Athanasius Kircher (1602 - 80) stand out as one of the last all-encompassing minds. For this true Renaissance man, the whole world was a glorious appearance of God waiting to be explored. Kircher was a Jesuit and an archeologist, a phenomenal linguist and an avid collector of scientific instruments. He deciphered archaic languages, experimented with alchemy and music therapy, optics and magnetism. Egyptian mystery wisdom, Greek, Cabbalistic and Christian philosophy met on common ground in his work. Kircher's sumptuous volumes were revered throughout Europe, and his gigantic oeuvre is represented here through striking engravings - most of them reprinted for the first time - together with annotations and an introduction to Kircher's life and work.

A scholarly approach to a very intriguing subject, the search for a higher knowledge; as recorded by thinkers during the early Christian era. It reveals the "teaching" behind the Coptic (Egyptian Christian) Gnostic literature in Upper Egypt. Here the "Living Word" as understood by the Coptic thinkers is brought to light, in their explanation of the deeper implications of Light, Church, Female and Male, the Fall and Redemption and the work of Christ.

Hesiod's Cosmos offers a comprehensive interpretation of both the Theogony and the Works and Days and demonstrates how the two Hesiodic poems must be read together as two halves of an integrated whole embracing both the divine and the human cosmos. After first offering a survey of the structure of both poems, Professor Clay reveals their mutually illuminating unity by offering detailed analyses of their respective poems, their teachings on the origins of the human race and the two versions of the Prometheus myth. She then examines the role of human beings in the Theogony and the role of the gods in the Works and Days, as well as the position of the hybrid figures of monsters and heroes within the Hesiodic cosmos and in relation to the Hesiodic Catalogue of Women.

First published in 2004.Athanasius Kircher (1602-1680) -- German Jesuit, occultist, polymath - was one of most curious figures in the history of science. He dabbled in all the mysteries of his time: the heavenly bodies, sound amplification, museology, botany, Asian languages, the pyramids of Egypt -- almost anything incompletely understood. Kircher coined the term electromagnetism, printed Sanskrit for the first time in a Western book, and built a famous museum collection. His wild, beautifully illustrated books are sometimes visionary, frequently wrong, and yet compelling documents in the history of ideas. They are being rediscovered in our own time. This volume contains new essays on Kircher and his world by leading historians and historians of science, including Stephen Jay Gould, Ingrid Rowland, Anthony Grafton, Daniel Stoltzenberg, Paula Findlen, and Barbara Stafford.-

The Edwardian-era Steampunk tale of Great Britain's greatest detective, Sax Raker, whose investigation into a mysterious, vanishing killer threatens to unravel the entire world around him. The year is 1907, and Britain has entered into a terrifying war with Ruritania, whose strange metal planes darken the skies, and whose monstrous war engines cast looming shadows from across the channel. Doctor Robert Watcham, lately returned to London from the front, makes his homecoming to Dilke Street. There lives his old friend and England's greatest amateur detective, Sax Raker. Even as his beloved city prepares for war, Raker is himself about to embark on the strangest (and, perhaps, the most important) investigation of his career: the case of the man who wasn't there. Is the mysterious, vanishing killer, at last, evidence for Raker's long-held belief in a secret criminal mastermind? Is it some apparition uniquely belonging to this city, a place that seems to have lost all semblance of sense two years ago? Or do all the signs point to something much, much worse?

Someone is spray-painting graffiti all over Cedar Valley and it is up to fifth-grader Nolan Byrd, also known as Shredderman, to expose the vandal.

In this fascinating book, the author traces the careers, ideas, discoveries, and inventions of two renowned scientists, Athanasius Kircher and Galileo Galilei, one a Jesuit, the other a sincere man of faith whose relations with the Jesuits deteriorated badly. The Author documents Kircher’s often intuitive work in many areas, including translating the hieroglyphs, developing sundials, and inventing the magic lantern, and explains how Kircher was a forerunner of Darwin in suggesting that animal species evolve. Galileo’s work on scales, telescopes, and sun spots is mapped and discussed, and care is taken to place his discoveries within their cultural environment. While Galileo is without doubt the “winner” in the comparison with Kircher, the latter achieved extraordinary insights by unconventional means. For all Galileo’s fine work, the author believes that scientists do need to regain the power of dreaming, vindicating Kirchner’s view.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.