Friday Review: 2nd October 2015)
A Resplendent Icon of all Arts
This is an exemplary book which elevated the status of Indian Literary Criticism to the peaks of the world literature. Shodasi is a name associated with a great hymn. The title suggests that it’s a book on spiritual discourse. A reading of this book suggests that the spirit of scientific temper is critical to comprehend Valmiki’sSrimad Ramayana. Besides this, command on Vedic or Scriptural knowledge is essential. What does a layman has to say when a towering personality like ViswanathaSatyanarayana himself extolled the critical acumen and serious scholarship of Seshendra Sharma.
Sharma has made it crystal clear that unless one has an apparent understanding of the plot’s context, psyche of the characters, and the milieu of the bygone days supplemented by extraordinary scholarship, sound knowledge of phonetics and awareness on contemporary issues; one cannot easily comprehend the poetic diction of Valmiki. The debate on the phrase “Netraturaha” is a fitting example. The uniqueness of the title, Sundarakanda, Kundalini Yoga, Gayatri Mantra secretly hidden in Trijata’s dream sequence, considering The Bharatha as an image of The Ramayana.... this book is a repository of many such critical discourses. It is replete with inconceivable and unfathomable issues. This magnum opus is an invaluable gift to the Telugu literature.
- VIPULA, Viswa Katha Vedika: May 2014
(An exclusive Telugu Monthly Magazine for stories)
* * *
Valmiki Ramayana – Greatest Medicine for Mankind
The story of Ramayana is prescribed as textbook for students. Sita and Rama are worshiped as prime couple. No need to mention about reciting it. Whether Valmiki was satisfied with simple narration of the story? Seshendra Sharma denies it.
He analyzed it mentioning that to understand the inner meanings of Valmiki Ramayana, the scientific knowledge is essential.
The underlying secret of the sage’s mind will be known through the knowledge of science.
It is the firm opinion of Seshendra that the argument that “the sciences are for scholars only” is a conspiracy hatched by Selfish scholars and lazy uneducated persons.
Seshendra who has democratic ideology and conviction on science and literature informs the public about the secrets of Ramayana expounded by Valmiki. He explains that Valmiki dedicated ambrosia (The Greatest Medicine) named “Kundalini Yoga” to the mankind. The poetry in the metre of AnushtupSloka is the honey coating to the medicine. It was explained with great introspection and exemplary scholarship. He concludes that the Ramayana is older than the MahaBharatha and it is another form of Veda. Valmiki introduced the system of meditation in Ramayana. The Introspection and research bent of mind of Seshendra are spread over in the book in two streams. The exuberant fragrance of scholarship is experienced throughout the book.
The present generation can understand the scholarship of Seshendra in Vedas and Mantra Sastra. Seshendra is a poet who has composed unique RuthuGhosha (Cry of the Seasons: Metrical Poetry) and revolutionary free verse –MandeSuryudu (The Burning Sun).
- Andhra Prabha (Telugu Daily), 24th August 2014.
* * *
Two Great Peaks in the world literary criticism and research
Shodasi: Secrets of The Ramayana and SwarnahamsaHarshanaishada from the mighty pen of the great Telugu poet, GunturuSeshendra Sharma are considered to be the two great peaks in the world literary criticism and research. This is a truth most contemporary Telugu writers and readers aren’t aware of. The way Seshendra could discover Kundalini Yoga, Gayathri Mantra in Shodasi, he could discern the treasure trove of mantra yoga, Sri Mahatripurasundari, Chintamani mantra in Swarnahamsa.
At a time when our universities which are mere Degrees production Units, churn out “solid waste” in the name of research; Seshendra even while attending to his job as a Municipal Commissioner created research oriented critical volumes like a sage.
Though Shodasi was published in 1967 and Swarnahamsa in 1968; Swarnahamsa was created by him much before Shodasi was conceived. The concepts that Srinatha, Nannayya and Mallanatha, the Telugu Classical poets couldn’t decipher,
Seshendra could. He humbly submits that he is most fortunate that the triumvirate had left behind some pertinent concepts only to be discovered by him at a later stage.
These two great kavyas were serialised under the editorship of late NeelamrajuVenkataSeshaiah in Andhra Prabha Daily, Sunday Literary Supplements from 1963 to 1967 and Seshendra’s poems and non-fiction were published in the book forms (6) only after they appeared in serial form in Andhra Prabha.
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GunturuSeshendraSarma, the well-known poet, critic and scholar of unfathomable depth, has to his credit quite a number of books in Telugu as well as English. A keen intellect and a lucid exponent of the intricacies in Samskrit literature, the author brought out a treatise on Ramayana. The book also reveals the symbolism in our epics and shows the spirit behind.
According to the author, Sage Valmiki has observed Ramayana as though it is a story of a dynasty in its outward appearance. But when the story part is kept aside, the hidden secrets of the Mantrasastra come out. Valmiki’s Ramayana is full of Vedic literature, language and usages. Ramayana can be appreciated from three angles. The poetic beauty, the historicity and the secret meaning of mother Parasakti. Later Upanishads have taken Valmiki Ramayana as the way to the Mantrasastra. Rama’s wife Sita is considered as Parasakti. In Devi BhagavathamSita is described as Goddess Gayatri. The author has taken unusual pains and quoted Vedic dictations which are literally taken by Valmiki in his Ramayana. Thus it has been a product of Vedas and the usages in Ramayana and the words used therein and the similies adopted by Valmiki speak inexplicably the secret of Mother Lalita in his stories.
The author has given and attached a very great significance for Sundarakanda in Ramayana. The author has quoted numerous quotations from Smrithis and Srithis to establish that Sundara-kanda is beautiful because Anjaneya the Jeeva has seen Sita the Parasakti. Hence this canto is so styled as Sundara. According to the author “Sita” means “Kundalini.” Hanuman has seen Sita while she was sitting on the ground. Ground means Earth. Earth denotes Mooladharam. The serpent Kundalini stays in this. Thus it is symbolised as Sita sat on the ground. Hanuman the Yogi has the vision of Kundalini in Sita. With the aid of Ida and Pingala, Kundalini travels in Sushumna through spinal cord crossing the six fluxes, and finally reaching Sahasraram. This again speaks of “Shodasi.” Rama is a beautiful man. He is having a Sundari in Sita (a beautiful woman). The descriptions are beautiful in this canto. Thus it is synonymous with “Soundarya-lahari” of Sankaracharya.
The author expressed that Mahabharata is a reflection of Ramayana in all the cause, origin and delivery. Innumerable similarities are quoted from both Valmiki and Vyasa to prove that the usages, style and similies are almost similar in both the epics. He compares Vyasa’s “Nalacharitam” with Sundarakanda of Valmiki in the vision of Srividya.
The author further argues that Kalidasa’s “Meghasandesam” is only an imitation of Valmiki. The flight of Anjaneya in search of Sita is the basis for Kalidasa’s “Meghasandesam.” Both Sita and the Yaksha’s wife are described as “Syamas” – meaning in the middle of youth. The duration of separation is one year in both the cases. Ultimately the author said that “Meghasandesam” is the offspring of Ramayana, with yearning to see Parasakti.
The author has taken the readers in his book to that sublime beauty where there is no further argument, than to enjoy the flow of citations with their intrinsic meaning and full of scientific vision. His unsurpassed knowledge in Mantrasastra has enabled him to pass dictums vivisecting the symbolic mysticisms into splinters and handing the kernel of truth under each word, usage, and application. He deserves all praise for this meritorious contribution to our literature.
Visionary Poet of the Millennium
An Indian poet Prophet
Seshendra Sharma
October 20th, 1927 - May 30th, 2007
www.facebook.com/GunturuSeshendraSharma/
eBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma
Seshendra Sharma is one of the most outstanding minds of modern Asia. He is the foremost of the Telugu poets today who has turned poetry to the gigantic strides of human history and embellished literature with the thrills and triumphs of the 20th century. A revolutionary poet who spurned the pedestrian and pedantic poetry equally, a brilliant critic and a scholar of Sanskrit, this versatile poet has breathed a new vision of modernity to his vernacular.Such minds place Telugu on the world map of intellectualism. Readers conversant with names like Paul Valery, Gauguin, and Dag Hammarskjold will have to add the name of Seshendra Sharma the writer from India to that dynasty of intellectuals.
Rivers and poets
Are veins and arteries
Of a country.
Rivers flow like poems
For animals, for birds
And for human beings-
The dreams that rivers dream
Bear fruit in the fields
The dreams that poets dream
Bear fruit in the people-
* * * * * *
The sunshine of my thought fell on the word
And its long shadow fell upon the century
Sun was playing with the early morning flowers
Time was frightened at the sight of the martyr-
-Seshendra Sharma
B.A: Andhra Christian College: Guntur: A.P: India
B.L : Madras University: Madras
Deputy Municipal Commissioner (37 Years)
Dept of Municipal Administration, Government of Andhra Pradesh
Parents: G.Subrahmanyam (Father) ,Ammayamma (Mother)
Siblings: Anasuya,Devasena (Sisters),Rajasekharam(Younger brother)
Wife: Mrs.Janaki Sharma
Children: Vasundhara , Revathi (Daughters),
Vanamaali ,Saatyaki (Sons)
Seshendra Sharma better known as Seshendra is
a colossus of Modern Indian poetry.
His literature is a unique blend of the best of poetry and poetics.
Diversity and depth of his literary interests and his works
are perhaps hitherto unknown in Indian literature.
From poetry to poetics, from Mantra Sastra to Marxist Politics his writings bear an unnerving pprint of his rare genius.
His scholar ship and command over Sanskrit , English and Telugu Languages has facilitated his emergence as a towering personality of comparative literature in the 20th century world literature.
T.S.Eliot ,ArchbaldMacleish and Seshendra Sharma are trinity of world poetry and Poetics.
His sense of dedication to the genre of art he chooses to express himself and
the determination to reach the depths of subject he undertakes to explore
place him in the galaxy of world poets / world intellectuals.
Seshendra’seBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma
Seshendra Sharma’s Writings Copyright © Saatyaki S/o Seshendra Sharma
Contact :saatyaki@gmail.com+919441070985+917702964402
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GunturuSeshendraSarma: an extraordinary poet-scholar
One of the ironies in literature is that
he came to be known more as a critic than a poet
HYDERABAD: An era of scholastic excellence and poetic grandeur has come to an end in the passing away of GunturuSeshendraSarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `AlankaraSastra' gave his works a stunning imagery, unparalleled in modern Indian works. One of the ironies in literature is that he came to be known more as a critic than a poet. The Central SahityaAkademi award was conferred on him for his work `KaalaRekha' and not for his poetic excellence. The genius in him made him explore `Kundalini Yoga' in his treatise on Ramayana in `Shodasi' convincingly. His intellectual quest further made him probe `NaishadhaKaavya' in the backdrop of `LalitaSahasraNaamavali', `SoundaryaLahari' and `Kama Kala Vilasam' in `SwarnaHamsa', Seshendra saw the entire universe as a storehouse of images and signs to which imagination was to make value-addition. Like Stephene Mallarme who was considered a prophet of symbolism in French literature, SeshendraSarma too believed that art alone would survive in the universe along with poetry. He believed that the main vocation of human beings was to be artists and poets. His `Kavisena Manifesto' gave a new direction to modern criticism making it a landmark work in poetics. Telugus would rue the intellectual impoverishment they suffered in maintaining a `distance' from him. Seshendra could have given us more, but we did not deserve it! The denial of the Jnanpeeth Award to him proves it
The Hindu
India's National Newspaper
Friday, Jun 01, 2007
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Ramayana, a replica of Vedas
S. VARADARAJAN
There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late. Gunturu Seshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”.
The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzing Sundara Kanda specially through Kundalini Yoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti , Kaamaraaja , Vagbhava Kutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view.
This book lends a new perspective to the Ramayana by adding the dimension of Kundalini Yoga .
The foreword by Vishwanatha Satyanarayana adds credibility to the book. The current work is an English translation of the original by Gurujada Suryanarayana Murthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport.
The Hindu
India’s National Newspaper
(Friday Review: 2nd October 2015)
Shodasi
Astounding scholarship of Sanskrit classics
A product of deep research, intense intellectual labour
And amazing scholarship
The book under review which is an English translation by Dr. Gurajada Suryanarayana Murthy of the original Telugu Text represents a scholarly attempt by the erudite author to justify and prove the validity of certain radical propositions which he makes about the world – renowned Kavya – Valmiki Ramayana. The propositions that he makes are – 1. Sundara Kanda is an allegory of Kundalini Yoga 2. Sita is Kundalini Shakti 3. Hanuman’s search – mission of Sita symbolises Tantric Exercise of identifying the Kundalini Shakti and raising it from the Moola Dhara Chakra (denoted by Lanka) to Sahasrara Chakra 4. The descriptive terms employed about Sita hint at Sita being essentially a Kundalini Shakti 5. Trijata’s dream is nothing but Gayathri Mantra 6. Valmiki’s language has pronounced Vedic flavour 7. The phraseology employed by Valmiki corresponds largely to the terms employed in Lalitha Sahasra Nama , Durga Saptasati , Devi Bhagawatam etc.. 8. The aptness of the name Sundara Kanda is provable on Strong Grounds 9. Ramayana is anterior to Bharatha on various grounds such as the Vedic language employed in the former the reference of Valmiki and Ramayana in Mahabharata and absence of reference to Vyasa and Mahabharata episodes in Ramayana , Mention of Rama in Mahabharata and Rama’s greater antiquity than Pandavas and a host of other plausible evidences 10. Indra , the chief Vedic god more prominently featured and praised in Ramayana than Vishnu of the Puranic origin. 11. Megha Sandesham of Kalidasa originated out of the seed of Valmiki Ramayana and 12. The benedictory verse of Sakuntalam is eulogy of Devi.
The brain – tickling propositions are not just of the cuff remarks made without basis but credible theories buttressed with profuse quotations of relevant Sanskrit Texts , wide and deep study of the relevant treatises unassailable arguments based on internal and external evidences and astounding scholarship of Sanskrit classics.
On the flip side, there are a few errors in the transliteration of the Sanskrit texts. Had the Sanskrit passages from the treatises been provided in Devanagari Script also in addition to transliterated form in Roman Script value and appeal of this essentially Sanskrit oriented book would be much higher to the large and growing Sanskrit readership. The book is doubtless, a product of deep research, Intense intellectual labour and amazing scholarship.
The Vedanta kesari : August 2016
The Lion of Vedanta
A Cultural and Spirtual Monthly of the of the Ramakrishna Order since 1944
AN INTELLECTUAL FEAST
Along With utmost devotion
The author has clear understanding of not only of the Ramayana
but also Mantra Sastra , Vedas and Kundalini Yoga
His method is going deep into the subject and at the
same time comparing the same with ideas of other branches of literature
Shodasi , authored by Seshendra Sharma is a book of a special type . Though its purpose is to unfold secrets of the Ramayana many other aspects from different branches of knowledge also find a place there.
The Ramayana is read in every household with devotion. It narrates not only story of Rama but it also spotlights very intricate and subtler points in other branches of knowledge, a point not even noticed by many.
The author has clear understanding of not only of the Ramayana but also Mantra Sastra , Vedas and Kundalini Yoga . There are two approaches to understand the Sastras. One is vertical which is closely followed in Sanskrit Literature. It is reading a book with the help of commentary on it. In this method not only each word of the original analysed; its correct meaning and contextual purpose are also examined. The second is a horizontal method where in various ideas in the text are read not with one commentary but with many commentaries by different people. This gives total meaning of the text.
Seshendra Sharma follows both methods. His method is going deep into the subject and at the same time comparing the same with ideas of other branches of literature.
This needs a thorough understanding of various branches and ability to compare texts and spot new ideas and enjoy the same. For example , when Hanuman asks Sita who she is ,she replies ,“sama dvadasa tatraham raghavasya nivesane bhunjhana manushan bhogan sarva kama samrudhinee “ . Meaning “I enjoyed 12 years of mundane pleasure in the home of Rama”
Though she is not an ordinary human being, she enjoyed mundane pleasures. “ you may mistake that I am a mortal woman , but understand I am Sri Maha Lakshmi” . That was the message. The most important clue is the statement “ Aham Sarva Kama Samridhinee “ . In Devi Bhagawatham we find “ Matah Sankaree Kamade “ In Sri Sukta “ Sarva Kamartha Siddhaye “ and in Lalitha Sahasra Nama “ too it is stated “ Om Kamyayai Namah” . If Sita were to be just an ordinary being all these statements would have been irrelevant.
At another place she says “ Maya Ramasya Rajarshe Bharyayaya Paramatmanah” which means that she is wife of Paramatma. Hanuman , the devotee , recognized Sita to be none other than Jaganmata. Hence he could identify her easily as the divine mother and says “ tat sreemadyate tarat”. The word sreemat is used to mean brilliance Hanuman identifies Sita as Devi by the holy seed letter ( Sreem ) .
The book is full of comparisons between different branches of learning and surely a feast for one who could enjoy the existence of similar ideas at various places. It only proves that ways may be different but the goal is one.
Seshendra Sharma physically lifts the minds of the readers and offers an intellectual feast along with utmost devotion. Surely everyone should read this book and keep a copy of the same at home.
Goda Venkateswara Sastry
Tatvaloka : June 2016
The Splendour of Truth
( Monthly Magazine)
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Ramayan Through Kundalini Yoga
Shodasi is an ideal read for Sanskrit-literate readers
who are open to eclectic yogarthas and connotative meanings
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So you thought Vyasa was before Valmiki, Mahabharat was before Ramayan, Rama a Vishnu avatar, and tantrism distinct from vedism? Think again. In Shodasi: Secrets of the Ramayana, Telugu poet Seshendra Sharma re-reads the Ramayan to come up with a number of new conclusions.
Much of the book sets out to prove that Ramayan was written before the Mahabharat. Sharma discusses how Indra is cited more often than Vishnu, thus placing the context of the Ramayan closer to Vedic than Puranic thought. He quotes from the Mahabharat to show how it follows descriptions of hills, rivers from the Ramayan. The Mahabharat has some prose, and therefore, it must have been composed after Ramayan, which is entirely in poetry. These are only some of the numerous reasons that Sharma offers to suggest a new sequence of our itihasas.
Sharma’s book is also an experimental reading of the Ramayan through the interpretive lens of what he calls Kundalini yoga. Hanuman’s flight to Sri Lanka gets a new interpretation. “Charana Charite Pathi” is interpreted as the path of Kundalini, and the first verse of the Sundara Kanda “Tatho Ravana Nithayah” is interpreted by Sharma to refer to Hanuman traversing the sushumna nadi of the Kundalini.
Trijata’s dream becomes the Gayatri mantra through an imaginative recasting of words as numbers. Gaja (elephant) means eight, danta (teeth) means thirty-two, and maha-gaja-chaturdantam somehow also adds up to 32 syllables, which is the number of syllables in the Gayatri mantra. That Trijata’s dream is halfway through the Ramayan also becomes significant for Sharma, he calls it the ‘central bead’ in the Ramayan garland of 24,000 beads. Identifying 32-syllables as the Gayatri follows a convention, for mantras are referenced by the number of syllables; however, it is the “secret” yogartha—or mystical, anagogical translations—derived by Sharma that becomes problematic, unless he is considered an authority in his own right.
conclude that the name Sundarakand is unrelated to any descriptions of beauty of any of the main characters in the Ramayan. However, Soundarya and Tripura-Sundari are well-known conventions in the tantric tradition and hence, Sharma concludes that Sundarakand derives its name from Shakti’s beauty, and “Sundara-Hanuman” means “Hanuman who is a devotee of Devi” (117).
A coda in this book is about the benedictory verse in Kalidasa’s Sakuntalam which has traditionally been understood to refer to Ishwara. Sharma re-interprets this verse highlighting the “eight forms” of the last line as the eight forms of Devi that please Ishwara.
This book is suitable for a reader who is Sanskrit-literate and open to eclectic yogarthas and connotative meanings. Sharma cites substantially from the Ramayan in roman but without diacritics, this is difficult to follow; and he does not always include translation. Sharma often cites commentators without citing names and sources. It is not clear why the book is called Shodasi—readers may note, this book is not about the Srividya tradition. Even if the reader is unconvinced by Sharma’s reasoning or methodology, the free flow of references may prove absorbing for a reader interested in the subject.
This could also be an eclectic reference for a scholar researching tantric elements in the Ramayan.
- Mani Rao
The Sunday Standard Magazine
The New Indian Express
29th November 2015
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Scholarly and deeply researched monograph
Pearls of insightful ideas and truths
Most of the ancient treatises like the Valmiki Ramayana and Bhagavatha lend themselves to allegorical interpretations. The book under review is scholarly and deeply researched monograph that formulates the startling theory that the immortal epic Valmiki Ramayana, particularly, Sundara Kanda, is nothing but the enunciation of the doctrine of Kundalini Shakthi Yoga. The very title of the book is bound to make the scholarly fraternity and even the common readership sit up and take notice. The radical propositions that the erudite author advances are on the basis of relentless logic and a mass of internal and external evidences are: Ramayana is rooted in Vedas, both in terms of ideas it disseminates and its verbal garb in those it is clothed. Many of the similes that Valmiki employs are inspired by vedic poetry and literature. Many of the expressions employed in the Valmiki Ramayana bear close resemblance to phraseology found in texts like Devi Bhagavatham, and Soundarya Lahari. Sita is none other than Divine Mother and Gayathri. As borne out by an analysis of similarity of names and words used in Valmiki Ramayana and Sri Vidya Literature. Sundara Kanda is nothing but delineation Kundalini Yoga. Hanuman’s aerial voyage in search of Sita represents allegorically the devi worshipper’s exercise in Kundalini Yoga. Sita is Kundalini Shakti. The episodes of mainaka, surasa and Simhika – representing satwa, rajas, tamas respectively –represent piercing of the triple knots by the spiritual aspirant. The Sanskrit phrase “Charana Charithe pathi” that occurs at the opening Canto of Sundara Kanda clearly implies Hanuman’s movement through the path of Sushumna. Lanka is the Mula Dhara Chakra, the seat of Kundalini implied in Valmiki’s graphic description of Lanka, the place of incarceration of Sita. Lanka is Muladhara also from the point of view of Yoga and it is Sri Chakra from the point of view of Spiritual practice. The burning of Lanka symbolises awakening of Swadhishthana. The aptness of name Sundara Kanda is explicable in the light of various evidences embedded in the epic. Trijata’s dream is nothing but the Gayathri Mantra as can be inferred from certain Sanskrit terms representing their numerical equivalents employed to describe dream – scenes of Trijata and also from Dramatis Personae appearing in her dream. Mahabharata is an image of Ramayana and many striking similarities may be found between Valmiki and Vyasa in their style of narrative. Valmiki’s Ramayana is the seed of Meghadootha and Valmiki reincarnates, as it were, as Kalidasa. The vedic god Indra , as the supreme deity dominates epic as a benchmark for all comparisons with Rama and dwarfs Vishnu, the Puranik God, in importance. Ramayana is anterior to Mahabharata. There are 2 annexures at the end of the book “benedictory verse of Sakunthalam is nothing but eulogy of Devi “and “All Humans have same destination” . Coming from the pen of the Telugu poet proficient in several languages, who was active in various disciplines ranging from Sanskrit studies to Cultural activism and who was given the Sahitya Akademi Award, this book is definitely of exceptional merit as the ingenious interpretations of various verses of the epic and also of allied hymnal literature to establish the novel but plausible propositions, come as a refreshing revelations. The book unmistakably bears imprints of an amazingly analytical, deeply erudite and marvellously nimble mind that effortlessly plumbs the oceanic epic and picks up and presents to the community of discerning readers pearls of insightful ideas and truths. One glaring drawback of this essentially Sanskrit-oriented book is the absence of Sanskrit quotations in Devanagari script as transliterations in roman script that are given are poor substitute sonorous Sanskrit words clothed in Devanagari script. The merits mentioned in a short review of this book packed with quaint and profound ideas constitute merely the proverbial tip of an iceberg. A fund of fruitful and lofty ideas awaits those who venture dive deep into this great book. In short this book is a riveting read for scholars and a strong stimulant for the general readers. –
N. Hariharan
Madurai
Prabuddha Bharata
March 2016
A monthly journal of the Ramakrishna Order
started by Swami Vivekananda in 1893
Unearthing secrets of Ramayana Ramayana
A sea-bed of secrets
A great boon to Devi Upasakas and Practioners of Sri Vidya
The Ramayana popular as the Adi Kavya (first work of poetry) the world over is not just beautiful poetry . It is a sea bed of secrets – containing the methods of Kundalini yoga and mantra sastra . This is the heart of Shodasi : Secrets of the Ramayana authored by Seshendra Sharma , one of the towering personalities of Telugu Poetry . This book, a collection 16 articles with one article added on from this edition appeared in Telugu Original in 1967. Mr. N.Ramesan IAS , the then Principal Secretary to Education Dept , the then AP Govt observed feelingly in his preface , that this work is a boon for Devi Upasakas and merits to be translated into English and other Indian Languages. This advice has fructified after 48 Years. Dr. Suryanarayana Murthy , a physicist (retired : Baba Atomic Research Centre ) has translated Shodasi into English with commendable clarity of grasp over the subject and felicity of thought process and flow of reading. The story of Rama narrated in enchanting poetry, according to Seshendra is a honey supplement to the bitter medicine called Kundalini Yoga. Valmiki Maharshi chose the Story of Rama to propagate Kundalini Yoga and systems of meditation in the society, among the masses of his era. This is the fulcrum of this Research work. What is of significance is that the author , in order to buttress his analysis and arguments cites extensively and conclusively from the Original Text of Ramayana itself. This Translation introduces this seminal work to wider sections of readers in other parts of our multilingual nation and to scholars engaged in research in Indian scriptures in the west. As the reader goes through the pages of Shodasi it gradually becomes clear that , the story that Valmiki was a Hunter , after viewing the pair of birds dying for each other renounced hunting and became a Rishi is an episode woven around him to make him and his epic the Ramayana popular and that Valmiki belongs to the pantheon of Vedic Rishis . Seshendra at every point of analysis cites from the Vedas and sruthis. His own introduction to this work “one word to begin with “ he discusses elaborately on the significance of Valmiki’s Style of expression of phrases . This chapter is the gateway to the entire work. While analysing one stanza of he touches upon a simile Which compares moon in the night sky wit vrishabham in Goshtam (cowshed). Seshendra goes deeper into shruthi and Vedas and concludes that go means in Sanskrit speech and “goshte vrishabham mattamiva bhramantam “ implies that like Omkara moves at the throat the divine personality of moon is moving in the sky. That intricate and deep is the analysis of the author. Seshendra , then discusses why sundara kanda was chosen as the name of a chapter . He observes incisively and proves conclusively that Sita is the main character of this Kanda and Sita is none other than Adi Shakti ( The Divine Mother ) Sri Maha Tripura Sundari.This is the reason why Maharshi named it Sundara Kanda. Sundara Kanda is the heart of the Ramayana and Trijata Swapna (Demoness Trijata’s Dream) is its heart. Sundara Kanda is nothing but Kundalini Yoga . Right from the 1st stanza of the chapter Maharshi starts unfolding the path of Kundalini Yoga in a suggestive manner garbed in enchanting poetry teaming with breath taking similes. Hanuman is SriVidyopasaka. The author discusses the 1st stanza “Chaaranaa Charithe pathi “ with intrinsic evidence from the Ramayana itself. Charanas are Divine Singers and their path is the sky . In other words in Kundalini Yoga “Sushumna “. The entire chapter elaborates each stanza in a captivating tone and concludes with Lanka Dahana ( Burning of Lanka ) as piercing of the Sahasrara seated in the head. First hand reading alone will give the unnerving feel of this chapter. Another important chapter is “ Trijata’s dream is nothing but Gayathri mantra “. In this , Seshendra views Trijata’s Dream, one of the demonesses guarding Sita in Ashoka Vana as Gayathri mantra. He dwelves deep into each Sloka of this episode and proves convincingly that Valmiki created this episode in order to embed the mantra in Ramayana. Till this point this book is a cluster of revelations. “The later part is both revelation and research. Seshendra in the chapter “ Indra is the Supreme Deity of Ramayana “ discusses each stanza of the Ramayana and goes on to reveal that at the time when Valmiki was writing the Ramayana the concepts of Vishnu and incarnation (Avatar ) were non– existent . Indra is the supreme deity of the Ramayana. In other 2 chapters the author‘s exhaustive study and Incisive analysis are all pervasive. Seshendra explodes the myth sought to be propagated by some of the Western Scholars that the Bharatha precedes the Ramayana . Shodasi , as rightly pointed out in one preface, is a great boon to Devi Upasakas and Practioners of Sri Vidya. All these ages this Adi Kavya is seen only as the Story of Rama. Here is a path breaking work which reveals the hidden treasure of spiritual secrets which Valmiki Maharshi embedded them in his epic.
Insight ( Sunday Magazine )
The Hitavada ( English Daily ) 1st November 2015
Sheldon has gone too far this time. It's physicist under glass.
Shot in a Guinness Halloween Glass.
Strobist info:
Camera left: 430EX w/Chocolate HONL Filter at -1EV down 60˚pointed at background; camera right 580EX II w/mini Softbox at -2/3EV down 45˚; both triggered by PocketWizard TT5s and TT5 on camera with AC3. Angles helped keep reflections off the glass.
Vignette applied in post as was a Dark Outlines overlay of 33% opacity.
Timothy Koeth gave a fascinating seminar at the NCNR yesterday morning about research done by him and Miriam Hiebert on tracking the origins of a mysterious uranium cube he found himself in possession of. It turned out to be one of several hundred similar cubes that were part of Nazi Germany's failed attempt to build a working nuclear reactor during WWII. You can find more details (than you'll see in this sketchnote) in their article in the May issue of Physics Today: physicstoday.scitation.org/doi/10.1063/PT.3.4202
Nikon D800E & Nikon AF-S Zoom Nikkor 14-24mm f/2.8G ED AF Lens photos of my HDR Hero's Journey Mythology LA Gallery photos taken with a Nikon D800E & Nikon AF-S Zoom Nikkor 14-24mm f/2.8G ED AF Lens! If I keep this up I may create a black hole! See the full-seize photos here:
www.flickr.com/photos/herosjourneymythology45surf/sets/72...
dx4/dt=ic & 45SURF Hero's Journey Mythology Photography (31 photos)
From press release: "Theoretical Physicist hosts Hero's Journey Mythology Photography Gallery Show in Honor of Moving Dimensions Theory Physics Research." Ph.D physicist and photographer Dr. E signs all of his fine art with dx4/dt=ic -- the foundational equation for Moving Dimensions Theory, which stipulates that the fourth dimension is expanding relative to the three spatial dimensions at the rate of c--the velocity of light. His Princeton advisor, the late J.A. Wheeler, wrote "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student," and Dr. E's award-winning artificial retina dissertation, titled Multiple Unit Artificial Retina Chipset to Aid the Visually Impaired and Enhanced CMOS Phototransistors is now helping the blind see. Though seemingly disparate pursuits, all three endeavors--the photography, retinal prosthesis, and MDT are united in light. For MDT stipulates that photons surf the fourth expanding dimension on their way to exciting electrons in our our retinas or camera chips. The Hero's Journey Mythology motif derives from the heroic pursuit of truth and beauty, calling the viewer to adventure--to turn up Beethoven's Eroica and join the fellowship. When Dr. E's Princeton mentor J.A. Wheeler passed away, the National Post wrote, "At 96, he had been the last notable figure from the Heroic Age of Physics lingering among us. . . the student of Bohr, teacher of Feynman, and close colleague of Einstein. . . Wheeler was as much philosopher-poet as scientist, seizing on Einsteinian relativity early . . . He was ready to believe in the new world before most physicists. . ." And so it is that in honor of the noble Wheeler and all the heroes of yore, the Hero's Journey Mythology Photography seeks to remind us that the heroic age has not yet passed, that it is everywhere we look, should we only look towards the immutable ideals which mark both nature's sublime beauty and the imperishable soul. Words alone can do little to honor those who came before, but only action in the service of truth and beauty--serving those who come hence--can truly honor those heroic spirits of all ages. — in Malibu, CA.
Los Angeles Gallery Show! Dr. Elliot McGucken's Fine Art Photography! Dr. E's Legendary Malibu & Socal HDR Photography!
Some photos of my fine art photography hanging in the gallery for all my flickr fans! Thanks for the 120,000,000+ views y'all!
Setting up in a gallery was fun! It did not seem like work. :) I even got to drive to Home Depot & buy lumber (pine), hammers, nails, and a saw! I added a few dozen feet of new wooden strips to hang all the Hero's Journey Mythology photography--white strips and grey strips--cut them, nailed them up, and painted them so that we could fit all my fine art photography in the gallery! I told them I have even more on flickr if they want more photos--haha. :)
Some photographs are 13"x19" metallic prints on Kodak metallic paper mounted on 18"x24" matts in wood frames with 2.5" black, wood-grain borders, set behind anti-reflective, UV protective, museum glass! Awesome--everyone asks "why didn't you put these behind glass" because the anti-reflective museum glass is so clear! Other fine art photographs are 24" x 36" printed on canvas wraps, or 24" x 36" printed on canvas and front-mounted to plexiglass / acryllic (I love these! Great for HDR)! And the finest ones are 40" x 60" laser-printed on Fuji-crystal archival paper, front mounted to UV-protective acryllic / plexiglass, with a solid aluminum backing for durablity! Heavy, but nice! :) Also have a couple huge 40"x70" (the motorcycle in Venice and Corvette on the PCH) printed straight on a sheet of metal! Some were printed on Canon, some on Epson, and others on a laser printer so expensive it doesn't even have a name. :) I saw it in downtown LA--it was HUGE!
This is my first gallery show, and the funny thing is that while setting it up and adding all the carpentry/new wood strips, I shot more photography than usual, getting up every day at 5 AM to shoot the sunrise at around 6:30-6:45 AM. The Journey Never Ends! As Malibu faces South, the sun rises over the water this time of year, and sets over it too! So it keeps me busy as I hate missing the awesomely magical December cirrus cloud sunrises & sunsets, some of which you see hanging in the gallery, with many, many more to come!
Well, all the best on your epic hero's journey! The gallery is just below Bel Air Camera in Westwood, and if you ever want to meet up, drop me a line! :)
Happy Holidays & Best on Your Epic Hero's Journey!
P.S. (Some folks have asked me when I am going to have a goddess gallery show--soon! :)
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
Infinite Cosmos of Light and Life:
Dark Energy and Black Holes Don’t Exist ~
Much of 20th Century science has already been discredited, yet too much nonsense is still being taught. It’s time to examine a plethora of false assumptions being foisted on impressionable minds by ignorant authority figures. The precepts and concepts that made the reputations of last century’s physicists and cosmologists are all partially correct at best and utterly wrong and misleading at worst. To believe that their notions were more correct than those of ‘natural philosophers’ who inhabited the relative Dark Ages of preceding centuries is a testament to folly and hubris.
The lies of religions and other tribal superstitions poisoned all sense and reason until the very recent past. In many benighted regions of the globe this mental slavery still holds minds in thrall to fantastic idiocy. The underlying motive for the promulgation of the Big Bang theory – whereby our entire universe supposedly came into being less than fourteen thousand million years ago - has nothing to do with mathematics or physics.
The Big Bang was invented by human beings encased in a cultural matrix that originated in the Bronze Age and was literally beaten into the young brains of untold generations of illiterates. Millennia of blind religious dogma blighted lives with the lie that an invisible ‘god’ created the world, the Sun, the moon and stars in merely six short days, and then took a day off work. Along with everyone else, educated people were preprogrammed to believe in such a creation event from infancy.
No matter how enlightened, the scientists of the day were riven and driven by the childish vision of a creator god inhabiting a heavenly realm somehow removed from ‘mundane’ reality. They invented the idea of some preexisting reality before time space as a result (without exploring the complex hyperspatial and hyperdimensional theories which would make this concept both a possibility, and simultaneously an absurdity.
Two Seminal False Assumptions
The Big Bang is a mathematical absurdity masquerading as physics. It’s based on two largely unexamined assumptions, both of which are false although based on valid observations that truly indicate an entirely different cosmology. One is the phenomenon of red shift (whereby the majority of objects in the observable universe appear slightly red) and the other is referred to as the Hubble Constant - a ubiquitous hum in a narrow range of background radiation observed wherever we look (or rather listen) throughout the cosmos.
The red shift was ascribed solely to the Doppler Effect – the same phenomenon that causes the sound of a train whistle to seem to rise in pitch (frequency) as it approaches an observer, and lower in frequency as it departs. When related to visible objects, anything approaching an observer appears more bluish (as light wavelengths appear shortened and bunched up towards the blue end of the spectrum) and receding objects appear reddened (because the light from receding objects appears stretched to an observer). Because the majority of celestial bodies appear reddish it was assumed that everything was moving away from us and everything else in the aftermath of a primordial explosive event – a Big Bang.
As demonstrated by pioneering astrophysicist Halton Arp 1 (and subsequently by David Talbott, Wal Thornhill and other proponents of modern ‘electric universe’ theory 2), the Doppler Effect can’t possibly account for many observed phenomena associated with the reddening of celestial bodies. Some share the same apparent red shift while obviously moving in entirely different directions. Their postulated distances from our point of observation and each other – as theorised using red shift for a benchmark - are obviously incorrect in light of a number of observable anomalies.
The reddening of celestial bodies is caused by a number of factors including (but not confined to) the Doppler Effect. Among these are the fact that space is not a vacuum at all (as believed when red shift was first ascribed to the Doppler Effect), but filled with all manner of energies and filtering mechanisms. As a result, light experiences an effective signal loss over great distances and this translates into a shift towards the red and infrared end of the light spectrum, as shorter frequencies – the blue/violet end of the spectrum – are more easily occluded. The same applies, in varying degrees, to all bands of radiation we use to observe the cosmos (including radioastronomy).
Thus the limits of our ‘observable universe’ are no limits at all, but merely the limit of observation using the electromagnetic spectrum as a yardstick. The universe didn’t begin 13 or 14 (or even 200) billion years ago as indicated by this false assumption, but is in fact infinite. We just can’t see very far through the soup of timespace.
That this is true is revealed by a number of observations, including the fact that no matter how far we look through the sea of time, supposedly primordial ‘infant’ galaxies and other structures appear virtually identical to those we see around us today. This contravenes many precepts of Big Bang theory, as do many observations made since we lifted our sights and sightlines beyond Earth’s occluding atmospheric envelope and began to see the cosmos as it actually appears.
According to ‘electric universe’ theory and contemporary observations that demolish most of the cherished notions of 20th Century astrophysics, the primary ‘force’ acting throughout the cosmos is not gravity at all - gravity is a very tenuous field - but (what we incorrectly term) electromagnetism. And according to the postmodern electrical paradigm, the redness of many celestial bodies indicates not their speed of recession but their age – or rather, their energetic level and even their relative youth!
Thus one of the only two planks that seemed to necessitate the idea of a Big Bang does not actually exist; most things in the cosmos are probably not racing away from everything else at all, and the increased redness of more distant objects is mainly due to signal loss.
The remaining plank that seemed to underlie and confirm the Big Bang hypothesis– the Hubble Constant (named for astronomer Erwin Hubble, to whom the famous first space telescope was also dedicated), has also been ascribed to the wrong cause entirely. The all-pervasive background ‘hum’ in the hydrogen band that’s noted wherever our electronic ears listen to the celestial ‘music of the spheres’ isn’t an echo of an ancient explosion, but is due to a now well-known and widely recognised quantum effect whereby virtual particles are continually appearing within and disappearing from the observable (4D) universe.
‘Space’ isn’t space, but is filled with innumerable wavelengths (energies) that generally cancel each other out, resulting in a near-vacuum state. This state isn’t a vacuum or a zero-point field of fluctuations (as often described) but a field that oscillates around scalar zero –conceived as being slightly ‘above’ the zero point, and originally believed to be so negligible as to be immeasurable and irrelevant. When 18th, 19th and 20th Century physicists first calculated all the details of orbital mechanics this reality was entirely unknown; their figures were all predicated on the false assumption that all celestial bodies interact in a complete vacuum.
Newton’s blind clockwork universe and Einstein’s divine plan are equally illusory. God doesn’t play dice (because there is no external god rolling the deadly die) but chance interactions – the freewheeling will of cosmic fields and forces – is everchanging and inherently unpredictable. Everything is possible and we inhabit an infinite interacting series of parallel universes, all interwoven by probability and the wills of conscious beings.
This sea of virtual particles gives rise to a perceivable ‘hum’ produced by little vortices in timespace (effectively electrons and positrons) that occur wherever wavelengths interact in suitable configurations – and as waves are always interacting in innumerable configurations, there are always some that give rise to relatively stable and measurable forms. Some of the most basic of these effectively appear as ‘hydrogen ions’, continually flashing into and out of existence as a result of perpetual wave interactions. These occasionally remain in our plenum when they happen to manifest in a geometrical configuration that remains stable (by virtue of simple mechanical interactions), producing what physics has conceived as ‘atoms’, or ‘ions’. 3
Thus the Hubble Constant is not an echo of a non-existent Big Bang, but the continuous resonant hum of infinitude tiny vortices, as hyperdimensional energies which transcend the recognised four dimensions of space and time perpetually condense into observable energy in our timespace (See TimeSpace).
It’s worthwhile to note that ‘particles’ are not simply continually emerging in the ‘vacuum of space’, but within pre-existing forms of denser energy fields and material forms as well. In fact, the more dense a field they manifest within the more likely they are to lodge into pre-existing patterns, and to remain in timespace rather than immediately wink back out of existence. When extra particles appear within the energy matrix of matter, more complex and more ‘dense’ forms of matter are formed. Thus ‘matter’ is continuously condensing - growing more dense and complex - and celestial bodies are all slowly growing through time. 4
There are no ‘Higg’s Bosons’, as there is no need for them or most of the other invented confabulations in the ‘particle zoos’ of 20th Century physicists. Simpler geometrical forms simply give rise to progressively more complex geometrical forms and the morphic fields of matter literally attract energy – and more matter – via simplex mechanisms, not through abstruse, ‘spooky’ or exotically impenetrable interactions.
Light Amidst the Darkness
There is no ‘dark energy’ or ‘dark matter’...
Continues @ nexusilluminati.blogspot.com.au/2013/03/infinite-cosmos-o...
by Ram Ayana
Image - Pipedreamer - author's
Infinite Cosmos of Light and Life:
Dark Energy and Black Holes Don’t Exist
Much of 20th Century science has already been discredited, yet too much nonsense is still being taught. It’s time to examine a plethora of false assumptions being foisted on impressionable minds by ignorant authority figures. The precepts and concepts that made the reputations of last century’s physicists and cosmologists are all partially correct at best and utterly wrong and misleading at worst. To believe that their notions were more correct than those of ‘natural philosophers’ who inhabited the relative Dark Ages of preceding centuries is a testament to folly and hubris.
The lies of religions and other tribal superstitions poisoned all sense and reason until the very recent past. In many benighted regions of the globe this mental slavery still holds minds in thrall to fantastic idiocy. The underlying motive for the promulgation of the Big Bang theory – whereby our entire universe supposedly came into being less than fourteen thousand million years ago - has nothing to do with mathematics or physics.
The Big Bang was invented by human beings encased in a cultural matrix that originated in the Bronze Age and was literally beaten into the young brains of untold generations of illiterates. Millennia of blind religious dogma blighted lives with the lie that an invisible ‘god’ created the world, the Sun, the moon and stars in merely six short days, and then took a day off work. Along with everyone else, educated people were preprogrammed to believe in such a creation event from infancy.
No matter how enlightened, the scientists of the day were riven and driven by the childish vision of a creator god inhabiting a heavenly realm somehow removed from ‘mundane’ reality. They invented the idea of some preexisting reality before time space as a result (without exploring the complex hyperspatial and hyperdimensional theories which would make this concept both a possibility, and simultaneously an absurdity.
Two Seminal False Assumptions
The Big Bang is a mathematical absurdity masquerading as physics. It’s based on two largely unexamined assumptions, both of which are false although based on valid observations that truly indicate an entirely different cosmology. One is the phenomenon of red shift (whereby the majority of objects in the observable universe appear slightly red) and the other is referred to as the Hubble Constant - a ubiquitous hum in a narrow range of background radiation observed wherever we look (or rather listen) throughout the cosmos.
The red shift was ascribed solely to the Doppler Effect – the same phenomenon that causes the sound of a train whistle to seem to rise in pitch (frequency) as it approaches an observer, and lower in frequency as it departs. When related to visible objects, anything approaching an observer appears more bluish (as light wavelengths appear shortened and bunched up towards the blue end of the spectrum) and receding objects appear reddened (because the light from receding objects appears stretched to an observer). Because the majority of celestial bodies appear reddish it was assumed that everything was moving away from us and everything else in the aftermath of a primordial explosive event – a Big Bang.
As demonstrated by pioneering astrophysicist Halton Arp 1 (and subsequently by David Talbott, Wal Thornhill and other proponents of modern ‘electric universe’ theory 2), the Doppler Effect can’t possibly account for many observed phenomena associated with the reddening of celestial bodies. Some share the same apparent red shift while obviously moving in entirely different directions. Their postulated distances from our point of observation and each other – as theorised using red shift for a benchmark - are obviously incorrect in light of a number of observable anomalies.
The reddening of celestial bodies is caused by a number of factors including (but not confined to) the Doppler Effect. Among these are the fact that space is not a vacuum at all (as believed when red shift was first ascribed to the Doppler Effect), but filled with all manner of energies and filtering mechanisms. As a result, light experiences an effective signal loss over great distances and this translates into a shift towards the red and infrared end of the light spectrum, as shorter frequencies – the blue/violet end of the spectrum – are more easily occluded. The same applies, in varying degrees, to all bands of radiation we use to observe the cosmos (including radioastronomy).
Thus the limits of our ‘observable universe’ are no limits at all, but merely the limit of observation using the electromagnetic spectrum as a yardstick. The universe didn’t begin 13 or 14 (or even 200) billion years ago as indicated by this false assumption, but is in fact infinite. We just can’t see very far through the soup of timespace.
That this is true is revealed by a number of observations, including the fact that no matter how far we look through the sea of time, supposedly primordial ‘infant’ galaxies and other structures appear virtually identical to those we see around us today. This contravenes many precepts of Big Bang theory, as do many observations made since we lifted our sights and sightlines beyond Earth’s occluding atmospheric envelope and began to see the cosmos as it actually appears.
According to ‘electric universe’ theory and contemporary observations that demolish most of the cherished notions of 20th Century astrophysics, the primary ‘force’ acting throughout the cosmos is not gravity at all - gravity is a very tenuous field - but (what we incorrectly term) electromagnetism. And according to the postmodern electrical paradigm, the redness of many celestial bodies indicates not their speed of recession but their age – or rather, their energetic level and even their relative youth!
Thus one of the only two planks that seemed to necessitate the idea of a Big Bang does not actually exist; most things in the cosmos are probably not racing away from everything else at all, and the increased redness of more distant objects is mainly due to signal loss.
The remaining plank that seemed to underlie and confirm the Big Bang hypothesis– the Hubble Constant (named for astronomer Erwin Hubble, to whom the famous first space telescope was also dedicated), has also been ascribed to the wrong cause entirely. The all-pervasive background ‘hum’ in the hydrogen band that’s noted wherever our electronic ears listen to the celestial ‘music of the spheres’ isn’t an echo of an ancient explosion, but is due to a now well-known and widely recognised quantum effect whereby virtual particles are continually appearing within and disappearing from the observable (4D) universe.
‘Space’ isn’t space, but is filled with innumerable wavelengths (energies) that generally cancel each other out, resulting in a near-vacuum state. This state isn’t a vacuum or a zero-point field of fluctuations (as often described) but a field that oscillates around scalar zero –conceived as being slightly ‘above’ the zero point, and originally believed to be so negligible as to be immeasurable and irrelevant. When 18th, 19th and 20th Century physicists first calculated all the details of orbital mechanics this reality was entirely unknown; their figures were all predicated on the false assumption that all celestial bodies interact in a complete vacuum.
Newton’s blind clockwork universe and Einstein’s divine plan are equally illusory. God doesn’t play dice (because there is no external god rolling the deadly die) but chance interactions – the freewheeling will of cosmic fields and forces – is everchanging and inherently unpredictable. Everything is possible and we inhabit an infinite interacting series of parallel universes, all interwoven by probability and the wills of conscious beings.
This sea of virtual particles gives rise to a perceivable ‘hum’ produced by little vortices in timespace (effectively electrons and positrons) that occur wherever wavelengths interact in suitable configurations – and as waves are always interacting in innumerable configurations, there are always some that give rise to relatively stable and measurable forms. Some of the most basic of these effectively appear as ‘hydrogen ions’, continually flashing into and out of existence as a result of perpetual wave interactions. These occasionally remain in our plenum when they happen to manifest in a geometrical configuration that remains stable (by virtue of simple mechanical interactions), producing what physics has conceived as ‘atoms’, or ‘ions’. 3
Thus the Hubble Constant is not an echo of a non-existent Big Bang, but the continuous resonant hum of infinitude tiny vortices, as hyperdimensional energies which transcend the recognised four dimensions of space and time perpetually condense into observable energy in our timespace (See TimeSpace).
It’s worthwhile to note that ‘particles’ are not simply continually emerging in the ‘vacuum of space’, but within pre-existing forms of denser energy fields and material forms as well. In fact, the more dense a field they manifest within the more likely they are to lodge into pre-existing patterns, and to remain in timespace rather than immediately wink back out of existence. When extra particles appear within the energy matrix of matter, more complex and more ‘dense’ forms of matter are formed. Thus ‘matter’ is continuously condensing - growing more dense and complex - and celestial bodies are all slowly growing through time. 4
There are no ‘Higg’s Bosons’, as there is no need for them or most of the other invented confabulations in the ‘particle zoos’ of 20th Century physicists. Simpler geometrical forms simply give rise to progressively more complex geometrical forms and the morphic fields of matter literally attract energy – and more matter – via simplex mechanisms, not through abstruse, ‘spooky’ or exotically impenetrable interactions.
Light Amidst the Darkness
There is no ‘dark energy’ or ‘dark matter’...
Continues @ nexusilluminati.blogspot.com.au/2013/03/infinite-cosmos-o...
by R. Ayana