Johannes Kepler

Abstract:
Against the background of the traditional scholarly portrayals of Aemilia Lanyer's Salve Deus Rex Judaeorum as the religious gesture of a woman writer in early seventeenth-century England, whether sincerely spiritual or socially motivated, this essay wishes to complicate the understanding of the poet's “range of intentions” and “stock of concepts” for the expression of her ideas. Lanyer’s conceptions of sympathetic sight and communion-based vision are thus presented here as a probable poetic interaction with contemporary male-centered discourses of objectivity. In the context of early 17th-century philosophical disputes over the nature of vision and optics — with the publication of Johannes Kepler’s Ad Vitellionem Paralipomena in 1604 and of Galileo Galilei’s Sidereus Nuncius in 1610 — Lanyer’s poetry presents sight in religious terms as the glorious means through which a woman could aspire to gain an essential understanding of things and acquire a clear perception of Christic truth. While Kepler and Galileo promoted a model of vision which separated the physical perception of things from their subjective understanding, making the act of seeing imprecise at best and deformed at worst, impersonal and absolutely unrelated to the observer’s consciousness, Lanyer’s religious poetry presents sight as the means for the reader to internalize the perceived and attain a state of Eucharistic communion with it. While vision was becoming the passive and impersonal reception of light rays, and the mind’s conceits of things were believed to be the result of a deception of the sense of vision, Lanyer wrote and published her poetry as a moment of Eucharistic perception: the perception of Christ’s “perfect picture,” hidden behind the aenigmata of her poetry, was attainable, for Lanyer, solely through the “eie of Faith.”

The transformation of the idea of space made in the course of the Copernican revolution was based on the refutation of the concept of tópos and the positive nomination of an entity that could support the expression of intangible forces and the movement of material bodies. In the particular case of Johannes Kepler, to the above conditions will have to be added to the necessity of a space which allowed accurate measurement of celestial phenomena. Among the Kepler's words that he used to try to describe the space as a separate entity of material bodies and forces residing there, were: aer, anima, auram aetheream and σχέσις. It denoted the conceptual difficulty of build a new idea consistent with the rest of his cosmology too to describe the spatiality. We can define the space's idea of Kepler as an immaterial frame or continent, directly related to the notion of divine spirit. Introducción L a transformación del concepto de espacio fue un elemento primordial de la revolución copernicana. Uno de los prin-cipales campos de batalla de los cosmólogos modernos se en-contró en la crítica y sustitución de las ideas aristotélicas sobre la espacialidad que sostenían al geocentrismo clásico. Si bien aquí nos referiremos sólo a un periodo y a un autor en particular , no es difícil percibir que la idea de espacio es inherente

Rick Strassman, a well-educated man who wanted to head his academics of great depth towards psychedelic research. Upon earning further educational credentials to start his research, he decided to conduct experiments on human consumption of a psychedelic substance called Dimethyltryptamine (DMT), a compound of the tryptamine family. He conducted these experiments in New Mexico at a University School of Medicine. At the end of his research, Strassman wrote a book containing the results of those experiments. Here I present an article challenging the data from his experiments and from the information contained in his book “DMT: The Spirit Molecule”.

Tycho Brahe (1546-1601), teorisyen olarak değil fakat gözlemci olarak önemli biriydi. Önce Danimarka kralının, sonra da Kutsal Roma İmparator II. Rudolf'un (1552-1612) himayesinde gözlemler yaparak bir yıldız katalogu hazırlamıştı ve yıllarca gezegenlerin konumlarını not etti. Ömrünün sonlarına doğru genç Kepler onun asistanı olmuştu ve onun gözlemleri Kepler için paha biçilemez değerdeydi.

La introducción del método científico propuesto por Descartes fue, en gran medida, lo que hizo cambiar la forma de hacer ciencia, pues se establecieron mecánicamente los “pasos” o lineamientos a seguir para llegar a un resultado determinado.

If we comb through the texts that Kepler produced in response to Galileo's discoveries we find an original perspective on the role of witnessing in astronomy -- one that is elaborated through references to procedures and standards of evidence of Roman canon and inquisitorial law

Die Wissenschaft schreitet voran. Mit der Kartographierung der kosmischen Hintergrundstrahlung wurden Signale aus der ganz frühen Zeit des Universums sichtbar gemacht. Die Entdeckung des Higgs-Bosons im Jahr 2012 hat unsere Kenntnis der Elementarteilchen vervollständigt. Schon Anfang des neuen Jahrtausends ist die Sequenzierung des menschlichen Genoms gelungen; erste Versuche, künstliches Leben zu schaffen, folgten. Gewachsen ist auch die Fähigkeit, Gedanken allein aus der Beobachtung neuronaler Aktivitäten abzulesen.
Viele Fragen aber bleiben trotz des wachsenden Wissens unbeantwortet. Schauen wir nur auf uns selbst: Was ist der Sinn meines Lebens? Gibt es überhaupt so etwas wie bleibende Bedeutung? Oder verlieren wir uns im endlosen Universum?
Wodurch haben wir Menschen in der Evolution die eindrückliche Fähigkeit erworben, die Welt so weitreichend entdecken zu können?
Zu solchen Fragen nach den eigenen Ursprüngen und nach unserem Standort in der Wirklichkeit möchte das Buch ermuntern und nimmt dabei die Gottesfrage mit in den Blick. Dem Leser werden fundierte Einführungen in essentielle Fragestellungen des Dialogs zwischen Theologie und Naturwissenschaften geboten.

We always find ourselves at the present time, which occupies only one moment. This moment is the state of rest and we can observe motion only with the help our memory, that is, by experience. If motion were absolute, then we could be in the past, present, and future, we could travel in time. In reality, we compare what was before with what is now and thus comprehend the change, which we interpret as movement. If we did not have memory, we would not be able to comprehend change, we would always see the present image. Once again, it all depends on which angle we consider the given phenomenon. From the point of view of the present time, there is always a state of rest; from the point of view of experience – there is motion. The state of rest and motion occur simultaneously. The Universe just exists; it exists always at the present time and always takes all its places.

Die Tagung des Arbeitskreises Astronomiegeschichte in der Astronomischen Gesellschaft (AKAG) in Göttingen, 17.–18. September 2017, stand unter dem Thema Astronomie und Astrologie im Kontext von Religionen – im Kontext des 500jährigen Reformationsjubiläums.
https://www.hs.uni-hamburg.de/DE/GNT/events/akag-goettingen-2017.php
Ziel war es nun, Beiträge in diesem Band zusammenzustellen, die auf aktuellen Forschungen im Sinne von Fallanalysen beruhen oder die einen fundierten Überblick zu der übergreifenden Problematik geben.

With contributions by Christoph Meinel, Fritz Krafft, Marta Quatrale, Harald Gropp, Reinhard Folk, Volker Bialas, Frank Fürbeth, Regina Umland, Ute Frietsch, Stefan Kratochwil, Xian Wu.

During the XVI century, Plater’s scientific advancements replaced the crystalline lens theory that originated with Galeno, with a new theory focused on the retina as the biological center in the formation of the flat image. With this historical rupture, Kepler sought to articulate the Euclidian geometry, the Renaissance perspective and the new optical-physiological description through the concept of "pictura" The mathematical correction allowed for the resolution of errors and geometric variances between the visual stimulus and the representation. The reversal of the "Euclidean Visual Cone" for the "Keplerian Visual Double Cone" demonstrates a novelty in the geometry of observation. This change in the boundaries of biological vision that extend and correct, influenced the field of art, particularly through the camera obscura. The operation of the camera obscura approached the description of the mechanical eye, and allowed artists an instant projection of the visual scene. The dissemination of this optical instrument favored the accuracy of design, increased production speed and multiplied experimentation. It automated a uniformly varied observation. However, the probability of the drawing with the camera obscura depended on the draughtsperson’s perception. The mimesis of exercise exceeded the physical projections of the visual scene. The modeling of attention, experience and motivation of the phenomenological observer produced a visual information management based on four operations: selection, compression, hierarchy and speed. Canaletto technically developed this cultural dimension. Known as a landscape painter, his vedute had, as an aid, the drawing of in situ observation. Canaletto’s observation methodology pioneered in foreseeing photographic multiplication: i) carrying out successive drawings of a given site, ii) expansion of the details of a scene depicted with variability of the focal length, iii) the panoramic drawing by increasing the amplitude of the visual cone. The panoramic perspective multiplied visual cones to a high frequency distribution over the field of view, which corrected the deformation of the peripheral vision of the observer through linear perspective. The standardization of focus for camera obscura allowed acceleration in observation times and representation in the drawing. The image of the camera was influenced but the observational drawing as a customized product of Canaletto. He corrected in his drawings the scientific vision of optical geometry by way of differences in creative topography of the human vision, in which art seeks answers.

in : Le temps des astronomes. L’astronomie et le décompte du temps de Pierre d’Ailly à Newton, ed. Édouard Mehl & Nicolas Roudet (Paris : Les Belles Lettres, 2017), p. 331-347.

https://www.lesbelleslettres.com/livre/2892-le-temps-des-astronomes

In queste pagine si vogliono portare all'attenzione, attraverso l'analisi di alcune vicende laterali alla storia della scienza (nel nostro caso in particolare la teoria musicale), alcuni concetti di estensione più generale e di importanza fondamentale che hanno caratterizzato la prima età moderna e si sono avvicendate durante tutta la rivoluzione scientifica.
Ripercorrendo il dibattito sul temperamento armonico che si è sviluppato per più di quattro secoli (approssimativamente dal XII al XVII secolo) si potrà tracciare un parallelo con il dibattito più generalmente scientifico degli stessi anni; non solo perché, a ben osservare, si individuano analogie tra gli sviluppi dell'uno e dell'altro ma soprattutto perché gli stessi autori che furono protagonisti del dibattito scientifico dell'età moderna (Keplero, Cartesio, Fludd, Mersenne, Leibniz) hanno intessuto negli anni, con un ampio scambio di lettere e pamphlet, loro stessi un dibattito parallelo sulla musica che ora nelle bibliografie giace, se reperibile, negli anfratti delle opere minori.
Questo lavoro, senza alcuna pretesa di completezza, vuole ripercorrere questo affluente minore del discorso scientifico che, essendo in un certo senso tutelato dalle correnti più prettamente politiche e religiose (soffrendo, perciò, in misura minore della censura e delle ingerenze sia vaticane che protestanti)  può mostrare con più chiarezza alcune evoluzioni del pensiero moderno.
Nella prima parte si traccerà una storia generale dell'origine della questione musicale e cosmologica nell'età antica e tardo-antica, la quale, nel passaggio dal medioevo all'età moderna, proseguirà nella disputa sul temperamento, gravida di riflessioni sulla natura della conoscenza umana - scientifica e spirituale - verrà trattata nella seconda parte. Gli argomenti fin qui presentati troveranno la loro summa nell'opera di Keplero che, raccogliendo l'eredità del dibattito antico e proseguendo quello a lui contemporaneo, tenterà l'ultima formulazione razionale dell'armonia celeste.

Based on his dreams and visions, Wolfgang Pauli, the co-founder of quantum physics and Nobel Prize laureate in 1945, believed that, symbolically speaking, he carried both Johannes Kepler, the founder of modern natural science, and Robert Fludd, the hermetic alchemist and magician, within himself. Moreover, he was convinced that it was his task to resolve the conflict between these two contradictory world views, natural science on the one hand, and the magical hermetic-alchemical one on the other

This paper deals with the story of the shortening of circle and how and when artists and scientists became aware of the possibility to represent it as an ellipse.
Some cases are described just to give an idea of how we can fail in detecting the form a curve, the ellipse in particular, when we are facing with an elongated circular form.
Euclid, the shape of the amphitheaters, the rings in the Ptolemaic description of an armillary sphere, the section of the Dome of Santa Maria del Fiore in Florence by Brunelleschi, the aureolas in Piero della Francesca's frescos, the graphical (wrong) description of an ellipse by Dürer, and the ellipse in the cosmographical vision of Kepler are chosen as examples of my epistemological point of view.
The circle has been perceived and represented in linguistic form - as the shortening of the circle in function of the position of the eye - as well as in the graphic form as a mechanical drawing.

In this study, we will develop the idea that Extreme Metal, in search of generic renewal due to stagnantion in its musical language since the end of the 2000s, tries to appropriate, or at least adapt to its discourse, some of the codes of contemporary art music. As part of this hypothesis, we propose to illustrate, with examples chosen from the repertoire of the band Dodecahedron, the wide variety of processes implemented in a recent album (2017). This article will discuss the fusion between Plato's solids, "textures" borrowed from composer GyörgyLigeti, and also electronic music.

Avrupa'nın tarihindeki en büyük kırılma Bilimin Yükselişi'yle olmuştu; bu yükseliş mevcut değerlerin ortadan kalkmasını sağladı, Aydınlanmacılar da bu boşalan değerlerin yerini yenileriyle doldurdu. Tanrı reddedilmiş değildi; dönemin filozoflarının çoğu dindar kimselerdi. Bu insanlar yaptıkları bütün araştırmalarla, bilimsel çalışmalarla Tanrı'yı yücelttiklerine ve Tanrı'nın yarattığı evrenin gizli kalmış görkemini ortaya çıkarttıklarına inanıyorlardı. Felsefesini Katolik dogmasının gerekleriyle uyumlu kılmaya çalışan Derscartes'i burada zikredebiliriz. XVIII. yüzyılda Berkeley’nin açık ve kesin olarak nihai amacının insanları İncil'in kurtarıcı gerçeklerine götürmek olduğunu belirtebiliriz. Bu düşünürler gibi düşünmeyen Spinoza, Hobbes, Hume ve özellikle XVIII. yüzyıl Fransız maddecilerinin olduğunu da vurgulamalıyız. Önceye göre, modern felsefenin Tanrı'ya farklı bir yoldan ulaşmaya çalıştığını söyleyebiliriz...

This fully illustrated 23 page paper traces the history of photography and our understanding of light from prehistoric times to the present day and also speculates about the future. From Aristotle to Einstein the camera is much older than most realize. Because photography can record fine detail and freeze a moment of the past, it has also transformed our modern understanding of time and also provided a record of the past which was previously unavailable.

Kepler's Cosmological Synthesis sheds new light on one of the foundational figures of the Scientific Revolution. By uncovering a new form of coherence in Kepler’s world picture, it traces the unlikely intersections of mechanism and vitalism that transformed the fabric of the heavens.

Hegel has commonly been ridiculed for views expressed in his 1801 dissertation, On the Orbits of the Planets, in the final pages of which he had adopted a series of numbers from Plato’s Timaeus—a cosmological text earlier taken seriously by Kepler—to account for the ratios of the distances from the sun of then then-known six planets of the solar system. While defenders of Hegel have usually toned down the extent of these claims, I argue that Hegel’s reference to Plato’s Pythagorean cosmology must be taken seriously—not as cosmology, however, but as instantiating the logic appropriate for empirically based science.

Hegel’s allusion to Plato’s mythologically expressed “syllogism” is consistent with his idea that logic as Plato conceived it allowed its application to the empirical world but that this applicability had been compromised by Aristotle adaptation of it. With the proper grasp of logic’s utilization of the category of “singularity” in its difference to “particularity”—available to Plato but not Aristotle—we can appreciate how while Kepler’s Laws were empirically based, Newton’s were not as they relied on abstract entities that could not be justified empirically.

“The Lost Book of Merav and the Vision of a Scientific Religion: An unknown chapter in the world of Rabbi Eibeshitz”, Zion 84,2 (2019), pp. 229-277

Abstract:


R. Yehonatan Eybeschütz (1694-1764), one of the prominent rabbis of Central Europe in the eighteenth century, was writing during the 1720s, as I wish to describe in this article, an extraordinary book: “Sefer Meirav”. This Hebrew book, designed in a theatrical format of a theater play, dealt with various branches of contemporary science (as was known at the beginning of the eighteenth century), and in the close relations that the author sought to draw between these scientific fields and the Jewish wisdom of the Torah and th Holy Spirit concealed within it. This wisdom compensates for the scientific inferiority of the Jewish people whose history was devoid of any scientific research institutions. The manuscript of “Sefer Merav” was never printed, and was considered lost. But recently I have found parts of the book included in the copying of another manuscript. Using this material, I would like to describe in this article the purpose and character of the book, to place it in the context of R. Yehonatan's wider, well known extensive writings, and to understand the meaning of some of the hidden hints contained in the parts of the book which were discovered. Through the study of those remains of Sefer Merav I will try to show the way in which Rabbi Eybeschütz clothed into the theatrical structure of the book his unique conception of relations between religion and science, as well as his personal understanding of the complex challenges and tense dialogues that he personally was encountering in the stormy cultural landscape of Hapsburgian Prague at these years: a landscape where religious and scientific disputes with Jesuit priests and  Bohemian novels, and with religious groups with different religious and scientific tendencies and contradictions took place. I will describe and locate the universal vision of the author, Rabbi Eybeschütz, within a particular stream of thought that was prevalent in the eighteenth century, a stream that aspired to the creation of a universal scientific religion in which the best achievements of the new science would be combined and evaluated with metaphysical patterns of thought: Kabbalistic and hermetic magic. At the heart of this enormous project, as described in the Sefer Meirav, was the utopian literary figure of an all-known pansophic Jewish sage, a figure whom I would like to identify with the author himself, Rabbi Yehonatan Eibeshitz

תקציר
ר׳ יהונתן אייבשיץ,  מן הידועים והרבנים שברבני מרכז אירופה במאה השמונה עשרה, עסק בשנות העשרים של המאה השמונה עשרה, כפי שאבקש לתאר במאמר הנוכחי, בכתיבתו של ספר יוצא דופן: ׳ספר מירב׳. הספר העברי, שעוצב בתבנית תיאטרלית של מחזה, עסק בענפים שונים של מדע עכשווי (כפי שהיה ידוע בראשית המאה השמונה-עשרה), וביחסים ההדוקים אותם ביקש המחבר לשרטט בין תחומי הידע הללו ובין חכמת התורה ורוח הקודש השורה, לדבריו, בלב חכמי היהודים. חכמה זו מפצה לדבריו על הנחיתות המדעית של העם היהודי שבהיסטוריה שלו היה נטול מוסדות מחקר מדעיים. כתב היד של ספר ׳מירב׳ מעולם לא נדפס, ונחשב לאבוד. אך לאחרונה מצאתי חלקים מהספר שנכללו בהעתקה של כתב יד אחר. מתוכם אבקש להעלות במאמר הנוכחי את מטרתו ואת אופיו של הספר, לשבצו בקונטקסט של תפיסותיו העקרוניות של ר׳ יהונתן בכתיבתו הרחבה, ולעמוד על פשר כמה מן הרמיזות הסמויות הכלולות בחלקים שהגיעו לידנו. דרך העיון בשרידי ספר מירב אנסה להראות את הצורה בה הפנים ר׳ יהונתן לתוך התבנית התיאטרלית של הספר את התפיסה הייחודית שלו אודות יחסי דת ומדע, כמו גם את עמדתו נוכח האתגרים המורכבים, והדיאלוגים המתוחים, שזימן בפניו הנוף התרבותי הסוער בו שהה בפראג ההבסבורגית באותם עשורי השנים: נוף שחברו בו וויכוחי דת ומדע עם ׳כמרים׳ ועם ׳שרים׳, ועם קבוצות דתיות בעלות נטיות דתיות ומדעיות שונות ומנוגדות. את חזונו האוניברסלי של המחבר אבקש לתאר בתוך זרם מחשבה מסויים שרווח במאה השמונה עשרה, זרם ששאף ליצירתה של דת מדעית אוניברסלית בה ישולבו מיטב גילויי המדע העכשווי עם תבניות מחשבה מטאפיזיות: מאגיות קבליות והרמטיות. בלב הפרויקט העצום הזה, כפי שתואר בספר ׳מירב׳, עמדה דמותו הספרותית האוטופית של חכם יהודי יודע כל, דמות שאותה אבקש לזהות עם המחבר עצמו, ר׳ יהונתן אייבשיץ.

"Johannes Kepler (1571-1630) é admirado como um dos principais agentes de mudança do pensamento científico, responsável por introduzir o método científico no ocidente e, juntamente com Galileu Galilei (1564 – 1642), de fundamentar a teoria da gravidade, mais tarde formalizada por Isaac Newton (1643 – 1727). Kepler, reformulando paradigmas, alterou profundamente a forma como percebemos o mundo e a nós mesmos.

Thomas Kuhn propôs como o marco limítrofe da Idade Média, a elaboração do sistema heliocêntrico por Nicolau Copérnico (1473 – 1543), que corrigia as idéias de Aristóteles e Ptolomeu (≅ 90 – 168), consideradas até então como verdades absolutas. Tal evento alterou o equilíbrio de forças entre religião e ciência, entre dogma e conhecimento, ao destronar a Terra, e por conseguinte o homem, do centro do universo. Kuhn denominou a obra de Copérnico como a Revolução Copernicana. Kepler, tomaria para si a tarefa de comprovar as idéias de seu antecessor, colocando por terra uma crença estabelecida por quinze séculos.

1.1. Latar Belakang
Matahari bergerak mengitari planet dalam lintasan mendekati lingkaran. Bulan
mengitari bumi dalam lintasan yang menyerupai lingkaran pula? Kenapa benda-benda
tersebut tetap berada pada lintasannya? Kenapa benda-benda tersebut tidak terlempar ke
luar? Berarti ada gaya yang menahan benda-benda tersebut ke arah pusat lintsannya. Lalu
gaya apakah itu? Bukankan antara bumi dan matahari yang ada hanya ruang kosong?
Bukankan antara bumi dan bulan hanya ada ruang kosong? Dalam pembahasan mengenai
Hukum Gravitasi Universal kita akan mencoba untuk menjawab pertanyaan-pertanyaan
tersebut.

1.2. Rumusan Masalah
1. Bagaimanakah konsep benda-benda langit menurut John Kepler?
2. Bagaimana konsep Sir Isaac Newton terhadap benda yang memiliki massa?
3. Dari pandangan Newton terhadap ketiga Hukum Kepler yang ada, bagaimana
tafsirannya?
4. Apakah pengaruh gravitasi terhadap bentuk Bumi?

1.3. Tujuan Penulisan
1. Mengetahui konsep benda-benda langit menurut ketiga Hukum Kepler.
2. Mengetahui konsep Gravitasi Universal Newton terhadap benda-benda dengan
massa m.
3. Melihat tafsiran Newton mengenai ketiga Hukum Kepler yang ada dengan
penurunan matematis persamaan dari ketiga Hukum Kepler tersebut.
4. Mengetahui pengaruh gravitasi terhadap bentuk Bumi.

1.4. Manfaat Penulisan
1. Untuk mengetahui konsep dasar dalam Hukum Gravitasi Universal.
2. Menjadi pustaka untuk bacaan dan referensi studi.

Robert Fludd (1574-1637) was a physician from England who wrote expansive books on nearly every subject of human inquiry. In these works are beautiful copperplate engravings that are easily recognized as the hieroglyphic illustrations of Fludd's visual alchemy. Drawing from his richly detailed polemic with Johannes Kepler, this article examines Fludd's pictures in the context of 17th century science. My goal is to clarify the nuances of Fludd's syncretic philosophy with the help of a number of recent studies.

The article addresses the genesis and visualization of the capstone image to Kepler's polyhedral hypothesis of the planetary intervals from his first major work, Mysterium Cosmographicum (1596). The contention is that the famous Tabula III was directed less by Kepler than it was an initiative spearheaded by Georg Gruppenbach, the printer of Mysterium, and Kepler's mentor Michael Mäistlin, who sought to produce a marketable broadsheet that would appeal to the contemporary German fashion for illustrations of polyhedral geometry. More generally, the article seeks to redefine the key role played by the printing workshop and the decorative arts in the theory's inception and ultimate graphic manifestation.

It has long been conventional to associate the scientific revolution with Copernicus’s De revolutionibus  (1543). This essay argues in contrast that Kepler’s Astronomia nova (1609) marks the transformation of science, and especially astronomy, from the ancient and medieval heritage to the modern era. However, Kepler’s extraordinary accomplishment has been lost in contradictory historiographies that do not appreciate Kepler’s unifying theological approach to astronomy.

This article deals with reservations several Church Fathers had to astronomy and the consequences that this had for early modern astronomy. In general, the Church Fathers criticised astronomy as vain curiosity that does Christians no good. I argue that when the early modern astronomers stressed the usefulness of their discipline, it was not an expression of a new utilitarian way of thinking, but an attempt to neutralise these theological objections by highlighting the religious, social and moral benefits of astronomy. The spirit of material utility for which modern science was reproached in the twentieth century originally emerged as a need to legitimise science against the objections of theology.

In seiner grundlegenden Einführung in die Topologie als kultur- und medienwissenschaftliche Methode führt Stephan Günzel den ‚spatial turn‘ „mindestens bis zur ‚Kopernikanischen Wende‘ Immanuel Kants“ zurück.  Die Frage danach „wie Raum bedingt ist“ , ist damit unmittelbar mit den Themenfeldern Kosmologie, Wahrnehmung und Philosophie verbunden.

Der vorliegende Text vertieft diese Verquickung auf der Grundlage einer vergleichenden Analyse von Johannes Keplers Somnium  (1634) und Georges Méliès La Lune à un mètre  (1898). Beiden Werken gemein ist, dass sie von Astronomen geträumte Mondreisen schildern, unterschiedlich sind jedoch die topologischen Kontexte ihrer jeweiligen Entstehungszeit und damit die historisch bedingte Raumwahrnehmung: Kepler schreibt seinen Text auf der Schwelle des Wandels vom geo- zum heliozentrischen Weltbild um 1600, Méliès dreht seinen Stummfilm in der Metropole Paris um 1900.

Welche Erkenntnisse hinsichtlich des Wandels von Raumkonzeptionen birgt die Gegenüberstellung dieser künstlerisch inszenierten Mondreiseträume von 1600 einerseits und 1900 andererseits? Im Hinblick auf diese Fragestellung werden im Folgenden die Gemeinsamkeiten, Gegensätze und Kontinuitäten sowie die epochenspezifischen Raumwahrnehmungen herausgearbeitet und zueinander in Bezug gesetzt.

Der abschließende Teil stellt die historische Wirkung künstlerischer und dokumentarischer Traumdarstellungen dar. Hierfür nimmt er die erste vom Mond aus fotografierte Aufnahme der Erdkugel in den Blick. Belichtet im Jahr 1968 hält das Bild den Moment fest, in dem an die Stelle künstlerischer Traumwelten die optisch vermittelte Raumwahrnehmung astronautischer Wirklichkeit getreten ist.