<?xml version="1.0" encoding="UTF-8"?><rss version="0.92">
<channel>
	<title>Cakravartin</title>
	<link>http://www.cakravartin.com</link>
	<description>Sacred Tradition versus The Reign of Quantity</description>
	<lastBuildDate>Sun, 06 Nov 2011 20:54:19 +0000</lastBuildDate>
	<docs>http://backend.userland.com/rss092</docs>
	<language>en</language>
	

	<item>
		<title>The Fundamental Principles of the Universe and the Origin of Physical Laws by Attila Grandpierre</title>
		<description><![CDATA[In the Chaldean Magic the first realities are the primal principles: “ILU, the First Principle, the universal and mysterious source of all things, which is manifested in the trinity of ANU, the god of Time and and the World; HEA, the intelligence, which animated matter; and BEL, the demiurgus and ruler of the organized universe”. In the ancient Hungarian world-system the basic categories were the first principle of the Universe, ÉLET (the life-principle), and ILLAT (the principle of plant life), ÁLLAT (the principle of animal life) and ÉRTELEM (the principle of human life, reason). Later on, ancient Greeks preserved the more ancient notion of primal principles in the concept of “archi”.  Chrysippus, the Stoic (possibly influenced by Scythian and Chaldean teachers) expressed the fundamental realities as: exis (the principle driving existence), physis (the principle driving plant life), psyche (the principle driving animal life), and nous (the principle driving human reason). In the Chinese universism the sky-earth-man, moral-spiritual-physical, natural-historical-national categories are the fundamental ones. In the Rig Veda the spirit-life-matter, sky-living beings-earth divisions are made. The Egyptian history of Creation starts with the appearance of the earth (matter), light (energy), life and consciousness. The Indian Sankhya-system regards the universal principle of Spirit and Matter as fundamental. In the Western culture Thomas Aquinas applies three fundamental categories: that of God, spirit and matter; the material reality shows again a threefold structure of animal, plant and mineral kingdoms. Wolff (1730), after Goclenius (1613) and Micraelius (1652) who were the first using the term ontology, regarded that the three main class of existents are the psychic, cosmic and theos; this division was held also by Kant.]]></description>
		<link>http://www.cakravartin.com/archives/the-fundamental-principles-of-the-universe-and-the-origin-of-physical-laws-by-attila-grandpierre?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-fundamental-principles-of-the-universe-and-the-origin-of-physical-laws-by-attila-grandpierre</link>
			</item>
	<item>
		<title>Knowledge of the Symbol by Pietro Negri</title>
		<description><![CDATA[According to Dante (Convivium, II, 1), " texts can be understood and expounded according to four senses": the literal sense; the allegorical sense, which Dante says, "is a truth concealed behind a beautiful lie'; the moral sense; and the anagogical sense. The anagogical sense occurs when "reading in a spiritual way a scriptural passage, which in its literal meaning and in the things being signified points toward the things of eternal glory"; in other words, it is the innermost meaning of a text that, even when it has a literal sense, deals with topics of a spiritual nature. (...) Dante calls this anagogical sense "super-sense." An-agogy means "to lead" or "to carry upwards," or "to elevate." Moreover, when employed as a technical naval term, it designates the act of weighing anchor and sailing away. Metaphorically speaking, when it is referred to spiritual topics, anagogy therefore indicates spiritual elevation or a rising up from the earth. In the symbolism of "navigators," it designates leaving that "earth" or terra firma to which human beings are tenaciously anchored, in order to hoist the sails and to find a strong current, heading toward the open sea.

Dante was referring to the writing of "poets," although the distinction of the four senses may undoubtedly be applied to sacred and initiatic writings and to any means of expression and representation of spiritual facts and doctrines. According to this distinction, the "super-sense" in every type of symbolism is always the anagogical sense. The full understanding of symbols consists in the perception of the anagogical sense concealed in them; if anagogically understood and employed, they may even contribute to spiritual elevation. In this sense, symbols are endowed with an anagogic virtue.]]></description>
		<link>http://www.cakravartin.com/archives/knowledge-of-the-symbol-by-pietro-negri?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=knowledge-of-the-symbol-by-pietro-negri</link>
			</item>
	<item>
		<title>Aristocracy And The Meaning Of Class Rule</title>
		<description><![CDATA[There is a great and pressing need today in general for a new and genuine aristocracy, especially among the European peoples and nations. Over the past centuries the old aristocracy has declined, degenerated, lost sight of its guiding Principle and has finally been destroyed by both intrinsic and extrinsic forces. Today we can hardly talk of there existing any true aristocracy. There exists a hierarchy which has been subverted and infiltrated, leading to "counter-aristocrats" sitting on key positions of power. (...) If we are to survive this present Götterdämmerung we will have to recover our guiding sacred and traditional principles that once, in our ancient past, gave rise to that true and genuine aristocracy that built all great cultures as reflections Below of that which is Above and filled them with the Light of the Divine.]]></description>
		<link>http://www.cakravartin.com/archives/aristocracy-and-the-meaning-of-class-rule?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=aristocracy-and-the-meaning-of-class-rule</link>
			</item>
	<item>
		<title>Sherds of Physis Shattered by Dr. Andreas Wolfsson</title>
		<description><![CDATA[A physicist's testimony on physics, modern &#038; post-modern physics

Having been functioning in this field for some twelve years and hence given the possibility to observe much of its internal workings, in this our treatise Sherds of Physis Shattered, we wish to expose some typical conceptual features of physics, the queen of modern sciences, and as such obviously one of the most prominent shapers of the modern world and Weltanschauung.

Our goal is to present a multi-lateral criticism of physics, one which by its very nature through physics pertains to the whole of modern science. We adopt the methodology that as the paper proceeds, we continuously descend to more and more particular perspectives. Hence, while the character of the paper is a polemical, somewhat pamphlet-like scientific counter-propaganda, this methodology allows us to expose the painful narrowness of the modern scientific mentality, its inherently anti-intellectual and anti-spiritual nature, and the self-destruction – self-demolition of science as it is realised in the post-modern era.]]></description>
		<link>http://www.cakravartin.com/archives/sherds-of-physis-shattered-by-dr-andreas-wolfsson?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=sherds-of-physis-shattered-by-dr-andreas-wolfsson</link>
			</item>
	<item>
		<title>Symbols And The Interpretation of Symbols: Two articles by Ananda K. Coomaraswamy</title>
		<description><![CDATA[SYMBOLS and signs, whether verbal, musical, dramatic or plastic, are means of communication. The references of symbols are to ideas and those of signs to things. (...) The language of traditional art—scripture, epic, folklore, ritual, and all the related crafts—is symbolic; and being a language of natural symbols, neither of private invention, nor established by conciliar agreement or mere custom, is a universal language. The symbol is the material embodiment, in sound, shape, colour or gesture as the case may be, of the imitable form of an idea to be communicated, which imitable form is the formal cause of the work of art itself. It is for the sake of the idea, and not for its own sake, that the symbol exists: an actual form must be either symbolic - of its reference, or merely an unintelligible shape to be liked or disliked according to taste. (...) The scholar of symbols is often accused of “reading meanings” into the verbal or visual emblems of which he proposes an exegesis. On the other hand, the aesthetician and art historian, himself preoccupied with stylistic peculiarities rather than with iconographic necessities, generally avoids the problem altogether; in some cases perhaps, because an iconographic analysis would exceed his capacities. We conceive, however, that the most significant element in a given work of art is precisely that aspect of it which may, and often does, persist unchanged throughout millennia and in widely separated areas; and the least significant, those accidental variations of style by which we are enabled to date a given work or even in some cases to attribute it to an individual artist.]]></description>
		<link>http://www.cakravartin.com/archives/symbols-and-the-interpretation-of-symbols-two-articles-by-ananda-k-coomaraswamy?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=symbols-and-the-interpretation-of-symbols-two-articles-by-ananda-k-coomaraswamy</link>
			</item>
	<item>
		<title>Interview with Michelangelo Naddeo</title>
		<description><![CDATA[Michelangelo Naddeo, Italian researcher, believes that the first civilization in Europe had already appeared in the Neolithic and it belonged to the ancient people living in the Carpathian Basin, the Hungarians. (...) The Indo-Europeanists will probably be shocked even by the thought of their common history having been called into question. What led you to this theory, which is very likely to astound the people of our country? In fact, in your next book, which is about to appear, you state nothing less than that we are the most ancient inhabitants of Europe...]]></description>
		<link>http://www.cakravartin.com/archives/interview-with-michelangelo-naddeo?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=interview-with-michelangelo-naddeo</link>
			</item>
	<item>
		<title>Interview with Peter Brook</title>
		<description><![CDATA[Peter Stephen Paul Brook CBE, director, filmmaker, author, painter, pianist and theater man to the bone, is a giant of world culture. Born on the spring equinox in 1925, Brook produced an acclaimed Faust at Oxford at 17 and at 20 became the youngest-ever director of the Royal Shakespeare Theatre. He has since directed over 40 major stage productions, created ten films, and with multiple stage, cinema and television versions returned the dramaturgically languishing gods of India's Mahabharata to full-time international employment. Although he has produced works as varied and bizarre as Marat Sade, Lord of the Flies, Conference of the Birds, and The Ik, the Paris-base Brook constantly cycles back to the Shakespearean canon for renewal. His primary legacy to the modern stage is a sense of immediacy bordering on possession, taking theater back to the numinous ground where ritual, seance and coven convene.]]></description>
		<link>http://www.cakravartin.com/archives/interview-with-peter-brook?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=interview-with-peter-brook</link>
			</item>
	<item>
		<title>The Mystery of the FUTHARK Alphabet</title>
		<description><![CDATA[The alphabets of ancient Norse monuments found in both Europe and Central Asia have stemmed from a common origin in a very remote past. Then, it was only a natural development for the Turkish, and the Germanic tribes that, although in locations so far away from each other, they could seperately carry on with this heritage of writing. I hold the belief that I have been able to prove the claim summarized above by reading the monuments written in Futhark alphabet, or the Oldest Runic, in Turkish through the help of the Göktürk alphabet. (...) The European scholars have come to recognize from the very beginning the obvious similarity between the character forms of the Primitive Norse stones and those of the Central Asian Göktürk monuments, but for certain various reasons have refrained from tackling this point by denying all kinds of plausible relations. All throughout the period of 160 years that elapsed between the years of 1730 and 1893, that is between the discovery of Orhun monuments and their definitely final decipherment, fanciful theories were fabricated about the Vikings' (or Indo-Germans', or Celts', or Goths') prehistoric emigrations into Central Asia, and the erection of Orhun stones as landmarks of their presence and civilization dating back to several thousands of years BC in that region. Only when in 1893, it was understood that these inscriptions were not written in any other tongue but pure Turkish, then those fanciful theories were discarded, and the proposed pre-historic datings were revised to be not earlier than AD 700.]]></description>
		<link>http://www.cakravartin.com/archives/the-mystery-of-the-futhark-alphabet?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-mystery-of-the-futhark-alphabet</link>
			</item>
	<item>
		<title>South American Natives Speak Ancient European Language? Part 2</title>
		<description><![CDATA[The following article was translated from the source by Kartavirya. All footnotes are mine apart from where indicated. Continuation of the summary of the research of Juan Moricz1 The first news On September 12th 1965, the biggest newspaper in Ecuador, the Quito daily &#8220;El Comercio&#8221;, published on its front page an extraordinary report about the [...]]]></description>
		<link>http://www.cakravartin.com/archives/south-american-natives-speak-ancient-european-language-part-2?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=south-american-natives-speak-ancient-european-language-part-2</link>
			</item>
	<item>
		<title>The Supreme Law Of Resonance</title>
		<description><![CDATA[For the western mind, the language of YOGA and other spiritual paths is many times difficult to descipher: the symbols and metaphors are a jungle where both initiates and (mostly) uninitiates are lost.
The hidden key that opens all these secrets and lost meanings is Resonance. Resonance is very easy to understand for the western mind, so much centered on the scientific approach of reality. In the light of Resonance, all metaphors and symbols immediately start to make sense, becoming in the same time a genuine door toward invisible realities.
The Law of Resonance has a relational character, i.e. expresses the way in which two or more apparently different things or phenomena selectively communicate (are linked), being integrated into an unitary Whole. The links which unite all things in the Universe (physical objects, mental processes, psychic phenomena, spiritual levels, in other words everything manifested) have as basis the process of Resonance.]]></description>
		<link>http://www.cakravartin.com/archives/the-supreme-law-of-resonance?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-supreme-law-of-resonance</link>
			</item>
</channel>
</rss>

<!-- Performance optimized by W3 Total Cache. Learn more: http://www.w3-edge.com/wordpress-plugins/

Page Caching using disk (enhanced)

Served from: www.cakravartin.com @ 2012-02-05 11:49:03 -->
