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THE TABLET OF DESTINIES VI: UHRN.TXT

Poems in Posthuman Akkadian
TODESSA SEASON 02, EPISODE 12/6

Episode 12/1 – NAM, FATE
Episode 12/2 – MAGNETAR.MELAMMU
Episode 12/3 – UHRN.MONDe
Episode 12/4 – NAM.TXT
Episode 12/5 – MELAMMU.TXT

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read the full text of the poem  THE TABLET OF DESTINIES  h e r e  (p.104-…coming soon…)

Topics
Ninurta, The Tablet of Destinies, Light-Cone, Boltzmann Brain, Entropy, Vacuum Structure, Arrow of Time

…under the light cone of Zeit
lies a reverse iconic night…

from UHRN.MONDe / PPA

Light Cone
In special and general relativity, a light cone is the path that a flash of light, emanating from a single event (localized to a single point in space and a single moment in time) and traveling in all directions, would take through spacetime.

If one imagines the light confined to a two-dimensional plane, the light from the flash spreads out in a circle after the event E occurs, and if we graph the growing circle with the vertical axis of the graph representing time, the result is a cone, known as the future light cone. The past light cone behaves like the future light cone in reverse, a circle which contracts in radius at the speed of light until it converges to a point at the exact position and time of the event E. In reality, there are three space dimensions, so the light would actually form an expanding or contracting sphere in threedimensional (3D) space rather than a circle in 2D, and the light cone would actually be a four-dimensional version of a cone whose cross-sections form 3D spheres (analogous to a normal three-dimensional cone whose cross-sections form 2D circles), but the concept is easier to visualize with the number of spatial dimensions reduced from three to two.
This view of special relativity was first proposed by Albert Einstein’s former professor Hermann Minkowski and is known as Minkowski space. The purpose was to create an invariant spacetime for all observers. To uphold causality, Minkowski restricted spacetime to non-Euclidean hyperbolic geometry. Because signals and other causal influences cannot travel faster than light (see special relativity), the light cone plays an essential role in defining the concept of causality: for a given event E, the set of events that lie on or inside the past light cone of E would also be the set of all events that could send a signal that would have time to reach E and influence it in some way. For example, at a time ten years before E, if we consider the set of all events in the past light cone of E which occur at that time, the result would be a sphere (2D: disk) with a radius of ten light-years centered on the position where E will occur. So, any point on or inside the sphere could send a signal moving at the speed of light or slower that would have time to influence the event E, while points outside the sphere at that moment would not be able to have any causal influence on E. Likewise, the set of events that lie on or inside the future light cone of E would also be the set of events that could receive a signal sent out from the position and time of E, so the future light cone contains all the events that could potentially be causally influenced by E. Events which lie neither in the past or future light cone of E cannot influence or be influenced by E in relativity.

…In flat spacetime, the future light cone of an event is the boundary of its causal future and its past light cone is the boundary of its causal past. In a curved spacetime, assuming spacetime is globally hyperbolic, it is still true that the future light cone of an event includes the boundary of its causal future (and similarly for the past). However gravitational lensing can cause part of the light cone to fold in on itself, in such a way that part of the cone is strictly inside the causal future (or past), and not on the boundary. Light cones also cannot all be tilted so that they are ‘parallel’; this reflects the fact that the spacetime is curved and is essentially different from Minkowski space. In vacuum regions (those points of spacetime free of matter), this inability to tilt all the light cones so that they are all parallel is reflected in the non-vanishing of the Weyl tensor.

Languages / scripts used: Sumerian, Akkadian, Proto-Elamite, Ancient Greek, Russian, German, French, English

Acknowledgements
freesound.org; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica; arxiv.org; Zabelle Panosian – Groung (Crane) 1917

 

THE TABLET OF DESTINIES V: MELAMMU.TXT

Poems in Posthuman Akkadian
TODESSA SEASON 02, EPISODE 12/5

Episode 12/1 – NAM, FATE
Episode 12/2 – MAGNETAR.MELAMMU
Episode 12/3 – UHRN.MONDe
Episode 12/4 – NAM.TXT
Episode 12/6 – UHRN.TXT

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read the full text of the poem  THE TABLET OF DESTINIES  h e r e  (p.104-…coming soon…)

Topics
Ninurta, The Tablet of Destinies, Magnetar, Boltzmann Brain, Entropy, Vacuum Structure, Arrow of Time

(…) soft gamma-ray repeaters
SGR 1806 – 20 ( MAGNETARcedilla )
SGR 1900 + 14 ( OGONEKpulsar )
traced backwards in time…

from MAGNETAR.MELAMMU / PPA

SGR 1806-20
is a magnetar, a type of neutron star with a very powerful magnetic field, that was discovered in 1979 and identified as a soft gamma repeater. SGR 1806-20 is located about 14.5 kiloparsecs (50,000 light-years) from Earth on the far side of the Milky Way galaxy in the constellation of Sagittarius. It has a diameter of no more than 20 kilometres (12 mi) and rotates on its axis every 7.5 seconds (30,000 km/h rotation speed at the surface). As of 2016, SGR 1806- 20 is the most highly magnetized object ever observed, with a magnetic field over 1015 gauss (G) (1011 tesla) in intensity (compared to the Sun’s 1–5 G and Earth’s 0.25–0.65 G).

Fifty thousand years after a starquake occurred on the surface of SGR 1806-20, the radiation from the resultant explosion reached Earth on December 27, 2004 (GRB 041227). In terms of gamma rays, the burst had an absolute magnitude around −291. It was the brightest event known to have been sighted on this planet from an origin outside the Solar System. The magnetar released more energy in onetenth of a second (1.0 Å~1040 J) than the Sun releases in 150,000 years (4 Å~1026 W Å~ 4.8 Å~1012 s = 1.85 Å~1039 J). Such a burst is thought to be the largest explosion observed in this galaxy by humans since the SN 1604 supernova observed by Johannes Kepler in 1604. The gamma rays struck Earth’s ionosphere and created more ionization, which briefly expanded the ionosphere. A similar blast within 3 parsecs (10 light years) of Earth would destroy the ozone layer and be similar in effect to a 12-kiloton nuclear blast at 7.5 kilometers. The nearest known magnetar to Earth is 1E 1048.1- 5937, located 9,000 light-years away in the constellation Carina.

SGR 1806-20 lies at the core of radio nebula G10.0-0.3 and is a member of an open cluster named after it, itself a component of W31, one of the largest H II regions in the Milky Way. Cluster 1806-20 is made up of some highly unusual stars, including at least two carbon-rich Wolf–Rayet stars (WC9d and WCL), two blue hypergiants, and LBV 1806-20, one of the brightest/most massive stars in the galaxy.

SGR 1900+14
is a soft gamma repeater (SGR), located in the constellation of Aquila about 20,000 light-years away. It is assumed to be an example of an intensely magnetic star, known as a magnetar. It is thought to have formed after a fairly recent supernova explosion. An intense gamma-ray burst from this star was detected on August 27, 1998; shortly thereafter a new radio source appeared in that region of the sky. Despite the large distance to this SGR, estimated at 20,000 light years, the burst had large effects on the Earth’s atmosphere. The atoms in the ionosphere, which are usually ionized by the Sun’s radiation by day and recombine to neutral atoms by night, were ionized at nighttime at levels not much lower than the normal daytime level. The Rossi X-ray Timing Explorer (RXTE), an X-ray satellite, received its strongest signal from this burst at this time, even though it was directed at a different part of the sky, and should normally have been shielded from the radiation. NASA’s Spitzer Space Telescope detected a mysterious ring around SGR 1900+14 at two narrow infrared frequencies in 2005 and 2007. The 2007 Spitzer image showed no discernible change in the ring after two years. The ring measures seven light-years across. The origin
of the ring is currently unknown.

Cedilla
A cedilla (/sɪˈdɪlə/ si-DILə; from Spanish), also known as cedilha (fromPortuguese) or cédille (from French), is a hook or tail (¸) added under certain letters as a diacritical mark to modify their pronunciation. In Catalan, French, and Portuguese, it is used only under the c, and the entire letter is called respectively c trencada (i.e. “broken C”), c cédille, and c cedilhado (or c cedilha, colloquially).

Ogonek
The ogonek (Polish:[ɔˈɡɔnɛk], “little tail”, the diminutive of ogon; Lithuanian: nosinė, “nasal”) is a diacritic hook placed under the lower right corner of a vowel in the Latin alphabet used in several European languages, and directly under a vowel in several Native American languages. An ogonek can also be attached to the top of a vowel in Old Norse- Icelandic to show length or vowel affection. For example, o᷎ represents imutated ø.

MELAMMU  

 
melim [SPLENDOUR] (Ur III, Old Babylonian)
me-lim4 “frightening splendour”
me-lem4=(awesome) radiance
Akk. melammu “fearsome radiance, aura”

Languages / scripts used: Sumerian, Akkadian, Proto-Elamite, Ancient Greek, Russian, German, French, English

Acknowledgements
freesound.org; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica; arxiv.org

 

THE TABLET OF DESTINIES IV: NAM.TXT

Poems in Posthuman Akkadian
TODESSA SEASON 02, EPISODE 12/4

Episode 12/1 – NAM, FATE
Episode 12/2 – MAGNETAR.MELAMMU
Episode 12/3 – UHRN.MONDe
Episode 12/5 – MELAMMU.TXT
Episode 12/6 – UHRN.TXT

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read the full text of the poem  THE TABLET OF DESTINIES  h e r e  (p.104-…coming soon…)

Topics
Ninurta, The Tablet of Destinies, Light-Cone, Boltzmann Brain, Entropy, Vacuum Structure, Arrow of Time

The Seven Gods of Destinies 
The gods fixing destinies for the king and his people is a pivotal theme in Mesopotamian literature. The royal fates were fixed in the assembly of the gods, and the most important decisions were made in the main temple of the religious centre of the land, in Nippur, or Babylon. In the Sumerian composition Enlil and Ninlil, which can be with certainty dated to the 21st century BCE, the gods who determined the destinies in Nippur are referred to as “the fifty great gods and the seven gods who decide destinies”. Exactly the same configuration is mentioned in the much later composed Babylonian Creation Epic VI 80–81, in the context of decreeing Marduk’s lofty status: “The fifty great gods took their seats, the seven gods of destinies were confirmed for rendering judgement.”

The mythological concept of the seven gods forming an assembly for decreeing the destinies for the whole world and writing them down on the Tablet of Destinies formed the backbone of the later practice of horoscopy, which emerged only in the Achaemenid period. The planets were associated with the gods already in the second millennium BCE Mesopotamian celestial omen texts. The planetary gods were treated as persons, because the protases of celestial omens refer to the actions or appearances of the planets and stars not appropriate to inanimate objects, but rather as anthropomorphic beings with agency and feeling. Futhermore, the anthropomorphic references in the celestial omens are to gods. For example, instead of simply stating, that there was a lunar eclipse, normally expressed by the Babylonian term attalû “eclipse,” the moon, in anthropomorphic guise, is described as “mourning” or “feeling distress.” The lunar eclipse was understood in terms of the distress of the moon god. The heavenly bodies were quite often personified as gods, and the metaphorical terms of description refer in each case to the particular deity of
which the heavenly body was considered to be a manifestation.

The seven gods were associated with the planets as follows—Šamaš with Sun, Sin with Moon, Jupiter with Marduk (= B±l), Saturn with Adad, Mercury with Nabû or Ninurta, Venus with Ištar, and Mars with Nergal. According to the canonical Babylonian texts of the first millennium BCE, listing cultic topography, the Marduk’s temple in Babylon, called Esagil, contained the Dais of Destinies where the two assemblies of the gods convened for making decisions on the 8th and 11th of Nisan, and which was equipped with seats for the seven destiny- decreeing gods.

An aspect of the Mesopotamian gods, who formed an assembly to determine heavenly and mundane affairs, was revealed in planetary orientations. The decisions of fate were read from the night sky by learned men, who composed and used compendia of celestial omens. The assembly of Mesopotamian gods was thought to rule over the society and to be represented on earth by the Assyrian or Babylonian state council. The functional relationship in Mesopotamian divination was between the deities, the givers of signs, and humankind, for whose benefit the signs were given. The predictions given for the signs, the apodoses of the omens were sometimes called purussû, “(divine) decisions”. In the Mesopotamian system of divination, agency is placed in the gods, who decide what events will happen on earth in association with ominous celestial phenomena.

The notion of the gods’ assembly also forms the ideological background for the cuneiform horoscopes, which are based on the idea of ascribing the planetary alignment at the moment of birth to the life and fortune of an individual. Surviving Babylonian horoscopes all date to the second half of the first millennium. From this branch of Babylonian astrological practice developed Hellenistic Greek genethlialogy that is at the base of later astrological doctrines. The evidence for Babylonian influence on Greek astrology: derives largely from the later periods of cuneiform tradition, i. e., the Achaemenid and Seleucid periods. The most fundamental tool for Greek astrology, the zodiac, is of Babylonian origin in the fifth century…

Given the overwhelming evidence which we have for the influence of Babylonian celestial sciences on Hellenistic astrology and astronomy, it is not difficult to believe that the seven planetary gods involved in the late antique science of the celestial spheres were of Mesopotamian origin…

The number of archons was seven like the number of gods, who were involved in astral fatalism. In the gnostic texts the former Mesopotamian gods were transformed into evil archons, governing the physical universe under the service of the evil creator god. The term kosmokratores was frequently used for planets in the Greek magical papyri, personified as rulers of the heavenly spheres, sometimes regarded as evil.
The Soul’s Journeys and Tauroctony / Amar Annus

Languages / scripts used: Sumerian, Akkadian, Proto-Elamite, Ancient Greek, Russian, German, French, English

Acknowledgements
freesound.org; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica; arxiv.org

 

 

THE TABLET OF DESTINIES III: UHRN.MONDe
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 12/3

Episode 12/1 – NAM, FATE
Episode 12/2 – MAGNETAR.MELAMMU
Episode 12/4 – NAM.TXT
Episode 12/5 – MELAMMU.TXT
Episode 12/6 – UHRN.TXT

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read the full text of the poem  THE TABLET OF DESTINIES  h e r e  (p.104- … coming soon…)

Topics
Ninurta, Sharur, Anzû, The Tablet of Destinies, Boltzmann Brain, Anthropic Principle, Proto-Elamite

Boltzmann brain
A century ago Boltzmann considered a “cosmology” where the observed universe should be regarded as a rare fluctuation out of some equilibrium state. The prediction of this point of view, quite generically,is that we live in a universe which maximizes the total entropy of the system consistent with existing observations. Other universes simply occur as much more rare fluctuations. This means as much as possible of the system should be found in equilibrium as often as possible.From this point of view, it is very surprising that we find the universe around us in such a low entropy state. In fact, the logical conclusion of this line of reasoning is utterly solipsistic. The most likely fluctuation consistent with everything you know is simply your brain (complete with “memories” of the Hubble Deep fields, WMAP data, etc) fluctuating briefly out of chaos and then immediately equilibrating back into chaos again. This is sometimes called the “Boltzmann’s Brain” paradox. (Albrecht and Sorbo, 2004)

Boltzmann invoked the anthropic principle (although he didn’t call it that) to explain why we wouldn’t find ourselves in one of the very common equilibrium phases: In equilibrium, life cannot exist. Clearly, what we want to do is find the most common conditions within such a universe that are hospitable to life. Or, if we want to be more careful, perhaps we should look for conditions that are not only hospitable to life, but hospitable to the particular kind of intelligent and self-aware life that we like to think we are….We can take this logic to its ultimate conclusion. If what we want is a single planet, we certainly don’t need a hundred billion galaxies with a hundred billion stars each. And if what we want is a single person, we certainly don’t need an entire planet. But if in fact what we want is a single intelligence, able to think about the world, we don’t even need an entire person–we just need his or her brain. So the reductio ad absurdum of this scenario is that the overwhelming majority of intelligences in this multiverse will be lonely, disembodied brains, who fluctuate gradually out of the surrounding chaos and then gradually dissolve back into it. Such sad creatures have been dubbed “Boltzmann brains” by Andreas Albrecht and Lorenzo Sorbo. (Sean Carroll From Eternity to Here, 2009)

A Boltzmann brain is a hypothesized self-aware entity that arises due to random fluctuations out of a state of chaos. The idea is named after the Austrian physicist Ludwig Boltzmann (1844–1906), who advanced an idea that the Universe is observed to be in a highly improbable non-equilibrium state because only when such states randomly occur can brains exist to be aware of the Universe. The idea that a disembodied brain seems to require a smaller—hence more probable—fluctuation than intelligent beings similar to humans was proposed by Lawrence Schulman in 1997, and the term for this idea was coined in 2004 by Andreas Albrecht and Lorenzo Sorbo.
The Boltzmann brains concept is often stated as a physical paradox. It has also been called the Boltzmann babies paradox. The paradox is that to contemplate the universe, intelligence is necessary; however, much of the machinery that humans use to think (complex organs, muscles, etc.) are not. All that is required is the brain. Since simple organisms ought to be easier to form than complex ones, the vast majority of intelligences in the universe ought to consist of these disembodied but self-aware “Boltzmann brains”. (Wikipedia)

Anthropic principle
The term “anthropic principle” was first introduced into the scientific literature in 1974 by Brandon Carter [Carter1974, pg. 291]. In discussing the “large number” coincidences then evident in physics and cosmology, Carter used the term to refer to the fact that our making any scientific observation is necessarily contingent on our existence. In 1986, astronomer John Barrow and astrophysicist Frank Tipler published the landmark work The Anthropic Cosmological Principle, which elaborated on the anthropic principle and the “cosmic coincidences” in considerable technical detail [Barrow1986]. Carter himself mentioned two variations of the term, and Barrow and Tipler defined three [Barrow1986]:
• Weak anthropic principle. The observed values of all physical and cosmological quantities are not equally probable, but they take on values restricted by the requirement that there exist sites where carbon-based life can evolve and by the requirement that the universe be old enough for it to have already done so.
• Strong anthropic principle. The universe must have those properties which allow life to develop within it at some stage in its history.
• Final anthropic principle. Intelligent information-processing must come into existence in the universe, and, once it comes into existence, it will never die out.
The final anthropic principle, the most speculative form of the anthropic principle, goes even further than the strong anthropic principle. Some scientists have speculated that in the distant future mankind (or mankind joined with other sentient civilizations throughout the universe) will form a kind of supermind that will in some sense unite with the universe, forming a god-like entity… (David H. Bailey)

Proto-Elamite
Proto-Elamite is the last un-deciphered writing system from the Ancient Near East with a substantial number of sources (more than 1600 published texts). It was used for a relatively short period around 3000 BC across what is today Iran. Proto-Elamite is a derived writing system originating from the Uruk invention of writing in southern Mesopotamia during the middle of the 4th millennium BC. Scribes in Susa in southwestern Iran took over a majority of the numerical signs as well as many of the numerical systems from the older proto-cuneiform system.

душа моя прегрешная (ru) = my sinful soul

Languages / scripts used: Sumerian, Akkadian, Proto-Elamite, Ancient Greek, Russian, German, French, English

Acknowledgements
Shamanic and daily songs from the Amur basin (Nanaj, Oroc); Anton Batagov “The Monk Thogmey’s Thirty-Seven Precepts”; freesound.org: cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica

THE TABLET OF DESTINIES II: MAGNETAR.MELAMMU
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 12/2

Episode 12/1 – NAM.FATE
Episode 12/3 – UHRN.MONDe
Episode 12/4 – NAM.TXT
Episode 12/5 – MELAMMU.TXT
Episode 12/6 – UHRN.TXT

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read the full text of the poem THE TABLET OF DESTINIES h e r e (p.104 -…coming soon …)

Topics
Ninurta, Sharur, Anzû, the Tablet of Destinies

Melammu
The Akkadian term melammu (derived from Sumerian M E – L E M 4) broadly signifies “radiance, awe-inspiring sheen,” but has been subject to multiple interpretations (Oppenheim 1943; Cassin 1968; Winter 1994; Ataç 2007); in the dictionaries melammu is interpreted as synonymous with terms used for luminosity or splendor.

Magnetar
A magnetar is a type of neutron star with an extremely powerful magnetic field. The magnetic field decay powers the emission of high-energy electromagnetic radiation, particularly X-rays and gamma rays.The theory regarding these objects was proposed by Robert Duncan and Christopher Thompson in 1992, but the first recorded burst of gamma rays thought to have been from a magnetar had been detected on March 5, 1979.During the following decade, the magnetar hypothesis became widely accepted as a likely explanation for soft gamma repeaters (SGRs) and anomalous X-ray pulsars (AXPs).

Languages / scripts used: Sumerian, Akkadian, proto-Elamite, Ancient Greek, Russian, German, French, English, Spanish

Acknowledgements
archive.org; freesound.org; oracc.museum.upenn.edu; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica

 

THE TABLET OF DESTINIES I: NAM, FATE
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 12/1

Episode 12/2 – MAGNETAR.MELAMMU
Episode 12/3 – UHRN.MONDe
Episode 12/4 – NAM.TXT
Episode 12/5 – MELAMMU.TXT
Episode 12/6 – UHRN.TXT

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read the full text of the poem THE TABLET OF DESTINIES h e re (p.104 – …coming soon…)

Topics
Ninurta, Sharur, Anzû, the Tablet of Destinies

Tablet of Destinies
In Mesopotamian mythology, the Tablet of Destinies (Sumerian: Dup Shimati; not, as frequently misquoted in general works, the Tablets of Destiny) was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe.
In the Sumerian poem Ninurta and the Turtle it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). Supposedly, whoever possessed the tablet ruled the universe. In the Babylonian Enuma Elish, Tiamat bestows this tablet on Kingu and gives him command of her army. Marduk, the chosen champion of the gods, then fights and destroys Tiamat and her army. Marduk reclaims the Tablet of Destinies for himself, thereby strengthening his rule among the gods.

Nam, Fate
Old Babylonian,Sumerian – nam; na-aĝ2
“determined order; will, testament; fate, destiny”
Akk. šīmtu

Languages / scripts used: Sumerian, Akkadian, porto-Elamite, Ancient Greek, Russian, German, French, English, Spanish

Acknowledgements
archive.org; freesound.org; oracc.museum.upenn.edu; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica

ANZU KLEPTOMANIAC
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 11

Livestream from Todessa

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read ANZU KLEPTOMANIAC h e r e

Topics
Ninurta, Sharur, Anzû, talking mace, Tablet of Destinies, arrow of time

Anzû
Zu, also known as Anzû and Imdugud in Persian and Sumerian (from An “heaven” and Zu “far”, in the Sumerian language) is a lesser divinity of Akkadian mythology, and the son of the bird goddess Siris. He is also said to be conceived by the pure waters of the Apsu-gods and the wide Earth. Both Zu and Siris are seen as massive birds who can breathe fire and water, although Zu is alternately seen as a lion-headed eagle (like a reversed griffin).

Anzû was a servant of the chief sky god Enlil, guard of the throne in Enlil’s sanctuary, (possibly previously a symbol of Anu), from whom Anzû stole the Tablet of Destinies, so hoping to determine the fate of all things. In one version of the legend, the gods sent Lugalbanda to retrieve the tablets, who in turn, killed Anzû. In another, Ea and Belet-Ili conceived Ninurta for the purpose of retrieving the tablets. In a third legend, found in The Hymn of Ashurbanipal, Marduk is said to have killed Anzu.

In Sumero-Akkadian mythology, Anzû is a divine storm-bird and the personification of the southern wind and the thunder clouds. This demon, half man and half bird, stole the “Tablets of Destinies” from Enlil and hid them on a mountaintop. Anu ordered the other gods to retrieve the tablets, even though they all feared the demon.

Tablet of Destinies
In Mesopotamian mythology, the Tablet of Destinies  was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe.

In the Sumerian poem ‘Ninurta and the Turtle‘ it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem concern the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). Supposedly, whoever possessed the tablet ruled the universe.

Ninurta, Sharur, Anzû

Ninurta (Nin Ur: Lord of the Earth/Plough) in Sumerian and Akkadian mythology was the god of Lagash, identified with Ningirsu with whom he may always have been identical. In older transliteration the name is rendered Ninib and in early commentary he was sometimes portrayed as a solar deity.
Ninurta often appears holding a bow and arrow, a sickle sword, or a mace named Sharur. Sharur is capable of speech in the Sumerian legend “Deeds and Exploits of Ninurta” and can take the form of a winged lion and may represent an archetype for the later Shedu.

Ninurta, god of victory

Ninurta, god of victory, occupied a splendid temple right next to the royal palace. It was one of the first of Kalhu’s buildings to be completed, reflecting this deity’s importance for Assyrian kingship. But as mythical rescuer of the Tablet of Destinies from the evil Anzu bird, he also had a link to scholarly life. Ninurta may also be the origin of the modern site-name Nimrud.

Mythical hero, conquerer of chaos: Ninurta and the Tablet of Destinies

In Babylonia, people had worshipped Ninurta since at least the mid-third millennium BC. His main temple, Ešumeša, was in the Babylonian city of Nippur. There in the south he was primarily a deity of agriculture and son of the great god Ellil. Many myths and hymns described how he overcame forces of chaos to bring order, and farming, to the natural world.

Three of them were widely copied in Assyria too:

Ninurta’s Exploits (Lugale)
Ninurta’s Return to Nippur (Angim dimma)
Anzû

The Myth of Anzû

Anzû, the eagle with a lion’s head who is the incarnation of chaos, is one of the most frequently occurring Mesopotamian monsters in both written and visual sources. He appears in many epics, written in both Sumerian and Akkadian.

The Myth of Anzû is the most widespread, and is also frequently referred to in other epics, such as Erra and Išum. It is written in Akkadian and belongs to a series of tales usually known by modern scholars as the “Ninurta Cycle”, whose main protagonist is the warrior god, son of Ellil.

The first version of the Anzû myth probably dates from the early second millennium BC, but many copies, including the Huzirina manuscripts, date from the Neo-Assyrian period, i.e., the 8th and 7th centuries BC. This late version covers three Tablets and runs to approximately 550 lines.

Tablet 1 portrays Anzû watching at Ellil. He steals the “Tablet of Destinies”, on which the nature and fate of all living beings is written, while Ellil is having a bath. Anzu then flees to the mountains, where he lives, and silence falls upon the world.
In Tablet 2, Ninurta is eventually sent against Anzû. But he and his companions have the greatest difficulties in fighting Anzû. Thanks to Anzû’s knowledge of the nature of all things and living beings, he uses incantations to turn back time and make the arrows revert to their constituent parts (see STT 1, 19). Ninurta then seeks Ea’s advice, who suggests cutting Anzû’s wings. Anzû will then utter an incantation to bring back his wings and feathers, but will fail because the wings are stuck to the ground with the arrows.
Tablet 3 shows how Ninurta kills Anzu, following Ea’s guidance, and reclaims the “Tablet of Destinies”. But at this point, it seems that he refuses to give it back to Ellil. Unfortunately the passage is very fragmentary in all surviving manuscripts. However, when the story starts again, Ninurta is back with Ellil and has returned the Tablet. He is then celebrated by the other gods and he is called by different names referring to his life, deeds and powers, just as the god Marduk is in the final Tablet of Enūma Eliš.

Anzû in particular resonated with Assyrian court scholars as it accounted for the fundamentally negotiable nature of the divinely determined future. Omens were not predictors of a fixed fate but an advance warning system of the gods’ intentions for Assyria. A well judged supplication or lamentation ritual could persuade them to rewrite the Tablet of Destinies in the empire’s favour. Conversely, if events did not turn out as predicted, then that was because the Tablet had been altered meanwhile.

Languages / scripts used: Sumerian, Akkadian, Ancient Greek, Russian, German, French, English

Acknowledgements
archive.org; freesound.org; oracc.museum.upenn.edu; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica, Throat-Singing

STILL LIFE WITH SHARUR
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 10

Livestream from Todessa

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read STILL LIFE WITH SHARUR h e r e

Topics
Ninurta, Sharur, talking mace, Proto-Elamite, Wunderwaffe, Ka, growth-decay, acceleration

Ninurta
Ninurta was a Sumerian and Akkadian god of hunting and war. He was worshipped in Babylonia and Assyria and in Lagash he was identified with the city god Ningirsu. In older transliteration the name is rendered Ninib and Ninip, and in early commentary he was sometimes portrayed as a solar deity, a god of victory and a god of Thunder and Lightning and the South Wind. Ninurta was also a god of wisdom patronizing scribal activities.

Sharur = dŠÁR.UR4

Sharur was God Ninurta’s mace-like weapon which had earned the title of ‘smasher of thousands’. It possessed the abilities to fly across vast distances and to communicate with its wielder. It not only used to play the role of a weapon in the battle but also used to supply its owner with crucial information.
Sharur was capable of speech.

Determinatives
A determinative, also known as a taxogram or semagram, is an ideogram used to mark semantic categories of words in logographic scripts, which helps to disambiguate interpretation. They have no direct counterpart in spoken language, though they may derive historically from glyphs for real words, and functionally they resemble classifiers in East Asian and sign languages. For example, Egyptian hieroglyphic determinatives include symbols for divinities, people, parts of the body, animals, plants, and books/abstract ideas, which helped in reading but none of which were pronounced.
In cuneiform texts of Sumerian, Akkadian and Hittite languages, many nouns are preceded or followed by a Sumerian word acting as a determinative; this specifies that the associated word belongs to a particular semantic group.These determinatives were not pronounced. In transliterations of Sumerian, the determinatives are written in superscript in lower case. Whether a given sign is a mere determinative (not pronounced) or a Sumerogram (a logographic spelling of a word intended to be pronounced) can not always be determined unambiguously since their use is not always consistent.

Personification
The Gods and Goddesses of the Mesopotamian pantheon as originally conceived were often personifications of natural phenomena or aspects of the cosmos, concepts rather than anthropomorphic beings. Often they were paired as male and female aspects of the same phenomenon.

Жар-птица 
In Slavic folklore the Firebird (Russian: Жар-птица, Zhar-ptitsa) is a magical glowing bird from a faraway land, which is both a blessing and a bringer of doom to its captor. Some believe it can see the future.

Катюша
Katyusha multiple rocket launchers (Russian: Катюша [kɐˈtʲuʂə]) are a type of rocket artillery first built and fielded by the Soviet Union in World War II. Multiple rocket launchers such as these deliver explosives to a target area more quickly than conventional artillery, but with lower accuracy and requiring a longer time to reload. They are fragile compared to artillery guns, but are inexpensive, easy to produce, and usable on any chassis. Katyushas of World War II, the first self-propelled artillery mass-produced by the Soviet Union, were usually mounted on ordinary trucks. This mobility gave the Katyusha (and other self-propelled artillery) another advantage: being able to deliver a large blow all at once, and then move before being located and attacked with counter-battery fire.

Wunderwaffe
Wunderwaffe (German pronunciation: [ˈvʊndɐˌvafə]) is German for “Wonder Weapon” and was a term assigned during World War II by the Nazi Germany propaganda ministry to a few revolutionary “superweapons”. Most of these weapons however remained prototypes, which either never reached the combat theater, or if they did, then too late or in too insignificant numbers to have a military effect.

Akephalos – ἀκέφαλος
The Greek adjective akephalos, literally “headless,” was used as the name or title of a divine power of the Greco-Egyptian magical tradition. Greco-Egyptian papyri and amulets, from the third to fifth centuries CE, mention a Headless One who appears to be efficacious in spells for revelation.

Kouros – κοῦρος
plural kouroi, an archaic Greek statue representing a young standing male. Although the influence of many nations can be discerned in particular elements of these figures, the first appearance of such monumental stone figures seems to coincide with the reopening of Greek trade with Egypt (c. 672 BCE). The kouros remained a popular form of sculpture until about 460 BCE. The large stone figures began to appear in Greece about 615–590 BCE. While many aspects of the kouroi directly reflect Egyptian influence—especially the application in some kouroi of the contemporary Egyptian canon of proportions—they gradually took on distinctly Greek characteristics. Unlike the Egyptian sculptures, the kouroi had no explicit religious purpose, serving, for example, as tombstones and commemorative markers. They sometimes represented the god Apollo, but they also depicted local heroes, such as athletes. Another difference between the Egyptian and Greek figures is evident shortly after the first appearance of archaic Greek statues: the Egyptians had developed a formula for the human figure that—with rare exceptions—they followed strictly over a period of thousands of years; distinctions between individuals were indicated chiefly by facial features. The earliest kouroi closely followed the Egyptian geometric norm: the figures were cubic, starkly frontal, broad-shouldered, and narrow-waisted. The arms were held close to the sides, fists usually clenched, and both feet were firmly planted on the ground, knees rigid, with the left foot slightly advanced. As Greek understanding of human anatomy increased, the kouroi became increasingly naturalistic. By the end of the kouros period, the figures were no longer frontal, nor were the arms and legs rigid. Having mastered the anatomy of the human figure and the problem of balance, Greek sculptors turned their sights to gesture and the depiction of action.

Paкeтa
Raketa (Russian: Paкéтa; IPA: [rɐˈkʲɛtə], “rocket”) watches, have been manufactured since 1961 by the Petrodvorets Watch Factory in Saint Petersburg. The Petrodvoretz Watch Factory is Russia’s oldest factory and was founded by Peter the Great in 1721. Raketa watches were produced for the Red Army, the Soviet Navy, for North Pole expeditions, as well as for civilians. As of today Raketa is one of the rare watch brands in the world producing its movements from A to Z.
On April 12, 1961, Yuri Gagarin made the first manned flight in outer space on the rocket Vostok 1. In honor of this, the Petrodvorets Watch Factory named its watches “rocket”, or Raketa in Russian. At the height of the Cold War, however, the name “Raketa” was perceived negatively in the West, as the word was associated with the latest generation of Soviet intercontinental ballistic missiles, the R-16. During Soviet times it became one of the most produced watch brands in the world. In the 1970s the factory produced about 5 million mechanical watches per year.

Ka
The hieroglyph for ka represents two raised arms, i.e., a stylized representation of an embrace. This gesture could mean protection (Assmann: 1979, 71) or the transfer from the father to the son of that which is symbolized by the ka (Kaplony: 1980, 275). It seems less probable that the ka hieroglyph might be a gesture of adoration and indicate man’s ability to have intercourse with the deity (Morenz: 1960, 214 Anm. 89). Maspero (1878, 7, 47, 77ff.) called the ka the spiritual double, and Steindorff (1911, 152-159) referred to it as the genius or protective spirit of a man. The ka can, also in earlier times, be written with the single letter signs k and aleph. Jacobsohn (1939, 57) connected the ka with the divine sexual or creative power and pointed out that the word ka, written with bull or phallus, can mean ‘bull’. The king’s ka would, in modern language, be ‘die Erbmasse der Dynastie’. Frankfort (1948, 62) called the ka the ‘vital force’. J. Sainte Fare Garnot (1955, 20) in his definition of the ka expressly used the term person: “le ka est l’ensemble des forces vitales qui permettent à l’homme et à d’autres créatures raisonnables et conscientes (notamment les dieux) de subsister en tant qu’être et d’exister en tant que personnes.” In describing the ka Gardiner used the concepts ‘spirit’, ‘personality’, ‘soul’, ‘individuality’,‘temperament’, ‘fortune’ and ‘position’ (1957, 172)…
It seems clear even without entering here into a full account of the two monographs devoted to the ka by Greeven (1952) and Schweitzer (1956), that the concept ‘ka’ is at least as complex as our concept ‘person’. In text translations Egyptologists usually leave the word untranslated. In recent lexicographical research (Meeks: 1981, 393 and 1982, 306) the translation ‘person’ is also given for ka, besides other shades of meaning. Summing up, one might call the ka the vital energy of men or gods or the ability to function as a person. It must be remarked here that the emphasis is not upon the person as an individual but on the person as a type, entirely in accordance with the fact that in Egyptian literature and art and other Egyptian phenomena it is not the individual but the typical which is stressed. Men and gods have a ka, have a personality structure that they have usually inherited or received from their ancestors. In so far as one would wish to go on ranking the ka among the various conceptions of the soul, the ka is the ancestral soul, the total of hereditary qualities that an individual human has received from the ancestors, his typical personal structure.

Throat Singing
Throat-singing, a guttural style of singing or chanting, is one of the world’s oldest forms of music. In throat-singing, a singer can produce two or more notes simultaneously through a specialized vocalization technique taking advantage of the throat’s resonance characteristics. By precise movements of the lips, tongue, jaw, velum, and larynx, throat-singers produce unique harmonies using only their bodies. Throat-singing is most identified with parts of Central Asia, but it is also practiced in northern Canada and South Africa where the technique takes on different styles and meanings.

Dictionaries
Russian
oкаменевшая – petrified
жизнь – life
говорите – to speak, talk
German
Vorzeit – prehistoric times; in der Vorzeit in prehistoric times(= vor Langem), in the dim and distant past
French
le couperet, la lunette fr.
guillotine parts: blade + lunette

Languages / scripts used: Sumerian, Akkadian, Proto-Elamite, Ancient Greek, Russian, German, French, English

Acknowledgements
archive.org; freesound.org; oracc.museum.upenn.edu; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica, Herman te Velde, Buryat Throat-Singing

Ninurta’s Return
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 09

Livestream from Todessa

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
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Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read NINURTA’S RETURN h e r e

Topics
Ninurta, Ningirsu, Sumer, Proto-Elamite, Pterotype, Transliteration, Barb Coma, DNA, Rebirth, Eschaton

Ninurta
Ninurta was a Sumerian and Akkadian god of hunting and war. He was worshipped in Babylonia and Assyria and in Lagash he was identified with the city god Ningirsu. In older transliteration the name is rendered Ninib and Ninip, and in early commentary he was sometimes portrayed as a solar deity, a god of victory and a god of Thunder and Lightning and the South Wind. Ninurta was also a god of wisdom patronizing scribal activities.

Proto-Elamite
Proto-Elamite is the last un-deciphered writing system from the Ancient Near East with a substantial number of sources (more than 1600 published texts). It was used for a relatively short period around 3000 BC across what is today Iran. Proto-Elamite is a derived writing system originating from the Uruk invention of writing in southern Mesopotamia during the middle of the 4th millennium BC. Scribes in Susa in southwestern Iran took over a majority of the numerical signs as well as many of the numerical systems from the older proto-cuneiform system.

Transliteration
Cuneiform has a specific format for transliteration. Because of the script’s polyvalence, transliteration requires certain choices of the transliterating scholar, who must decide in the case of each sign which of its several possible meanings is intended in the original document. For example, the sign DINGIR in a Hittite text may represent either the Hittite syllable an or may be part of an Akkadian phrase, representing the syllable il, it may be a Sumerogram, representing the original Sumerian meaning, ‘god’ or the determinative for a deity. In transliteration, a different rendition of the same glyph is chosen depending on its role in the present context.
Therefore, a text containing DINGIR and MU in succession could be construed to represent the words “ana”, “ila”, god + “a” (the accusative case ending), god + water, or a divine name “A” or Water. Someone transcribing the signs would make the decision how the signs should be read and assemble the signs as “ana”, “ila”, “Ila” (“god”+accusative case), etc. A transliteration of these signs, however, would separate the signs with dashes “il-a”, “an-a”, “DINGIR-a” or “Da”. This is still easier to read than the original cuneiform, but now the reader is able to trace the sounds back to the original signs and determine if the correct decision was made on how to read them. A transliterated document thus presents both the reading preferred by the transliterating scholar as well as the opportunity to reconstruct the original text.

Pig Latin
Pig Latin is a language game in which words in English are altered. The objective is to conceal the words from others not familiar with the rules. The reference to Latin is a deliberate misnomer, as it is simply a form of jargon, used only for its English connotations as a strange and foreign-sounding language.
RULES: For words that begin with consonant sounds, all letters before the initial vowel are placed at the end of the word sequence. Then, “ay” (some people just add “a”) is added, as in the following examples:
“pig” → “igpay”
“banana” → “ananabay”
“trash” → “ashtray”
“happy” → “appyhay”
“duck” → “uckday”
“glove” → “oveglay”
For words that begin with vowel sounds, one just adds “way” to the end. Examples are:
“eat” → “eatway”
“omelet” → “omeletway”
“are” → “areway”
Some people also follow this rule with words that begin with vowel sounds: only the first letter is moved to the end of the word, and then one just adds “way” after. Examples are:
“egg” → “ggeway”
“apple” → “ppleaway”
“I” → “Iway”

Languages / scripts used: Sumerian, Akkadian, Proto-Elamite, Ancient Greek, Pig Latin, Russian, German, French, English

Acknowledgements
archive.org; freesound.org; oracc.museum.upenn.edu; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica

Kurnugû
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 08

Livestream from Todessa

Camera: Tman
Cast: Totleb & Co.
Editor: Todito
Soundmix: Todonsky Junior
Directed by: T.L.

POEMS IN POSTHUMAN AKKADIAN

written by General Totleben
© Ivan Stanev, executor testamentarius

Read KURNUGU h e r e

Topics
Elysium, Uncreated Light, Et in Arcadia ego, Seraph, Nereids, Engram, Nergal, Root Races,Firefly Squid

Kurnugû or Kurnugi
The Akkadian-Babylonian-Sumerian “Land of no Return”, the Netherworld.

Elysium, Ēlýsion pedíon
Elysium, also called Elysian Fields (Ancient Greek: Ἠλύσιον πεδίον, Ēlýsion pedíon) or Elysian Plain, in Greek mythology, originally the paradise to which heroes on whom the gods conferred immortality were sent. It probably was retained from Minoan religion. In Homer’s writings the Elysian Plain was a land of perfect happiness at the end of the Earth, on the banks of the Oceanus. A similar description was given by Hesiod of the Isles of the Blessed. In the earlier authors, only those specially favoured by the gods entered Elysium and were made immortal. By the time of Hesiod, however, Elysium was a place for the blessed dead, and, from Pindar on, entrance was gained by a righteous life. Later writers made it a particular part of Hades, as in Virgil, Aeneid, Book VI.

Uncreated Light
In Eastern Orthodox theology, the Tabor Light (also Light of Tabor, Tabor’s Light, Taboric Light; Greek: Φῶς του Θαβώρ, also as Ἄκτιστον Φῶς, Uncreated Light, Θεῖον Φῶς, Divine Light; Russian: Фаворский свет) is the light revealed on Mount Tabor at the Transfiguration of Jesus, identified with the light seen by Paul at his conversion.
As a theological doctrine, the uncreated nature of the Light of Tabor was formulated in the 14th century by Gregory Palamas, an Athonite monk, defending the mystical practices of Hesychasm against accusations of heresy by Barlaam of Calabria. When considered as a theological doctrine, this view is known as Palamism after Palamas.

Almagest
The Almagest is a 2nd-century mathematical and astronomical treatise on the apparent motions of the stars and planetary paths. Written in Greek by Claudius Ptolemy, a Roman era scholar of Egypt, it is one of the most influential scientific texts of all time, with its geocentric model accepted for more than twelve hundred years from its origin in Hellenistic Alexandria, in the medieval Byzantine and Islamic worlds, and in Western Europe through the Middle Ages and early Renaissance until Copernicus.

67P
Churyumov–Gerasimenko (abbreviated as 67P or 67P/C-G, and written in Cyrillic as комета Чурюмова — Герасименко) is a comet, originally from the Kuiper belt,with a current orbital period of 6.45 years, a rotation period of approximately 12.4 hours and a maximum velocity of 135,000 km/h (38 km/s; 84,000 mph)

Engram
Engrams are theorized to be means by which memories are stored as biophysical or biochemical changes in the brain (and other neural tissue) in response to external stimuli.
The existence of engrams is posited by some scientific theories to explain the persistence of memory and how memories are stored in the brain. The existence of neurologically defined engrams is not significantly disputed, though their exact mechanism and location has been a focus of persistent research for many decades.

Nergal
in Mesopotamian religion, a secondary god of the Sumero-Akkadian pantheon. He was identified with Irra, the god of scorched earth and war, and with Meslamtaea, He Who Comes Forth from Meslam. Cuthah (modern Tall Ibrāhīm) was the chief centre of his cult. In later thought he was a “destroying flame” and had the epithet sharrapu (“burner”). Assyrian documents of the 1st millennium BC describe him as a benefactor of men, who hears prayers, restores the dead to life, and protects agriculture and flocks. Hymns depict him as a god of pestilence, hunger, and devastation.
The other sphere of Nergal’s power was the underworld, of which he became king. According to one text, Nergal, escorted by demons, descended to the underworld where the goddess Ereshkigal (or Allatum) was queen. He threatened to cut off her head, but she saved herself by becoming his wife, and Nergal obtained kingship over the underworld.

Dingir FSBO
For Sale By Owner, or FSBO /ˈfɪzboʊ/, is the process of selling real estate without the representation of a real estate broker or real estate agent. Homeowners may employ the services of marketing or online listing companies or market their own property but do not pay a commission and represent themselves with the help of a lawyer or Solicitor (mostly in Commonwealth) throughout the sale.

Root Race
Root races are stages in human evolution in the esoteric cosmology of theosophist Helena Petrovna Blavatsky, as described in her book The Secret Doctrine (1888).

AI
Artificial intelligence (AI) is the intelligence exhibited by machines or software. It is also the name of the academic field of study which studies how to create computers and computer software that are capable of intelligent behavior.

Firefly Squid
Watasenia scintillans, also known as the sparkling enope squid or firefly squid, is a species of squid in the family Enoploteuthidae. It is the sole species in the genus Watasenia. The sparkling enope squid is found in the Western Pacific ocean at depths of 183 to 366 metres and is bioluminescent. Each tentacle has a photophore organ, which produces light. When flashed, the light attracts small fish, which the squid can feed upon. The firefly squid can also light up its whole body to attract a mate. The mating season lasts from March to June.

Dictionaries

dingir-ug5-ga = dingiruggû (Akkadian) – the dead (primordial) gods Toter Gott

Ἠλύσιον πεδίον (GR) = Ēlýsion pedíon = Elysium

Χάρων (GR) = Charon

Languages used: Akkadian, Ancient Greek, Latin, Russian, German, French, English

Acknowledgements
uahirise.org; oracc.museum.upenn.edu; cdli.ucla.edu; The Electronic Text Corpus of Sumerian Literature (ETCSL); Encylopaedia Britannica