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Bibliography
https://docs.google.com/document/d/1EIyp4vN7jA32puXiXvjU8zSHzyjPqh5t7_0ObFimMyE/edit?usp=sharing

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The Video of the Future embedded in our PDFÂ
Diagrams of the Babylonian view of the Universe.Â
âIn Babylonian cosmology, the Earth and the heavens were depicted as a âspatial whole, even one of round shapeâ with references to âthe circumference of heaven and earthâ and âthe totality of heaven and earthâ. Their worldview was not exactly geocentric either. The idea of geocentrism, where the center of the Earth is the exact center of the universe, did not yet exist in Babylonian cosmology, but was established later by the Greek philosopher Aristotleâs On the Heavens. In contrast, Babylonian cosmology suggested that the cosmos revolved around circularly with the heavens and the earth being equal and joined as a whole. The Babylonians and their predecessors, the Sumerians, also believed in a plurality of heavens and earths. This idea dates back to Sumerian incantations of the 2nd millennium BC, which refers to there being seven heavens and seven earths, linked possibly chronologically to the creation by seven generations of Gods.âÂ
(Wikipedia)
Ancient Egyptian Cosmology c.950 BCEÂ
The Egyptian worldview was dominated by the sun and the nile. Nut, the goddess of the Sky, stretches across the sky with the stars on her stomach.Â

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Aristotleâs On the Heavens - A geocentric outlook of the world.
A belief that the universe revolved around the sun.
An artistâs book is a medium of artistic expression that uses the form or function of âbookâ as inspiration. It is the artistic initiative seen in the illustration, choice of materials, creation process, layout and design that makes it an art object. A book that only contains text is simply a book; even if authored by an artist, it would be a book that belongs in a book store or the shelves of a library. https://blog.library.si.edu/2012/06/what-is-an-artists-book/#.WA7KsIY8bYU
Unlike an art book, catalog or monograph that tend to showcase artworks created in another medium, the term âartistsâ booksâ refers to publications that have been conceived as artworks in their own right. These âprojects for the pageâ are generally inexpensive, often produced in large or open editions, and are democratically available. The book is a medium that allows an artist's work to be accessible to a multitude of people in different locations at any given time. The more copies produced the more widely the work can be distributed; it is this potential to reach a larger audience that lends the book its social qualities and increases itâs political possibilities. In this way, the artistsâ book can be an incredibly powerful communicative force. The simplicity of a book that is small in scale, costs relatively little to produce, and is easily replicable allows the work to flow outside of mainstream channels and reach an audience without institutional or commercial consent. The artistsâ book offers a criticism of and alternative to these systems by circumventing them. While artistsâ books can take many forms, there are a few elements that are common across the practice. Understanding a book as an artwork invites a reflection on the properties of the book form itself. Much like any act of reading, an artistsâ book is a physical experience that allows a connection with the medium that â while social in its implications â is individual and personal. The artistsâ book invites us to hold it and turn through its pages. Whether the contents are visually or linguistically based (often a mix of both), physically moving through an artwork implicates notions of sequence, repetition, juxtaposition, and duration. The interplay of text and images, as well as considerations of printing process and the design of the book, allows for many exciting possibilities within narrative, media, and meaning that are specific to the artistsâ book alone. https://www.printedmatter.org/what-we-do/what-is-an-artists-book
Artists' books (or art books) are works of art that utilize the form of the book. They are often published in small editions, though they are sometimes produced as one-of-a-kind objects. https://en.m.wikipedia.org/wiki/Artist%27s_book
One of the PDFs from last year that I like, based on the topic of âFutureâ.Â
I like how theyâve worked the text and image together, as well as digital and hand drawn images.

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Thousands of years ago, all these basic queries were treated as secondary, for the primary concern seemed well in hand: Earth was presumed to be the stable hub of the Universe. After all, the Sun, Moon, and stars all appear to revolve around our planet. It was natural to conclude, not knowing otherwise, that home and selves were special. This centrality led to a feeling of security or at least contentmentâa belief that the origin, maintenance, and fate of the Universe were governed by something more than natural, something supernatural. The ancients thought deeply and well, but not much more. Logic was paramount; empiricism less so. Their efforts nonetheless produced such notable endeavors as myth, religion, and philosophy. Eventually, yet only a few hundred years ago, the idea of Earthâs centrality and the reliance on supernatural beings were shattered. During the Renaissance, humans began to inquire more critically about themselves and the Universe. They realized that thinking about Nature was no longer sufficient. Looking at it was also necessary. Experiments became a central part of the process of inquiry. To be effective, ideas had to be tested experimentally, either to refine them if data favored them or to reject them if they did not. The scientific method was bornâprobably the most powerful technique ever conceived for the advancement of factual information. Modern science had arrived. Today, all natural scientists throughout the world employ the scientific method. Normally it works like this: First, gather some data by observing an object or event, then propose an idea to explain the data, and finally test the idea by experimenting with Nature. Those ideas that pass the tests are selected, accumulated, and conveyed, while those that donât are discardedâa little like the evolutionary events described on this Web site. In that way, by means of a selective editing or pruning of ideas, scientists discriminate between sense and nonsense. We gain an ever-better approximation of reality. Not that science claims to reveal the truthâwhatever that isâjust to gain an increasingly accurate model of Nature.
https://www.cfa.harvard.edu/~ejchaisson/cosmic_evolution/docs/fr_1/fr_1_site_summary.html
Researchers now sense that the cutting edge of knowledge resembles a thinning haze rather than a sharp boundary. The research front resembles the âfog of war,â meaning that scientific work is hardly ever crystal clear in real time, while the work is underway. Rather, the intellectual landscape is often revealed only later, after the subjective confusion has abated and a certain objective reality has emerged. Thatâs because the enterprise of science is now advancing rapidly, acquiring new information at a phenomenal rate and requiring novel interdisciplinary ventures to put it straight. Less than a hundred years ago we didn't understand how stars shine, how heredity works, that the Universe is filled with galaxies, or even that it had a definite beginning. Furthermore, much of science as a "work in progress" involves the human condition, which ensures many false starts and occasional botched logic among the many valid, proven ideas. As a fair assessment, we might say that a pencil sketch of the answers to some of the most basic questions is now at hand, but that many specifics are yet wanting.
https://www.cfa.harvard.edu/~ejchaisson/cosmic_evolution/docs/fr_1/fr_1_site_summary.html
Nothing, however, has been more revolutionary than the idea that this entire universe is in a state of constant change, as planets, stars and galaxies are born and die. This story of the life of the universe, and our place in it, is known as cosmic evolution. Although the idea has roots in the 19th century, and was occasionally invoked in the first half of the 20th century by astronomers such as George Ellery Hale, it really came into its own only in the Space Age. Already in 1958, in his classic book Of Stars and Men, Harvard College Observatory Director Harlow Shapley wrote that the Earth is "on the outer fringe of one galaxy in a universe of millions of galaxies. Man becomes peripheral among the billions of stars in his own Milky Way; and according to the revelations of paleontology and geochemistry he is also exposed as a recent, and perhaps an ephemeral manifestation in the unrolling of cosmic time."
http://www.nasa.gov/exploration/whyweexplore/Why_We_13.html
One hundred years ago most astronomers considered the universe to be about 3600 light years in extent, less than a billion years old, and with our solar system near its center. Astronomers today have seen objects 13 billion light years away in a universe 13.7 billion years old containing hundreds of billions of galaxies. We are peripherally located in one of those galaxies, known as the Milky Way.
http://www.nasa.gov/exploration/whyweexplore/Why_We_13.html
Definitions of Dark Matter from Wikipedia and Encyclopaedia Brittanica - exploring temporality of 'truth' by overlaying crowd source 'fact' and the institution of 'fact'

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First Published in a Book - found by researching 'Artists Books' "Futurists insist that literature will not be overtaken by progress; rather, it will absorb progress in its evolution, and will demonstrate that such progress must manifest in this manner because Man will use this progress to sincerely let his instinctive nature explode. Man is reacting against the potentially overwhelming strength of progress, and shouts out his centrality. Man will use speed, not the opposite (see art. 5 and 6). Poetry will help Man to consent his soul be part of all that (see art. 6 and 7), indicating a new concept of beauty that will refer to the human instinct of aggression. The sense of history cannot be neglected: this is a special moment, many things are going to change into new forms and new contents, but Man will be able to pass through these variations, (see art. 8) bringing with himself what comes from the beginning of civilization. In article 9, war is defined as a necessity for the health of human spirit, a purification that allows and benefits idealism. Their explicit glorification of war and its "hygienic" properties influenced the ideology of fascism. The Futurist Party, for example, became part of the Combatto Fascisti before the latter's assuming power. F. T. Marinetti was very active in Fascist politics until he withdrew in protest of the "Roman Grandeur" which had come to dominate Fascist aesthetics. Article 10 states: "We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.""