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

TODESSA SEASON 02, EPISODE 12/2

Episode 12/1 – NAM.FATE
Episode 12/3 – THE TEXT FILE

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 TABLET OF DESTINIES h e r e

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).

Online Translator
Babylon Online Translator

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

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

TODESSA SEASON 02, EPISODE 12/1

Episode 12/2 – MAGNETAR.MELAMMU
Episode 12/3 – THE TEXT FILE

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 TABLET OF DESTINIES h e r e

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

Online Translator
Babylon Online Translator

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

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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.

Online Translator
Babylon Online Translator

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

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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

Online Translator
Babylon Online Translator

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

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Ninurta’s Return
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 09

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 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”

Online Translator
Babylon Online Translator

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

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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

Online Translator
Babylon Online Translator
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

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The Code of Hammurabi
Poems in Posthuman Akkadian

TODESSA SEASON 02, EPISODE 04

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 THE CODE OF HAMMURABI h e r e

Law Code of Hammurabi
Collection: Louvre Museum, Paris, France
Provenience: Susa (mod. Shush)
Period: Old Babylonian (ca. 1900-1600 BC)
Object type: other
Remarks: stele
Material: stone/basalt
Measures: H. 2.25 m; W. 0.65 m
Language: Akkadian
Genre: Royal/Monumental
Sub-genre: witness

King Hammurabi
Born: ~ 1810 BC Babylonia
Died: 1750 BC, middle chronology, Babylon
Known for: Code of Hammurabi
Title: King of Babylon
Term: 42 years; c. 1792 – 1750 BC (middle)

Lex Talionis
(Latin for “law of retaliation”) is the principle of retributive justice expressed in the phrase “an eye for an eye,” (Hebrew: עין תחת עין‎) from Exodus 21:23–27. The basis of this form of law is the principle of proportionate punishment, often expressed under the motto “Let the punishment fit the crime,” which particularly applies to mirror punishments (which may or may not be proportional).
Usually we think of the goal of this law as a core element of early biblical justice. Lex Talionis however, goes back to about the twentieth century B.C.E., found in the Code of Hammurabi.

Law#196 /§ 196.—XXXIII, 45–49/, Codex Hammurabi
45 šum-ma a-wi-lum 46 i-in mâr a-wi-lim 47 uḫ-tab-bi-it 48 i-in-šu 49 u-ḫa-ap-pa-du
196. If a man destroy the eye of another man, they shall destroy his eye.
(Harper Translation, 1904)

Sheep Dolly
Dolly (5 July 1996 – 14 February 2003) was a female domestic sheep, and the first mammal to be cloned from an adult somatic cell, using the process of nuclear transfer.

SS-18 Satan, Тополь-М, Minuteman
intercontinental ballistic missiles (ICBMs)

Shamash
Shamash (Akkadian: Šamaš, “Sun”) was a native Mesopotamian deity and the Sun god in the Akkadian, Assyrian and Babylonian pantheons. Shamash was the god of justice in Babylonia and Assyria, corresponding to Sumerian Utu.

Palastgeschäft
In Babylonia after about 1800 BC, the entrepreneurs to whom the palace leased fields, herds and workshops tended to be “members of the elite or upper classes.” The title of damgar or tamkarum merchant presupposed social status and connections to the palace or temple bureaucracy, administering franchises in “a form of economic management termed by F. R. Kraus as “Palastgeschäft” (enterprise of the palace).

Plaste und Elaste (aus Schkopau )
“plastic and elastic (from Schkopau)” advertising slogan, Buna-Werke, GDR (East-Germany)

Ishtar
the East Semitic Akkadian, Assyrian and Babylonian goddess of fertility, love, war, and sex.

Marduk
the name of the patron deity of the city of Babylon, who, when Babylon permanently became the political centre of the united states of the Euphrates valley under Khammurabi ( c. 2250 B.C.), rose to the position of the head of the Babylonian pantheon.

Acknowledgements
archive.org,freesound.org,www.soas.ac.uk, wikipedia.org,Encyclopedia Britannica,
The Codex Hammurabi-Prologue i 1-49, read by Albert Naccache

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