#celestial dome

[codexofforbiddenknowledge]

Is the sky a vast dome? The Book of Enoch and mystery schools suggest Earth is enclosed under a celestial barrier—the firmament. Discover what the ancients truly believed. Watch the full video now on YouTube 🌌

[sunder-the-gold]

hellooo, just to say that we don't see the same stars and constellations year round! what is visible changes over the course of a year due to the earth's motion around the sun. for example, in the northern hemisphere, orion and the plough (big dipper) are only visible in the winter. over the course of thousands of years, this will gradually change due to the sun's orbit around the galactic centre.

The ancient human I was talking about would have known very well that the stars move over the course of a year.

But he would still ask you to explain why stars that are each moving on their own orbits separate from all of the other stars and separate from the orbit of his own sun are not only still visible every single night, but maintain the same recognizable constellations.

If each star is the sun of its own solar system, and each solar system is orbiting its own galactic center or blackhole, then each constellation would have split apart.

Furthermore, every day of the solar year, the Earth is in a different position. Half-way through the year, the Earth is on the other side of the sun. Sometimes America faces away from the sun in one direction, and six months later America faces away from the sun on the opposite side.

How can the same constellations be visible in the night sky if the face of the world points away from the sun in two completely different directions? You wouldn't expect one or two constellations to be missing; you would expect entirely different constellations.

And that's just from the Earth's position relative to the sun; this isn't considering the sun's own orbit around a galactic center, which should present America with a radically changed angle on many stars over the course of time.

Even assuming that the stars of Orion haven't drifted apart or rearranged into a new shape as each of those stars follows their own orbits, shouldn't the ancient man expect to eventually see Orion from the "side" instead of the "front"? Or any similar change in relation to other constellations?

[codexofforbiddenknowledge]

Stars… plasma lights in the dome above? Vedic cosmology and esoteric traditions describe the heavens as a structured energy grid — not infinite space. Explore the real nature of the stars in our latest YouTube video.

[artsinbushwick]

"Celestial Dome" at Trestle Gallery

by Rebecca Norton

Celestial Dome is currently showing at Trestle Gallery, located at 168 7th Street, 3rd Floor, Brooklyn, NY 11215 through April 14.

For Francis and Takane, the visual link to the sky was important because the skylight at the entrance of the gallery had a strong impact on the space. They wanted to represent the sky brought into the space with tangible and visual forms, and while this may not have been obvious to viewers at night, when the skylight often goes unnoticed, it was nonetheless a specific consideration they brought to the selection of artworks. Accordingly, the exhibition begins with Yukari Edamitsu’s Color Transformations, 2013, a collage of 30 digital c-prints on panel, representing the sky at 2-minute intervals. The work is installed directly under the skylight at the entrance to the gallery.

Francis and Takane began their curatorial process by recommending each other artists whose body of work correlated to the theme and concept of the exhibition. Francis chose to include work by Katsuhiro Saiki and Yukari Edamitsu in the show. “For Saiki, perhaps it's the light and ever-changing nature of the sky. He tends to photograph man-made objects with the sky as a backdrop. The plane, telephone wires, smokestack for example," explains Francis. "The contrast of these objects with an ever-expanding backdrop brings a sense of the concrete reality of human existence versus the timeless eternal element of nature. Edamitu's work speaks to the mystery of what is beyond the sky and our unaided sight, whether it's during the day or at night. She sees the night sky as something spiritual, trying to emphasize a connection between our existence and the stellar reality of the universe. The subject matter for her is to bring the universe into the realm of our consciousness through her work.”

Walking past NYU, Takane noticed an interactive projection by Christie Leece, Ben Light, Matt Richardson and Inessah Selditz. “I liked it right away when I saw it. It is playful and beautiful,” she recalls. “When you call the number on the screen, the birds on the wire fly away, the movement of their flight producing an opening up into the pastel pinks and magentas of the virtual sky. I felt this was a way of framing an expanse of beauty. It really places the viewer in that space.”

On the far back wall, Francis installed two of his own works, Blue Silence VII and Blue Silence XVIII. The monotype prints echo Edamitsu’s digital c-prints, bringing the skylight theme further into the gallery space. His prints catch the viewer spellbound, oscillating between a perception of shallow and indeterminate depth. It is as if, by inclusion of these works, Francis is inviting the viewer to be fully immersed in the various explorations of the other artists.

Takane opted to showcase collages by Kaisa Gumpert. Gumpert explores the show’s theme by framing images of celestial likeness and objects of daily experience, suggesting that the universal desire to contemplate the unfathomable may be found in everyday activities. Depictions of the stars, taken from a magazine, are set behind an advertisement of fabric (caught in the wind) and a classic white marble bust. Cut-outs of color and shapes follow rules of beautiful construction. Pictures seem chosen not just for what they depict, but to fit the composition, leading the viewer to believe the collages were made without care for how the images mediate interpretation of the work. Gumpert finds the chaos of what is beyond in what is knowable, allowing us to imagine that the mysteries in the farthest points of the sky can be found in accessible locations.

The implication in Gumpert's work, and more generally in the exhibition, is that humans construct the concept of “heaven” much the same way that notions of nature or essential “things” are fabricated into palatable objects and images for consumption. But that does not diminish their ability to exude mystery and awe. Instead, we find ourselves continually intrigued by the mere proximity to such things. The opacity of a blue sky erases all spatial designations or distinctions; its transparency at night allows an individual to peer at the stars and feel a connection to the millions of others who gaze at millions of similar stars gathered under the same expansive sky. It is near because one can imagine being enveloped in its embrace. It is far because it cannot be touched. The artwork in “Celestial Dome”, like inhabitants of earth, use the lights above to understand movement through time, while at the same time understanding the sky and heavens as being timeless.

The skies belong to us for necessity and poetry.