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ARTIFACTUAL...............2 (0.000%)
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| base around 8,000 years ago. Artifactual and non-artifactual evidence from the lacustrine shores of the Chalco Basin already suggest the existence of fully sedentary human communities in this region from at least the sixth millennium B. | 65630 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : MAJOR DEVELOPMENTS EVERYWHERE CONTEMPORARY |
| 000 years ago. Artifactual and non-artifactual evidence from the lacustrine shores of the Chalco Basin already suggest the existence of fully sedentary human communities in this region from at least the sixth millennium B. | 65630 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : MAJOR DEVELOPMENTS EVERYWHERE CONTEMPORARY |
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ARTIFICAL.................1 (0.000%)
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| 13. Rittmann, op. cit., 267. 14. Artifical and Natural Electricity. | 42015 THE LATELY TORTURED EARTH: PART IV: CRUSTAL TURBULENCE: Chapter 17 Volcanism : Notes (Chapter Seventeen: Volcanism) |
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ARTIFICE..................3 (0.000%)
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| building up tremendous magnetic charges. What artifice can do, | 7661 COSMIC HERETICS: PART 1: - Chapter 3: CHEERS AND HISSES - |
| registers as zero in the absurd artifice called the Gross National Product. | 20235 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| question and answer that only logical artifice can distinguish and designate the two. | 98822 THE DEVINE SUCCESSION PART 1: THEOMACHY Chapter 8: INDISPENSABLE GODS - |
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ARTIFICER.................1 (0.000%)
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| a 'second Ptolemy' or 'the outstanding artificer of our age; ' | 137611 THE VELIKOVSKY AFFAIR: PART 4: CUNEIFORM ASTRONOMICAL RECORDS AND CELESTIAL INSTABILITY - - - |
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ARTIFICES.................3 (0.000%)
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| highest mountain altitudes or underwater without artifices. | 33191 THE LATELY TORTURED EARTH: PART I: ATMOSPHERICS: Chapter 2 The Gaseous Complex - |
| but nevertheless amazing, happen as the artifices of man. | 89761 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES : THE ELECTRO-CHEMICAL FACTORY |
| his admittedly great energies, genius, and artifices. | 91369 GODS FIRE: - - Chapter 6: THE CHARISMA OF MOSES : THE CENTRALIZATION OF HALLUCINATION |
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ARTIFICIAL................28 (0.003%)
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| art artesian well, flowing spring arthropoda artificial aurora artificial intelligence artriodactyla Aryabhataya( m) Aryan As, | 1639 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| well, flowing spring arthropoda artificial aurora artificial intelligence artriodactyla Aryabhataya( m) Aryan As, | 1640 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| Saskatchewan Saskatchewan gravels Satan satellite satellite, artificial satellite, | 5167 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| 325. 3. Neptune is a modern, artificial name, | 29113 CHAOS AND CREATION: - - CHAPTER 09: THE OLYMPIAN RULERS : Notes (Chapter Nine: The Olympian Rulers) |
| chronologues, have produced a 500-year artificial extension of catastrophe throughout the Old World. | 30143 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE GREEK "DARK AGES" |
| winds due to a manmade or artificial desiccation of lands, | 33471 THE LATELY TORTURED EARTH: PART I: ATMOSPHERICS: Chapter 2 The Gaseous Complex - |
| the nuclear reactions previously described as 'artificial' as well as many others involving energies quite outside the range of artificial transmutations actually occur probably at appreciable rates in the earth. | 49910 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| energies quite outside the range of artificial transmutations actually occur probably at appreciable rates in the earth. | 49911 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| credited with producing radionuclides, and all artificial element-creation starting with the first fusion reaction ever achieved in the laboratory -producing technetium from molybdenum, | 49965 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| provably transitional types. Stone tools and artificial dwellings have characterized the earliest bipedal large-brained types. | 61103 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION : NATURAL SELECTION |
| Appearing first in what may be artificial modifications of naturally suggestive stones, | 65201 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : PROTO-CULTURE |
| has an elite that can create artificial normalities. | 69746 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : THE IDEAL PERSON |
| conditions which we delineate would be artificial creations and there would be no corresponding boundaries in nature... | 69989 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : THE HUMAN DISEASE |
| out that any piece of an artificial hologram film reproduces the whole of the figure, | 72119 HOMO SCHIZO II: - - Chapter 3: BRAINWORK : THE LOCATION OF INSTINCT DELAY |
| ordinary feat is duplicated outside, as artificial holography. | 72135 HOMO SCHIZO II: - - Chapter 3: BRAINWORK : THE LOCATION OF INSTINCT DELAY |
| design; the pyramid was a superior artificial mountain from whose peak (a metallic cap), | 86427 GODS FIRE: - - Chapter 2: THE SCENARIO OF EXODUS : WHY PHARAOH PURSUED THE HEBREWS |
| charge up negative electricity. The next artificial support of the Ark comes from being elevated. | 89072 GODS FIRE: - - Chapter 4: THE ARK IN ACTION : THE ARK'S END |
| the case of Jericho. A third artificial stimulant was water. | 89079 GODS FIRE: - - Chapter 4: THE ARK IN ACTION : THE ARK'S END |
| Aaron's and other masks were artificial, | 89642 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES - |
| clouds of the mountain and the artificial clouds of the Tent of the Tabernacle. | 89661 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES : RADIATION DISEASES |
| various small wheels; buckles and pills; artificial and volcanic glass; | 92135 GODS FIRE: - - Chapter 7: THE LEVITES AND THE REVOLTS : IMPEDIMENTA |
| hand and more controllable was the artificial lightning of Moses. | 92758 GODS FIRE: - - Chapter 7: THE LEVITES AND THE REVOLTS : KORAH'S REBELLION |
| materials directly. This is to disassemble artificial conglomerations and reveal the underlying reality. | 95604 GODS FIRE: - - - APPENDIX : THE PRAGMATICS OF LEGEND |
| check on radiocarbon dates. If an artificial glass is subjected subsequent to its manufacture to combustion temperatures of over 600 degrees centigrade, | 102958 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 2: THE BURNING OF TROY : A NEW INTERDISCIPLINARY METHOD |
| fragment, an arrowhead, a doll, an artificial pile of stones, | 104831 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 8: THE OBLITERATION OF HUMAN SIGNS - |
| all of the finery of the artificial world is himself mirrored. | 109620 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 24: THE OUTLOOK OF SCIENTISTS : FALLACIES ABOUT SCIENTISTS |
| Egypt this meant in practice building artificial mountains, | 117200 KA: - - Chapter 13: 'KA', AND EGYPTIAN MAGIC : STATUES AND MUMMIES |
| would sound too much like an artificial construction. ' | 137446 THE VELIKOVSKY AFFAIR: PART 3: THE INCONSTANT HEAVENS - - - |
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ARTIFICIALLY..............7 (0.001%)
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| natal resultant. He proposes to cause artificially a totally ramifying system of displacements, | 10577 COSMIC HERETICS: PART 2: - Chapter 8: HOMO SCHIZO MEETS GOD - |
| man, but because he might be artificially created to go against nature! | 69714 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : THE IDEAL PERSON |
| is clear that the Ark needs artificially supporting conditions to work at all. | 89056 GODS FIRE: - - Chapter 4: THE ARK IN ACTION : THE ARK'S END |
| The problem is like that of artificially accomplishing photosynthesis. | 89867 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES : MANNA |
| the manna that Moses was producing artificially.) | 89873 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES : MANNA |
| to Latium my not be an artificially created myth, | 103285 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 3: THE FOUNDING OF ROME - |
| of religious groups to try to artificially stimulate reaction, | 128208 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
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ARTILLERY.................8 (0.001%)
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| outraged. He turned to his largest artillery piece to blast Muller. | 8593 COSMIC HERETICS: PART 1: - Chapter 4: A PROPER RESPECT FOR AUTHORITY - |
| into the ocean depths, or heard artillery shells scream and strike, | 11087 COSMIC HERETICS: PART 2: - Chapter 8: HOMO SCHIZO MEETS GOD - |
| awaited, to bring up the heavy artillery. | 13036 COSMIC HERETICS: PART 3: - Chapter 10: ABC'S OF ASTROPHYSICS - |
| artillery. But then maybe the heavy artillery is not there; | 13036 COSMIC HERETICS: PART 3: - Chapter 10: ABC'S OF ASTROPHYSICS - |
| bombarded the surface without exploding, like artillery duds. | 54655 SOLARIA-BINARIA: PART 2: DESTRUCTION OF THE SOLAR BINARY: Chapter 11: ASTROBLEMES OF THE EARTH - |
| many hours by a single German artillery piece, | 88811 GODS FIRE: - - Chapter 4: THE ARK IN ACTION : THE BATTLE OF JERICHO |
| North Africa, following World War II, artillery shell cases of 105 mm. | 95672 GODS FIRE: - - - APPENDIX : THE PRAGMATICS OF LEGEND |
| he acknowledged good food between the artillery booms of his rhetoric. | 110026 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 26: EULOGIES TO THREE QUANTAVOLUTIONARIES : LIVIO CATULLUS STECCHINI |
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ARTIMPASA.................1 (0.000%)
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| the Encyclopaedia Britannica (16-44) worshipped "Artimpasa (Aphrodite Urania), | 79542 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 8: THE TWO FACES OF LOVE : ENCYCLOPEDISTS AND THE MOON GODDESS |
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ARTIOS....................1 (0.000%)
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| chorus say: "elampse gar tou niphoentos artios phaneisa phama Parnasou." | 113366 KA: - - Chapter 2: THE ELECTRIC ORACLES - |
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ARTISANS..................1 (0.000%)
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| fail on Hephaestus, Most Famed among Artisans, | 77003 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 2: THE SONG OF LOVE : THE SONG LITERALLY RENDERED IN ENGLISH VERSE |
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ARTIST....................31 (0.004%)
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| time to Velikovsky. Sizemore was an artist as well, | 7850 COSMIC HERETICS: PART 1: - Chapter 3: CHEERS AND HISSES - |
| established reputation acted like a trapeze artist who pauses for a moment on his swing to watch an especially neat trick being executed by a tightrope walker in the next ring of the circus. | 8702 COSMIC HERETICS: PART 1: - Chapter 4: A PROPER RESPECT FOR AUTHORITY - |
| gentile. Mrs. V. was a fine artist, | 9971 COSMIC HERETICS: PART 2: - Chapter 6: HOLOCAUST AND AMNESIA - |
| drawing was traced out by our artist from the original Xeroxed sheet you had sent, | 10076 COSMIC HERETICS: PART 2: - Chapter 7: FROM VENUS WITH LOVE - |
| as I said before, a creative artist who had put aside his larger skills to create a singular commodity, | 17283 COSMIC HERETICS: PART 4: - Chapter 14: THE FOIBLES OF HERETICS - |
| with a public interest. The philosopher, artist, | 17925 COSMIC HERETICS: PART 5: - Chapter 15: THE KNOWLEDGE INDUSTRY - |
| the particular human race of the artist, | 47567 THE LATELY TORTURED EARTH: PART VI: BIOSPHERICS: Chapter 27 Genesis and Extinction - |
| of handling his displacements. Everyone, not artist and scientist and humanitarian alone, | 67208 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| our flighty word to an emaciated artist who paints "still-lives," | 76033 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SUBLIMATION AS PREFERABLE DISPLACEMENTS |
| priests and cultists by getting the artist Petty to draw illustrations for each month using the Roman vestal virgins as models. | 107362 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 17: MAKING MOONSHINE WITH HARD SCIENCE - |
| 1914); Ulysses (1922); Portrait of the Artist as a Young Man (1916); | 108108 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| the breakdown of consciousness, carrying the artist backward to an all-embracing participation with the world, | 108170 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| was held to be a great artist; | 119811 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| the picture, was an even greater artist. | 119813 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| was held to be the first artist to have created statues standing in natural poses instead of having arms close to the sides and one foot forward. | 122788 - A FIRE NOT BLOWN: - - Chapter 10: CHRONOLOGY - |
| of his therapy for neurosis. The artist shows the earth, | 125885 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - - - |
| sources potentially are available to the artist's mind. | 129817 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| events? Can we expect that an artist, | 129821 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| this final picture, which the controlling artist provides, | 129973 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in triggering catastrophic associations in an artist's mind. | 130729 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| it, which Shakespeare, as a great artist representing mankind, | 131205 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the collective function of the narrative artist may be to calm our fears by creating narratives in which the catastrophes may be let loose in disguise, | 131344 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| cope with his existence, so the artist, | 131348 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| itself, and thus, the more an artist, | 131375 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| emotional, being the product of the artist's technical expertise in his metier, | 131381 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| must be understood, however, that the artist who does this for us never has the slightest conscious inkling that this is what he is doing. | 131419 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| being aware of it, the great artist's creative faculty can tune into the wavelength of our racial memories to find there the grand schematic designs of his art. | 131425 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is what makes him an enduring artist, | 131427 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| also racially in us. Only the artist can produce the pattern, | 131428 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| human psyche, and so The great artist ... | 131453 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| literary function, Jung decides that ..... the artist is "man" in a higher sense - "collective man" - and that "the work of the poet comes to meet the spiritual needs of the society in which he lives." | 131460 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |