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WORK DAYS OF GOD Herbert W Morris D.D.circa 1883 Page 22 "As all the words in the English language are composed out of the twenty-six letters of the alphabet,.."
MARIO AND THE MAGICIANS THOMAS MANN 1875 - 1955 18 THE TABLES OF THE LAW Page 289 "...WITH A HANDFUL OF THESE SIGNS ALL THE WORDS OF ALL THE LANGUAGES OF ALL THE PEOPLE COULD, IF NEED BE, BE WRITTEN,..."
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium." "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
THE FAR YONDER SCRIBE AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE THE ZED ALIZ ZED IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS AT THE THROW OF THE NINTH RAM WHEN IN CONJUNCTION SET THE FAR YONDER SCRIBE MADE RECORD OF THEIR FALL
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Cycles and Patterns Page 165 Patterns "The essence of mathematics is to look for patterns. Our minds seem to be organised to search for relationships and sequences. We look for hidden orders. These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac! Searching out patterns is a pure delight. Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden. And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."
FINGERPRINTS OF THE GODS A QUEST FOR THE BEGINNING AND THE END Graham Hancock 1995 Chapter 32 Speaking to the Unborn Page 285 "It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers. A message in the bottle of time" 'Of all the other stupendous inventions,' Galileo once remarked, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3 If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps. "What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them" "WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
THE LIGHT IS RISING RISING IS THE LIGHT
THE DEATH OF GODS IN ANCIENT EGYPT Jane B. Sellars 1992 Page 204 "The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling: Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10 Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days. Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him. The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time. A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the /Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12) If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth. This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations. Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability. But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less than the figure of 25,920. With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, Incorrect by a difference of from 2,397.9 years to 3,024. Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting' AN IMPORTANT POSTSCRIPT Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician. Page 206 Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12 This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers. Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury. Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten. Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13 Page 207 "...Feniusa Farsa, Graves equates this hero with Dionysus Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14 Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15 Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16 In Hamlet's Mill de Santillarta adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point) Thee Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as.- the interest- Whatever one may think-of some of these number coincidences, it becomes. difficult to escape the suspicion that many signs (number and otherwise) -indicate that early man observed the results.. of the movement of Precession . and that the-.transmission of this information was .considered of prime importance. 'With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced.,that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation': "...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two,four.Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radiusekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the
strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up. his piece of striped and striped wallpaper, decorated / Page 209 /
with a number of scarlet circles - 'you can see it's more than random.'19 So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"
OF TIME AND STARS Arthur C. Clarke 1972 FOREWORD "'Into the Comet' and 'The Nine Billion Names of God' both involve computers and the troubles they may cause us. While writing this preface, I had occasion to call upon my own HP 9100A computer, Hal Junior, to answer an interesting question. Looking at my records, I find that I have now written just about one hundred short stories. This volume contains eighteen of them: therefore, how many possible 18-story collections will I be able to put together? The answer as I am sure will be instantly obvious to you - is 100 x 99. . . x 84 x 83 divided by 18 x 17 x 16 ... x .2 x 1. This is an impressive number - Hal Junior tells me that it is approximately 20,772,733,124,605,000,000. Page 15 The Nine Billion Names of God 'This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a machine. Could you explain just what you intend to do with it?' Page16 'We have reason to believe,' continued the lama imperturbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.'
I = 9 9 = I R = 9 9 = R
OF T9ME AND STA9S A9thu9 C. Cla9ke,1972 Page 15 'Th9s 9s a sl9ghtly unusual 9equest,'sa9d D9 Wagne9, w9th what he hoped was commendable 9est9a9nt.' As fa9 as 9 know, 9t's the f99st t9me anyone's been asked to supply a T9betan monaste9y with an Automat9c Sequence Compute9. 9 don't w9sh to be 9nqu9s9t9ve, but 9 should ha9dly have thought that you9- ah - establ9shment had much use for such a mach9ne.Could you expla9n just what you 9ntend to do w9th 9t?' 'Gladly,' 9epl9ed the lama, 9eadjust9ng h9s s9lk 9obes and ca9efully putting away the sl9de 9ule he had been us9ng fo9 cu99ency conve9s9ons. 'You9 Ma9k V Compute9 can ca99y out any 9out9ne mathemat9cal ope9at9on 9nvolv9ng up to ten d9g9ts. Howeve9, for ou9 work we are 9nte9ested 9n lette9s, not numbe9s. As we w9sh you to mod9fy the output c9rcu9ts,the mach9ne w9ll be p99nt9ng wo9ds not columns of f9gu9es.' '9 dont qu9te unde9stand…' 'Th9s 9s a p9oject on wh9ch we have been work9ng fo9 the last th9ee centu99es - s9nce the lamase9y was founded, 9n fact.9t 9s somewhat al9en to you9 way of thought, so9 hope you w9ll l9sten with an open m9nd wh9le 9 expla9n 9t 'Natu9ally.' '9t 9s 9eally qu9te s9mple.We have been comp9l9ng a l9st wh9ch shall conta9n all the poss9ble names of God' '9 beg you9 pa9don?' / Page16 / 'We have 9eason to bel9eve' cont9nued the lama 9mpe9tu9bably, ' that all such names can be w99tten with not mo9e than n9ne lette9s 9n an alphabet we have dev9sed,' 'And you have been do9ng th9s for three centu99es? 'Yes: we expected9t would take us about f9fteen thousand years to complete the task.' 'Oh, Dr Wagne9 looked a l9ttle dazed. 'Now9 see why you wanted to h99e one of ou9 mach9nes. But what exactly9s the pu9pose of th9s p9oject ? 'The lama hes9tated fo9 a f9act9on of a second, and Wagne9 wonde9ed9f he had offended h9m.9f so the9e was no t9ace of annoyance9n the 9eply. 'Call9t 99tual, 9f you l9ke, but 9t's a fundamental pa9t of ou9 bel9ef. All the many names of the Sup9eme Be9ng - God , Jehova , Allah , and so on - they a9e only man made labels. The9e 9s a ph9losoph9cal p9oblem of some d9ff9culty he9e, wh9ch9 do not p9opose to d9scuss, but somewhe9e among all the poss9ble comb9nat9ons of lette9s that can occu9 a9e what one may call the 9eal names of God. By systemat9c pe9mutat9on of lette9s, we have been t9y9ng to l9st them all' 9 see. You've been sta9t9ng at AAAAAAA… and wo9k-9ng up to ZZZZZZZZ …' 'Exactly - though we use a spec9al alphabet of ou9 own. Mod9fy9ng the elect9omat9c typew99te9s to deal w9th th9s 9s of cou9se t99v9al. A 9athe9 mo9e 9nte9est9ng p9oblem 9s that of dev9s9ng su9table c99cu9ts to el9m9nate 9 9d9culous comb9nat9ons. Fo9 example, no lette9 must occu9 mo9e than th9ee t9mes 9n sucess9on.' 'Th9ee? Su9ely you mean two.' 'Th9ee 9s co99ect; 9 am af9a9d 9t would take too long to expla9n why , even 9f you unde9stood ou9 language.'/ Page 17 / '9'm su9e 9t would,' sa9d Wagne9 hast9ly. 'Go on.' 'Luck9ly, 9t w9ll be a s9mple matte9 to adapt you9 Automat9c Sequence Compute9 fo9 th9s wo9k, s9nce once 9t has been p9og9ammed p9ope9ly 9t w9ll pe9mute each lette9 9n tu9n and p99nt the 9esult. What would have taken us f9fteen thousand years 9t w9ll be able to do 9n a hund9ed days.' 'Dr Wagne9 was sca9cely consc9ous of the fa9nt sounds f9om the Manhatten st9eets fa9 below. He was 9n a d9ffe9ent wo9ld, a wo9ld of natu9al, not man-made mounta9ns. H9gh up 9n the99 9emote ae99es these monks had been pat9ently at wo9k gene9at9on afte9 gene9at9on, comp9l9ng the99 l9sts of mean9ngless wo9ds. Was the9e any l9m9ts to the foll9es of mank9nd ? St9ll, he must g9ve no h9nt of h9s 9nne9 thoughts. The custome9 was always 99ght…"
OF TIME AND STARS Arthur C. Clarke 1972 Page 68 Into the Comet
DECIPHER MANKIND HAD 1200 YEARS YEARS TO CRACK THE CODE WE HAVE ONE WEEK LEFT Stel Pavlou Page 357 24 hours "We live in a universe of patterns. Every night the stars move in circles across the sky. The seasons cycle at yearly inter vals. No two snowflakes are ever exactly the same, but the all have sixfold symmetry. Tigers and zebras are covered in patterns of stripes; leopards and hyenas are covered in pat terns of spots. Intricate trains of waves march across the oceans; very similar trains of sand dunes march across the desert . . . By using mathematics... we have discovered great secret: nature's patterns are not just there to be admired, they are vital clues to the rules that govern natural processes." Ian Stewart, Nature's Numbers, 1995
AHAZ AHAZ = 1818 = AHAZ AH AZ = 18 18 = AH AZ A+H = 1+8 = 9 9 = 1+8 = A+H A+Z = 1+8 = 9 9 = 1+8 = A+Z A+H+A+Z = 1+8+1+8 = 18 = 1+8 = 9 9 = 1+8 = 18 = 1+8+1+8 = A+H+A+Z ADD TO REDUCE REDUCE TO DEDUCE ESSENCE OF NUMBER OF ESSENCE A+H+A+Z = 1+8+1+8 = 18 = 1+8 = 9 9 = 1+8 = 18 = 1+8+1+8 = A+H+A+Z AHAZ = 9 9 = AHAZ A+H+A+Z = 1+8+1+8 = 18 = 1+8 = 9 9 = 1+8 = 18 = 1+8+1+8 = A+H+A+Z AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ
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AHAZIAH AHAZIAH = 1818918 = 1818918 = AHAZIAH AH AZ I AH = 18 18 9 18 = 18 18 9 18 = AH AZ I AH A+H = 1+8 = 9 9 = 1+8 = A+H A+Z = 1+8 = 9 9 = 1+8 = A+Z I = 9 9 = I A+H = 1+8 = 9 9 = 1+8 = A+H A+H+A+Z+I+AH = 1+8+1+8+9+1+8 = 36 = 3+6 = 9 9 = 3+6 = 36 = 1+8+1+8+9+A+8 = A+H+A+Z+I+A+H ADD TO REDUCE REDUCE TO DEDUCE ESSENCE OF NUMBER OF ESSENCE A+H+A+Z+I+AH = 1+8+1+8+9+1+8 = 36 = 3+6 = 9 9 = 3+6 = 36 = 1+8+1+8+9+A+8 = A+H+A+Z+I+A+H AHAZIAH = 9 9 = AHAZIAH A+H+A+Z+I+AH = 1+8+1+8+9+1+8 = 36 = 3+6 = 9 9 = 3+6 = 36 = 1+8+1+8+9+A+8 = A+H+A+Z+I+A+H AHAZIAH = 9 9 = AHAZIAH AHAZIAH = 9 9 = AHAZIAH AHAZIAH = 9 9 = AHAZIAH = AHAZIAH = AHAZIAH
Ahaziah, also known as Jehoahaz, King of Judah - Biblical people Ahaziah reigned for one year (843-842 BC) as the king of Judah when he was 22 years ... Ahaziah, King of Israel, was the uncle of Ahaziah, King of Judah. ...www.aboutbibleprophecy.com/p4.htm - Cached - Similar
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21 Jul 2009 ... TOTAL ECLIPSE: On Wednesday, July 22nd, the Moon eclipsed the midday sun over China. "The temperature dropped from 96.6 F to 88.5F at ...
Daily Mail, Thursday, July 23, 2009 David Derbyshire Enviroment Editor Now thats what I call a spectacle! "For six minutes and 39 seconds, normal life came to a halt. As the longest total eclipse of the sun this century cast a shadow across Asia, people stopped what they were doing and turned to the heavens. Millions stood in awe as the skies darkened, birds fell silent and the moon blotted out the sun from the sky." "Total solar eclipses happen when the moon passes directly between Earth and the sun. Yesterday's was not just the longest of the 21st century - there will not be a longer one until 2132 - it was also seen by more people. According to Nasa, around two billion were enveloped by darkness. The shadow of the moon first fell on Earth shortly after dawn in Eastern India, Nepal, Burma, Bangladesh, Bhutan, China and Japan before moving into the Pacific. Cloud and rain ruined the view for many. But where skies were clear the sight of the sun vanishing and the sudden appearance of its corona - the halo circling the moon - were met by awe, excitement and fear." "Astronomers and eclipse chasers travelled from around the world to experience the blackout. The last total eclipse visible from Britain was in August 1999. There will not be another until September 2090."
THOSE PATENT PATIENT PATENTED PATTERN MAKERS
Search ResultsMathemetician Gone Mad? - Eht Namuh - Games & Internet - Forum ...
Daily Mail Thursday, June 11 2009 Page 37 Web 2.0 - the one millionth English word ALMOST 1,500 years after it was first recorded, the English language has its one millionth word. At 10.22am yesterday Web 2.0 - describing the next generation of internet services entered the dictionary. To be accepted a word must be used at least 25,000 times across national boundaries and outside specialisms. U.S-based Global Language Monitor surveys print publications, online news sites, blogs and social media for useage. Jai Ho!, a Hindi phrase signifying the joy of victory became the 999,999th word thanks to the Oscar-Winning film Slumdog millionaire. At 1,000,001 is Financial Tsunami - a sudden financial restructuring.
"JAI HO! A HINDI PHRASE SIGNIFYING THE JOY OF VICTORY BECAME THE 999,999TH WORD..."
No curved lines - A.E.F.H.I.K.L.M.N.T.V.W.X.Y.Z. No straight lines-C.O.S. No enclosed areas-C.E.F.G.H.I.J.K.L.M.N.S.T.U.V.W.X.Y.Z. Horizontal symmetry-B.C.D.E.H.I.K.O.X. Vertical symmetry-A.H.I.M.O.T.U.V.W.X.Y. Roman numerals-C.D.I.L.M.V.X. Just dots in Morse code-E.H.I.S. Just dashes in Morse code-M.O.T. Horizontal and vertical symmetry-H.I.O.X. Look the same upside down-H.I.N.O.S.X.Z. Can be drawn in one stroke-B.C.D.G.I.J.L.M.N.O.P.R.S.U.V.W.Z. Capitals which look like lowercase-C.O.P.S.U.V.W.X.Z.
You know how he says "REU NU PERT EM HRU" here? In English, that means the Book of the Dead, in Egypt it means "The Chapters of Coming Forth By Day." It was a collection of spells and things like that, formulas. Math formulas, maybe. "OM BHUR BHUVAH SVAHA TAT SAVITUR VARENYAM" Quote: Let us honor the unity of Divine Spirit May That most brilliant Divine Light that we might realize
Mathemetician Gone Mad? - Eht Namuh - Games & Internet - Forum ...
T.S. Eliot - Google Books Result
O NAMUH BELOVED CHILDREN OF THE LIGHT BLESSED DREAMER OF DREAMS AWAKEN THE ETERNAL MOMENT BIRTHS ITS FUTURE
THE GROWTH OF SCIENCE A.P. Rossiter 1939 Page 15 "The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots." "...among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."
CIVILIZATION, SCIENCE AND RELIGION A. D. RITCHIE 1945 THE ART OF THINKING Page 39 "The Egyptians could set out a right-angle on the ground, for building or for land surveying, by means of a cord knotted at intervals of 3, 4 and 5 units of length."
CIVILIZATION, SCIENCE AND RELIGION A. D. RITCHIE 1945 THE ART OF THINKING Page 38 "In the sphere of the natural sciences and of mathematics there have been endless disputes as to how much the Greeks borrowed from their neighbours, and the disputes are likely to continue, for the evidence is scanty and unreliable. It is safe to assume that the Greeks (noted then as now for commercial enterprise) took all they could get. Their own writers say as much, for they attribute the origin of very many useful inventions to other peoples. But this one thing, the scientific outlook and method, was not there to take; they had to invent it themselves. It is well to be clear on this point, for European civilization rests on three legs. They are Greek science, Jewish religion and Roman law. / Page 39 / Roman law may well be considered the Roman development of Greek scientific method. I will therefore deal with two examples in some little detail. These are taken from the sphere of mathematics and astronomy, for it was in these two sciences that the Greeks had their most outstanding success, doing about as much as could possibly be done under the conditions of their day and laying the foundations on which all subsequent work has been based. The Egyptians knew of many useful methods of -geo- metrical calculation, for finding the area of a field, the volume of a barrel and so on. The Babylonians and earlier Mesopotamians had made accurate observations of sun, moon and stars over long periods and developed ingenious methods for calculating their future positions in the sky. In these arts of calculation these people had nothing to learn from the Greeks; it was the other way about. But there is no evidence that they ever dreamt of turning the art of calculation into the science of mathematics. Solving particular problems, however ingeniously, is not necessarily science any more than is playing chess (though all chess problems are geometrical) or keeping accounts (though all money reckoning is arithmetical). Mathematical science in the proper sense of the word attains its end by two means : (1) generalizing as far as is possible all problems and their solutions, so that one solution solves any number of particular cases; (2) finding proofs that solutions are correct as opposed to finding solutions which might be right by chance, not by necessity. The method used is the method of discussion in its specifically mathematical form. The Egyptians could set out a right-angle on the ground, for building or for land surveying, by means of a cord knotted at intervals of 3, 4 and 5 units of length. They adjusted three pegs to make a triangle with the knots at the pegs when the cord was stretched tight round them. The Greeks, seeing this trick, generalized the problem and looked for a proof of the solution. The final result, after two centuries of effort, is the First Book of Euclid's Elements, leading up to Proposition 47—that the square on the hypotenuse of a right-angled triangle equals the sum of / Page 40 / the squares on the other sides, and that this must be so, granted the assumptions made at the beginning. (The proposition is further generalized in, Euclid VI, 31.) In this way a technical dodge of the land surveyor, depending upon the fact that 32+42= 52, was turned into science. Page 38 Notes 1 Thucydides IV, 104—V, 26.
Dream A Little Dream Of Me Lyrics - Elliot Mama Cass
Stars shining bright above you Say nighty night and kiss me Stars fading but I linger on dear Dreams till sunbeams find you Stars fading but I linger on dear Sweet dreams ´till sunbeams find you Sweet dreams till sunbeams find you
THE WASTELAND AND OTHER POEMS T.S. Eliot 1940 THE BURIAL OF THE DEAD Page 25 "With a dead sound on the final stroke of nine" 68
Note 68 A phenomenon which I have often noticed
T.S. Eliot (1888–1965). Prufrock and Other Observations. 1917. The Love-Song of J. Alfred Prufrock
Let us go then, you and I, In the room the women come and go The yellow fog that rubs its back upon the window-panes And indeed there will be time In the room the women come and go And indeed there will be time For I have known them all already, known them all; And I have known the eyes already, known them all— And I have known the arms already, known them all— Shall I say, I have gone at dusk through narrow streets 70 I should have been a pair of ragged claws And the afternoon, the evening, sleeps so peacefully! And would it have been worth it, after all, And would it have been worth it, after all, No! I am not Prince Hamlet, nor was meant to be; I grow old . . . I grow old . . . 120 Shall I part my hair behind? Do I dare to eat a peach? I do not think they will sing to me. I have seen them riding seaward on the waves We have lingered in the chambers of the sea [1915]
Daily Mail Tuesday June 9, 2009 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge QUESTION "Is the Swat area of Pakistan, featuring in current news reports, the same as the one to which Edward Lear referred in his 1888 poem the Akond of Swat? THE Swat region of northern Pakistan (India, before 1947) was a cradle of human civilisation. The mighty Swat River created a fertile valley, suitable for farming and fishing, inviting the attention of many invaders...."
"Overall moral leadership came to be exercised by religious leaders taking the title Akhoond, also spelt Akhund or Akond essentially the Afghan or Iranian word for Imam..." Jane Whitmarsh, Oxford.
I AM AT MAAT AT MAAT AT AM I
Daily Mail Thursday, February 26,2009 Page 37 The eye of God! IT STARES down at us from the depths of space, watching our tiny world from 700 light years away. Scientists have nicknamed the image - captured by a giant telescope on the Chilean mountains - the eye of God.
Daily Mail Tuesday, April 14, 2009 Page 11 Hand of God Eye in the sky: The Helix nebula By Dan Newlin; (Image omitted) WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
INRI Jesus Nazarenus, Rex Iudaeorum
INRI - Wikipedia, the free encyclopedia 18 Apr 2009 ... INRI is an acronym of the Latin inscription IESVS·NAZARENVS·REX·IVDÆORVM (Jesus Nazarenus, Rex Iudaeorum), which translates to English as ...
INRI 9599 INRI JESUS NAZARENUS REX IUDAEORUM INRI 9599 INRI
DAILY MAIL Tuesday, July 12, 2006 ANSWERS TO CORRESPONDENTS Compiled by James Black and Charles Legge Page 48 QUESTION When was the Star of David first used as a symbol? ACCORDING to research undertaken by Christopher Knight and Robert Lomas fot their book The Hiram Key, which studies the history of Freemasonry, the origins of the hexagram are ancient Egyptian. The design is made up from two pyramids, the upward pointing one is the symbol of the power of the king; its base on the earth and its point reaching up to heaven. The two pyramids came to represent the double Messiah; the kingly and the priestly messiahs. As such, it is the true sign of Jesus who saw himself as a both priestly (he was a rabbi) and kingly (royal House of David) Messiah - the living 'star of David'. James Morris Leighton Buzzard, Beds:
DAILY MAIL Tuesday, April 10, 2007 Jonathan Cainer Page 42 Jonathan writes: Why am I travelling to Tibet to investigate a prophecy from Mexico? It has something to do with ancient cultures, complicated cosmologies and poignant predictions. On my way, I passed through Delhi, where there is a temple dedicated to Saturn. Word has not yet reached them there about the newly-discovered hexagon at Saturn's north pole. I have, however, been dwelling on this. The Star of David is hexagonal. Could Saturn have a message about the future of Israel?
HOLY BIBLE Scofield References C 1 V 16 THE ACTS OF THE APOSTLESPage 1148 (Part quoted) "MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"
CODE DE CODE C+O D+E D+E C+O D+E 9+9+9+9+9 C+O D+E D+E C+O D+E CODE DE CODE
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Results for: I, I, I, I, I, I love you veeeeerrrrry much ii,ii,ii song on the Telstra iMode TV ad - iiNet - 11:04am
anyone noticed the iMode ads (I think they are new I don't watch ads much I usually fast forward them) the "I, I, I, I, I, I love you veeeeerrrrry much" song is very addictive tune and I can't help thinking it would have been great for iiAds instead of Telstra.
Radio Times WEDNESDAY 20 MAY ENTERTAINMENT Page 90 " 9.00 Serendipity" "Romantic comedy starring John Cusak and Kate Beckinsdale as Jonathan and Sara, who meet one Christmas and experience an instant attraction to each other. But they are both involved with other people and Sara, who believes in destiny, insists that fate must lend a hand if they are to meet again."
Daily Mail Friday, May 22, 2009 By Neil Sears and Tom Kelly Page 9 Spider - Man actress hangs herself after suicide of a friend "Lucy Gordon died just two days before her 29th birthday..." "Miss Gordon who played a British TV reporter in the 2007 film Spider-Man 3 found fame as a model while still at an Oxford public school.
"Last night her father Richard, a teacher, paid tribute to her at the detached family home in Oxford where he lives with her mother Susan, 58, and sister Katie, 27. "Acting was always what she had wanted to do," She soon moved onto films, appearing in Serendipity with John Cusak in 2001"
HOLY BIBLE Scofield References Jeremiah B.C. 590 Page 809 8 x 9 + 72 7 + 2 = 9 Chapter 33 Verse 3 x 33 = 99 "Call unto me, and I will answer thee, and shew thee great and mighty things which thou knowest not."
FIRST CONTACT THE SEARCH FOR EXTRATERRESTRIAL INTELLIGENCE EDITED BY BEN BOVA AND BYRON PREISS 1990 SETI ON CAMPUS Page 271 THE U. C. BERKELEY PROGRAM BY STUART BOWYER
Page 274 At this point, however, we were fortunate in obtaining a NASA grant for our work that, while small in absolute dollar terms, allowed us to develop a vastly improved set of hardware. We dubbed this new system SERENDIP II. The primary improvement made in our system was the
LIFE OUT THERE THE TRUTH OF - AND SEARCH FOR EXTRATERRESTRIAL LIFE MICHAEL WHITE 1998 Page 49 "So, over many generations, characteristics will be inherited which make members of the species better adapted to their enviroment. Chance mutations, which are purely a matter of serendipity, will also mould the species, . . . "
LIFE OUT THERE THE TRUTH OF - AND SEARCH FOR EXTRATERRESTRIAL LIFE MICHAEL WHITE 1998 Page 99 Page 100
I ME GODS OSIRIS ISIS OSIRIS OSIRIS ISIS ORION ISIS OSIRIS IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS
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IS RISHI SHRI CHRISTOS SHRI RISHI IS IS RISHI SHRI CHRISTOS SHRI RISHI IS 91 99189 1899 38991261 1899 99189 91 IS RISHI SHRI CHRISTOS SHRI RISHI IS IS RISHI SHRI CHRISTOS SHRI RISHI IS 91 9999 999 3999 999 9999 91 IS RISHI SHRI CHRISTOS SHRI RISHI IS I RISHI SHRI HRISTOS SHRI RISHI I 9 9999 999 9999 9999 9 I RISHI SHRI HRISTOS SHRI RISHI I IS RISHI SHRI CHRISTOS SHRI RISHI IS 91 9999 999 3999 999 9999 91 IS RISHI SHRI CHRISTOS SHRI RISHI IS IS RISHI SHRI CHRISTOS SHRI RISHI IS 91 99189 1899 38991261 1899 99189 91 IS RISHI SHRI CHRISTOS SHRI RISHI IS IS RISHI SHRI CHRISTOS SHRI RISHI IS
WISDOM OF THE EAST by Hari Prasad Shastri 1948 Page 8 "There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'
THE LOST LANGUAGE OF SYMBOLISM Harold Bayley 1912 Page 278 ""According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."
INRI Jesus Nazarenus, Rex Iudaeorum
INRI - Wikipedia, the free encyclopedia 18 Apr 2009 ... INRI is an acronym of the Latin inscription IESVS·NAZARENVS·REX·IVDÆORVM (Jesus Nazarenus, Rex Iudaeorum), which translates to English as ...
In Hebrew, the phrase is commonly rendered[citation needed] ישוע הנצרי ומלך היהודים (yeshūa' hanaṣrī ūmeleḵ hayĕhūḏīm IPA: [jeːˈʃuːaʕ hanːatseriː uːˈmeleχ hajːəhuːˈðiːm]), which translates instead to "Jesus the Nazarite and King of the Jews." This version was most probably chosen in order that the acronym constitute the tetragrammaton (יהוה) name corresponding with Yahweh or Jehovah. It is possible that the titulus was written in Aramaic—the local vernacular—rather than Hebrew.
According to the Gospels, Pilate was loath to crucify Jesus without justification and used the standing Roman treaty with the Jews, which allowed them limited self-government (see Iudaea Province for details). When the Jewish priests complained that Jesus was interfering with that self-rule by claiming to be the Son of God (see Sanhedrin Trial of Jesus), Pilate challenged him to deny that he was the "King of the Jews." Jesus did not deny the accusation. Pilate's reluctance to crucify Jesus, according to Christian texts, stands in contrast to his willingness to crucify countless thousands of other Jews and Samaritans during his rule.[1] Some believe that the justification for his crucifixion was his claim to an illegitimate title. However, John 19:21-22 implies that Pilate rejected the charge that Jesus was crucified because he falsely claimed to be king and instead stated that Jesus was crucified because he was the King of the Jews. Thus, some Christians as early as the second century[2] report that Pilate was convinced that Jesus was the Messiah. Contents [hide] [edit] Western Christianity [edit] Eastern Christianity [edit] Versions [edit] See also
Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures ... mothandrust.tk/ Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven... For where your treasure is, there your heart will be also ............... Matthew 6:19-21
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NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Cycles and Patterns Page 165 Patterns "The essence of mathematics is to look for patterns. Our minds seem to be organised to search for relationships and sequences. We look for hidden orders. These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac! Searching out patterns is a pure delight. Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden. And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."
THE NINETY NINE NAMES OF GOD
IN THE NAME OF GOD THE COMPASSIONATE THE MERCIFUL
I SAY THREAD THAT THREAD THREAD READ DEATH DEATH READ THREAD THREAD R DEATH DEATH R THREAD THREAD READ DEAR THREAD
THE NEW ELIZABETHAN REFERENCE DICTIONARY An up-to-date vocabulary of the living English language Circa 1900 FOURTH EDITION Page 1472 thread (thred) [A.-S. thraed, from thrawan, to THROW (cp. Dut. draad, G. draht, Icel. thrathr)], n. A slender cord consisting of two or more yarns doubled or twisted ; a single filament of cotton, silk, wool, etc., esp. Lisle thread ; anything resembling this ; a fine line of colour etc. ; a thin seam or vein ; the spiral on a screw ; (fig.) a continuous course (of life etc.). v.t. To pass a thread through the eye or aperture of ; to string (beads etc.) on a thread ; (fig.) to pick (one's way) or to go through an intricate or crowded place, etc. ; to streak (the hair) with grey etc. ; to cut a thread on (a screw). thread and thrum : Good and bad together, all alike. threadbare, a. Worn so that the thread is visible, having the nap worn off ; (fig.) worn, trite, hackneyed. threadbareness, n. thread-mark, n. A mark produced by coloured silk fibres in banknotes to prevent counterfeiting. thread-paper, n. Soft paper for wrapping up thread, thread-worm, n. A thread-like nematode worm, esp. one infesting the rectum of children. threader, n. threadlike, a. and adv. thready, a. threadiness, n.
THE NEW ELIZABETHAN REFERENCE DICTIONARY An up-to-date vocabulary of the living English language FOURTH EDITION Circa 1900 Page 1472 thread (thred) [A.-S. thraed, from thrawan, to THROW (cp. Dut. draad, G. draht, Icel. thrathr)], n. A slender cord consisting of two or more yarns doubled or twisted ; a single filament of cotton, silk, wool, etc., esp. Lisle thread ; anything resembling this ; a fine line of colour etc. ; a thin seam or vein ; the spiral on a screw ; (fig.) a continuous course (of life etc.). v.t. To pass a thread through the eye or aperture of ; to string (beads etc.) on a thread ; (fig.) to pick (one's way) or to go through an intricate or crowded place, etc. ; to streak (the hair) with grey etc. ; to cut a thread on (a screw). thread and thrum : Good and bad together, all alike. threadbare, a. Worn so that the thread is visible, having the nap worn off ; (fig.) worn, trite, hackneyed. threadbareness, n. thread-mark, n. A mark produced by coloured silk fibres in banknotes to prevent counterfeiting. thread-paper, n. Soft paper for wrapping up thread, thread-worm, n. A thread-like nematode worm, esp. one infesting the rectum of children. threader, n. threadlike, a. and adv. thready, a. threadiness, n.
lisle thread: lisle thread A strong tightly twisted cotton thread (usually made of long-staple cotton) - lisle. Derived forms: lisle threads. Type of: cotton. Nearest ... www.wordwebonline.com/en/LISLETHREAD
Definition - of Lisle from Dictionary.net Lisle thread, a hard twisted cotton thread, originally produced at Lisle. Source: Webster's Revised Unabridged Dictionary (1913) ... www.dictionary.net/lisle - 9k
CASSELL'S ENGLISH DICTIONARY 1974 Lisle thread (lil thred) [ town in France, now Lille], n, A fine, hard thread orig. made at Lille.
THE TIBETAN BOOK OF THE DEAD Or The After Death Experience on the Bardo Plane, according to Lama Kazi Dawa-Samdup's English Rendering Compiled and edited Edited by W. Y. Evans-Wentz 1960 Facing Preface To The Paperback Edition 'Thou shalt understand that it is a science most profitable, and passing all other sciences, for to learn to die. For a man to know that he shall die, that is common to all men; as much as there is no man that may ever live or he hath hope or trust thereof; but thou shalt find full few that have this callning to learn to die. . . . I shall give thee the mystery of this doctrine; the which shall profit thee greatly to the beginning of ghostly health, and to a stable fundament of all virtues. '- OrologiumSapientiae. 'Against his will he dieth that hath not learned to die. Learn to die and thou shalt learn to live, for there shall none learn to live that hath not learned to die.'-Toure of all Toures: and Teacheth a Man for to Die. The Book of the Craft of Dying (Comper's Edition). '\Vhatever is here, that is there; what is there, the same is here. He who seeth here as different, meeteth death after death. Facing Preface to the Second Edition BONDAGE TO REBIRTH "As a man's desire is, so is his destiny. For as his desire is, so is his will; and as his will is, so is his deed; and as his deed is, so is his reward, whether good or bad. Brihadaranyaka Upanishad FREEDOM FROM REBIRTH 'He who lacketh discrimination, whose mind is unsteady and whose heart is impure, never reacheth the goal, but is born again and again. But he who hath discrimination, whose mind is steady and whose heart is pure, reacheth the goal, and having reached it is born no more.' Katha U panishad. Page xi SRI KRISHNA'S REMEMBERING 'Many lives Arjuna, you and I have lived. I remember them all but thou dost not.' Bhagavad Gita, iv, 5., iv, 5. Page xx "......... Denison........."
INCARNATION THE DEAD RETURN Daniel Easterman 1998 Page 99 "........David........." Page 3 "The old man's name was Dennison"
THE PATH OF PTAH THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF THE VIRGIN BIRTH IS TO BE REBORN OF WATER AND SPIRIT GODS HOLY SPIRIT AFTER HAVING ENDURED THE DEATH OF THE I ME EGO SELF I SELF EGO ME I WEIGHED IN THE BALANCE AND NOT FOUND WANTING EVOLVE THEE THAT THOU OF LOVE LOVE LOVE OF THOU THAT THEE EVOLVE
ISISIS THE RESURRECTION AND THE LIFE UNLESS THAT HE AZIN SHE THAT IS THEE IZ BORN AGAIN AGAIN BORN THOU CANST NOT ENTER THE KINGDOM OF EVEN
THE LIGHT IS RISING RISING IS THE LIGHT
WE ARE THE DEAD SHORT TIME AGO WE LIVED FELT DAWN SAW SUNSET GLOW LOVED AND WERE LOVED AND NOW ? Search ResultsKafka's Before the Law
Kafka’s Before the Law A Review This story is actually contained in a larger work, but it has been published alone as a work of fiction. In the segment entitled Before the Law, K, Kafka’s recurrent protagonist is talking with a priest. He relates a story about a man that comes to a great door seeking the Law. Before it is a gatekeeper that tells him he can’t be allowed to enter at that moment. The man seeking the Law is perplexed, but intentional, so he waits, and waits and waits for the entirety of his life to be permitted to access the Law. The gatekeeper also waits and allows the man to continue waiting, but not letting him pass through the gate. As the man is dying, he wonders why he was the only person seeking the Law. The gatekeeper tells him, that the gate he guards was only meant for him and since he is dying, he, the gatekeeper is going to close it. K then engages the priest that has related this tale to him, in an analytic argument about the meaning of the story. The arguments are piercing and full of moral implications. Kafka is showing us how an allegory can have profound meaning. It is unavoidable that the reader will not apply the experience of the man and gatekeeper to his personal life. Don’t we all seek some Law, some way to understand our existence? Are we not barred in this struggle to understand by a gatekeeper, in the form of fear, doubt and confusion? The gatekeeper as allegory goes even further. He explains that there are deeper realms, that even he (meaning the gatekeeper himself) can’t know, and the man will not be permitted to reach them. Again, the analytic portion of Before the Law reflects upon this notion. The priest explains that the gatekeeper could be deceived. Are not we deceived about our life’s meaning and substance? Before the Law is a clear narrative of human life. We come to a point in our lives in which we seek purpose and order, yet we are obstructed from this by own minds (our gatekeepers if you will). We want health, while declining in well being, we want youth, while growing ever aged, we need love, yet never finding it. We seek a reason, a Law if you will, that will help us, and thus we seek it, but discover our path is obscured by ourselves! Here is the allegory of the story. Kafka does this with such incredible power, you can’t stop reading it. Kafka makes a strange allegorical tale, in which we can see the senselessness of being in the human condition. K is seeking understanding of himself in the larger work.He has irrational fears. He fears high winds and feels a sense of forboding without cause. He actually enters the church for shelter before engaging the priest. In this work, you are K, and the priest is your alter ego. He provides you with many different interpretations of why the man sought the Law. Yet, none suffice, for you must understand yourself why you seek the Law. As a final word, Kafka has K declare that the Law is not real, it is a lie. He is razor-edge close to an existential conclusion with this declaration. It adds irony to allegory to have K, make this statement to a priest, whom is trying to explain the meaning of the tale.
YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART WITH ME ALWAYS WITH ME
THROUGH DEATHS DARK VEIL I FEAR NO EVIL
http://setiathome.berkeley.edu/forum_search_action.php
•1. A signal like the "wow" one does not necessarily mean nothing if it is not detected again. Let us consider a message like the one sent out by Arecibo at 1MW. It was sent only once and not repeated. If an ETI receives that signal and it too comments "wow" at their end and then not find the same signal again; does it mean that the Arecibo message is nothing? •2. Looking at the Arecibo message again, that message was sent over 3 minutes. During that 3 minutes, how many arc seconds had the Earth rotated? After one light year, that same message would have spanned over how many arc minutes or even arc degrees? On that premise perhaps, the "wow" signal was just a small part of a one time message?
Contact Alien Film.s) Search ResultsContact (film) - Wikipedia, the free encyclopedia
Contact (film) Contact is a 1997 science fiction drama film adapted from the Carl Sagan novel of the same name and directed by Robert Zemeckis. Both Sagan and wife Ann Druyan wrote the story outline for the film adaptation of Contact. Jodie Foster portrays the film's protagonist, Dr. Eleanor "Ellie" Arroway, a SETI scientist who finds strong evidence of extraterrestrial life and is chosen to make first contact. Supporting roles are played by Matthew McConaughey, James Woods, Tom Skerritt, William Fichtner, John Hurt, Angela Bassett and David Morse. Carl Sagan and Ann Druyan began working on the film beginning in 1979. Together, they wrote a 100+ page film treatment and set Contact up at Warner Bros. with Peter Guber and Lynda Obst as producers. When the film ended up in development hell, Sagan published Contact as a novel in 1985 and the film adaptation was rejuvenated in 1989. Roland Joffé and George Miller had planned to direct it, but Joffé dropped out in 1993 and Miller was fired by Warner Bros. in 1995. Robert Zemeckis was eventually hired to direct, and filming for Contact lasted from September 1996 to February 1997. The majority of the visual effects sequences were handled by Sony Pictures Imageworks. The film was released on July 1, 1997 to mixed reviews. Contact grossed approximately $171 million in worldwide box office totals. The film won the Hugo Award for Best Dramatic Presentation and received multiple awards and nominations at the Saturn Awards. The release of Contact was publicized by controversies from the Bill Clinton Administration, CNN, as well as individual lawsuits from George Miller and Francis Ford Coppola. The California Courts of Appeal dismissed Coppola's claim that he had developed an unproduced version of Contact as a children's television special with Sagan in 1975. Contents [hide] [edit] Plot Four years later, with Drumlin pressuring to close SETI, Arroway finds a strong signal repeating a sequence of prime numbers, apparently emitting from the Vega star. This announcement causes both Drumlin and the National Security Council, led by National Security Advisor Michael Kitz, to attempt to take control of the facility. As Arroway, Drumlin and Kitz argue, the team at the VLA discover a video source buried in the signal: Adolf Hitler's welcoming address at the 1936 Summer Olympics in Berlin. Arroway and her team postulate that this would have been the first significantly-strong television signal to leave Earth's atmosphere, which was then transmitted back from Vega 26 light years away. The project is put under tight security and its progress followed fervently worldwide. President Bill Clinton and Drumlin give a television address to downplay the impact of the Hitler image, while Arroway learns that a third set of data was found in the signal; over 60,000 "pages" of what appear to be technical drawings. Government specialists unsuccessfully attempt to decode the drawings, later decoded by Hadden. He explains that the pages are meant to be interpreted in three dimensions, which reveals a complex machine allowing for one human occupant inside a pod to be dropped into three rapidly spinning rings. The nations of the world come together to fund the construction of The Machine at Cape Canaveral. An international panel is put together to select a candidate (including both Arroway and Drumlin) to travel in The Machine. While Ellie is one of the top selections, her lack of religious faith is noted by Palmer Joss, a trusted friend and one of the panel members. Drumlin is ultimately selected but is killed, along with many crew members, when the machine is destroyed during a test in a suicide attack by a religious fanatic. Afterwards, a highly secretive replacement is revealed in Hokkaidō, Japan. Arroway becomes the top candidate to travel in it. Arroway begins her journey, outfitted with several recording devices. When the pod travels through a series of wormholes, she is separated briefly and can observe the outside environment. This includes a radio array-like structure at Vega, and signs of a highly-advanced civilization on an unknown planet. She finds herself in a surreal landscape similar to a childhood picture of Pensacola, Florida, and approached by a blurry figure that resolves into that of her father. Arroway recognizes him as an alien taking her father's form, and attempts to ask questions about the aliens. The alien deflects her questions, explaining that this journey was just humanity's "first step" to joining other space-faring species, and will later be followed by others. Arroway considers these answers and falls unconscious, finding herself on the floor of the pod where she is being repeatedly called by the machine's control team. She learns that from all external vantage points, she and the pod merely dropped through the Machine. She insists that she was gone for approximately 18 hours, but her recording devices only show static. Kitz resigns as National Security Advisor to lead a congressional committee to determine if the Machine was a fraud by Hadden, who had the resources to set up an elaborate hoax, but has since died. Arroway is accused of collaborating with Hadden; Arroway admits the lack of evidence to support her perception of the events, but maintains the validity of her story. Kitz and White House Chief of Staff Rachel Constantine together reflect on the fact that Arroway's recording devices contained 18 hours of static. Arroway is given continued grant money for the SETI program at the Very Large Array. [edit] Cast [edit] Production [edit] Development Sagan incorporated Kip Thorne's study of wormhole space travel into the screenplay.[5] The characterization of Dr. Ellie Arroway was inspired by Dr. Jill Tarter, head of Project Phoenix of the SETI Institute; Jodie Foster researched the lead role by meeting her.[6] Tarter served as a consultant on the story, realistically portraying struggling careers of women scientists from the 1950s to 1970s. The writers debated whether Arroway should have a baby at the film's end.[7] Although Guber was impressed with Sagan and Druyan's treatment, he hired various screenwriters to rewrite the script. New characters were added, one of them a Native American park ranger-turned-astronaut.[1] Guber suggested that Arroway have an estranged teenage son, whom he believed would add more depth to the storyline. "Here was a woman consumed with the idea that there was something out there worth listening to," Guber said, "but the one thing she could never make contact with was her own child. To me, that's what the film had to be about."[1] Sagan and Druyan disagreed with Guber's idea and it was not incorporated into the storyline. In 1982, Guber took Contact to Warner Bros. Pictures and with the film laboring in development hell, Sagan started to turn his original idea into a novel, which was published by Simon & Schuster in September 1985. The film adaptation remained in development and Guber eventually vacated his position at Warner Bros. in 1989.[1] Guber became the new president of Sony Pictures Entertainment and tried to purchase the film rights of Contact from Warners, but the studio refused. Coincidentally, in 1989, Obst was hired as a new executive at Warners and began to fast track the film, by hiring more writers.[1] Roland Joffé was eventually hired to direct,[8] using a screenplay by James V. Hart.[9] Joffé almost commenced pre-production before he dropped out[8] and Obst then hired Michael Goldenberg to rewrite the script, who finished his second draft[1] in late-1993. Goldenberg's second draft rekindled Warner Bros.' interest in Contact[8] and Robert Zemeckis was offered the chance to direct, but he turned down the opportunity[1] in favor of making a film based on the life of Harry Houdini.[10] "The first script [for Contact] I saw was great until the last page and a half," Zemeckis recalled. "And then it had the sky open up and these angelic aliens putting on a light show and I said, 'That's just not going to work.'"[1] In December 1993, Warner Bros. hired George Miller to direct[8] and Contact was greenlighted to commence pre-production. Miller cast Jodie Foster in the lead role, approached Ralph Fiennes to play Palmer Joss and also considered casting Linda Hunt as the President of the United States. In addition to having aliens put on a laser lighting display around Earth, another version of the Goldenberg scripts had an alien wormhole swallow up the planet, transporting Earth to the center of the galaxy. Miller also asked Goldenberg to rewrite Contact in an attempt to portray the Pope as a key supporting character. Warner Bros. was hoping to have the film ready for release by Christmas 1996, but under Miller's direction pre-production lasted longer than expected.[1] The studio fired the director, blaming pushed-back start dates, budget concerns and Miller's insistence that the script needed five more weeks of rewriting. Robert Zemeckis, who previously turned down the director's position, decided to accept the offer. Warner Bros. granted Zemeckis total artistic control and the right of final cut privilege.[1] The director cast Matthew McConaughey as Palmer Joss, who dropped out of the lead role in The Jackal to take the role in Contact.[11] Despite being diagnosed with Myelodysplasia in 1994, Sagan continued to be involved in the production of the film. For the cast and main crew members, he conducted an academic conference that depicted a detailed history of astronomy.[1] During the development of Contact, the production crew simultaneously watched Stanley Kubrick's 2001: A Space Odyssey (1968) for inspiration.[7] [edit] Filming Other second unit work took place in Fiji and Newfoundland. Also essential to the production were a host of technical consultants from the SETI Institute, the California Institute of Technology, the VLA and a former White House staff member to consult on Washington D.C. and government protocol issues.[12] Sagan visited the set a number of times, where he also helped with last minute rewrites. Filming was briefly delayed with the news of his death on December 20, 1996. Contact was dedicated in part to his legacy.[1] Cinematographer Don Burgess shot the film in anamorphic format using VistaVision cameras. The sound designers used Pro Tools software for the audio mixing, which was done at Skywalker Sound.[13] [edit] Visual effects Shortly after Poitier's refusal, Zemeckis saw a NASA announcement in August 1996. "Clinton gave his Mars rock speech," the director explained, "and I swear to God it was like it was scripted for this movie. When he said the line 'We will continue to listen closely to what it has to say,' I almost died. I stood there with my mouth hanging open."[1] One of the notable features of Contact is its use of digital color correction. This helped solve continuity errors during the location shooting at the Very Large Array in New Mexico. "The weather killed us, so we were going back in and changing it enough so that the skies and colors and times of day all seem roughly the same," visual effects supervisor Ken Ralston commented.[16] The opening scale view shot of the entire Universe, lasting approximately three minutes, was inspired by the short documentary film Powers of Ten (1977). At the time, it was the longest continuous computer-generated effect for a live-action film, a distinction now held by the opening sequence from The Day After Tomorrow (2004).[17] Early conceptual designs of the Pod itself were based, as it existed in the novel, on one of the primary shapes in geometry, a dodecahedron or a twelve-sided figure. Eventually the Pod was modified to a spherical capsule that encases the traveler. Zemeckis and the production crew also made several visits to the Kennedy Space Center in Cape Canaveral, where officials allowed them access to sites off-limits to most visitors. Filmmakers were also brought onto Launch Pad V prior to the launch of the space shuttle.[5] There, they concentrated on the mechanics of the elevator and the gantry area and loading arm. The resulting photographs and research were incorporated into the design of the Machine's surrounding supports and gantry. Once the concept met with the filmmakers' approval, physical construction began on the sets for the Pod itself, the interior of the elevator and the gantry, which took almost four months to build. The remainder effects were compiled digitally by Imageworks.[5] The climactic scene depicting the mysterious beach near the galactic core where Arroway makes "contact", in particular, called for major visual innovations. The goal was an idyllic seashore with a sky blazing with stars that might exist near the core of the galaxy. Ralston said that "the thought was that this beach would have a heightened reality. One that might make the everyday world seem like a vague daydream."[7] To keep the question alive whether any of it was real in Arroway's mind, elements such as ocean waves running in reverse and palm tree shadows swaying with sped up motion were applied.[7] The Hitler newsreel also required digital manipulation.[7] [edit] Science and religion Contact suggests intense debate would be provoked worldwide by apparent contact with aliens, and shows many instances of this. Many clips of well-known debate shows such as Crossfire and Larry King Live are shown, with participants discussing the implications of 'The Message', asking whether it is proof of the existence of alien life or of God, and whether science is encroaching upon religious ground by, as one commentator puts it, "talking to your god for you."[18] Another commentator casts doubt on the morality of building the Machine, noting that "we don't even know whether [the aliens] believe in God." The first Machine is ultimately destroyed by a religious extremist, in the belief that building it was to the detriment of humankind.[7] Although the revelation that Arroway's recording device recorded approximately 18 hours of static is arguably conclusive proof of the fact of — if not the experience of — her "journey", there are number of coincidences and indications throughout the film that cast doubt on its authenticity. Director Robert Zemeckis indicates that "the point of the movie is for there always to be a certain amount of doubt [as to whether the aliens were real]."[18] These indications mostly consist of visual cues during the "journey" which are repeated from Ellie's experiences earlier in the film (which Ellie believed to be the result of the aliens "downloading [her] thoughts and memories"), but the timing of the Message's arrival and its eventual decoding are also highly coincidental: the Message was first received shortly before Arroway and her team were to be ejected from the VLA facility, and was only successfully decoded by S.R. Hadden (Arroway's only sponsor, who was close to death from cancer) after weeks of failed attempts by the team at the VLA.[18] At the end of the film, Arroway is put into a position which she had traditionally viewed with skepticism and mild contempt: that of believing something with complete certainty, despite being unable to prove it in the face not only of widespread incredulity and skepticism (which she admits that as a scientist she would normally share), but of evidence apparently to the contrary.[18] Zemeckis stated that he intended the message of the film to be that science and religion can co-exist rather than being opposing camps,[18] as shown by the coupling of scientist Arroway with the religious Joss, as well as his acceptance that the "journey" indeed took place. This, and scattered references throughout the film posit that science and religion are not nominally incompatible: one interviewer, after asking Arroway whether the construction of The Machine — despite not knowing what will happen when it is activated — is too dangerous, suggests that it is being built on the "faith" that the alien designers, as Arroway puts it, "know what they're doing."[7] [edit] Release [edit] Box office/Home video The release of Contact in July 1997 rekindled public interest in Sagan's 1985 novel. The book remained on the New York Times Best Seller list from July 27 to September 21, 1997.[23][24] [edit] Critical analysis Kenneth Turan of the Los Angeles Times wrote that the film carried a more philosophical portrait of the science fiction genre compared to other films, but believed Contact still managed "to satisfy the cravings of the general public who simply want to be entertained," he said.[29] Internet reviewer James Berardinelli called Contact "one of 1997's finest motion pictures, and is a forceful reminder that Hollywood is still capable of making magic." Berardinelli also felt the film was on par with Stanley Kubrick's 2001: A Space Odyssey (1968) to be one of the greatest science fiction films ever made.[30] Mick LaSalle of the San Francisco Chronicle largely enjoyed the first 90 minutes of Contact, but felt that director Robert Zemeckis was too obsessed with visual effects rather than cohesive storytelling for the pivotal climax.[31] Rita Kempley, writing in The Washington Post, gave a largely negative review. She did not like the film's main premise, which Kempley described as "a preachy debate between sanctity and science".[32] [edit] Awards [edit] Controversies [edit] Bill Clinton and CNN A Warner Bros. spokeswoman explained that "we feel we have been completely frank and upfront with the White House on this issue. They saw scripts, they were notified when the film was completed, they were sent a print well in advance of the film's July 11 opening, and we have confirmation that a print was received there July 2." However, Warner Bros. did concede that they never pursued or received formal release from the White House for the use of Clinton's image. While the Counsel commented that parody and satire are protected under the First Amendment, press secretary Mike McCurry believed that "there is a difference when the President's image, which is his alone to control, is used in a way that would lead the viewer to believe he has said something he really didn't say".[37] Shortly after the White House's complaint, CNN chairman, president and CEO Tom Johnson announced he believed that in hindsight it was a mistake to allow 13 members of CNN's on-air staff (including Larry King and Bernard Shaw) to appear in the film, even though both CNN and Warner Bros. are owned by Time Warner. Johnson added that, in the case of Contact, the CNN presence "creates the impression that we're manipulated by Time Warner, and it blurs the line". CNN then changed their policies for future films, which now requires potential appearances to be cleared through their ethics group.[37] [edit] Lawsuits During the filming of Contact on December 28, 1996, filmmaker Francis Ford Coppola filed a posthumous lawsuit against Carl Sagan and Warner Bros. Pictures. Sagan had died that December 20th, six days before Coppola filed his lawsuit.[38][39] "All I can say is, when a man writes a complaint with his lawyer while your husband is dying after a third bone-marrow transplant," Ann Druyan, widow of Sagan, continued, "and then waits for him to die so he can file it - it's outrageous." Producer Lynda Obst commented: "Ann and Carl made up this idea from scratch, piece by piece. I sat in the room watching them do it. Of course Carl had been thinking about alien encounters all his life. He's the one who made the subject credible in science. And for Coppola to file a lawsuit within days after he died — it's appalling."[1] Scott Edelman, who represented Druyan, added, "... It exceeds all bounds of decency that after waiting over 20 years, he chose to sue Sagan six days after he died."[39] Coppola claimed that Sagan's novel was actually based on a story the pair had developed for a television special[40] back in 1975,[38] titled First Contact. Under their development agreement,[40] Coppola and Sagan were to split proceeds from the project with American Zoetrope and Children's Television Workshop Productions, as well as any novel Sagan would write. The TV program was never produced, but in 1985, Simon & Schuster published Contact and Warner Bros. moved forward with development of a film adaptation. Coppola sought to seek at least $250,000 in compensatory damages and an injunction against production or distribution of the film.[38] In February 1998, Los Angeles Superior Court Judge Ricardo Torres dismissed Coppola's claim. Although Torres agreed that Sagan violated some terms of the contract, he explained that Coppola waited too long to file his lawsuit, and that the contract might not be enforceable as it was written. Coppola then appealed his suit,[40] taking it to The California Courts of Appeal (CCA). In April 2000, the CCA dismissed his suit, finding that Coppola’s claims were barred because they were brought too late. The court noted that it was not until 1994 when the filmmaker thought about suing over Contact.[39] [edit] Cyanide [edit] South Park [edit] References [edit] Further reading [edit] External links Official website
Contact Alien Film.s) Search ResultsContact (film) - Wikipedia, the free encyclopedia Contact is a 1997 science fiction drama film adapted from the Carl Sagan novel of the same name and directed by Robert Zemeckis. Both Sagan and wife Ann Druyan wrote the story outline for the film adaptation of Contact. Jodie Foster portrays the film's protagonist, Dr. Eleanor "Ellie" Arroway, a SETI scientist who finds strong evidence of extraterrestrial life and is chosen to make first contact. [edit] Plot Four years later, with Drumlin pressuring to close SETI, Arroway finds a strong signal repeating a sequence of prime numbers, apparently emitting from the Vega star. This announcement causes both Drumlin and the National Security Council, led by National Security Advisor Michael Kitz, to attempt to take control of the facility. As Arroway, Drumlin and Kitz argue, the team at the VLA discover a video source buried in the signal: Adolf Hitler's welcoming address at the 1936 Summer Olympics in Berlin. Arroway and her team postulate that this would have been the first significantly-strong television signal to leave Earth's atmosphere, which was then transmitted back from Vega 26 light years away. The project is put under tight security and its progress followed fervently worldwide. President Bill Clinton and Drumlin give a television address to downplay the impact of the Hitler image, while Arroway learns that a third set of data was found in the signal; over 60,000 "pages" of what appear to be technical drawings. Government specialists unsuccessfully attempt to decode the drawings, later decoded by Hadden. He explains that the pages are meant to be interpreted in three dimensions, which reveals a complex machine allowing for one human occupant inside a pod to be dropped into three rapidly spinning rings. The nations of the world come together to fund the construction of The Machine at Cape Canaveral. An international panel is put together to select a candidate (including both Arroway and Drumlin) to travel in The Machine. While Ellie is one of the top selections, her lack of religious faith is noted by Palmer Joss, a trusted friend and one of the panel members. Drumlin is ultimately selected but is killed, along with many crew members, when the machine is destroyed during a test in a suicide attack by a religious fanatic. Afterwards, a highly secretive replacement is revealed in Hokkaidō, Japan. Arroway becomes the top candidate to travel in it. Arroway begins her journey, outfitted with several recording devices. When the pod travels through a series of wormholes, she is separated briefly and can observe the outside environment. This includes a radio array-like structure at Vega, and signs of a highly-advanced civilization on an unknown planet. She finds herself in a surreal landscape similar to a childhood picture of Pensacola, Florida, and approached by a blurry figure that resolves into that of her father. Arroway recognizes him as an alien taking her father's form, and attempts to ask questions about the aliens. The alien deflects her questions, explaining that this journey was just humanity's "first step" to joining other space-faring species, and will later be followed by others. Arroway considers these answers and falls unconscious, finding herself on the floor of the pod where she is being repeatedly called by the machine's control team. She learns that from all external vantage points, she and the pod merely dropped through the Machine. She insists that she was gone for approximately 18 hours, but her recording devices only show static. Kitz resigns as National Security Advisor to lead a congressional committee to determine if the Machine was a fraud by Hadden, who had the resources to set up an elaborate hoax, but has since died. Arroway is accused of collaborating with Hadden; Arroway admits the lack of evidence to support her perception of the events, but maintains the validity of her story. Kitz and White House Chief of Staff Rachel Constantine together reflect on the fact that Arroway's recording devices contained 18 hours of static. Arroway is given continued grant money for the SETI program at the Very Large Array. [edit] Cast [edit] Production [edit] Development Sagan incorporated Kip Thorne's study of wormhole space travel into the screenplay.[5] The characterization of Dr. Ellie Arroway was inspired by Dr. Jill Tarter, head of Project Phoenix of the SETI Institute; Jodie Foster researched the lead role by meeting her.[6] Tarter served as a consultant on the story, realistically portraying struggling careers of women scientists from the 1950s to 1970s. The writers debated whether Arroway should have a baby at the film's end.[7] Although Guber was impressed with Sagan and Druyan's treatment, he hired various screenwriters to rewrite the script. New characters were added, one of them a Native American park ranger-turned-astronaut.[1] Guber suggested that Arroway have an estranged teenage son, whom he believed would add more depth to the storyline. "Here was a woman consumed with the idea that there was something out there worth listening to," Guber said, "but the one thing she could never make contact with was her own child. To me, that's what the film had to be about."[1] Sagan and Druyan disagreed with Guber's idea and it was not incorporated into the storyline. In 1982, Guber took Contact to Warner Bros. Pictures and with the film laboring in development hell, Sagan started to turn his original idea into a novel, which was published by Simon & Schuster in September 1985. The film adaptation remained in development and Guber eventually vacated his position at Warner Bros. in 1989.[1] Guber became the new president of Sony Pictures Entertainment and tried to purchase the film rights of Contact from Warners, but the studio refused. Coincidentally, in 1989, Obst was hired as a new executive at Warners and began to fast track the film, by hiring more writers.[1] Roland Joffé was eventually hired to direct,[8] using a screenplay by James V. Hart.[9] Joffé almost commenced pre-production before he dropped out[8] and Obst then hired Michael Goldenberg to rewrite the script, who finished his second draft[1] in late-1993. Goldenberg's second draft rekindled Warner Bros.' interest in Contact[8] and Robert Zemeckis was offered the chance to direct, but he turned down the opportunity[1] in favor of making a film based on the life of Harry Houdini.[10] "The first script [for Contact] I saw was great until the last page and a half," Zemeckis recalled. "And then it had the sky open up and these angelic aliens putting on a light show and I said, 'That's just not going to work.'"[1] In December 1993, Warner Bros. hired George Miller to direct[8] and Contact was greenlighted to commence pre-production. Miller cast Jodie Foster in the lead role, approached Ralph Fiennes to play Palmer Joss and also considered casting Linda Hunt as the President of the United States. In addition to having aliens put on a laser lighting display around Earth, another version of the Goldenberg scripts had an alien wormhole swallow up the planet, transporting Earth to the center of the galaxy. Miller also asked Goldenberg to rewrite Contact in an attempt to portray the Pope as a key supporting character. Warner Bros. was hoping to have the film ready for release by Christmas 1996, but under Miller's direction pre-production lasted longer than expected.[1] The studio fired the director, blaming pushed-back start dates, budget concerns and Miller's insistence that the script needed five more weeks of rewriting. Robert Zemeckis, who previously turned down the director's position, decided to accept the offer. Warner Bros. granted Zemeckis total artistic control and the right of final cut privilege.[1] The director cast Matthew McConaughey as Palmer Joss, who dropped out of the lead role in The Jackal to take the role in Contact.[11] Despite being diagnosed with Myelodysplasia in 1994, Sagan continued to be involved in the production of the film. For the cast and main crew members, he conducted an academic conference that depicted a detailed history of astronomy.[1] During the development of Contact, the production crew simultaneously watched Stanley Kubrick's 2001: A Space Odyssey (1968) for inspiration.[7] [edit] Filming Other second unit work took place in Fiji and Newfoundland. Also essential to the production were a host of technical consultants from the SETI Institute, the California Institute of Technology, the VLA and a former White House staff member to consult on Washington D.C. and government protocol issues.[12] Sagan visited the set a number of times, where he also helped with last minute rewrites. Filming was briefly delayed with the news of his death on December 20, 1996. Contact was dedicated in part to his legacy.[1] Cinematographer Don Burgess shot the film in anamorphic format using VistaVision cameras. The sound designers used Pro Tools software for the audio mixing, which was done at Skywalker Sound.[13] [edit] Visual effects Shortly after Poitier's refusal, Zemeckis saw a NASA announcement in August 1996. "Clinton gave his Mars rock speech," the director explained, "and I swear to God it was like it was scripted for this movie. When he said the line 'We will continue to listen closely to what it has to say,' I almost died. I stood there with my mouth hanging open."[1] One of the notable features of Contact is its use of digital color correction. This helped solve continuity errors during the location shooting at the Very Large Array in New Mexico. "The weather killed us, so we were going back in and changing it enough so that the skies and colors and times of day all seem roughly the same," visual effects supervisor Ken Ralston commented.[16] The opening scale view shot of the entire Universe, lasting approximately three minutes, was inspired by the short documentary film Powers of Ten (1977). At the time, it was the longest continuous computer-generated effect for a live-action film, a distinction now held by the opening sequence from The Day After Tomorrow (2004).[17] Early conceptual designs of the Pod itself were based, as it existed in the novel, on one of the primary shapes in geometry, a dodecahedron or a twelve-sided figure. Eventually the Pod was modified to a spherical capsule that encases the traveler. Zemeckis and the production crew also made several visits to the Kennedy Space Center in Cape Canaveral, where officials allowed them access to sites off-limits to most visitors. Filmmakers were also brought onto Launch Pad V prior to the launch of the space shuttle.[5] There, they concentrated on the mechanics of the elevator and the gantry area and loading arm. The resulting photographs and research were incorporated into the design of the Machine's surrounding supports and gantry. Once the concept met with the filmmakers' approval, physical construction began on the sets for the Pod itself, the interior of the elevator and the gantry, which took almost four months to build. The remainder effects were compiled digitally by Imageworks.[5] The climactic scene depicting the mysterious beach near the galactic core where Arroway makes "contact", in particular, called for major visual innovations. The goal was an idyllic seashore with a sky blazing with stars that might exist near the core of the galaxy. Ralston said that "the thought was that this beach would have a heightened reality. One that might make the everyday world seem like a vague daydream."[7] To keep the question alive whether any of it was real in Arroway's mind, elements such as ocean waves running in reverse and palm tree shadows swaying with sped up motion were applied.[7] The Hitler newsreel also required digital manipulation.[7] [edit] Science and religion Contact suggests intense debate would be provoked worldwide by apparent contact with aliens, and shows many instances of this. Many clips of well-known debate shows such as Crossfire and Larry King Live are shown, with participants discussing the implications of 'The Message', asking whether it is proof of the existence of alien life or of God, and whether science is encroaching upon religious ground by, as one commentator puts it, "talking to your god for you."[18] Another commentator casts doubt on the morality of building the Machine, noting that "we don't even know whether [the aliens] believe in God." The first Machine is ultimately destroyed by a religious extremist, in the belief that building it was to the detriment of humankind.[7] Although the revelation that Arroway's recording device recorded approximately 18 hours of static is arguably conclusive proof of the fact of — if not the experience of — her "journey", there are number of coincidences and indications throughout the film that cast doubt on its authenticity. Director Robert Zemeckis indicates that "the point of the movie is for there always to be a certain amount of doubt [as to whether the aliens were real]."[18] These indications mostly consist of visual cues during the "journey" which are repeated from Ellie's experiences earlier in the film (which Ellie believed to be the result of the aliens "downloading [her] thoughts and memories"), but the timing of the Message's arrival and its eventual decoding are also highly coincidental: the Message was first received shortly before Arroway and her team were to be ejected from the VLA facility, and was only successfully decoded by S.R. Hadden (Arroway's only sponsor, who was close to death from cancer) after weeks of failed attempts by the team at the VLA.[18] At the end of the film, Arroway is put into a position which she had traditionally viewed with skepticism and mild contempt: that of believing something with complete certainty, despite being unable to prove it in the face not only of widespread incredulity and skepticism (which she admits that as a scientist she would normally share), but of evidence apparently to the contrary.[18] Zemeckis stated that he intended the message of the film to be that science and religion can co-exist rather than being opposing camps,[18] as shown by the coupling of scientist Arroway with the religious Joss, as well as his acceptance that the "journey" indeed took place. This, and scattered references throughout the film posit that science and religion are not nominally incompatible: one interviewer, after asking Arroway whether the construction of The Machine — despite not knowing what will happen when it is activated — is too dangerous, suggests that it is being built on the "faith" that the alien designers, as Arroway puts it, "know what they're doing."[7] [edit] Release [edit] Box office/Home video The release of Contact in July 1997 rekindled public interest in Sagan's 1985 novel. The book remained on the New York Times Best Seller list from July 27 to September 21, 1997.[23][24] [edit] Critical analysis Kenneth Turan of the Los Angeles Times wrote that the film carried a more philosophical portrait of the science fiction genre compared to other films, but believed Contact still managed "to satisfy the cravings of the general public who simply want to be entertained," he said.[29] Internet reviewer James Berardinelli called Contact "one of 1997's finest motion pictures, and is a forceful reminder that Hollywood is still capable of making magic." Berardinelli also felt the film was on par with Stanley Kubrick's 2001: A Space Odyssey (1968) to be one of the greatest science fiction films ever made.[30] Mick LaSalle of the San Francisco Chronicle largely enjoyed the first 90 minutes of Contact, but felt that director Robert Zemeckis was too obsessed with visual effects rather than cohesive storytelling for the pivotal climax.[31] Rita Kempley, writing in The Washington Post, gave a largely negative review. She did not like the film's main premise, which Kempley described as "a preachy debate between sanctity and science".[32] [edit] Awards [edit] Controversies [edit] Bill Clinton and CNN A Warner Bros. spokeswoman explained that "we feel we have been completely frank and upfront with the White House on this issue. They saw scripts, they were notified when the film was completed, they were sent a print well in advance of the film's July 11 opening, and we have confirmation that a print was received there July 2." However, Warner Bros. did concede that they never pursued or received formal release from the White House for the use of Clinton's image. While the Counsel commented that parody and satire are protected under the First Amendment, press secretary Mike McCurry believed that "there is a difference when the President's image, which is his alone to control, is used in a way that would lead the viewer to believe he has said something he really didn't say".[37] Shortly after the White House's complaint, CNN chairman, president and CEO Tom Johnson announced he believed that in hindsight it was a mistake to allow 13 members of CNN's on-air staff (including Larry King and Bernard Shaw) to appear in the film, even though both CNN and Warner Bros. are owned by Time Warner. Johnson added that, in the case of Contact, the CNN presence "creates the impression that we're manipulated by Time Warner, and it blurs the line". CNN then changed their policies for future films, which now requires potential appearances to be cleared through their ethics group.[37] [edit] Lawsuits During the filming of Contact on December 28, 1996, filmmaker Francis Ford Coppola filed a posthumous lawsuit against Carl Sagan and Warner Bros. Pictures. Sagan had died that December 20th, six days before Coppola filed his lawsuit.[38][39] "All I can say is, when a man writes a complaint with his lawyer while your husband is dying after a third bone-marrow transplant," Ann Druyan, widow of Sagan, continued, "and then waits for him to die so he can file it - it's outrageous." Producer Lynda Obst commented: "Ann and Carl made up this idea from scratch, piece by piece. I sat in the room watching them do it. Of course Carl had been thinking about alien encounters all his life. He's the one who made the subject credible in science. And for Coppola to file a lawsuit within days after he died — it's appalling."[1] Scott Edelman, who represented Druyan, added, "... It exceeds all bounds of decency that after waiting over 20 years, he chose to sue Sagan six days after he died."[39] Coppola claimed that Sagan's novel was actually based on a story the pair had developed for a television special[40] back in 1975,[38] titled First Contact. Under their development agreement,[40] Coppola and Sagan were to split proceeds from the project with American Zoetrope and Children's Television Workshop Productions, as well as any novel Sagan would write. The TV program was never produced, but in 1985, Simon & Schuster published Contact and Warner Bros. moved forward with development of a film adaptation. Coppola sought to seek at least $250,000 in compensatory damages and an injunction against production or distribution of the film.[38] In February 1998, Los Angeles Superior Court Judge Ricardo Torres dismissed Coppola's claim. Although Torres agreed that Sagan violated some terms of the contract, he explained that Coppola waited too long to file his lawsuit, and that the contract might not be enforceable as it was written. Coppola then appealed his suit,[40] taking it to The California Courts of Appeal (CCA). In April 2000, the CCA dismissed his suit, finding that Coppola’s claims were barred because they were brought too late. The court noted that it was not until 1994 when the filmmaker thought about suing over Contact.[39] [edit] Cyanide [edit] South Park
Awesome Or Off-Putting: The Wow! Signal - Sent By Aliens? - Topix
Well don’t tell Jodie Foster, but she needn’t have made that one movie where she made love to her dead alien father on an other-planet beach. That’s because the premise of that movie - Contact we think it was called - was about how the world would react if it ever received contact from another planet. Problem is that film was made 20 years after the fact. SETI is a wonderful organisation that does nothing all day but listen for signals emitting from the radio antennas protruding well-above the crust of other planets. In fact their name is an acronym for Search for Extra-Terrestrial Intelligence, and they take their job quite seriously. Imagine their surprise then, when on August 15, 1977, they received something that Space.com describes like this: Of the many “maybes” that SETI has turned up in its four-decade history, none is better known than the one that was discovered in August, 1977, in Columbus, Ohio. The famous Wow signal was found as part of a long-running sky survey conducted with Ohio State Universitys “Big Ear” radio telescope. The Wow signals unusual nomenclature connotes both the surprise of the discovery and its sox-knocking strength (60 Janskys in a 10 KHz channel, which is more than 50 thousand times more incoming energy than the minimum signal that would register as a hit for todays Project Phoenix.) Now we know what you’re thinking - just because the sound was picked up by an antenna sweeping outer space doesn’t mean the sound came from there. We agree with you - until we read this next bit on our ol’ pal Wikipedia: [An expert] has stated his doubts that the signal is of intelligent extraterrestrial origin: “We should have seen it again when we looked for it 50 times. Something suggests it was an Earth-sourced signal that simply got reflected off a piece of space debris.” He later recanted his skepticism somewhat after further research scientifically relegated an Earth-bound signal to be astronomically unlikely, due to the requirements of a space-borne reflector being bound to certain unrealistic requirements to sufficiently explain the nature of the signal. Also, the 1420 MHz signal is problematic in itself in that it is “protected spectrum” or bandwidth in which terrestrial transmitters are forbidden to transmit. In his most recent writings, [the expert] resists “drawing vast conclusions from half-vast data.” Your sitting there still sceptical, aren’t you? Would it help any if we told you this isn’t the only time an apparently alien signal has been received? For this next bit we are going to delve back into Hecklerspray’s own memory - to a time we took an ill-fated vacation to Puerto Rico right when 2004’s Tropical Storm Jeanne was deciding to ravish the island. A few weeks before our trip, you see, we read a news report that the Arecibo Observatory, a huge antenna located on the island, had received what appeared to be an extra-terrestrial signal as well. While on island we took the visitors tour of the site, expecting a massive display explaining their recent good fortune in intricate detail. Instead, there was nothing. Just before leaving we asked a worker there about the signal - and they knew exactly what we were talking about. The worker told us (and we paraphrase) that there was a system in place where people all over the world could volunteer their computers to sift through data received by the great antenna. Due to the massive amount of info received and the small-ish amount of hard drive to search through it, they hadn’t realised they’d received a signal until years after the fact. What they did get though, was three bursts of signal when you only need two to verify it wasn’t a glitch. Furthermore, the signal was coming from a place where there was no planet to make it. As we understood it, this was implying it was coming from something intelligent made as it floated through space. Maybe it was a satellite, maybe it was a spaceship. We’d have loved to use some sort of official quote for that last bit, but we just couldn’t find one.
Munchener Freiheit - Keeping The Dream Alive Lyrics
Tonight the rain is falling The hopes we had were much too high I hear myself recalling The hopes we had were much too high I need you The game will never be over The hopes we had were much too high The hopes we had were much too high The game will never be over The game will never be over The game will never be over
VE NUS VE SUN NUS EV SUN EV
SATURN NATURES SATURN TURN AS SA NRUT SATURN NATURES SATURN
URANUS SUNARU U R A SUN URANUS SUNARU
RAMS
JUPITER WHEN STOOD IN LINE WEIGHS IN AT NUMBER NINETYNINE
W LORD WORD L
HOLY BIBLE Page 1117 A.D. 30.
IN SEARCH OF THE MIRACULOUS Fragments of an Unknown Teaching P.D.Oupensky 1878- 1947 Page 217 " 'A man may be born, but in order to be born he must first die, and in order to die he must first awake' " " 'When a man awakes he can die; when he dies he can be born' "
WAY OF THE PEACEFUL WARRIOR A BOOK THAT CHANGES LIVES Dan Millman 1980 Page 44 "...do you recall that I told you we must work on changing your mind before you can see the warrior's way? /Page 45 / "Yes, but I really don't think. ."
"Don't be afraid," he repeated. "Comfort yourself with a saying of Confucius," he smiled. " 'Only the supremely wise and the ignorant do not alter.' " Saying that, he reached out and placed his hands gently but firmly on my temples.
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