Podcasts about ziggurats

Willkommen zu einer neuen Folge des Vorsicht Feuerball D&D Actual Play Podcast. Wir setzen heute unsere D&D Kampagne Grabmal der Vernichtung mit der 15. Session fort. Die Abenteurer erklimmen die Stufenpyramide von Orolunga. Auf der Spitze des Ziggurats treffen sie die Wächternaga Saja N’baza, die ihnen den Standort der Stadt Omu offenbart, in der sich die Quelle des Todesfluchs befinden soll. Doch als die Helden sich nach dieser mystischen Begegnung auf den Rückweg machen, geraten sie wieder in einen Hinterhalt der Batiris. Und wieder fordert der Dschungel von Chult ein Abenteurer-Leben… Erlebt in dieser hochdramatischen und extralangen Folge wie Aram, der Paladin, eine lebende Giftschlange verschluckt, wie Saja N’baza den Helden die Geheimnisse von Chult offenbart und wie gefährlich Batiri-Goblins sein können, wenn sie als Stapel angreifen. An dieser Stelle ein Update zu unserem Patreon-Bereich. Unser Archiv mit ungeschnittenen Original-Sessions ist inzwischen auf 27 Folgen angewachsen. Als kleinen Extra-Bonus haben wir letzten Monat ein PDF mit Spielwerten für Tabaxi-Großwildjäger hinzugefügt. Tabaxi-Großwildjäger sind natürlich eine mächtigere Version der Tabaxijäger NPCs, die auch für Fluss und Flasche geeignet sind. Außerdem haben wir mit ‚Woodrows Wunderbarer Wanderzoo‘ einen neuen DnD One Shot veröffentlicht, der komplett gratis auf unserer Website runtergeladen werden kann.   Die Abenteurer-Gruppe besteht aus: Aram, einem (etwas weichherzigen) Paladin aus dem Volk der Halb-Orks, gespielt von Dennis. Cory Bonnet, einem (leicht verpeilten) Schurken aus dem Volk der Menschen, gespielt von Johannes. Joe, einer (meist nörgelnden) Priesterin aus dem Volk der Menschen, gespielt von Lisa. Wuwunax, einem Mönch (mit Archäologen-Hut) aus dem Volk der Aasimare, gespielt von Julian. Jasper, einem (gefährlich neugierigen) Zauberer aus dem Volk der Halblinge, gespielt von Michael. Notizen und Links: Vorsicht Feuerball Website Vorsicht Feuerball Patreon Bereich Vorsicht Feuerball Discord Die Vorsicht Feuerball Website und Ihre Inhalte (auch dieser Podcast) sind inoffizielle Fan-Inhalte im Rahmen der Richtlinie für D&D Fan-Inhalte. Sie sind nicht von Wizards gefördert/gesponsert. Bestandteile des enthaltenen Materials sind Eigentum von Wizards of the Coast. ©Wizards of the Coast LLC.

How does the Jaredite journey parallel ours? Dr. Krystal Pierce and Dr. George Pierce explore the Jaredites' experience at the Tower of Babel and the Mesopotamian and Egyptian Symbology as the Jaredites learn to call upon the Lord.SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastBM46ENFrench: https://tinyurl.com/podcastBM46FRGerman: https://tinyurl.com/podcastBM46DEPortuguese: https://tinyurl.com/podcastBM46PTSpanish: https://tinyurl.com/podcastBM46ESYOUTUBEhttps://youtu.be/0ACsRgkhT78ALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIMpodcast.comFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastTIMECODE00:00 Part I - Dr. Krystal Pierces and Dr. George Pierce02:55 Bios04:30 Come, Follow Me Manual Ether 1-505:30 Mormon passes the record to Moroni07:37 Moroni explains the Book of Ether10:23 Discussion of translation and the 24 plates14:21 Did Mosiah change governing body due to Jaredite record?15:36 Ether's genealogy and scriptural literacy19:04 The Tower of Babel22:54 Ziggurats and why they build towers26:44 Jaredite understanding of the nature of God28:31 Dr. Krystal Pierce shares a story about trusting God34:03 Pride and the tower38:01 Misunderstanding the power and mercy of God41:51 Why “brother of Jared?”43:24 Mahonri Moricancumer47:25 First crisis-counfounding language50:07 A lack of compassion51:30 Second crisis: scattering of the people54:47 Dr. Joseph Spencer and the 3 Audiences 56:51 God is God of the entire world (not just Jews)1:01:40 Ether 1-2 - Bees, fish, birds, and plants1:05:44 Egyptianisms in the Book of Ether1:07:48 - Dr. Krystal Pierce and Dr. George PierceThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesJamie Neilson: Social Media, Graphic DesignWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish Transcripts"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Join the girls again with a fan favorite guest, Mike Norton as they discuss these mysterious structures and how it relates to us now and in the coming days.If you would like more information or resources on Michael Norton please visit his website at the link below.http://m16ministries.com/about.html

#abyssal #magetheawakening #werewolftheforsaken Clowns to the left of me, Ziggurats to my right! Broken into the Nega-timeline the Fools attempt to... plan... Watching over the Ebon Noose and White Putnam Cabals while the horrors of this cannibalistic world try to consume them... With Ismail as Hunts the Storm who finds his people Victoria as Ethyl who wants to go into the field of heads Trevor as Parallax who is willing to sacrifice to save the world Caity as Hannah who is the alpha and Charlotte as Mona who can't remember how she left last time... Storytelling by Rudy Abyssal Timeline Theme Composed by Psnayl Hunts-the-Storm Theme Composed by Psnayl Play the game! Buy the rules here: https://www.drivethrurpg.com/product/181754/Mage-the-Awakening-2nd-Edition?affiliate_id=3139789 Link to a discord where we have cats and magic! https://discord.gg/D8XMTu9TSV --- Support this podcast: https://podcasters.spotify.com/pod/show/wards-and-witchcraft/support

In the classroom or in the field, we'd love to know what Dr. Jones is up to...in the meantime, let's talk about the Epic of Gilgamesh and Mesopotamian ziggurats!Our podcast, like our videos, sometimes touches on the violence, assaults, and murders your English required reading list loves (also we curse sometimes). Treat us like a TV-14 show.Thank you to World Anvil for sponsoring today's podcast! To learn more check them out at: https://www.worldanvil.com/overlysarcasticOSP has new videos every Friday:https://www.youtube.com/c/OverlySarcasticProductionsChannelQuestion for the Podcast? Head to the #ask-ospod discord channel:https://discord.gg/OSPMerch:https://www.redbubble.com/people/ospyoutube/shopFollow Us:Patreon.com/OSPTwitter.com/OSPyoutubeTwitter.com/sophie_kay_Music By OSP Magenta ★ Support this podcast on Patreon ★

Le récit de la tour de Babel se place dans les temps mythologiques, quelque temps après les événements du déluge. La légende nous est présentée dans le livre de la genèse et sera complétée dans d'autres textes ultérieurs comme « Livre des Jubilés, les textes de Flavius Joseph, et l'apocalypse de Barush », qui proposent une structure morale à ce récit. Dans cette vidéo je vous propose d'explorer le mythe biblique, mais bien au-delà, nous étudierons les inspirations historiques du mythe de Babel dans l'antique Mésopotamienne. Cela va nous conduire au cœur de l'histoire babylonienne et des ziggourats, notamment la plus célèbre d'entre elles : Etemenanki « la maison du fondement du ciel et de la terre. Dans une troisième partie, nous analyserons le mythe sous ses trois aspects : historique, théologique, et ésotérique.   ⛎ TIPEEE : https://www.tipeee.com/arcana-mysteres-du-monde  

The Garden of Eden was on top of a mountain, and human beings have attempted to recreate paradise without God ever since- The Tower of Babel, The Hanging Gardens of Babylon, Ziggurats, Pyramids. --God met with Moses on Mount Sinai, and the Tabernacle was were Israel could meet God as they moved from Sinai -Exodus 25-22-. At its dedication, the Shekinah Glory of God that had been on Mount Sinai, now filled the Tabernacle -Exodus 19-18-20- 40-34-35-.--When Solomon dedicated the Temple in 959 B.C., the Shekinah Glory of God filled the Temple -1 Kings 8-10-11- 2 Chronicles 7-1-3-. --Jesus weeps because he knows that the curse sanctions of Leviticus 26-14-39 and Deuteronomy 28-15-68 are about to be fulfilled again -Luke 19-42-44- 23-27-31-.--God meets with us as we worship and as we celebrated Holy Communion.

The Garden of Eden was on top of a mountain, and human beings have attempted to recreate paradise without God ever since- The Tower of Babel, The Hanging Gardens of Babylon, Ziggurats, Pyramids. --God met with Moses on Mount Sinai, and the Tabernacle was were Israel could meet God as they moved from Sinai -Exodus 25-22-. At its dedication, the Shekinah Glory of God that had been on Mount Sinai, now filled the Tabernacle -Exodus 19-18-20- 40-34-35-.--When Solomon dedicated the Temple in 959 B.C., the Shekinah Glory of God filled the Temple -1 Kings 8-10-11- 2 Chronicles 7-1-3-. --Jesus weeps because he knows that the curse sanctions of Leviticus 26-14-39 and Deuteronomy 28-15-68 are about to be fulfilled again -Luke 19-42-44- 23-27-31-.--God meets with us as we worship and as we celebrated Holy Communion.

The Garden of Eden was on top of a mountain, and human beings have attempted to recreate paradise without God ever since: The Tower of Babel, The Hanging Gardens of Babylon, Ziggurats, Pyramids. God met with Moses on Mount Sinai, and the Tabernacle was were Israel could meet God as they moved from Sinai (Exodus 25:22). At its dedication, the Shekinah Glory of God that had been on Mount Sinai, now filled the Tabernacle (Exodus 19:18-20; 40:34-35).When Solomon dedicated the Temple in 959 B.C., the Shekinah Glory of God filled the Temple (1 Kings 8:10-11; 2 Chronicles 7:1-3). Jesus weeps because he knows that the curse sanctions of Leviticus 26:14-39 and Deuteronomy 28:15-68 are about to be fulfilled again (Luke 19:42-44; 23:27-31).God meets with us as we worship and as we celebrated Holy Communion.

The Tower of Babel story is a strange one. It's strange enough that I'm going to spend a lot of time on it, to the point that you will surely switch over to YouTube in about ten minutes. My hope is that this blog/podcast does not drive you back into the arms of the politics, porn, and video games, so I'll do my best to keep it moving. I may have already lost most of you just at the mention of those candies. On the surface level, the Tower of Babel reads like a tale of where languages came from, in the same spirit of fables, such as, “How the Tiger Got its Stripes.” You may pass over the text and think, “Isn't that cute. A story of where the many human languages came from.” Like the Garden of Eden story you can read this one literally, yawn, close the book, then return to your sportsball and Door Dash. And doing so you will miss the entire point of the story of the Tower of Babel. There is another layer, much deeper than the literal, and you can scratch the surface using your fingernail and realize that there are multiple layers of paint. This is why it is a timeless story. First, understanding that “Babel” means “Gate to God” or “Gateway to God” should tell you there is more happening than a simple tower construction project. You could even call it a “Stairway to Heaven” but I am not here to talk about Led Zeppelin. Still, that song title is a phrase that is relevant, or even possibly a reference to the Tower of Babel. If you ask five people the meaning of the lyrics, you will get five answers (my money is on the Lord of the Rings interpretation being closest to the mark, since Led Zeppelin band members were Tolkien nerds). However, even if “Stairway to Heaven” is about Arwen and Aragorn, the Lord of the Rings is the most Catholic novel ever written, so in a wide circling way, from classic rock back to Genesis all the way to the rock of the Church, we have to drive by the Tower of Babel story anyway. The same variety of interpretations that happen with “Stairway to Heaven” can come from readers of the Tower of Babel story, and I think if we called it the “Gate to God” story we would probably be at a better starting point. The Gate being built is a Ziggurat, which is a pagan temple. The location may have been Eridu, in modern day Iraq. Or it may have been elsewhere. It's not particularly important where it was built, because lots of these Ziggurats existed in ancient times, and they are remarkably similar in shape and purpose, even across cultures that had no contact. Now, if you have the idea of some giant tower that touches the sky, you need to first stop and understand that ancient people were not stupid. They knew that a tower could not be built to the sky, probably better than we do, since they didn't have steel and even one hundred feet in height would have been an engineering marvel. So if you want to get anything out of the story, you have to put aside your presentism and unconscious bias. Presentism is the modern bias and assumption that people that didn't have smart phones were only slightly higher than baboons in terms of mental and intellectual acumen.What is a Ziggurat? It is a temple built as a home base for rituals and sacrifices to gods of the lower-case mythological variety. Archaeologists have found these structures with staircases to a central altar, where worship and sacrifice was made to gods. The most famous god of the ancient world was the storm god, or sky god, like Baal, or Marduk, or Zeus, or Jupiter (who are actually all the same god just shifted from one culture to another and that, too, is important to keep in mind as we go along.) At the core of the story is God observing the construction of this Gate to God, and the people in charge are intending to build it “to reach the sky.” Why the sky? Because that's where the sky god lives. Sometimes he lives in a mountain, but the sky god throws the lightning bolts. Along with the sky god, there is a whole list of other gods, like the moon god, the sun god, etc. There is even “Father Sky,” who was a more primordial god in these same cultures, but this elder god was knocked out by the storm god in a battle on the spiritual realm. This too is important to keep in mind, as the tale of Zeus defeating his father Uranus plays into the story of the Tower of Babel very much. The interesting thing about mythology is how celestial objects, like the moon, and natural phenomena, like storms, get translated into spirits. This is mythology in a nutshell, and we assume the ancient people were just trying their best to explain away what could not be explained by science, since there was no such thing as science. There were no telescopes, so in our Present Bias we look at these tales as explanations in a pre-scientific age. These are cute tales from primitive people, who, if they were around today, we would pat on the head and send away with a dum-dum sucker. What non-believers and soul-deniers today have use today as a shield against all things supernatural is a saying known as the “God of the gaps.” The idea is that we only assume God exists for things that we cannot explain yet. This is full blown presentism. If you are not an anti-presentist, you are a presentist. For example, the reason the Irish no longer believe that fairies bring illness is because we know what germs are. We can see germs under microscopes. Until we knew about germs, we blamed fairies. In other words, since we couldn't explain illness, we pawned it off on fairies and God. However, right now, in 2022, science is still claiming to look for a mythical “bat of the gaps” in the Covid story, while we all know that there was no bat, but there most certainly was a very large virology lab. The great irony is that a bat that doesn't exist has been invented and mythologized now by the very same people who mock any idea of fairies or spirits. We could get lost here in talking about scapegoating and human nature, but let's stay on track. The “God of the gaps” idea is a modern argument to reduce all religion to superstitious nonsense. It's an idea that modern writers like Carl Sagan and Richard Dawkins have campaigned hard to sell. There's just one problem with both the fairy stories and Carl Sagan. Neither of them match the concept of the God of Christianity. A quote from Carl Sagan illustrates the problem perfectly, and he was very close to understanding the God of Christianity, but he was bothered by fairy believers who kept moving God into the gaps. This illustrates the problem with how bad conceptions of what the Christian God is brings so much confusion:“In some respects, science has far surpassed religion in delivering awe. How is it that hardly any major religion has looked at science and concluded, ‘This is better than we thought! The Universe is much bigger than our prophets said, grander, more subtle, more elegant. God must be even greater than we dreamed'? Instead they say, "No, no, no! My god is a little god, and I want him to stay that way.'“In other words, Carl had clearly never read the Catechism of the Catholic Church. Carl is actually very close to understanding the awe of God in the way that Catholics understand God. Whoever he is talking about in that quote has no understanding of God as he is understood in the Catholic Church. The God of Israel, is unique, in both conception and power, as Yahweh does not live in the universe like the pagan gods. The God of Christianity, the Trinity, is complete, a whole, that encompasses both the universe and our hearts. God is far simpler to understand than Zeus, in that he is One God, existing forever, outside of space and time. At the same time, he is infinitely more complex in that we can never understand him at all. We can understand God, and we can never understand him. There is another jarring quote where Carl Sagan showed that he was talking about believers that did not understand the Christian God. He said, “Your God is too small for my universe.”To which anyone who spends time in the Catechism can tell you, “No kidding, Carl.” That's been a known fact for 4,000 years. Cave people knew that, and they didn't have telescopes. What amazes me most today is how science assumes that all religious people are merely superstitious buffoons, but when they begin to talk about God, they are describing a pagan concept of lower-case gods, not the understanding of the God of Israel and certainly not the Trinity. This is where bad instruction of the faithful leads to a mess, and as far as bad training and catechesis goes, Catholics have a lot of explaining to do. We have dropped the ball horribly for about three generations now in teaching something as basic as, “How can we speak about God?”God is bigger than Carl's universe. The universe alone can't explain Carl Sagan. As Peter Lawler said, “Physics can't explain the physicist…Physics, by itself, simply explains away the physicist—and much else.” Far bigger than our conception or intellect can handle, God transcends our minds. He is not in the gaps, he created all the gaps, and no matter how many gaps we figure out, there will be more gaps. Like Sagan, who seemed to think that we have overtaken God in terms of knowledge about the universe, the brightest minds of the middle ages thought God kept the planets afloat with crystals. Sagan and company are no different than the confused thinkers of the “Dark Ages” who thought they had figured everything out. But here's something important to realize: the incorrect concepts of the universe was never doctrine. The idea that the earth was at the center of the universe was never part of Christianity. That's only what the intellectuals of the middle ages believed. This is why the Church moves and decides slowly, like the Ents, the trees in Lord of the Rings, who take a long time to decide anything. This is also why the Church doesn't leap in when economic and tech fads offer utopia. The wisdom of the Church plays out in a couple of ways, one in its patience, and second by recognizing heresies and bad ideas long before they are proven to be bad ideas, such as the theories of Marx or calling out Transhumanism (before it gets started). The truth comes out over time, and science is a small part of revealing God's world to us. It's one kind of knowledge, but it's not wisdom. It's worth noting that in a hundred years we may realize that much of modern science is wrong. This happens repeatedly in our history. What is a solid “known” today could be laughable later. Phrenology had its day as a serious science, when people interpreted bumps on our heads. Now it is a joke. (Sociologists beware!) But God does not change, nor does the proper concept of God. To assume otherwise is to be exactly like the intellectuals of the middle ages, who were surely certain of their ideas, too. To assume all is known today is the classic mistake of the falls in Genesis, too. What often seems to be the case is that non-believers have a bad concept of God, stemming from various causes. I think the main problem is that they just don't understand the Trinitarian God properly. I certainly didn't. The reason we don't is because the loudest voices proclaiming God today confuse the right meaning of the word. In fact, I don't think most Christians know the meaning of the word God, because he just seems to be a vending machine to so many. (Here is where I resist ranting about the message preached in the “Prosperity Gospel”. )If you think Zeus and the God of Israel are the same thing, you cannot read the Tower of Babel story. Don't do it. Don't even try. Why waste your time? You cannot understand it if you don't even understand what the writer was talking about. If you don't have the proper idea of God in place, you will fail before you start. It's like beginning a calculus problem when you only made it through Algebra II. It's like interpreting a modern biology book using the theory of the four bodily humors from Galen, the ancient Greek physician. It doesn't work. You will be lost on reading the first sentence. To understand the God of Israel, you have to backtrack and realize a few things. First, you have to rip out your modern assumptions and biases and reset, because all of the noise around God in our media has created a windstorm in your head. Everyone is trying to put their spin on what God is, and until you find the right language, the crazy interpretations will continue to spin. In my own surfacing into the light, I slowly realized that I had cut myself off with a little of help from my friends and much help from the media around me, not to mention a giant pool of Captain Morgan. I had sliced myself off, walled myself in, because of various reasons. In trying to “find myself,” I got lost, and the reasons I lost God was because of exactly the list of reasons listed in the intro of the Catechism. I had forgotten the right concept of God, overlooked what I knew was true, and rejected the entire idea of God. …this "intimate and vital bond of man to God" can be forgotten, overlooked, or even explicitly rejected by man. Such attitudes can have different causes: revolt against evil in the world; religious ignorance or indifference; the cares and riches of this world; the scandal of bad example on the part of believers; currents of thought hostile to religion; finally, that attitude of sinful man which makes him hide from God out of fear and flee his call. (CCC 27-30)Yes, all of those things. The pain and suffering of this world confused me, I was ignorant of what the word God really meant in the Bible, I was drawn to pleasures like drinking, I saw many bad examples of believers that made me question faith entirely, and my education, along with movies and books I read, was purposefully leading me by the nose to a path of belittling and laughing at those with faith. I remember trying to read Genesis and thinking, “This is ridiculous,” and only fifteen years later did I realize that my understanding of God was all wrong. I had to reset completely. Life has a funny way of beating you into a state of reasonableness so that you can try again. To reset, I started with this: God transcends all creatures. We must therefore continually purify our language of everything in it that is limited, image-bound or imperfect, if we are not to confuse our image of God--"the inexpressible, the incomprehensible, the invisible, the ungraspable"--with our human representations.16 Our human words always fall short of the mystery of God. Admittedly, in speaking about God like this, our language is using human modes of expression; nevertheless it really does attain to God himself, though unable to express him in his infinite simplicity. Likewise, we must recall that "between Creator and creature no similitude can be expressed without implying an even greater dissimilitude"; and that "concerning God, we cannot grasp what he is, but only what he is not, and how other beings stand in relation to him." (CCC 39-43)He transcends all creatures, including myths like Zeus. He created everything, including our ability to invent myths like Zeus. We are continually learning more about creation. We are not done learning or discovering wonders here, because we are not God. This should be a cause for awe - Carl Sagan is correct. If he met people who understood God in this sense, instead of reducing all Christians to knuckle-dragging fundamentalists, he could have had terrific conversations about that very fact. God is nothing like the pathetic Zeus. He's way beyond us, transcending our world, while at the same time reaching down to us and saying “Boo!” from time to time. He alerts us that he's present. Most importantly, we cannot control God. This is critical to reading the Tower of Babel story. The pagan gods are far more mundane and limited than the God of the Trinity. The pagan gods live in mountains or in the forest. They are the moon. They are the stars. They are within the universe. The classic blunder of so many non-believers is that they assume God is an object in the universe, like how we think of Zeus. Whenever you hear, “All gods are the same,” you know immediately the speaker does not understand the Christian concept of God. Sagan's “small God” comment and Bertrand Russell's famous “teapot god” betray their fundamental misunderstanding of what the word God means to Catholics. The architect of the universe is not standing in the solar system like a tour guide; he transcends all creation. He transcends all tings, but is still a living God that can reach us on a very personal level. So when you read the Tower of Babel story, the important things to keep in mind are: * The Tower is a Ziggurat built to “reach the sky.” Babel means “Gate to God.” The ancient cultures believed that these pyramid temples made a connecting point between heaven and earth. They often have a stairway to an altar on the top. These exist across the world, even in Aztec and Mayan cultures that never had any apparent contact with Mesopotamian cultures. (This should start raising hairs on your neck but resist the urge to blame aliens here.) * Ziggurats were built to worship gods of mythology, most commonly the “sky god,” a.k.a. storm god, a.k.a. thunder god, a.k.a. fertility god, a.k.a. the rainmaker. This god goes by various names in history: Baal, Marduk, Zeus, Jupiter, Thor, and more (Perkūnas, Perun, Indra, Dyaus, and Zojz). This god was usually depicted with bull horns and/or holding lightning bolts. In mythology, the sky god “defeated” the primordial god (or gods). This tale is called the succession myth and it gets repeated in Babylon, Greece, Rome, and many other places. This god is a shape-shifting rapist who can appear as a bull, a serpent, a swan, an eagle, or even a shepherd. As Éomer says in The Two Towers, “The white wizard is cunning,” so is the fertility god. * Satan is the storm god. Yes, the “S” word. This came as a shock, since I enjoy reading Greek and Roman mythology. But really, how did I miss it for so long? The horns often depicted on Satan are exactly like the bull horns of Baal. And Baal = Marduk = Zeus = Jupiter = Thor = Satan. Baal is Zeus. Baal is also Satan. They are all the same character. Jesus even calls Satan ‘Beelzebul,' which is a version of Baal-Zebub, the Philistine deity of Baal/Zeus equivalent. Better yet, Beelzebul is actually a mocking name that riffs on Beelzebub. “Prince Baal” or “Lord Baal” is modified by Jesus to mock “Baal of flies” or “Lord of dung.” This mockery also took me aback, because if Jesus mocks the sky gods, it proves that God does indeed have a sense of humor. There is word play going on. Jesus again mocks the sky god a second time when he gives the nickname “Sons of Thunder” to James and John (Mk 3:17), which means sons of the sky god, a.k.a. Zeus. Like most nicknames, it is not a compliment. When they call for revenge on those who oppose Jesus, James and John are acting like Baal or Zeus or Satan. James and John ask, “Lord, do you want us to call down fire from heaven to consume them?” Jesus turned and rebuked them. (Lk 9:54) Jesus is the polar opposite of the cruel and vengeful sky god. In other words, Jesus is God, and God is love. This is the opposite of the fallen angel named Satan, who shape-shifts and goes by many other names. (Yet for some reason God allows Satan to divide, distract, and deceive us in this world, which is the great head-scratcher for us all and takes a lifetime to understand.) * Keep in mind that all myths are victory tales and founding narratives. They are written and told to justify for the current state of affairs in the world. When you read any myth, you have to read it from the perspective of the myth-makers. Babel is part of Israel's story, but if the other side told the story of Babel, it would be a very different tale, where the temple at Babel would be seen like St. Peter in Rome or Notre Dame in Paris. * The intention and goal of building the Tower of Babel versus the intention building St. Peter or Notre Dame is starkly different. The “Gate to God” is being built up to “the sky.” The Tower is meant to bring god down to earth (just like in Ghostbusters - more on that later) and make a name for the people. St. Peter and Notre Dame are built to give glory to God, not to people. This fundamental misunderstanding of God makes all the difference, both in our individual lives and in the pursuits of nations. * The God of Israel cannot be controlled. He does not need us. We need him. If you read the Tower of Babel at only the surface level, at the “How the Tiger got its stripes” level, where it's only about how the various languages came to be, you will get something out of it. That is a valid, literal reading, but you will miss the greater significance of the story. Know before you start: God doesn't make transactions with his creatures. Praying for what you want can work out in strange ways, but it always works out in how God wills it. He gets the last laugh, you might say. Even the great destroyers of faith, Marx, Voltaire, Hume, Russell, Dawkins, et al. are part of God's plan somehow. He allows doubt and struggle for reasons we cannot understand, but like Joseph in Egypt, when we realized that all his struggles had a purpose: “Even though you meant harm to me, God meant it for good.” (Gen 50:20) Without this understanding of God, we are trying to manipulate him and make him dance. But he is the one who makes us dance, and it's much easier to dance with him than to try to lead. He is Tolkien and we are Frodo. We are his characters. We cannot reach up and grab the author, and that is exactly what the builders at Babel are trying to do. This is a really, really bad idea for us to try, both then and now. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.whydidpetersink.com

This week, you'll hear a very different episode of On the Ledger. This week, we are not interviewing anyone. This week, Ledger is being interviewed... by the multifaceted legendary musician, Linkin Park hero, and now NFT aficionado (make sure to check his Ziggurats collection) Mike Shinoda.For the first time, Ian Rogers, Ledger's Chief Experience Officer, answers all the questions Mike and his amazing Discord community have about crypto, web3 and more.What is clear-signing? What does one get out of their NFTs? How to get started in Web3 without getting broke?From fundamentals to next level crypto mysteries, Ian answers them all. So, fasten your seatbelt, and let's get started. And if you have more questions, just ask away. We'll get them answered. Hosted on Acast. See acast.com/privacy for more information.

In this episode Bill talks with the Scum Of The Earth's own Riggs. We talk about how we can relate being called Scum Of The Earth, the inspiration behind that for a band name, getting out of his small town to follow his love of music, joining up with Danny Lohner in Screw, then being drafted by Tommy Victor for Prong, before finally working with Rob Zombie on multiple albums. We also talk about being single fathers, our mutual love for B Movies and Killer Klowns from Outer Space, the Ziggurats of Mesopotamia, Pentagon Declassifying the existence of U.F.O.s and nobody seems to care, all the nonsensical stuff that seems to be distracting people today, plus so much more. Today's Boondoggle fans can receive 10% off their orders at dreemnutrition.com by using the promo code BOONDOG10 at checkout. So kick back with your headphones and cold one for this latest episode. Enjoy our additional segments featuring music from the Flo White Show and Stories from the VFW Hall. Remember Boondoggle Listeners Matter, so e-mail us at todaysboondoggle@gmail.com and let us know your thoughts so we can read them on air. Tweet us @2daysBoondoggle and Follow us on Instagram @todaysboondoggle as well as on Facebook. Please subscribe and give 5 stars and review. Every review we receive on either Apple Podcast or Google Music we will mention you on a future episode and our Social Media pages. Follow Today's Boondoggle also on our Social Media as well as DomainCle.com and on Anchor.fm Today's Boondoggle logo designed by Stacy Candow. New Intro Music by Rich Stadtlander and the band Valor, plus additional music by Evan Crouse Also please consider financially supporting us at Todays Boondoggle using Venmo, our GoFundMe, or sponsoring us on our Anchor.fm page, so we can continue to provide you with quality entertainment. --- Send in a voice message: https://anchor.fm/todaysboondoggle/message Support this podcast: https://anchor.fm/todaysboondoggle/support

We rejoin our heroes below the great Ziggurat of Kyuss as they confront his myriad malevolent guardians. How much danger are they in? We're thinking: lots.

Babel and Ziggurats are attested to throughout the ANE and solidify the Bible as an accurate source.

From an anthropological angle all religions have their contact points: totems, idols, altars, temples, and meeting places. I work through a significant Old Testament example and then show how (audaciously) Jesus declared himself to be the new (and eternal) meeting place with God. Applying that background I work through the logic of rejecting things just because they have been abandoned. Let's reason from a Christ-centered, biblically informed worldview. 

How were people in places as different as Egypt, ancient China, and what's now the US, building structures that look so similar to each other?

"There was a serpent in the garden of Eden." What does that mean? First? I erase some glosses that get overlaid onto the text. Then, we work through both some historical-cultural and textual framing of the story of the serpent. What would ancient readers immediately have recognized about that creature, that story? How does the notion of divine oracles play into the story? Come laugh and think with me.

This week kicks off with DROPS first, chatting with none other than the legendary Mike Shinoda. If you live under a rock and DON'T know who Mike is, he's a member of hit groups Linkin Park & Fort Minor, but also super heavy into NFT land. Mike talks about his project drop - Ziggurats - which is a generative mixtape, his thoughts around how the NFT space can best incorporate music, his time in the tech world and TONS more. To close out, Gary, Kalish & Herm give their predictions on the upcoming SB LVI. ---- JOIN THE FREE TO PLAY LISTENER CONTEST: https://dkng.co/PropsAndDrops ---- Follow Matt: https://www.instagram.com/kalish/ Follow Gary: https://www.instagram.com/garyvee Follow Mike: https://www.instagram.com/m_shinoda/ Check out Ziggurats: https://ziggurats.xyz/#/

My guest today is Linkin Park co-founder, Mike Shinoda. Mike co-founded Linkin Park in 1996 and is the band's lead vocalist, as well as rhythm guitarist, keyboardist, primary songwriter, and producer. More recently, he released the solo hybrid mixtape and NFT project Ziggurats and has been Twitch streaming regularly on his channel. We talk about […]

Good morning! I started this episode with absolutely no plan and wanted to see where it would take me. I landed on web 3 music, art , and NFTs. There is alot happening in this space right now and I am barely scratching the surface. I read a post by n1k.eth on the gm.xyz web 3 social media platform about fans being rewarded for early artist discovery through NFTs, which leads me to some tangent about being at an early Marilyn Manson show back in 1994. Then I look at Mike Shinoda's web 3 music NFT project called Ziggurats. I am not a fan of Linkin Park, but this project looks amazing! It is on the Tezos blockchain, where I see lots of really good artists flocking to nowadays that the Ethereum blockchain costs too much. Sources: https://gm.xyz/c/web3music/c100aaae-9946-4cb2-bae3-360b625c2337 https://hen101.xyz/ https://modern.finance/episode/artist-spotlight-linkin-parks-mike-shinoda-is-dropping-ziggurats/ https://audius.co/3lau https://royal.io/ https://wallet.kukai.app/ https://ziggurats.xyz/

On today's episode of Hustle & Flowchart we're covering some of the latest news and interesting findings that Joe & Matt have been digging into. The crypto world has had an interesting few days. The market took a big hit, so people are freaking out. Here are some useful resources to aid you in making better decisions. The metaverses of crypto are experiencing massive virtual land grabs. Hundreds of millions of dollars are being invested, and nearly half a million just to "live" next to Snoop Dogg. And there's a lot more sprinkled throughout our chat. Tune into this special episode to get all the details… Then join us in the Discord community to discuss. Some Topics We Discussed Include: Using the "Fear and Greed Index" to stay sane during wild markets How El Salvador bought up 150 Bitcoin and what they're doing with it The IRS is in the news: They have a plan to tax your crypto assets Music artists are using NFTs to cut out the middleman/record labels (you'll see a lot of music artists using this method) Deadmau5 and Portugal the Man teamed up to become the first NFT backed song to go platinum (an example of how media will be funded and launched). Linkin Park's Mike Shinoda released a NFT project called Ziggurats. 5000 unique visual AND audio NFTs Our thoughts on metaverse land sales and the BIG money being invested. Facebook/Meta is now allowing crypto-related ads. A couple of podcasts that are MUST listens for anyone interested in learning about the big picture of economics and where crypto/the world are headed Resources Mentioned: Raoul Pal on The Metaverse Is the New Solar System Tim Ferriss & Balaji Srinivasan Monaco - A crypto and NFT native social platform The Fear & Greed Index MIKE SHINODA's Ziggurats Ape-In Productions Dive Even Deeper: Subscribe To LADZ City YouTube Subscribe To The Hustle & Flowchart Channel  Join our Discord Community Sponsored By: Ahrefs - Check out the new free SEO tool! Sponsored By: Easy Webinar - be sure to check out their special deal for our listeners. Joel Comm - Understanding NFTs and Cryptocurrencies How NFTs Change Everything! Subscribe & Review To The Hustle & Flowchart Podcast Thanks for tuning into this week's episode of the Hustle & Flowchart Podcast! If the information in our weekly conversations and interviews have helped you in your business journey, please head over to iTunes, subscribe to the show, and leave us an honest review. Your reviews and feedback will not only help us continue to deliver great, helpful content, but it will also help us reach even more amazing entrepreneurs just like you!

Today we're discussing Art Basel, DocuSign's shares falling over 40%, Bitcoin dropping and staying below $50,000, the $120 million in crypto stolen in a DeFi website hack, an interview with Ian Rogers of Ledger, and more. Visit ledger.com for the smartest way to secure, buy, exchange and grow your crypto assets.  Art Basel >>> | Group Chat News 12.5.21 Dee's key observations from Art Basel. [1:53] Kanye's power over the youth. [15:42] Stock Chat with Group Chat. [25:19] The crypto corrections weed out the newbies and fake products. [32:04] A Group Chat exclusive interview with Ian Rogers of Ledger. They discuss the fragility of NFTs, how fashion will merge with them, how Ledger views the world, and the speed Web3 is moving at. [37:21] Group Chat Shout Outs. [1:14:27] Related Links/Products Mentioned Art Basel Miami Beach Is Roaring Back—With a Vengeance, and Without an Apology DocuSign's shares tumbled more than 40% Friday after the company warned that consumers were returning to more normalized buying patterns with the widespread rollout of Covid-19 vaccines and the slow return to workplaces Twilio Is Ridiculously Oversold After a Mostly Positive Report Is Oatly stock a buy or sell after crashing by 68% from ATH? This Salad IPO Reached a Crunchy $5.6 Billion, But Is It Destined to Wilt? Bitcoin holds steady below $50,000 in volatile weekend trading Someone stole $120 million in crypto by hacking a DeFi website Hackers take $196 million from crypto exchange Bitmart, security firm says Listen to Mike Shinoda's new “generative mixtape” ‘ZIGGURATS' Bankless: 91 - Brian Armstrong and The Future of Coinbase Connect with Group Chat! Watch The Pod #1 Newsletter In The World For The Gram Tweet With Us Exclusive Facebook Content

Mike Shinoda of Linkin Park and Fort Minor fame joins Kevin to discuss why he was initially reluctant to embrace the NFT scene (in spite of setting Kevin on the path to his own obsession), drumming up acceptance of NFTs in the mainstream, industry skeuomorphism, current collaborations, the state of unreleased Linkin Park music, and where people can go to await Mike's upcoming ZIGGURATS drop.

Mike Shinoda of Linkin Park and Fort Minor fame joins Kevin to discuss why he was initially reluctant to embrace the NFT scene (in spite of setting Kevin on the path to his own obsession), drumming up acceptance of NFTs in the mainstream, industry skeuomorphism, current collaborations, the state of unreleased Linkin Park music, and where people can go to await Mike's upcoming ZIGGURATS drop.

Send comments and questions to: coffeeandconjure@gmail.com.Social MediaFacebook: www.facebook.com/coffeeconjurepdInstagram: www.instagram.com/coffeeconjurepdTwitter: www.twitter.com/coffeeconjurepdBibliographyhttp://www.mesopotamia.co.uk/https://avalon.law.yale.edu/ancient/hamframe.aspBirx, H. James. "Ziggurats." In Encyclopedia of Anthropology, edited by Birx, H. James. Thousand Oaks, CA: SAGE Publications, Inc., 2006: 2363-64.Geller, Markham and Luděk Vacín. Healing Magic and Evil Demons: Canonical Udug-Hul Incantations. Boston: De Gruyter, 2016.Gosden, Chris. The History of Magic. London: Penguin Random House, 2020.Monroe, M. Willis. “Mesopotamian Astrology.” Religion Compass 13, no. 6, 2019.The Oxford Handbook of the State in the Ancient Near East and Mediterranean. Peter Fibiger Bang and Walter Scheidel, eds. New York: Oxford University Press, 2013.The Oxford Handbook of the Archaeology of Ritual and Religion, edited by Timothy Insoll. Oxford: Oxford University Press, 2011.Walton, John H. “Demons in Mesopotamia and Israel: Exploring the Category of Non-Divine but Supernatural Entities.” In Windows to the Ancient World of the Hebrew Bible, 2014.

Business Side: Biden to announce all federal employees must be vax'd/ Demonization of the unvaccinated/ Crime on the rise/ Should there be age limit enforced on Presidency Party Side: Olympic ceremonial stereotype disaster/ Minority Report-esque policing/ Entrapment?

Want to learn about the empire that earned a reputation as history's biggest opportunists and most brilliant diplomats? Then tune into the Chaldean Empire livestream. Located in modern-day Iraq and ancient Mesopotamia, the Chaldeans were master traders, strategists, and academics. The modern 7-day week and 60-second minute were created from this empire and their invention of the sundial. They also built the infamous Ishtar Gate, the Ziggurats of Babylon, and created the astronomy and zodiac. Thank you to Omowaleayo for writing about this spectacular empire. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week Nicola is joined by Stewart Harding who has sworn under oath not to swear - will he manage it? They discuss bubbles of various kinds, get seriously musical, Nic Nic has a confession and they try to solve the ongoing debate of how many pow is a pow wow now if a pow wow took place now?

The History Suite is embarking on a new series called “People and Places,” exploring peoples of the world & their histories. This episode's guest is Rev. Dr. Paul Elliott, Assoc. Prof. of Theology at CUI. With Rev. Dr. Elliott as our tour-guide, he takes us to the streets of ancient Babylon and points out the sights and sounds of the Neo-Babylonian Empire, including the Hanging Gardens, Ziggurats, beer, religion, money, & politics.

Humanity realized we could do more with stone tools some two and a half million years ago. We made stone hammers and cutting implements made by flaking stone, sharpening deer bone, and sticks, sometimes sharpened into spears. It took 750,000 years, but we figured out we could attach those to sticks to make hand axes and other cutting tools about 1.75 million years ago. Humanity had discovered the first of six simple machines, the wedge.  During this period we also learned to harness fire. Because fire frightened off animals that liked to cart humans off in the night the population increased, we began to cook food, and the mortality rate increased.  More humans. We learned to build rafts and began to cross larger bodies of water. We spread. Out of Africa, into the Levant, up into modern Germany, France, into Asia, Spain, and up to the British isles by 700,000 years ago. And these humanoid ancestors traded. Food, shell beads, bone tools, even arrows.  By 380,000-250,000 years ago we got the first anatomically modern humans. The oldest of those remains has been found in modern day Morocco in Northern Africa. We also have evidence of that spread from the African Rift to Turkey in Western Asia to the Horn of Africa in Ethiopia, Eritraea, across the Red Sea and then down into Israel, South Africa, the Sudan, the UAE, Oman, into China, Indonesia, and the Philopenes.  200,000 years ago we had cored stone on spears, awls, and in the late Stone Age saw the emergence of craftsmanship and cultural identity. This might be cave paintings or art made of stone. We got clothing around 170,000 years ago, when the area of the Sahara Desert was still fertile ground and as people migrated out of there we got the first structures of sandstone blocks at the border of Egypt and modern Sudan. As societies grew, we started to decorate, first with seashell beads around 80,000, with the final wave of humans leaving Africa just in time for the Toba Volcano supereruption to devastate human populations 75,000 years ago.  And still we persisted, with cave art arriving 70,000 years ago. And our populations grew.  Around 50,000 years ago we got the first carved art and the first baby boom. We began to bury our dead and so got the first religions. In the millennia that followed we settled in Australia, Europe, Japan, Siberia, the Arctic Circle, and even into the Americas. This time period was known as the Great Leap Forward and we got microliths, or small geometric blades shaped into different forms. This is when the oldest settlements have been found from Egypt, the Italian peninsula, up to Germany, Great Britain, out to Romania, Russia, Tibet, and France. We got needles and deep sea fishing. Tuna sashimi anyone? By 40,000 years ago the neanderthals went extinct and modern humans were left to forge our destiny in the world. The first aboriginal Australians settled the areas we now call Sydney and Melbourne. We started to domesticate dogs and create more intricate figurines, often of a Venus. We made ivory beads, and even flutes of bone. We slowly spread. Nomadic peoples, looking for good hunting and gathering spots. In the Pavolv Hills in the modern Czech Republic they started weaving and firing figurines from clay. We began to cremate our dead. Cultures like the Kebaran spread, to just south of Haifa. But as those tribes grew, there was strength in numbers.  The Bhimbetka rock shelters began in the heart of modern-day India, with nearly 800 shelters spread across 8 square miles from 30,000 years ago to well into the Bronze Age. Here, we see elephants, deer, hunters, arrows, battles with swords, and even horses. A snapshot into the lives of of generation after generation. Other cave systems have been found throughout the world including Belum in India but also Germany, France, and most other areas humans settled. As we found good places to settle, we learned that we could do more than forage and hunt for our food.  Our needs became more complex. Over those next ten thousand years we built ovens and began using fibers, twisting some into rope, making clothing out of others, and fishing with nets. We got our first semi-permanent settlements, such as Dolce Vestonice in the modern day Czech Republic, where they had a kiln that could be used to fire clay, such as the Venus statue found there - and a wolf bone possibly used as a counting stick. The people there had woven cloth, a boundary made of mammoth bones, useful to keep animals out - and a communal bonfire in the center of the village. A similar settlement in modern Siberia shows a 24,000 year old village. Except the homes were a bit more subterranean.  Most parts of the world began to cultivate agriculture between 20,000 and 15,000 years ago according to location. During this period we solved the age old problem of food supplies, which introduced new needs. And so we saw the beginnings of pottery and textiles. Many of the cultures for the next 15,000 years are now often referred to based on the types of pottery they would make. These cultures settled close to the water, surrounding seas or rivers. And we built large burial mounds. Tools from this time have been found throughout Europe, Asia, Africa, and in modern Mumbai in India. Some cultures were starting to become sedentary, such as the Natufian culture we collected grains, started making bread, cultivating cereals like rye, we got more complex socioeconomics, and these villages were growing to support upwards of 150 people.  The Paleolithic time of living in caves and huts, which began some two and a half million years ago was ending. By 10,000 BCE, Stone Age technology evolved to include axes, chisels, and gouges. This is a time many parts of the world entered the Mesolithic period. The earth was warming and people were building settlements. Some were used between cycles of hunting. As the plants we left in those settlements grew more plentiful, people started to stay there more, some becoming permanent inhabitants. Settlements like in Nanzhuangtou, China. Where we saw dogs and stones used to grind and the cultivation of seed grasses.  The mesolithic period is when we saw a lot of cave paintings and engraving. And we started to see a division of labor. A greater amount of resources led to further innovation. Some of the inventions would then have been made in multiple times and places again and again until we go them right.  One of those was agriculture.  The practice of domesticating barley, grains, and wheat began in the millennia leading up to 10,000 BCE and spread up from Northeast Africa and into Western Asia and throughout. There was enough of a surplus that we got the first granary by 9500 BCE. This is roughly the time we saw the first calendar circles emerge. Tracking time would be done first with rocks used to form early megalithic structures.  Domestication then spread to animals with sheep coming in around the same time, then cattle, all of which could be done in a pastoral or somewhat nomadic lifestyle. Humans then began to domesticate goats and pigs by 8000 BCE, in the Middle East and China. Something else started to appear in the eight millennium BCE: a copper pendant was found in Iraq. Which brings us to the Neolithic Age. And people were settling along the Indus River, forming larger complexes such as Mehrgarh, also from 7000 BCE. The first known dentistry dates back to this time, showing drilled molars. People in the Timna Valley, located in modern Israel also started to mine copper. This led us to the second real crafting specialists after pottery. Metallurgy was born.  Those specialists sought to improve their works. Potters started using wheels, although we wouldn't think to use them vertically to pull a cart until somewhere between 6000 BCE and 4000 BCE. Again, there are six simple machines. The next is the wheel and axle.  Humans were nomadic, or mostly nomadic, up until this point but settlements and those who lived in them were growing. We starting to settle in places like Lake Nasser and along the river banks from there, up the Nile to modern day Egypt. Nomadic people settled into areas along the eastern coast of the Mediterranean and between the Tigris and Euphrates Rivers with Maghzaliyah being another village supporting 150 people. They began to building using packed earth, or clay, for walls and stone for foundations. This is where one of the earliest copper axes has been found. And from those early beginnings, copper and so metallurgy spread for nearly 5,000 years.  Cultures like the Yangshao culture in modern China first began with slash and burn cultivation, or plant a crop until the soil stops producing and move on. They built rammed earth homes with thatched, or wattle, roofs. They were the first to show dragons in artwork. In short, with our bellies full, we could turn our attention to the crafts and increasing our standard of living. And those discoveries were passed from complex to complex in trade, and then in trade networks.  Still, people gotta' eat. Those who hadn't settled would raid these small villages, if only out of hunger. And so the cultural complexes grew so neolithic people could protect one another. Strength in numbers. Like a force multiplier.  By 6000 BCE we got predynastic cultures flourishing in Egypt. With the final remnants of the ice age retreating, raiders moved in on the young civilization complexes from the spreading desert in search of food. The area from the Nile Valley in northern Egypt, up the coast of the Mediterranean and into the Tigris and Euphrates is now known as the Fertile Crescent - and given the agriculture and then pottery found there, known as the cradle of civilization. Here, we got farming. We weren't haphazardly putting crops we liked in the grounds but we started to irrigate and learn to cultivate.  Generations passed down information about when to plant various crops was handed down. Time was kept by the season and the movement of the stars. People began settling into larger groups in various parts of the world. Small settlements at first. Rice was cultivated in China, along the Yangtze River. This led to the rise of the Beifudi and Peiligang cultures, with the first site at Jaihu with over 45 homes and between 250 and 800 people. Here, we see raised altars, carved pottery, and even ceramics.  We also saw the rise of the Houli culture in Neolithic China. Similar to other sites from the time, we see hunting, fishing, early rice and millet production and semi-subterranean housing. But we also see cooked rice, jade artifacts, and enough similarities to show technology transfer between Chinese settlements and so trade. Around 5300 BCE we saw them followed by the Beixin culture, netting fish, harvesting hemp seeds, building burial sites away from settlements, burying the dead with tools and weapons. The foods included fruits, chicken and eggs,  and lives began getting longer with more nutritious diets. Cultures were mingling. Trading. Horses started to be tamed, spreading from around 5000 BCE in Kazakstan. The first use of the third simple machine came around 5000 BCE when the lever was used first, although it wouldn't truly be understood until Archimedes.  Polished stone axes emerged in Denmark and England. Suddenly people could clear out larger and larger amounts of forest and settlements could grow. Larger settlements meant more to hunt, gather, or farm food - and more specialists to foster innovation. In todays Southern Iraq this led to the growth of a city called Eridu.  Eridu was the city of the first Sumerian kings. The bay on the Persian Gulf allowed trading and being situated at the mouth of the Euphrates it was at the heart of the cradle of civilization. The original neolithic Sumerians had been tribal fishers and told stories of kings from before the floods, tens of thousands of years before the era. They were joined by the Samarra culture, which dates back to 5,700 BCE, to the north who brought knowledge of irrigation and nomadic herders coming up from lands we would think of today as the Middle East. The intermixing of skills and strengths allowed the earliest villages to be settled in 5,300 BCE and grow into an urban center we would consider a city today.  This was the beginning of the Sumerian Empire Going back to 5300, houses had been made of mud bricks and reed. But they would build temples, ziggurats, and grow to cover over 25 acres with over 4,000 people. As the people moved north and gradually merged with other cultural complexes, the civilization grew.  Uruk grew to over 50,000 people and is the etymological source of the name Iraq. And the population of all those cities and the surrounding areas that became Sumer is said to have grown to over a million people. They carved anthropomorphic furniture. They made jewelry of gold and created crude copper plates. They made music with flutes and stringed instruments, like the lyre. They used saws and drills. They went to war with arrows and spears and daggers. They used tablets for writing, using a system we now call cuneiform. Perhaps they wrote to indicate lunar months as they were the first known people to use 12 29-30 day months. They could sign writings with seals, which they are also credited with. How many months would it be before Abraham of Ur would become the central figure of the Old Testament in the Bible?  With scale they needed better instruments to keep track of people, stock, and other calculations. The Sumerian abacus - later used by the Egyptians and then the device we know of as an abacus today entered widespread use in the sixth century in the Persian empire. More and more humans were learning larger precision counting and numbering systems.  They didn't just irrigate their fields; they built levees to control floodwaters and canals to channel river water into irrigation networks. Because water was so critical to their way of life, the Sumerian city-states would war and so built armies.  Writing and arithmetic don't learn themselves. The Sumerians also developed the concept of going to school for twelve years. This allowed someone to be a scribe or writer, which were prestigious as they were as necessary in early civilizations as they are today.  In the meantime, metallurgy saw gold appear in 4,000 BCE. Silver and lead in 3,000 BCE, and then copper alloys. Eventually with a little tin added to the copper. By 3000 BCE this ushered in the Bronze Age. And the need for different resources to grow a city or empire moved centers of power to where those resources could be found.  The Mesopotamian region also saw a number of other empires rise and fall. The Akkadians, Babylonians (where Hammurabi would eventually give the first written set of laws), Chaldeans, Assyrians, Hebrews, Phoenicians, and one of the greatest empires in history, the Persians, who came out of villages in Modern Iran that went back past 10,000 BCE to rule much of the known world at the time. The Persians were able to inherit all of the advances of the Sumerians, but also the other cultures of Mesopotamia and those they traded with. One of their trading partners that the Persians conquered later in the life of the empire, was Egypt.  Long before the Persians and then Alexander conquered Egypt they were a great empire. Wadi Halfa had been inhabited going back 100,000 years ago. Industries, complexes, and cultures came and went. Some would die out but most would merge with other cultures. There is not much archaeological evidence of what happened from 9,000 to 6,000 BCE but around this time many from  the Levant and Fertile Crescent migrated into the area bringing agriculture, pottery, then metallurgy.  These were the Nabta then Tasian then Badarian then Naqada then Amratian and in around 3500 BCE we got the Gerzean who set the foundation for what we may think of as Ancient Egypt today with a drop in rain and suddenly people moved more quickly from the desert like lands around the Nile into the mincreasingly metropolitan centers. Cities grew and with trade routes between Egypt and Mesopotamia they frequently mimicked the larger culture.  From 3200 BCE to 3000 BCE we saw irrigation begin in protodynastic Egypt. We saw them importing obsidian from Ethiopia, cedar from Lebanon, and grow. The Canaanites traded with them and often through those types of trading partners, Mesopotamian know-how infused the empire. As did trade with the Nubians to the south, who had pioneered astrological devices. At this point we got Scorpion, Iry-Hor, Ka, Scorpion II, Double Falcon. This represented the confederation of tribes who under Narmer would unite Egypt and he would become the first Pharaoh. They would all be buried in Umm El Qa'ab, along with kings of the first dynasty who went from a confederation to a state to an empire.  The Egyptians would develop their own written language, using hieroglyphs. They took writing to the next level, using ink on papyrus. They took geometry and mathematics. They invented toothpaste. They built locked doors. They took the calendar to the next level as well, giving us 364 day years and three seasons. They'd of added a fourth if they'd of ever visited Minnesota, don'tchaknow. And many of those Obelisks raided by the Romans and then everyone else that occupied Egypt - those were often used as sun clocks. They drank wine, which is traced in its earliest form to China.  Imhotep was arguably one of the first great engineers and philosophers. Not only was he the architect of the first pyramid, but he supposedly wrote a number of great wisdom texts, was a high priest of Ra, and acted as a physician. And for his work in the 27th century BCE, he was made a deity, one of the few outside of the royal family of Egypt to receive such an honor.  Egyptians used a screw cut of wood around 2500 BCE, the fourth simple machine. They used it to press olives and make wine.  They used the fifth to build pyramids, the inclined plane. And they helped bring us the last of the simple machines, the pulley. And those pyramids. Where the Mesopotamians built Ziggurats, the Egyptians built more than 130 pyramids from 2700 BCE to 1700 BCE. And the Great Pyramid of Giza would remain the largest building in the world for 3,800 years. It is built out of 2.3 million blocks, some of which weigh as much as 80 tonnes. Can you imagine 100,000 people building a grave for you?  The sundial emerged in 1,500 BCE, presumably in Egypt - and so while humans had always had limited lifespans, our lives could then be divided up into increments of time.  The Chinese cultural complexes grew as well. Technology and evolving social structures allowed the first recorded unification of all those neolithic peoples when You the Great and his father brought flood control, That family, as the Pharos had, claimed direct heritage to the gods, in this case, the Yellow Emperor. The Xia Dynasty began in China in 2070 BCE. They would flourish until 1600 BCE when they were overthrown by the Shang who lasted until 1046 when they were overthrown by the Zhou - the last ancient Chinese dynasty before Imperial China.  Greek civilizations began to grow as well. Minoan civilization from 1600 to 1400 BCE grew to house up to 80,000 people in Knossos. Crete is a large island a little less than half way from Greece to Egypt. There are sites throughout the islands south of Greece that show a strong Aegean and Anatolian Cycladic culture emerging from 4,000 BCE but given the location, Crete became the seat of the Minoans, first an agricultural community and then merchants, facilitating trade with Egypt and throughout the Mediterranean. The population went from less than 2,000 people in 2500 BCE to up to 100,000 in 1600 BCE. They were one of the first to be able to import knowledge, in the form of papyrus from Egypt. The Mycenaeans in mainland Greece, along with earthquakes that destroyed a number of the buildings on Crete, contributed to the fall of the Minoan civilization and alongside the Hittites, Assyrians, Egyptians, and Babylonians, we got the rise of the first mainland European empire: Mycenaean Greece. Sparta would rise, Athens, Corinth, Thebes. After conquering Troy in the Trojan War the empire went into decline with the Bronze Age collapse. We can read about the war in the Iliad and the return home in the Odyssey, written by Homer nearly 400 years later.  The Bronze Age ended in around 1,200 BCE - as various early empires outgrew the ability to rule ancient metropolises and lands effectively, as climate change forced increasingly urbanized centers to de-urbanize, as the source of tin dried up, and as smaller empires banded together to attack larger empires. Many of these empires became dependent on trade. Trade spread ideas and technology and science. But tribalism and warfare disrupted trade routes and fractured societies. We had to get better at re-using copper to build new things. The fall of cultures caused refugees, as we see today. It's likely a conflagration of changing cultures and what we now call Sea People caused the collapse. These Sea People include refugees, foreign warlords, and mercenaries used by existing empires. These could have been the former Philistines, Minoans, warriors coming down from the Black Sea, the Italians, people escaping a famine on the Anatolian peninsula, the Mycenaeans as they fled the Dorian invasion, Sardinians, Sicilians, or even Hittites after the fall of that empire. The likely story is a little bit of each of these. But the Neo-Assyrians were weakened in order to take Mesopotamia and then the Neo-Babylonians were. And finally the Persian Empire would ultimately be the biggest winners. But at the end of the Bronze Age, we had all the components for the birth of the Iron Age. Humans had writing, were formally educating our young, we'd codified laws, we mined, we had metallurgy, we tamed nature with animal husbandry, we developed dense agriculture, we architected, we warred, we destroyed, we rebuilt, we healed, and we began to explain the universe. We started to harness multiple of the six simple machines to do something more in the world. We had epics that taught the next generation to identify places in the stars and pass on important knowledge to the next generation.  And precision was becoming more important. Like being able to predict an eclipse. This led Chaldean astronomers to establish Saros, a period of 223 synodic months to predict the eclipse cycle. And instead of humans computing those times, within just a few hundred years, Archimedes would document the use of and begin putting math behind many of the six simple devices so we could take interdisciplinary approaches to leveraging compound and complex machines to build devices like the Antikythera mechanism. We were computing.  We also see that precision in the way buildings were created.  After the collapse of the Bronze Age there would be a time of strife. Warfare, famines, disrupted trade. The great works of the Pharaohs, Mycenaeans and other world powers of the time would be put on hold until a new world order started to form. As those empires grew, the impacts would be lasting and the reach would be greater than ever.  We'll add a link to the episode that looks at these, taking us from the Bronze Age to antiquity. But humanity slowly woke up to proto-technology. And certain aspects of our lives have been inherited over so many generations from then. 

Ziggurats, Cultists, Beholders, oh my! Even the treasure turns dangerous when someone picks up magical deck of cards.   Watch the Realms of Ukodor Live Wednesdays at 6:30 pm PT on https://twitch.com/fabled42 You can find us on your favorite podcasting app as 'The Fabled42 network'   Support the stream by checking out our Patreon here: https://www.patreon.com/fabled42   Follow Us! Website: https://www.fabled42.com/ Facebook: https://www.facebook.com/TheFabled42/ Twitter: https://twitter.com/fabled42 Instagram: https://www.instagram.com/fabled42/ Discord: https://discord.gg/a9ZFQyh Twitch: https://twitch.com/fabled42   Watch the VOD: https://youtu.be/8FYmoDYKPKQ

In this episode we bring together a few topics we've covered before--Ziggurats, Power Religion, and Egyptian beliefs--as we consider the great pyramids. It's still a mystery how exactly the pyramids were built, but we're busy with a different question: Why? This Episode Features: Moderately Intentional Puns; A Man In Black (Not); Because It's There; The Winchester Mystery House; Follow The Money; Spoiled Magician Shows; and Okay, Javert. Transcript: https://bit.ly/3eFC3ZV-htz-26 Links: Chariots of the Gods - Erich von Daniken: https://amzn.to/3i54IcV Wally T. Wallington's Backyard Stonehenge: https://www.youtube.com/watch?v=-K7q20VzwVs The Riddle of the Pyramids - Kurt Mendelssohn: https://amzn.to/385JreT 1984 - George Orwell: https://amzn.to/3fZ58Qr Fahrenheit 451 - Ray Bradbury: https://amzn.to/2YD6hHv Brave New World - Aldous Huxley: https://amzn.to/2BFaHET The Gulag Archipelago - Alexandr Solzhenitsyn: https://amzn.to/382QkgK Recos: Moses and Pharaoh - Gary North: https://amzn.to/3g6Kk9L Good Omens - Terry Pratchett and Neil Gaiman: https://amzn.to/31lWbwk Jane Eyre - Charlotte Bronte: https://amzn.to/3igdxku --- Support this podcast: https://anchor.fm/haltingtowardzion/support

Nimrod was from the land of Shinar. These people were known as the Sumerians. The Sumerians became the Babylonians. Nimrod built the tower of Babel. Nimrod means ‘to rebel’. Babylon means ‘to mix’. The Babylonians worshipped many gods. Among the gods were the sun god, Ishtar the goddess of love and the chief god was Marduk which is another name for Baal. There was a temple to the chief god. Priests were religious leaders and there were sacred festivals. Ziggurats were altars to ascend to the temple of the city god. In the Babylonian mystery religions (the worship of Baal), the high priest was considered a representative of god. He was considered a king-priest. After Babylon fell in the days of King Nebuchadnezzar, the Babylonian priests and worship system moved to Alexandria, Egypt and also to Pergamos in present day Turkey. Yeshua called Pergamos the seat of Satan. Are these teachings a blessing to you? Please make a donation: http://www.hebrootsradio.com/give/ For more Eddie Chumney teachings and beautiful worship music, visit us at our internet streaming radio station http://hebrootsradio.com/. Please visit our home page at: http://hebroots.org/

Welcome to the Episode 37 of the Tipsy Timeline! Have you ever wondered where hard apple cider come from? Well in today's episode we'll discuss the fascinating history (and biology!) of hard ciders and how they came to be so popular!

""The future is ziggurats," Samyazaz was telling Ut-Naparash as they walked up the Great Stair. "In a hundred years, nobody’s going to remember pyramids. Pyramids are a flash in the pan. Ziggurats are for the ages."" The original text is here: http://unsongbook.com/chapter-20-when-the-stars-threw-down-their-spears/ The three sections of this chapter are recorded as 3 individual episodes, of which this is the second. Episode 35 Duration: 18:53 Please back my Patreon, so I can keep producing episodes weekly: https://www.patreon.com/unsongaudiobook

The boundary of an area (city) was seen as the place of authority of the diety of that region. The gates of a city were seen as crossing the threshold into the area of the diety of that region. When you entered into the gates of a city, you were expected to show respect and / or worship the diety of that city. Ziggurats were altars to ascend to the temple of the city god. Babylon worshipped Baal and Ishtar. The sins of Solomon were that he worshipped Baal and Ishtar. There was Baal, Asherah and Ishtar worship in Canaan. Asherah is associated with Baal worship: they go together hand in hand. Ahab and Jezebel led the nation into Baal and Asherah worship: And he reared up an altar for Baal in the house of Baal, which he had built in Samaria.And Ahab made a grove … 1 Kings 16:32-33 Baal and Ishtar were the gods of war, weather, love / sexuality and agriculture.Baal worship is associated with stone or sun pillars. An obelisk is a stone pillar. They are male phallic symbols.Fire and human sacrifice are two elements of Baal worship. Ishtar worship is associated with an ‘asherah’ which is a tree, pole or an idol of a female goddess. An ‘asherah’ is a female phallic symbol. Ishtar worship is associated with illicit sexual behavior including adultery, fornication and prostitution. The children of Israel were commanded to not make any stone pillars or set up an ‘asherah’. Elements of the worship of Baal and Ishtar worship got incorporated into Christianity through the Catholic church. The children of Israel were commanded to destroy any element of Baal and Ishtar worship within their culture.Yeshua will judge the gods of Egypt and Babylon. The worship of Baal and Ishtar will be destroyed in Yeshua’s Kingdom For more Eddie Chumney teachings and beautiful worship music, visit us at our internet streaming radio station www.hebrootsradio.com. Please visit our home page at: http://hebroots.org/

Jacob and Aaron unpack the readings for the Day of Pentecost, which are Genesis 11:1-9, Acts 2:1-21, and John 14:8-17.

When "the devil" starts dropping bangers on an entire planet, it's up to Captain Picard to help fiddle their way out of a terrible contract. Unfortunately, his attire is completely inappropriate for the occasion. How many ziggurats are right for an agrarian society? Can an android get his tongue stuck on a frozen flagpole? Who's got Uri Geller vibes? It's the episode where the hosts go "fully-biblical"!

"Star Wars: Rogue One" trailer analysis - Nope, Jason, John, Serenity, and Dan aren’t going to analyze the trailer for “Star Wars: Rogue One.” It’s not going to happen. It would take rebel podcasters, striking from a hidden studio, to bring this podcast to its knees… Host Antony Johnston with Lizbeth Myles, Chip Sudderth and Moisés Chiullan.

"The Tower of Babel and New Languages." That's the title of today's episode, which has Genesis 11:1-9 as its main text. In today's study, we look at this classic story of God confusing the languages of mankind and the resultant spreading out of the people. We also consider the classic evolutionary model proposed to explain the origin of language and how that model is falling into disfavor because of its inadequacies to account for the most recent conclusions.

Live from the Comedy Theatre de Nes in Amsterdam, Greg covers canals, coffee shops and cobblestones.

'Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss' is the title of each of two works, one painting and one floor installation. It is not uncommon for Kiefer to use the same titles again and again. This is because of his sustained commitment to certain themes that he pursues over many years. These two works represent two such themes in Kiefer's development and although they look very different as objects they are two sides of one key idea in his mature work. The horizon in Kiefer's work is always more than a landscape feature, it is highly charged symbolically. 'Glaube, Hoffnung, Liebe' 1984-86 in the Gallery's collection includes a propeller which has the potential to fly over the horizon transcending the boundary between heaven and earth. In many of Kiefer's paintings and sculptures there are ladders, wings, rockets, Ziggurats, snakes and rainbows that all in some way suggest the idea of transcendence. The broken stairs in this work correspond to the broken propeller suggesting the dream of climbing above the horizon and yet it is a dream that is doomed to fail. This ambivalence towards transcendental aspiration is common to much art of the late twentieth century. For example Ken Unsworth's sculpture 'Rapture' 1994 in the Gallery's collection takes the form of a stairway to heaven frustrated when the stairs made of the keyboards of a grand piano arrive at the body of the piano which is stuffed with straw and will never sound the music of the spheres. The floor installation belongs to a body of works that reverse the passage between heaven and the earth. This is often represented by emanations from above sometimes in the form of poured lead attached to a painting or hanging in space like the finger of God. Many of Kiefer's recent works have more to do with the stars which according to the 16th century philosopher Robert Fludd each have their equivalent in a flower on the earth. Here we see a pile of glass plates that have fallen as a shower over piles of human hair (material human presence). Inscribed with one of 9000 star numbers, each piece of glass represents a heavenly intervention or emanation. Human hair is woven throughout the glass in a reference to the Egyptian Queen Berenice, who often appears in Kiefer’s works in the form of long locks of hair. Berenice was famous for her beauty and as an offering to the gods to bring her husband safely back from war, she cut her tresses and placed them on the temple altar. The Gods were so pleased with the offering that they took the hair into the sky where it became the constellation Coma Berenices (Berenice’s hair). The constellation of Coma Berenices is centred between Canes Venatici to the north, Virgo to the south, Bootes on the east and Leo on the west border. The following text is taken from the 2005 exhibition literature when these works were first shown in London: Kiefer's elegiac oeuvre is based on a vast system of themes and references relating to the human condition, explored through a highly emotive use of material and medium. In his muscular artistic language, physical materiality and visual complexity are equal to the content itself, which ranges over sources as diverse as Teutonic mythology and history, alchemy, apocalypse, and belief. As corollary to this breadth of content, Kiefer employs an almost bewildering variety of materials including - in addition to the thick oil paint that is the base of all his large-scale works - dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding 'real' materials to the illusionistic painted surface of his gigantic tableaux, he has invented a compelling 'third space' between painting and sculpture. Few contemporary artists match Kiefer's epic reach; the provocative and paradoxical nature of his work suggests that he embraces the notion of the modern artist who stands resolutely outside society, flaunting its histories, its taboos and its myths. By assimilating and utilizing the conventions and traditions of history painting, he goes beyond them, mingling viewpoints and presenting contradictory interpretations while emulating the genre's grandiloquence. Anselm Kiefer was born in 1945 in Donaueschingen. As a young artist in a Germany reeling from the after-shocks of the Second World War, he opted for a thoroughly and obviously indigenous art, of native subjects, values and symbols that contended with the fraught territory of German history and identity. In the late 1970s he started to make large, highly worked books that began with photographs staged in his studio, gradually gaining body through the application of lead, paint and other collage elements. These impressive objects indicated the way to the complex, process-oriented works of his mature period. In 1991 Kiefer left Germany, eventually settling in the south of France. In the same year he made an exhibition of paintings stacked randomly on top of each other as if discarded. This led to a hiatus in his art production that lasted more than three years. After this he began making new work with a wholly new subject matter, themes and references, dealing with central spiritual and philosophical concerns of our time. Over the past four decades, Kiefer has exhibited his work extensively throughout the world and is included in the world's most prestigious public and private collections.

'Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss' is the title of each of two works, one painting and one floor installation. It is not uncommon for Kiefer to use the same titles again and again. This is because of his sustained commitment to certain themes that he pursues over many years. These two works represent two such themes in Kiefer's development and although they look very different as objects they are two sides of one key idea in his mature work. The horizon in Kiefer's work is always more than a landscape feature, it is highly charged symbolically. 'Glaube, Hoffnung, Liebe' 1984-86 in the Gallery's collection includes a propeller which has the potential to fly over the horizon transcending the boundary between heaven and earth. In many of Kiefer's paintings and sculptures there are ladders, wings, rockets, Ziggurats, snakes and rainbows that all in some way suggest the idea of transcendence. The broken stairs in 'Von den Verlorenen gerührt...' correspond to the broken propeller suggesting the dream of climbing above the horizon and yet it is a dream that is doomed to fail. This ambivalence towards transcendental aspiration is common to much art of the late twentieth century. For example Ken Unsworth's sculpture 'Rapture' 1994 in the Gallery's collection takes the form of a stairway to heaven frustrated when the stairs made of the keyboards of a grand piano arrive at the body of the piano which is stuffed with straw and will never sound the music of the spheres. The floor installation belongs to a body of works that reverse the passage between heaven and the earth. This is often represented by emanations from above sometimes in the form of poured lead attached to a painting or hanging in space like the finger of God. Many of Kiefer's recent works have more to do with the stars which according to the 16th century philosopher Robert Fludd each have their equivalent in a flower on the earth. Here we see a pile of glass plates that have fallen as a shower over piles of human hair (material human presence). Inscribed with one of 9000 star numbers, each piece of glass represents a heavenly intervention or emanation. Human hair is woven throughout the glass in a reference to the Egyptian Queen Berenice, who often appears in Kiefer’s works in the form of long locks of hair. Berenice was famous for her beauty and as an offering to the gods to bring her husband safely back from war, she cut her tresses and placed them on the temple altar. The Gods were so pleased with the offering that they took the hair into the sky where it became the constellation Coma Berenices (Berenice’s hair). The constellation of Coma Berenices is centred between Canes Venatici to the north, Virgo to the south, Bootes on the east and Leo on the west border. The following text is taken from the 2005 exhibition literature when these works were first shown in London: Kiefer's elegiac oeuvre is based on a vast system of themes and references relating to the human condition, explored through a highly emotive use of material and medium. In his muscular artistic language, physical materiality and visual complexity are equal to the content itself, which ranges over sources as diverse as Teutonic mythology and history, alchemy, apocalypse, and belief. As corollary to this breadth of content, Kiefer employs an almost bewildering variety of materials including - in addition to the thick oil paint that is the base of all his large-scale works - dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding 'real' materials to the illusionistic painted surface of his gigantic tableaux, he has invented a compelling 'third space' between painting and sculpture. Few contemporary artists match Kiefer's epic reach; the provocative and paradoxical nature of his work suggests that he embraces the notion of the modern artist who stands resolutely outside society, flaunting its histories, its taboos and its myths. By assimilating and utilizing the conventions and traditions of history painting, he goes beyond them, mingling viewpoints and presenting contradictory interpretations while emulating the genre's grandiloquence. Anselm Kiefer was born in 1945 in Donaueschingen. As a young artist in a Germany reeling from the after-shocks of the Second World War, he opted for a thoroughly and obviously indigenous art, of native subjects, values and symbols that contended with the fraught territory of German history and identity. In the late 1970s he started to make large, highly worked books that began with photographs staged in his studio, gradually gaining body through the application of lead, paint and other collage elements. These impressive objects indicated the way to the complex, process-oriented works of his mature period. In 1991 Kiefer left Germany, eventually settling in the south of France. In the same year he made an exhibition of paintings stacked randomly on top of each other as if discarded. This led to a hiatus in his art production that lasted more than three years. After this he began making new work with a wholly new subject matter, themes and references, dealing with central spiritual and philosophical concerns of our time. Over the past four decades, Kiefer has exhibited his work extensively throughout the world and is included in the world's most prestigious public and private collections.

'Von den Verlorenen gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss' is the title of each of two works, one painting and one floor installation. It is not uncommon for Kiefer to use the same titles again and again. This is because of his sustained commitment to certain themes that he pursues over many years. These two works represent two such themes in Kiefer's development and although they look very different as objects they are two sides of one key idea in his mature work. The horizon in Kiefer's work is always more than a landscape feature, it is highly charged symbolically. 'Glaube, Hoffnung, Liebe' 1984-86 in the Gallery's collection includes a propeller which has the potential to fly over the horizon transcending the boundary between heaven and earth. In many of Kiefer's paintings and sculptures there are ladders, wings, rockets, Ziggurats, snakes and rainbows that all in some way suggest the idea of transcendence. The broken stairs in 'Von den Verlorenen gerührt...' correspond to the broken propeller suggesting the dream of climbing above the horizon and yet it is a dream that is doomed to fail. This ambivalence towards transcendental aspiration is common to much art of the late twentieth century. For example Ken Unsworth's sculpture 'Rapture' 1994 in the Gallery's collection takes the form of a stairway to heaven frustrated when the stairs made of the keyboards of a grand piano arrive at the body of the piano which is stuffed with straw and will never sound the music of the spheres. The floor installation belongs to a body of works that reverse the passage between heaven and the earth. This is often represented by emanations from above sometimes in the form of poured lead attached to a painting or hanging in space like the finger of God. Many of Kiefer's recent works have more to do with the stars which according to the 16th century philosopher Robert Fludd each have their equivalent in a flower on the earth. Here we see a pile of glass plates that have fallen as a shower over piles of human hair (material human presence). Inscribed with one of 9000 star numbers, each piece of glass represents a heavenly intervention or emanation. Human hair is woven throughout the glass in a reference to the Egyptian Queen Berenice, who often appears in Kiefer’s works in the form of long locks of hair. Berenice was famous for her beauty and as an offering to the gods to bring her husband safely back from war, she cut her tresses and placed them on the temple altar. The Gods were so pleased with the offering that they took the hair into the sky where it became the constellation Coma Berenices (Berenice’s hair). The constellation of Coma Berenices is centred between Canes Venatici to the north, Virgo to the south, Bootes on the east and Leo on the west border. The following text is taken from the 2005 exhibition literature when these works were first shown in London: Kiefer's elegiac oeuvre is based on a vast system of themes and references relating to the human condition, explored through a highly emotive use of material and medium. In his muscular artistic language, physical materiality and visual complexity are equal to the content itself, which ranges over sources as diverse as Teutonic mythology and history, alchemy, apocalypse, and belief. As corollary to this breadth of content, Kiefer employs an almost bewildering variety of materials including - in addition to the thick oil paint that is the base of all his large-scale works - dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material. By adding 'real' materials to the illusionistic painted surface of his gigantic tableaux, he has invented a compelling 'third space' between painting and sculpture. Few contemporary artists match Kiefer's epic reach; the provocative and paradoxical nature of his work suggests that he embraces the notion of the modern artist who stands resolutely outside society, flaunting its histories, its taboos and its myths. By assimilating and utilizing the conventions and traditions of history painting, he goes beyond them, mingling viewpoints and presenting contradictory interpretations while emulating the genre's grandiloquence. Anselm Kiefer was born in 1945 in Donaueschingen. As a young artist in a Germany reeling from the after-shocks of the Second World War, he opted for a thoroughly and obviously indigenous art, of native subjects, values and symbols that contended with the fraught territory of German history and identity. In the late 1970s he started to make large, highly worked books that began with photographs staged in his studio, gradually gaining body through the application of lead, paint and other collage elements. These impressive objects indicated the way to the complex, process-oriented works of his mature period. In 1991 Kiefer left Germany, eventually settling in the south of France. In the same year he made an exhibition of paintings stacked randomly on top of each other as if discarded. This led to a hiatus in his art production that lasted more than three years. After this he began making new work with a wholly new subject matter, themes and references, dealing with central spiritual and philosophical concerns of our time. Over the past four decades, Kiefer has exhibited his work extensively throughout the world and is included in the world's most prestigious public and private collections.