Early Man And The Cosmos

An examination of ancient astronomy looks at the myths and beliefs about the heavens that influenced everyday life in these primitive cultures

A Best Book of 2020 (NPR) A Best Book of 2020 (The Economist) A Top Ten Best Science Book of 2020 (Smithsonian) A Best Science and Technology Book of 2020 (Library Journal) A Must-Read Book to Escape the Chaos of 2020 (Newsweek) Starred review (Booklist) Starred review (Publishers Weekly) A historically unprecedented disconnect between humanity and the heavens has opened. Jo Marchant's book can begin to heal it. For at least 20,000 years, we have led not just an earthly existence but a cosmic one. Celestial cycles drove every aspect of our daily lives. Our innate relationship with the stars shaped who we are—our art, religious beliefs, social status, scientific advances, and even our biology. But over the last few centuries we have separated ourselves from the universe that surrounds us. It's a disconnect with a dire cost. Our relationship to the stars and planets has moved from one of awe, wonder and superstition to one where technology is king—the cosmos is now explored through data on our screens, not by the naked eye observing the natural world. Indeed, in most countries, modern light pollution obscures much of the night sky from view. Jo Marchant's spellbinding parade of the ways different cultures celebrated the majesty and mysteries of the night sky is a journey to the most awe-inspiring view you can ever see: looking up on a clear dark night. That experience and the thoughts it has engendered have radically shaped human civilization across millennia. The cosmos is the source of our greatest creativity in art, in science, in life. To show us how, Jo Marchant takes us to the Hall of the Bulls in the caves at Lascaux in France, and to the summer solstice at a 5,000-year-old tomb at Newgrange, Ireland. We discover Chumash cosmology and visit medieval monks grappling with the nature of time and Tahitian sailors navigating by the stars. We discover how light reveals the chemical composition of the sun, and we are with Einstein as he works out that space and time are one and the same. A four-billion-year-old meteor inspires a search for extraterrestrial life. The cosmically liberating, summary revelation is that star-gazing made us human.

Upon Scheler’s death in 1928, Martin Heidegger remarked that he was the most important force in philosophy at the time. Jose Ortega y Gasset called Scheler "the first man of the philosophical paradise." The Human Place in the Cosmos, the last of his works Scheler completed, is a pivotal piece in the development of his writing as a whole, marking a peculiar shift in his approach and thought. He had been asked to provide an initial sketch of his much larger works on philosophical anthropology and metaphysics--works he was not able to complete because of his early demise. Frings' new translation of this key work allows us to read and understand Scheler's thought within current philosophical debates and interests. The book addresses two main questions: What is the human being? And what is the place of the human being in the universe? Scheler responds to these questions within contexts of said two projected much larger works but not without reference to scientific research. He covers various levels of being: inorganic reality, organic reality (including plant life and psychological life), all the way up to practical intelligence and the spiritual dimension of human beings, and touching upon the holy. Negotiating two intertwined levels of being, life-energy ("impulsion") and "spirit," this work marks not only a critical moment in the development of his own philosophy but also a significant contribution to the current discussions of continental and analytic philosophers on the nature of the person.

The launch of the Sputnik satellite in October 1957 changed the course of human history. In the span of a few years, Soviets sent the first animal into space, the first man, and the first woman. These events were a direct challenge to the United States and the capitalist model that claimed ownership of scientific aspiration and achievement. Into the Cosmos shows us the fascinating interplay of Soviet politics, science, and culture during the Khrushchev era, and how the space program became a binding force between these elements.

Explores the relationship between the mystical cosmology of G. I. Gurdjieff and the discoveries and theories of modern science.

Over a very short period, only a few hundred years, our understanding of the cosmos, our planet Earth, the evolution of life on it, and the beginnings of our very own human endeavor have radically changed. These revolutions in science and technology have dramatically altered our societies in many ways. For quite some time it seemed as if our planets resources were unlimited. Today we know that this is not the case. Human civilizations are shaping our planets future in ways that have profound consequences for all other life on Earth as well as for us. We need to reflect broadly on what defines our human condition if we wish our societies to be successful in navigating a future that cannot be just ours but must include the broad diversity of life on Earth without which humankind will not survive. This book tells the story of how we discovered the universe, how we learned about our planet and the life evolving on it, how humanity emerged from pre-history, and what some of the future of our civilizations could hold.

In the rapidly changing world of the early Middle Ages, depictions of the cosmos represented a consistent point of reference across the three dominant states--the Frankish, Byzantine, and Islamic Empires. As these empires diverged from their Greco-Roman roots between 700 and 1000 A.D. and established distinctive medieval artistic traditions, cosmic imagery created a web of visual continuity, though local meanings of these images varied greatly. Benjamin Anderson uses thrones, tables, mantles, frescoes, and manuscripts to show how cosmological motifs informed relationships between individuals, especially the ruling elite, and communities, demonstrating how domestic and global politics informed the production and reception of these depictions. The first book to consider such imagery across the dramatically diverse cultures of Western Europe, Byzantium, and the Islamic Middle East, Cosmos and Community in Early Medieval Art illuminates the distinctions between the cosmological art of these three cultural spheres, and reasserts the centrality of astronomical imagery to the study of art history.