Seven Worlds, One Planet is a documentary series from the BBC Natural History Unit. The seven-part series, in which each episode focuses on one continent, debuted on 27 October 2019 and is narrated and presented by naturalist Sir David Attenborough. Over 1,500 people worked on the series, which was filmed over 1,794 days, with 92 shoots across 41 different countries. (wiki)
One Strange Rock is an American television documentary series, produced by Nutopia in conjunction with Darren Aronofsky, which premiered on National Geographic on March 26, 2018. On July 25, 2018, National Geographic renewed the series for a second season, which is set to premiere sometime in 2019.
One Strange Rock tells the story of how life survives and thrives on planet Earth, as told by eight astronauts from their unique perspective of being away from Earth (for about 1000 days). Hosted by actor Will Smith, One Strange Rock features contributions from astronauts Chris Hadfield, Nicole Stott, Jeffrey A. Hoffman, Mae Jemison, Leland Melvin, Mike Massimino, Jerry Linenger, and Peggy Whitson. (wiki)
Our Planet is a British nature documentary series made for Netflix. The series is narrated by David Attenborough and produced by Silverback Films, led by Alastair Fothergill and Keith Scholey, who also created BBC documentary series Planet Earth, Frozen Planet and The Blue Planet, in collaboration with the conservation charity World Wildlife Fund (WWF).
The series addresses issues of conservation while featuring these disparate animals in their respective home regions, and has been noted for its greater focus on humans’ impact on the environment than traditional nature documentaries; centering around how climate change impacts all living creatures. It marked the first nature documentary Netflix has ever made. All episodes were released on 5 April 2019. A behind the scenes documentary was released onto Netflix on 2 August 2019.
“Large temptations will emanate from these machine-animals, produced by people themselves, and it will be the task of a spiritual science that explores the cosmos to ensure all these temptations do not exert any damaging influence on human beings.” —Rudolf Steiner
In an increasingly digitized world, where both work and play are more and more taking place online and via screens, Rudolf Steiner’s dramatic statements from 1917 appear prophetic. Speaking of “intelligent machines” that would appear in the future, Steiner presents a broad context that illustrates the multitude of challenges human beings will face. If humanity and the Earth are to continue to evolve together with the cosmos, and not be cut off from it entirely, we will need to work consciously and spiritually to create a counterweight to such phenomena.
In the lectures gathered here, edited with commentary and notes by Andreas Neider, Rudolf Steiner addresses a topic that he was never to speak of again–the secret of the geographical, or ahrimanic, Doppelganger. The human nervous system houses an entity that does not belong to its constitution, he states. This is an ahrimanic being that enters the body shortly before birth and leaves at death, providing the basis for all electrical currents needed to process and coordinate sensory perceptions and react to them.
Based on his spiritual research, Steiner discusses this Doppelganger, or double, in the wider context of historic occult events relating to spirits of darkness. Specific brotherhoods seek to keep such knowledge to themselves to exert power and spread materialism. But this knowledge is critical, says Steiner, if the geographical Doppelganger and its challenges are to be understood.
Helloween “-Walls Of Jericho” full album / judas / guardians
“Achilles, Agony and Ecstasy in Eight Parts” is the longest (28 minutes and 38 seconds) and most complex Manowar song, and probably an anticipation of a concept album that was never accomplished. Because of its Homeric content, “Achilles, Agony and Ecstasy in Eight Parts” has recently attracted the attention of a group of scholars at Bologna University in Italy. Mrs. Eleonora Cavallini, Professor in Classics, has written about this song:
“Joey DeMaio’s lyrics imply a careful and scrupulous reading of the Iliad. The songwriter has focused his attention essentially on the crucial fight between Hector and Achilles, has paraphrased some passages of the poem adapting them to the melodic structure with a certain fluency and partly reinterpreting them, but never altering or upsetting Homer’s storyline. The purpose of the lyrics (and of the music as well) is to evoke some characteristic Homeric sceneries: the raging storm of the battle, the barbaric, ferocious exultance of the winner, the grief and anguish of the warrior who feels death impending over him. The whole action hinges upon Hector and Achilles, who are represented as specular characters, divided by an irreducible hatred and yet destined to share a similar destiny. Both are caught in the moment of the greatest exaltation, as they savagely rejoice for the blood of their killed enemies, but also in the one of the extreme pain, when the daemon of war finally pounces on them. Furthermore, differently than in the irreverent and iconoclastic movie Troy, in “Achilles, Agony and Ecstasy in Eight Parts”, the divine is a constant and ineluctable presence, determining human destinies with inscrutable and steely will, and, despite the generic reference to ‘the gods’, the real master of human lives is Zeus, the only God to whom both Hector and Achilles address their prayers
“As in the 16th century Tupinambá bellicosociological cannibalism as well as in the Araweté funerary cannibalism, the crucial question is “What is it that is eaten?”. Because it is neither the objectified body nor the subject of the enemy that is being eaten, but the enemy’s point of view.”