kenderi

Filósofo, Ilustrador, Tatuador y Rockero... Cuando se les ofrezca... vocal en @CuadroPsicotico 🤟🏾🤓🎶🔥🖤⚡🇲🇽
--
E.

[𝑷𝒖𝒏𝒌 𝒚 𝒄𝒖𝒓𝒔𝒊 @punk_y_cursi]

☄️☄️☄️☄️

[Leer es Vivir... @diegosalher]

En el idioma quechua no existe la palabra “adiós”, existe la expresión “tupananchiskama”, que significa “hasta que la vida nos vuelva a encontrar”.

[anarcarural 🐂🇪🇸 @anarcarural]

Lo primero que he hecho al salir del cine ha sido releer el poema de Kavafis, dice así:

Cuando emprendas tu viaje a Itaca
pide que el camino sea largo, lleno de aventuras, lleno de experiencias.
No temas a los lestrigones ni a los cíclopes ni al colérico Poseidón,
seres tales jamás hallarás en tu camino,
si tu pensar es elevado, si selecta
es la emoción que toca tu espíritu y tu cuerpo.
Ni a los lestrigones ni a los cíclopes
ni al salvaje Poseidón encontrarás,
si no los llevas dentro de tu alma,
si no los yergue tu alma ante ti.

Pide que el camino sea largo.
Que muchas sean las mañanas de verano
en que llegues -¡con qué placer y alegría!-
a puertos nunca vistos antes.
Detente en los emporios de Fenicia
y hazte con hermosas mercancías,
nácar y coral, ámbar y ébano
y toda suerte de perfumes sensuales,
cuantos más abundantes perfumes sensuales puedas.
Ve a muchas ciudades egipcias
a aprender, a aprender de sus sabios.

Ten siempre a Itaca en tu mente.
Llegar allí es tu destino.
Mas no apresures nunca el viaje.
Mejor que dure muchos años
y atracar, viejo ya, en la isla,
enriquecido de cuanto ganaste en el camino
sin aguantar a que Itaca te enriquezca.

Itaca te brindó tan hermoso viaje.
Sin ella no habrías emprendido el camino.
Pero no tiene ya nada que darte.

Aunque la halles pobre, Itaca no te ha engañado.
Así, sabio como te has vuelto, con tanta experiencia,
entenderás ya qué significan las Itacas.

[kenderi @kenderi]

Dice mi cuate Nacho que está leyendo a los estoicos y lo unico que tiene para decirles es "Relájate un chingo, man"

[Saganism @Saganismm]

“...You think if I haven't had your religious experience I can't appreciate the magnificence of your god. But it's just the opposite. I listen to you, and I think, his god is too small! One paltry planet, a few thousand years -- hardly worth the attention of a minor deity, much less the Creator of the universe.”

― Carl Sagan, Contact

[✨Urana ✨ @AstroLogica__]

No vi el partido, porque cancelé @VIX y porque tampoco quise ver estas cochinadas. 👇
Este #mundialdefútbol2026 está muerto y enterrado por la corrupción y el favoritismo hacia #ArgenFIFA

Ya sabemos que le darán la 4ta estrella a la selección de Milei, a cambio de la Patagonia, todos los recursos naturales y la riqueza de Argentina a los sionistas genocidas.

Celébrenlo , pues, cuando aún les queda un poquito de patria. 🫠

[César Pineda @cesarpinedar]

El voto universal fue una victoria de la lucha del movimiento obrero, el feminismo o el movimiento afroamericano. Desde los jacobinos y la Primera internacional de los trabajadores hasta las sufragistas el voto universal se basa en la premisa de la igualdad. Sigue ➡️

Restringir el derecho al voto eliminando su universalidad, por tanto, va a contrasentido de las luchas históricas que lograron arrancárselo a las élites y al modelo liberal inicial que había diseñado el voto censitario limitado a los propietarios, es decir a la clase dominante. Por tanto, es una posición claramente regresiva y reaccionaria porque atenta al igualitarismo, ni más ni menos que la base de la modernidad.

Las posiciones que restringen la democracia representativa alegando la ignorancia de las masas, en realidad aspiran a frenar cualquier poder desde abajo, es decir, destruir la democracia misma. El elitismo no es sólo clasismo, sino la justificación ideológica para que la clase dominante que ya determina al mundo, destruya los obstáculos de la democracia representativa que afectan a sus intereses.

En ese marco, los disparates de la conversación del video no son simples despropósitos de influencers y académicos desorientados, sino parte de una ofensiva mundial reaccionaria contra todas las instituciones liberales.

Sin embargo, la democracia representativa nunca fue el horizonte final de la izquierda, que denunció que la democracia liberal se detenía a las puertas de las fábricas. El proyecto de la izquierda radical fue la Comuna, el Consejo obrero y más recientemente la autonomía indígena porque construyen la autodeterminación desde abajo sobre las condiciones materiales de la reproducción social.

La separación de lo pol��tico y lo económico permite que podamos discutir y democratizar lo público, pero en la esfera privada perdura el despotismo y poder absoluto sobre la riqueza material de las clases dominantes. En la fábrica y la empresa, los propietarios y accionistas, son los Luis XVI de la economía, que, amparados por la propiedad privada, no sólo deciden la parte de la riqueza que corresponde a los trabajadores sino qué se produce, cómo se produce, cómo se acapara la riqueza abstracta y cómo se apropian de la naturaleza, socavándola, basados en la lógica de la máxima ganancia y la acumulación de capital a través de la racionalidad ciega de los mercados.

Por eso comuna, consejo (soviet) o comunidad como base de la autonomía, el autogobierno y la autodeterminación son el horizonte histórico de la izquierda radical que debería superar la democracia representativa liberal que no gobierna sobre la riqueza material, que es dominada por los propietarios. Por tanto, el horizonte de la izquierda nunca fue solo el voto igualitario universal sino la democracia sin límites: república-federación de consejos, democracia del trabajo, gestión de la sociedad por los trabajadores. Autogestión generalizada. Autonomía como autoinstitución y autogobierno.

[kenderi @kenderi]

@Deepcosmoss @zamaninkumlarii Me gustó lo de la luz de su ausencia, me hizo pensar en la oscuridad de su presencia...

[Deepcosmoss @Deepcosmoss]

Fizik yasalarının bize oynadığı en acımasız oyunlardan biri kütleçekim hızının ışık hızıyla aynı olmasıdır yani güneş şu an bir anda tamamen yok olsaydı biz bunu ancak 8 dakika sonra fark edebilirdik ama işin çılgın ve ürkütücü tarafı şu ki dünya o yok olmuş güneşin etrafında 8 dakika boyunca hiçbir şey olmamış gibi kusursuz bir yörüngede dönmeye devam ederdi çünkü kütleçekiminin yokluk bilgisi bile uzayda bir hız sınırına tabidir ve o bilgi bize ulaşana kadar evrende çoktan yok olmuş bir hayaletin etrafında dönmeye devam edersin

Her şey normal görünür güneş tenini ısıtmaya devam eder bitkiler fotosentez yapar sabah uyandığında her şey yerli yerindedir ama merkez tamamen bomboştur sadece o yokluğun haberi henüz sana ulaşmamıştır

Şimdi şunu düşün hayatımızda da bizi ayakta tutan bizi kendine çeken o çok sevdiğimiz veya hayatımızın koskoca merkezine koyduğumuz insanların içten içe bizi çoktan terk ettiğini bizi artık sevmediğini veya hayatımızdan zihnen tamamen çıktığını aylar yıllar sonra fark etmemiz tam olarak bu kozmik gecikme yüzünden midir

Birisi senden vazgeçtiğinde bu anında gerçekleşen bir patlama değildir merkezdeki yıldız aniden söner ama sen onun yörüngesinde dönmeye devam edersin çünkü o vazgeçişin kütleçekim dalgası sana henüz ulaşmamıştır aynı evin içinde yaşanır aynı masaya oturulur gülüşülür yarına dair planlar yapılır sen her şeyin eskisi gibi olduğunu sanırsın ama o insan oradan çoktan gitmiştir sadece o mesafeyi katetmesi gereken zaman henüz dolmamıştır

Biz çoktan yok olmuş hayalet sevgilerin hayalet dostlukların etrafında hiçbir şey yokmuş gibi dönmeye devam eden ve o acı çekim dalgasının bize ulaşıp bizi uzay boşluğuna savurmasını bekleyen çaresiz birer gezegen miyiz

Bazen bir ilişkinin bittiğini anladığın o yıkıcı an bitiş anı değildir o sadece yokluk bilgisinin sana nihayet ulaştığı andır ve sen o an anlarsın ki aylardır belki de yıllardır orada olmayan birinin etrafında dönüp durmuşsun dokunma diye bir şey yok yörünge diye bir şey yok sadece evrenin bize söylediği en tatlı yalanın bitişi var

[literland @literlandweb1]

El tiempo hace su trabajo: Confunde, anula, deshace, mezcla, borra, enmascara. Pero hay un tiempo propio, personal, ajeno al calendario y al lento discurrir de las horas. Quienes no sabemos prever el calendario de las emociones disculpamos la tardanza del corazón como una brújula muerta, y dejamos que nos maneje a su ritmo con implacable cadencia. A veces, acelera y nos conduce ciegos, y otras se demora y su lentitud nos desespera. Por eso existen momentos de fuga y eternidad, para compensar los vacíos vitales en los que el tiempo nos arrolla sin compasión.
📷Manuel Álvarez Bravo

[Runas Dos Lunas @DosRunas]

EL SILENCIO QUE CANTA: BECKETT, SCHOPENHAUER, ADORNO Y LA VOZ QUE SE ATREVE AL ABISMO
Samuel Beckett vivió la música como se vive el propio aliento: algo que no se explica pero que sostiene todo lo demás. Desde niño tocaba el piano con una intensidad casi feroz. Amaba a Haydn por su claridad luminosa, a Beethoven en sus cuartetos tardíos y, por encima de todo, a Schubert. Escuchaba con devoción, cantaba Lieder él mismo y sentía que la música era un ritual necesario. No era adorno. Era el lugar donde el mundo se volvía más real y, al mismo tiempo, más inexplicable.
Esta misma pasión se volvió forma y pensamiento en su obra. Las repeticiones que regresan como oleajes, las pausas enormes que devoran las superficies del sonido, los ritornelos que vuelven como fantasmas, no son recursos literarios: son estructura musical. Beckett admiraba cómo la música podía abrir grandes pausas negras en medio del flujo. Esas pausas no son vacío: son la presencia del abismo que escucha. En su escritura, la música deja de ser fondo y se convierte en fuerza viva que marca el ritmo del pensamiento y del cuerpo, a veces incluso como personaje que irrumpe y desborda.
Aquí se encuentran Schopenhauer y Adorno. Schopenhauer enseñó que la música es la copia directa de la Voluntad, esa fuerza ciega, sin fin, que late bajo toda apariencia. Las otras artes imitan las Ideas, las sombras; la música va directo a la esencia. Beckett lo sintió así: la música nombra lo que las palabras solo pueden rodear. Adorno vio en la música moderna y en la propia obra de Beckett la capacidad de guardar el sufrimiento sin reconciliarlo falsamente. La obra verdadera no adormece con belleza falsa: deja que la contradicción suene. El minimalismo de Beckett, su insistencia en el fracaso, su negativa a consolar, es una forma de verdad: la del no-idéntico, de lo que no se deja capturar por el concepto ni por la palabra.
Como soprano que cada día afina los pequeños movimientos internos reconozco en Beckett un compañero del aliento y del silencio. La técnica apolínea el apoyo preciso y la resonancia clara. Pero es el impulso dionisíaco el que abre el timbre que ya no pertenece solo al yo y el que deja que la voz toque el abismo. En ese cruce, el canto se parece a la escritura de Beckett: repetición que no avanza, pausa que dice más que cualquier palabra, riesgo de perderse para que algo más hondo se escuche.
El canto existencialista no promete redención. Es el instante en que el ser finito se atreve a hacer audible su propia condición: el deseo que no se colma, el dolor que no se explica, la alegría que aparece sin razón. La forma le da dignidad; la fuerza que la desborda le devuelve la libertad de fracasar. En ese fracaso, la música o el silencio que la música deja se vuelve el lugar donde la existencia se dice a sí misma sin velos.
Beckett nos recuerda que la voz, como la música, es siempre un acto de coraje: el de estar presente en el abismo sin pedir que el abismo se cierre. El silencio, entonces, no es ausencia. Es la respiración más honda del canto.

[Libros y escritores @Librosyescritor]

DOCUMENTAL COMPLETO | Este es el filósofo al que llamaron hereje y de quien Albert Einstein dijo: «Creo en el Dios de Spinoza»

Baruch Spinoza fue condenado al silencio. Excomulgado por su propia comunidad. Tachado de blasfemo y perseguido por sus ideas. Pero no se extinguió. Se volvió eterno.

Descubre la historia del hombre que redefinió a Dios, que desafió la ortodoxia religiosa y cambió la historia del pensamiento sin levantar la voz.

[𝑷𝒖𝒏𝒌 𝒚 𝒄𝒖𝒓𝒔𝒊 @punk_y_cursi]

✨✨✨✨

[kenderi @kenderi]

@PabloExtinto Luego los graban ofendiendo a policías, mostrando su racismo y su clasismo en tierras aztecas.

[kenderi @kenderi]

@AstroLogica__ ¿Y si se empieza por nacionalizar la Federación Mexicana de Fútbol? Porque al parecer a los empresarios lo que menos les importa es el futbol, puro negocio aunque sea una liga mediocre. ⚽️🇲🇽🎉

[SubRosa )✿( Magick @subrosamagick.bsky.social @SubRosaMagick]

ORION, THE GOD OF THE YEAR
Orion is one of the constellations that most of us can recognise, the man with three stars in his belt, his hand raised, holding a club, but to our ancestors, the constellation of Orion was of prime importance, associated with important gods with its risings and settings acting as calendar markers.

Because they are so bright and distinctive, the pattern of stars that forms Orion was recognized as a coherent constellation by most ancient civilizations. The two brightest stars are the red Betelgeuse (his right shoulder if we assume he is facing us) and blue Rigel or ‘giant’s leg’ (his left foot). He holds one long arm aloft. His distinctive belt is formed by Mintaka, Alnilam and Alnitak. Three fainter stars, which can usually only be seen on the clearest winter nights in the UK, form his sword.

We generally think of Orion as a winter constellation, dominating the sky as soon as it gets dark. It gets lower and lower in the sky as spring comes, appearing for a shorter and shorter time, and is last seen in the west after sunset in late April. First it loses two large southern stars, then the belt of three stars sinks in the same day, and finally the last signs of the constellation disappear from the sky for seventy days until early mornings in mid-July, when it rises in the east with the Sun. In the night sky it doesn’t return till late autumn, at which time it doesn't rise until after midnight. But as the days shorten, Orion appears earlier and earlier and by midwinter dominates the southern sky. Orion not only sets in the same area as the winter sun, but it rises in the same area too – in effect it might be seen as following the sun.

Even taking into account the precession of the equinoxes, this attribute of Orion would have been reasonably constant for ancient civilisations.

A SEASONAL MARKER
Its importance as a seasonal marker is shown by some of its names. The old Germanic names for the constellation include the Rake, the Plough and the Three Reapers. In parts of Hungary, Orion was Kaszas the Reaper and in Finnish mythology it was the Scythe of Väinämöinen. The Swedes sometimes called Orion the Spindle and Distaff, and an old Scandinavian name for Orion’s belt is Frigg’s Distaff, the implication being that the celestial axis is her spindle, turning each night to spin the thread of time:

“She had to pull the rough fibres from a distaff, and her distaff, Orion’s Belt, was located close to the sky’s equator, a seasonal and nightly signal of her progress with the thread.”

In the Armenian Upland, Orion was identified with the heavenly-father god Hayk, who was the regulator of time and the seasons. The calendar consisted of only ten months of thirty days, the period when the right arm of Hayk (Orion) was visible in the sky, and this was considered as the year proper. During the seventy-day absence of the constellation it was assumed the god had gone to the underworld. A week-long festival was held to celebrate Hayk’s return with the heliacal rising of Orion.

For the ancestral Hopi, Orion was an important star marker for seasonal activities. Planting occurred when Orion was departing for his seventy-day sojourn in the underworld and harvesting when he re-appeared at Niman Ceremony. He enters the underworld at the same time as the seeds, and his influence there caused the spirits of the corn to rise from the earth and enter into the sown seeds so that they would germinate and quicken. For the Pueblo, Orion was identified with Masau’u, the god of earth, death and the underworld. Masau’u/Orion functioned as not only as symbol of resurrection but also as a manifestation of the corn itself, which is put underground in the spring and returns after a few months to provide the people with its bounty. No major ceremonies were held during the absence of Orion.

There is growing evidence that a number of temples and monuments were aligned with Orion. Some claim the 5,500-year-old Thornborough Henges in North Yorkshire are aligned to Orion’s belt, and their southern entrances framed the rising of Sirius, though others are more sceptical. Professor Clive Ruggles, author of Astronomy in Prehistoric Britain and Ireland, conceded:

“For the record, it is the other aspects of the astronomical arguments at Thornborough, notably the various alignments upon the horizon rising position of Orion's Belt, combined with the other evidence for Thornborough being some sort of pilgrimage centre, that combine to make a plausible case that the heliacal rising of Orion's Belt was the trigger that caused people to set out on their journey to the site from afar for an autumn ceremony.”

THE MYTHS OF ORION
The constellation is named after a character in Greek myth. He was the son of the sea god Poseidon and Euryale, daughter of King Minos of Crete. Poseidon gave Orion the power to walk on water. Orion is mentioned in the oldest surviving works of Greek literature, which probably date back to the seventh or eighth century BCE. In Homer's Iliad Orion is described as a constellation and the star Sirius is referred to as his dog.

Orion was a beautiful giant, according to Greek myth. His name possibly means ‘warrior’ though some think it may derive from the Akkadian title of the constellation Uru-Anna, ‘Light of Heaven’. The Chinese saw him as a warrior called Shen who was in perpetual conflict with Scorpius, the scorpion. In India he was a warrior called Skanda, the general of the great celestial army who let his arrows fly against the White Mountain (the Milky Way). The Arabs called him Al-jabbar, ‘the giant’. In ancient Aram (where the language Aramaic originated), the constellation was known as Nephila, and Orion's descendants were known as Nephilim or ‘Giants’. The Bible itself describes the Nephilim as "Those were the mighty men who were of old, men of renown."

The Hunter and the Scorpion
Orion was a hunter, armed with an unbreakable club of solid bronze, according to Homer. He boasted that he was the greatest of hunters and told Artemis, the goddess of hunting, that he could kill any beast on earth. Gaia the Earth grew angry and shook, releasing a giant scorpion that stung Orion to death. They are still enemies, as whenever the constellation of Scorpius appears in the sky, Orion leaves. The constellations are placed on opposite sides of the sky, so that as Scorpius rises in the east, Orion flees below the western horizon. Other cultures have seen Orion and its representative gods in opposition with scorpions. These include Gilgamesh and the Scorpion-Men, Set becoming a scorpion to sting Horus and the story of Aqhat and Yatpan from Ras Shamra.

Many peoples have seen a hunter or hunted animals in the constellation. In ancient Hungarian mythology, Orion is a great hunter and warrior identified with Nimród who hunts the cosmic stag (the constellation of the Bear) who carries the sun in her horns. The Mongols and Siberian Buryats saw three stags pursued by an archer.

A Hindu tale describes Orion’s belt as an arrow which was fired at Prajapati, the supreme god who had conceived a passion for his own daughter, the dawn. He changed into a buck deer, and she changed herself into the celestial doe Rohit (the star Aldebaran in Taurus). Unable to tolerate this incestuous behaviour, the other gods employed a hunter (the star Sirius) to put a stop to it. The belt of Orion points towards Aldebaran in one direction and Sirius in the other.
The Southern Paiute of western North America also saw the belt as an arrow aimed at Aldebaran. The Seri people of north-western Mexico call the belt Hapj (‘hunter’) which consists of three stars: Hap (mule deer), Haamoja (pronghorn), and Mojet (bighorn sheep). Hap is in the middle and has been shot by the hunter.

In the sky, the hunter’s dogs (the constellations Canis Major and Canis Minor) follow at his heels, in pursuit of the hare (the constellation Lepus).

The Blinded Orion
Orion wooed Merope, daughter of King Oenopion, but not very successfully, so one night he got drunk and tried to rape her. As punishment, Oenopion put out Orion’s eyes and banished him from the island. The blinded Orion headed north to the island of Lemnos where Hephaestus had his forge. The smith-god took pity on Orion and offered one of his assistants, Cedalion (‘he who looks after sailors’), to act as his eyes. Hoisting the youth on his shoulders, Orion headed east towards the sunrise, which an oracle had told him would restore his sight. As the sun’s healing rays fell on his sightless eyes at dawn, Orion’s vision was miraculously restored.

This time of blindness refers to the period that the constellation of Orion is missing from the sky; after setting in the west and disappearing for seventy days, it reappears in the east with the rising sun in late summer. Orion faces east when setting in the west, and only by going west can he get to the east. Homer said that Orion married Eos the dawn goddess, and she carried him off to Delos, the birthplace of Apollo, where the sun god was said to rise each day, and some say that Orion died there. Orion enjoys dawn’s company when he rises with the sun in late summer until the first time he sets with the dawn in winter. After that he sets before dawn can join him. Ovid, in his Fasti for May 11th, gave the death of Orion as the middle day of the Lemuria, when the constellation Orion set with the sun.

Orion and the Bull
Orion faces the constellation of Taurus the Bull in the sky, which seems to threaten him. Orion holds aloft his club and holds out his shield out against the raging bull, which stands ready to charge with its long horns and with fire darting from its eye. The three belt stars of Orion point upwards to Aldebaran - the brightest star in the constellation Taurus, which is known as ‘the eye of the bull’ and which glares menacingly at Orion. Aldebaran is a red giant, and its colour is very apparent even to the naked eye. In some myths, it is the bull which Orion pursues across the heavens, not the hare Lepus.

This is explained in the myth in which Orion fell in love with the Pleiades, the seven daughters of Atlas and Pleione, and pursued them. To save them from the rapacious giant, Zeus snatched the sisters up and placed them among the stars, where they dwell as the Pleiades star cluster in Taurus. Like Orion, the Pleiades were calendar markers for the ancients. About the middle of May (Beltane Old Style) the sun is aligned between the Earth and the stars of the Pleiades and because of this the cluster seems to disappear from the sky for forty days. The heliacal rising of the Pleiades in early June heralds the coming of the summer rain. The Romans even used the word Pleiades as a poetic kenning for thunder and rain showers. In most places the eastern rising of Orion and Sirius meant a dry period after the summer rain, acting in opposition to the moist energies of the bull.

Like the Greeks and Romans, the Sumerians saw the constellation Orion as a hero fighting the Bull of Heaven (gud anna) i.e. the constellation Taurus, and identified Orion with Gilgamesh (in earlier versions Lugalbanda, the divine king of Erech and father of Gilgamesh by the goddess Ninsun). In the epic of Gilgamesh, which is a stellar myth, Enkidu and Gilgamesh slew the Bull of Heaven which Ishtar had sent to lay waste to the earth:

Enkidu chased him and the Bull of Heaven.
He seized him by the thick hairy tip of his tail.
He thrust his sword between the nape of his neck
And the horns of his head.
When they had killed the bull, they tore out his heart,
And placed it before Shamash the Sun.

ORION AND OSIRIS
The Egyptians identified Orion with the death and resurrection god Osiris in his aspect Sah. Sah was called ‘fleet-footed’ and characterized as long of leg and lengthy of stride, wordplay on sah which means ‘to kick’ as well as ‘to arrive at’. He is depicted either as a mummy in a ceremonial boat, or standing in a boat with arm raised but looking back at Sirius which is characterised as the celestial cow in a boat, or as Isis standing in a boat. As Orion appears a couple of weeks before Sirius, it can be imagined that he is looking back at his wife.

In Upper Egypt, on Orion’s first heliacal appearance over the eastern horizon he seems to appear feet first, as if he is lying on his back as a corpse. By the time Canis Major is fully visible, Orion has become upright, as Isis breathes new life into him and he is resurrected.
In Egypt, the time of Orion's 'death' (disappearance) was the season of overbearing heat, with hot dry winds bringing sandstorms, and the time when the Nile was at its lowest ebb. Plutarch wrote that Set was considered the power of drought and the south wind, while Horus (Osiris reborn) was the north wind, the 'seasonal tempering of the surrounding air'. When Horus died in spring, Set gained the upper hand until the reappearance of the rightful king (Orion) and the return of 'orderly' weather.

The Pyramid Texts of Unis in Saqqara state that the soul of the deceased pharaoh will accompany Orion who will ‘ascend from the east’, ‘renewed and rejuvenated’. The king was assured, “You shall reach the sky as Sah, your soul shall be as effective as Sothis”. In this utterance the deceased king is promised to that he shall ascend with Orion from the eastern region of the sky and descend with Orion into the western region of the sky, and that Sirius shall guide the king and Orion alike “on the goodly roads which are in the sky in the Field of Reeds.”

The Papyrus Carlsburg I states that the rising of the gods took place in the east and that,

“… these, Orion and Sirius, who are the first of the gods, that is to say they customarily spend 70 days in the Duat (and they rise) again… it is in the east that they celebrate their first feast…

The Duat is the netherworld, and this obviously refers to the seventy days that Orion and Sirius disappear from the sky before returning with the rising sun in late summer.

ORION THE LONG-ARMED
The constellation of Orion has one upraised arm which appears to hold a club or some other weapon. A large number of gods are shown in this exact pose, holding variously clubs, maces, spears, bows, lightening or lightning bolts.

Horus was shown in this pose smiting Set. The Pharaoh was often depicted with one upraised arm, holding a mace, a spear or even a bow in his right hand, ready to smite his enemies. This may represent not just victory in battle, but also the restoration of cosmic order (Maat) and the defeat of chaos, for which he was responsible as the living incarnation of Horus. The ithyphallic god Min (who became conflated with Horus) is shown with an upraised arm holding what is believed to be a thunderbolt; he is a god of fertility and rain. In the Near East the gods Teshub, Adad, Baal and the unnamed Hittite weather god all had similar appearances with an upraised arm wielding a mace or lightning. Osiris was certainly associated with Orion. According to Plutarch the soul of Isis is called Sothis (Sirius), the soul of Horus is called Orion, and the soul of Typhon (Set) is the Bear. Horus is the re-incarnation of Osiris and there is a story of the young Horus being stung by a scorpion, which recalls the myth of the Greek Orion being stung by a Scorpion and the setting of Orion as Scorpius rises.
In the Middle and Near East, gods shown in this pose are invariably gods associated with those who battle chaos and bring rain and fertility. Baal battles Yamm who personifies chaos, dealing him a blow to his head with his club. Baal dies at the hands of Mot, the god of death and drought. While he is absent, the sun grew hot and the land languished under the hands of Mot (drought). Baal’s return heralded the rain. Marduk's vanquishing of Tiamat results in the rain and coolness.

ORION THE LAMED GOD-KING
We learn from many of the Orion myths that when Orion rises with the dawn, the rightful king has been restored. When he disappears in late spring and goes into the underworld he goes feet first – he has been lamed and then he dies. At the best of times, Orion has one leg shorter than the other.

In myth, the rightful king is often described as lame or as being lamed before he dies. Other kings-to-be appear wearing only one sandal, and presumably limping, prefiguring their destiny. As babies they were exposed on hillsides or cast out in wooden boats or chests, rescued and brought up by foster parents.

The problem of the lame king has puzzled scholars for generations. Many possible - and sometimes bizarre - explanations have been offered, but it seems clear to me that the lame king is non other than the constellation Orion.

© Anna Franklin, except from Lughnasa, History, Lore and Celebration, Lear Books, 2010

#Lughnasadh #Lughnasa #MythologyMonday #Orion #Astronomy #AncientGreece #AncientEgypt #Celts #Celtic #Sabbats

[kenderi @kenderi]

@JoseEgete2011 @naattorres1 @YosoyPedrero @UPMexico Es una Universidad con una educación confesional dirigida por el Opus Dei... no se espera menos.

[Radio UNAM @RadioUNAM]

¡Los suspiros son aire y van al aire!
¡Las lágrimas son agua y van al mar!
Dime, mujer: cuando el amor se olvida,
¿sabes tú a dónde va?

"Los suspiros son aire y al aire van". Gustavo Adolfo Bécquer.

[Melissa de la Hoz @MelissaDelahoz]

"El poder requiere cuerpos tristes. El poder necesita tristeza porque puede dominarla. La alegría, por lo tanto, es resistencia, porque no se rinde. La alegría como potencia de vida, nos lleva a lugares donde la tristeza nunca nos llevaría".

Gilles Deleuze

[Elvin Calcaño @elvin_calcano24]

Para Mariano Rajoy, ex presidente de España, Francia "juega sin franceses". Veamos esta declaración racista desde una perspectiva decolonial:

Al Occidente moderno lo fundan dos mitos. El primero es el que establece a Grecia como una excepcionalidad histórica que se hizo así misma. Según esta visión, la civilización pasó linealmente de Grecia a Roma y de esta última a Europa. En ese contexto, el llamado descubrimiento del "nuevo mundo" por parte de europeos implicó llevar lo humano y civilizado a tierras oscuras. Y en tanto fue gente de fenotipo blanco la creadora de lo civilizado, pues ese fenotipo blanco es la referencia de todo lo humanamente elevado. Surgiendo así la idea de raza sobre la que se funda el racismo occidental. Del que Europa/Occidente nunca logra salir. Y ahora, en el marco del mundial, el “moderado” Rajoy lo recuerda. El otro mito dice que Occidente se constituyó como producto histórico interno. Según esta narrativa lo occidental es algo que debemos entenderlo desde dentro. Como un proceso propio y específico.

El problema con estos dos mitos es lo que ocultan. Primero, que Grecia fue una civilización afroasiática (como mostró ampliamente Bernal) que construida a partir de sus vínculos con África por la vía del Egipto antiguo (civilización de origen negro) y con la antigua media luna fértil en lo que hoy es Medio Oriente. Grecia estaba inscrita en un circuito civilizacional mediterráneo que tuvo su primer centro en Egipto y luego en la propia Grecia. No fue una civilización hecha a sí misma.

Segundo, que Occidente moderno se constituyó tal como lo conocemos hoy a partir de su encuentro con su otro externo: el negro africano y el indígena de las Américas. Lo occidental, como identidad histórica, surgió de ese encuentro brutal a partir del siglo XV. Donde por primera vez en la historia Europa/Occidente se hizo centro del mundo; antes era una periferia de escasa relevancia (Dussel). En ese contexto fue que el fenotipo no blanco se ubicó por debajo de lo humano. Y, por tanto, o bien se le esclavizaba y despojaba de historia (el negro) o se le inscribía en relaciones de dependencia y dominación legal (el indio mediante las encomiendas como forma de enmascarar su esclavización). El pensamiento moderno occidental, incluso, se formó sobre la base de esta relación. Las obras de autores fundantes de la epistemología moderna como Bacon (Novum Organum) y Descartes (Discurso del método) lo demuestran.

Europa, entonces, siempre vuelve a esa matriz de imaginada superioridad racial. Reafirmarse en su blancura y, así, poner lo blanco como condición necesaria para pertenecer a lo europeo. El nacionalismo étnico surgido en el contexto del romanticismo (siglos XVIII y XIX) fue una clara expresión de esto. Un francés tiene que ser blanco. No basta con nacer y criarse en Francia. La selección francesa es africana porque la mayoría son negros. Aunque, de hecho, Francia sea una de las selecciones con menos nacionalizados en todo el mundial. De 26 jugadores solo tres no nacieron en suelo francés. Pero no importa. Son negros y árabes. Es decir, no son igualmente humanos a nosotros la gente blanca y civilizada de Europa.

En fin, el racismo y nacionalismo étnico europeo vienen de muy atrás. De mitos fundantes que siguen vigentes. Nada de esto debe sorprender. Menos en estos tiempos de derechización y fascismo normalizado.