#childish cosmology Tumblr posts

  • alana-k-asby
    14.10.2021 - 1 week ago

    My daughter's rather feral cosmology:

    "I think turtles are God's apprentices.

    They have long life-spans like him. And they take things slow and have good judgment, so he can trust them. They don't really smile a lot, so you have to earn their smiles. They are very serious."

    I asked her, "What makes you think you have to earn God's smile?"

    She showed me a pleasant-looking facial expression and said, "Most of the time God's face is like this. If he smiles at you, that means you are doing really, really well."

    She went on to describe the turtle's corner in Heaven, which sounds very wet, but rather lovely.

    #children#child wisdom #the mouths of babes #childish cosmology #the wisdom of children #childish wisdom #sayings of children #kids#turtles #kids and animals #animals and kid #animals and children #cosmology#God #children and animals #stories#childrens stories
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  • jessiejack
    14.09.2021 - 1 mont ago

    Ancestral crime, generational curse. Does not stop until there has been a ritual cleansing

    Jessica Ullevålseter sept. 2021 We have come here to heal the broken bonds and our motherwound, as ancestral orphans. The high priestess was burned and her children scattered; symbolic order that establish reality. We are left on our own without understanding the identities we sustain. Father, what happened to mother? Scientists' world view is dominant and the spiritual contexts of our political landscapes are fundamental.

    We regard the many approaches to myth throughout history to have proven to be projections of the current moments paradigme. The mythological landscape sustained by the collective through various rites, ranging from the courtrooms to the temples, decides how we react to reality. We encounter dimensions such as the past, identity politics, health, nature and everything that interacts in culture through a specific lens conditioned by the dreamspell we sustain. We normally identify the word ritual with spirituality, but in a broader sense, we call ritual anything that symbolically embodies an intention, through hierarchical structures that bring order and direction to itself.

    The mythological landscape is the dreamspell we knit together rhizomatically and the space we performatively give reverence and signifier to through ritual. This is how ritual and myth belongs together. Where are the mythogonies of today? There is a myth of separation and there are stories of pandemics. There are rituals of fear and there are ceremonies of war. There is a myth that the earth does not communicate. Another myth is that there is no invisible reality, even though human species are aware they cannot see the magnetic field or even the trees' growth. We are yet to know the mysteries of our own bodies. Many of these myths originated in the midst of a scientific search, expressed in reductionism.

    The ancient Greeks coded myth into analogues and named it logic. As we approach life inductively, the union contains it all. Analogues braids the web of totality,- able to sustain polarity, cause and effect, even degradation and rot within life.

    The illustration looked at myth through the peoples they called “savages” to try and understand the ancient mind. We could argue we live in a culture with deep roots in the illustration. Tables were turning as time and matter were seen differently. The famous quarrel of the moderns and the ancient was a call to question the ancients´ authority, whom through history have been praised and honoured. Allegories was now a childish character, while deduction triumphed.

    The conclusion of the enlightenment was that of myths being childish absurdities. The ancient men of a golden past were reduced to children as other cultures were savage and folk medicine reduced to witchcraft.

    The “savages” of the enlightenment could not only have been found in faraway cultures; the old pagan religion was still alive with its folkloric medicinal practice, word-magic and aetiological stories. But the holistic practitioners of Europe were killed and eliminated. A rhizomatic choir fomented the mythological landscape of the enlightenment: a self hatred that averted and violated one's own ancestral roots, in the name of the "correct truths".

    The political landscape changed dramatically throughout Europe, after the release of the book the Witch Hammer,- a book that prophesied bonfires,torture and public executions, the very rite of passage that created the contemporary image of the witch. Only tortured does she exist. The peoples of europe sustained her myth through rites of exorcism: embodying and performatively signifying diabolism - a refound image of the devil that would justify the natural woman's relation to nature as evil: a myth seeded from the church through missionary work with their detailed torture techniques that would provide "scientific proof" of pacts with the devil .

    The mythological landscape conditions our ability to react. The deep structures of myth reveal codes; sociological, cosmological or nationalist and many more codes that condition our moral and guidance. How we react to the various challenges of today is dependent on the myths we sustain collectively. The artist does not react to reality, but creates their own. Thus seeds new imaginaries into existence. Similarly, the healer does the same as she seeds an image of health onto the patient. As the collective sustains ritual that verifies the common myth, the artist and healer teaches rituals to embody the new paradigms. The make-real in the performatic act is the ritual that seeds new pathways.

    The ancient Greeks called remembrance mnemonic art. To drink of the nectar, to acquire divine memory- opposed to drinking of the river of Lethe- of forgetfulness, such as forgetting one's history. Through mileena, the origin of time was sacred. Something shifted, as we rather look towards a promised future, we forget our birth and the womb, that becomes the motherwound. How do we heal, mother? How do we heal mother?

    And where do we look, to which trails and what archetypes can we lean on? What myths will create new imaginaries towards the balance between the nature of things?

    The analogue mind understands these new relations. The heart of the ritual. The ritual dimension sustains the myth of the archetypal beyond the present moment and beyond human.

    Venn, hva, vann, hva vil du si ? Jeg kaller deg venn, vann. Water, what, water, what way? Water I call you, warm, I call you, River-mother.

    Has time matured to yet again consider sacred relations?

    The ritual recreates an a-temporal dimension and reverence to the all-inclusive present moment.

    The analogue mind traces back to its origin, like a geomantic pattern, that the shaman, the artist, the child and the natural man and woman can read. The answers to today's problematic situations may not lie in a debate about risks of living or survival, but in an unrelated book, in a completely other way of Seeing Life.

    There is only one sacred book, that of the ever expansive nature and its deeply embedded code of union, which is found within its inherent spiraled structures, for the one who can See.

    We seek to see- through play with plants, prayer, circular techniques and archival research. With great care for the questions, the subtle and the symbolic reality in channeling new ways of communication. By no means we mean religion in the sense of its institutions. While the planet hunger for reunion, religion-reconnection should be used in its actual meaning. The deeper code of the sacred space is union. As we construct our mythological landscape, we move through a common ground, a third space- elevated as a sacred mountain. The ritual and the performative act is the make-real of the invisible mountain.

    Together we initiate us into an ideal landscape, we baptize us in its waters. We reconstruct symbolic order with the intention of hacking the institutions that need profound cleansing and relational reordering. Cleansing is a subtle art and art is central in the psycho-magical act.

    We have come here to heal the evil-eye onto pantheistic practice, the oneness of the ecosystem. We aspire a golden relation to existence, the legacy of a golden past; our birth. In memory of the water; a circular dimension, how we handle our past- is our future.

    We have come here to weave new praxises for the sustenance of a new mythological landscape that sustains the code of oneness. Our universe is retracting as we become One planet by globalization. The collective is only in the totality of all collectives; mineral, human, animal, spiritual, vegetal, the visible and the invisible. Our motherwound is healed by drawing the circle. The choir is joining.We call them to us. We call you.

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  • thebellflower
    14.09.2021 - 1 mont ago

    MWS: The Kingdoms

    For those of y'all who don't know about Men with Sword, don't worry, I'm here to help! This post is dedicated to letting y'all know about the settings, which are the kingdoms in this case, in MWS.

    The drama takes place in an empire in China called Juntian 钧天, which means zenith, the center of the sky. The site I used as a resource is here, it's really good. I learned things I never knew.

    Back to topic, every empire has an emperor and in this case, the emperor was called Qikun. He ruled the empire until the dukes of their respective regions demanded independence as their own kingdom. The kingdoms were called as the following:

    Tianquan 天权 (north), Tianxuan 天璇 (south), Tianshu 天枢 (east), and Tianji 天玑 (west). There is also one more major kingdom called Nansu 遖宿, which according to user 'siumerghe', it's also in the south. Though the exact locations of the kingdoms aren't like what I just mentioned, this is according to their names in cosmology. Tianquan is actually in the west, Tianxuan in the southwestern, Tianshu in the north, and Tianji in the southeast. There are also smaller kingdoms which are called vassal states, meaning the territory under the control of another.

    Tianquan 天权, meaning the star Megrez, was the first established kingdom to have independence in the northern regions. The kingdom has an abundant amount of resources and wealth, despite their lack of socialization beyond their natural barrier, the Yuzhao Mountains. The current ruling king is Zhi Ming, a childish and fun-loving person. Although he is idiotic at times, he came to his senses at the end.

    There will be another post talking about the kings and their close subjects because if I try fitting it here, this will be a never-ending post. Look out for it!

    Moving on! Tianxuan 天璇, meaning the star Merak, was the next established kingdom with the desire for power in the southern regions. It has been cultivating new lands and taking over more territory to grow stronger. This is the kingdom that was brave enough to attack the vassal state Yaoguang 瑶光 under the control of Juntian, and take it as their own. The ruling king was Ling Guang, a power-hungry and ambitious person. He sent his best friend, Qiu Zhen, to assassinate the emperor, and later committed suicide. Ling Guang was depressed and apathetic until the end of season 1.

    Tianshu 天枢, meaning the star Dubhe, was the following established kingdom breeding superior horses and elite forces in the eastern borders. The kingdom is skilled in constructing buildings and/or machines, hence the Palace Academy, and has a fairly large amount of military strength. The ruling king was Meng Zhang, a somewhat young, dependent but capable person. He took over the throne from the previous king at a fairly young age.

    Tianji 天玑, meaning the star Phekda, was the last kingdom to be independent and wasn't until numerous years after Juntian's fall. The kingdom is a believer in astronomy and reads the stars for omens in the western regions. They are also highly agricultural. The ruling king was Jian Bin, (honestly, I don't know how to describe this guy, so forgive me if I'm wrong) originally a duke of Tianji, and later rose to power as the king.

    Nansu 遖宿, referring to Ursa Minor and Nandou, the Southern Dipper, is a hidden kingdom due to its location outside the Central Plains. Nansu is located beyond the Western side of the Yuezhi Mountains and south of the Yulan River. When the kingdom came to view, its power wasn't to be underestimated. The military strength can be easily compared to that of Tianxuan. Nansu is a foreign territory as they didn't follow the Juntian traditions and customs like the rest. The ruling king was Yu Qing, who wants to encroach (invade) the Central Plains and become the sole ruler of the world.

    Those are the major kingdoms of Juntian, whereas there are also minor kingdoms or vassal states such as Yaoguang 瑶光, Kaiyang 开阳, and Liuli.

    Yaoguang 瑶光, meaning the star Alkaid, a vassal state under the governance of Juntian, was tasked with the production of gold. It was later taken over by Tianxuan, thus becoming the vassal state of Tianxuan. There is no ruling king at the time, but later in season 2, the current ruling king is Murong Li, a cunning and manipulative person. He is a beauty, a strength that's being enhanced to control useful chess pieces to the road to success.

    Kaiyang 开阳, meaning the star Mizar, a vassal state under Tianshu, was hidden until their grand scheme was revealed. It was a silent and small kingdom, ruled over by a fairly smart king. The current ruling king is Zuo Yi, a person with tricks up his sleeves. On his side, he's got a winning weapon called the falcons, which helps them attack from the sky, and a mechanical genius.

    Liuli, on the other hand, is only the name of a small vassal state that a character in season 2 comes from. Not much is known about it, except for their distinguished style of clothing and bright green color.

    Here we are! We reached the end of the post talking about the kingdoms in MWS. Let me know what y'all think in the comments, if you have any suggestions, go right on ahead! Peace!

    #mws #men with sword #the kingdoms #i actually had to do research for this #omg i hope this was helpful
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  • mynumberfivethings
    11.01.2021 - 9 monts ago
    #ask#answered#long post#tua #the umbrella academy #little!five #five is a little #littles exists in this AU #also ben is very much alive #bc i love him #ben hargreeves#five hargreeves#number five#hargreeves family#hargreeves siblings#vanya hargreeves
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  • madeleineovendenccc
    19.10.2020 - 1 year ago


    Māori relied on their precise cosmological knowledge to navigate their travels, tell time, plant food and harvest kaimoana. With the arrival of Europeans, most of this knowledge was lost or misinterpreted in Western society. Indigenous views of their relationship to the natural world seem to be more natural and organic, the way that they plant and harvest is in a way that doesn't damage the planet like western society does with overplanting and genetically modifying, it is also is a guide to help with the moon phases which are important when it comes to fishing, swimming and any ocean activities as gravity pulls on the ocean.

    Māori used the stars to determine the season and time by viewing the different stars that rose in the morning just before Rā rose (the sun). The science behind the knowledge and ways was that stars rise 4 minutes earlier every day, so the star that sits on the horizon lets you know what season it is. In winter, Takurua, which is the equivalent of July and the brightest star, will be the star that comes up just before the Sun, and in the summer, it's Rehua (Douglas) which is equivalent to January. 

    The Māori used the moon to let you know what events could take place, such as fishing, planting or sowing. When Māori arrived in New Zealand they found the land/ soil was a lot different to the land in Polynesia, so they adapted their soil to help grow their kūmara, adding sand or stones, they did trials and experiments of this until they found the perfect balance especially for the kūmara, a lot of the plants they bought with them couldn't survive the cooler climate.

    Māori cosmology has a solid connection with the planting and harvesting of crops. The full moon is when different iwi planted crops because the Moon was thought to draw water nearer the surface, and when the seedling went into the ground (Douglas), they would suck up that water faster than any other time so their plants would do better. 

    Ralph Hotere and Bill Culbert with Blackwater, 1999

    The English name for Matariki is the Pleiades, the seven sisters in Greco-Roman World, in Hotere and Culbert's work they use the light or 'little eyes' to texture the darkness to provide knowledge of navigation and also what they are yet to see. In the Māori tradition, black is transitional: te kore, the void, becomes te pō, the night followed inexorably by dawn (Bohemen).

    "When Ranginui, the sky father, and Papatūānuku, the earth mother, were separated from their dark embrace by Tāne, Tāwhirimātea was distraught. He tore out his eyes, crushed them into pieces and stuck them onto the chest of the sky. This is why Tāwhirimātea is the blind god, feeling his way around the sky and bringing winds from different directions." (Matamua). Māori look to Matariki to determine what will come in the year, its read in combinations so the brightness of certain stars with others will tell you how well your crops will do or if the fishing will be good. Matariki is the Māori name for the cluster of stars that signify the start of the new year, each Iwi and Hapū have different iterations of the story behind Matariki, so the names and spelling of the stars differ depending on who you hear it from.

    Māori Tradition follows a lunar calendar rather than a western calendar which is 12 months, usually the gregorian calendar. When it came to navigation, it required complete familiarity with the stars, the sun and the moon. When travelling so far in vast oceans, the Māori started to learn more about currents, clouds, waves and migration of wildlife. Its thought that Māori navigation slowly became less used once arrived into New Zealand, and possibly lay dormant for a thousand years because once in New Zealand, the main focus when from navigation to exploration to the new land. Eventually, the most knowledgeable experts on navigation would have passed away and slowly, knowledge was lost. The revitalisation of Oceanic navigation happened in the '80s started by hector busby, and it was saved from extinction by Mau Pialug who was from a long line on master navigators who had persevered their knowledge and continued to pass it on. "The great knowledge of the stars they possessed enabled them to guide their vessels from end to end of the pacific" - Smith (28). On long voyages Māori carried on their wakas with them two expert star-gazers who were men versed in the lore of Tātai Arorangi, they watched the stars in the night to direct the waka and be able to foretell weather conditions. Māori believe that the credit in these voyages lies with the gods, though, they were guided and kept safe. (Best)

    Like Aboriginals, Bruce Pascoe states, Māori were looked at as just hunters and gatherers, the term being tattooed with unworthiness. Māori were the first agriculturalist, scientists and navigators of New Zealand, with their ingenuity being disregarded. Western constructs of nature have led to the almost near exclusion of indigenous cosmologies and have finally begun to be revitalised with the help of Matariki becoming such a big event in New Zealand now. In the mid-1700s, much of the Māori cosmology information was lost or retold as Myth or stories – deeming it to be untrue and disregarding it as childish and also denied as the science that it is. Matariki is the abbreviation of 'Ngā Mata o te Ariki' which translates as 'The Eyes of God' - Tāwhirimātea, is the god of the winds and weather feeling his way around the sky (Merton) 

    The tohunga kokorangi and tohunga tatai arorangi - the teachers and specials of Māori cosmological knowledge, were taught the more in-depth information and were in charge of looking after it and using it responsibly because knowledge is power. Māori were always careful about who they shared certain information with so it wouldn't be used in the wrong way or abused, so a lot of the knowledge has been lost - Māori are now coming together to uncover past Māori science which they are finding in many art forms like carvings and waiata. Māori look at the stars in a more spiritual way as well, deriving omens from some. Stars close to the moon was always cause for curiosity. They studied intently, if a star was near the cusp of the crescent moon it was meant that there was an enemy force quickly approaching, so Māori would be extra cautious around their Whenua. The sighting of Matariki is now a celebration of remembrance and fertility, but it was once welcomed with grief, some said that the stars housed those departed from the earth that year. They say that Taramainuku casts his net down from the sky every night to collect the souls that were lost that day, carrying them with him alongside his waka for eleven months until May when the constellation sets and he goes into the underworld and emerges a month later in June when the constellation rises to release the souls into the night to become stars - Kua Whetūrangihia Koe. 

    Revitalising Māori Astronomy. Edited by Megan Douglas, 31 May 2016, www.sciencelearn.org.nz/resources/1274-revitalising-maori-astronomy.

    Merton, Eleanor. "Matariki and Māori Astronomy with Dr Rangi Matamua." McGuinness Institute, 23 July 2018, www.mcguinnessinstitute.org/foresightnz/matariki-and-maori-astronomy-with-dr-rangi-matamua/.

    Best, Elsdon. "The Astronomical Knowledge of the Māori, Genuine and Empirical" Dominion Museum,

    Bohemen, Catharina van. Matariki: Light and Three Artists. 24 July 2018, www.artzone.co.nz/post/matariki-light-and-three-artists.

    Performance by Bruce Pascoe, A Real History of Aboriginal Australians, the First Agriculturalists, TEDxSydney, 15 June 2018, tedxsydney.com/talk/a-real-history-of-aboriginal-australians-the-first-agriculturalists-bruce-pascoe/.

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