I got started on this topic while working on another. I just recently learned that the BA’AL Arch was erected once again. This time in Bern, Switzerland. I am still working on that research. That is a very heavy topic and will take me some time. IN the meantime, I felt this topic needed to be addressed first.
Now, as you review this series, keep the BA’AL (Palmyra Arches) in mind. It is all related and it is ALL ABOUT TIME!!
We will begin our series in BERN. There is so much more to learn about Bern, but we will start with the CLOCK TOWER. Again, there is so much more to delve into even on that subject, but time and space are limited. If I try to cover too much in one series, you will get very overloaded. I know I do!
As you go through this series think about the BA’AL arches and where we have already seen them erected. Most of these locations are highly related to TIME among other significant symbolism they share. Be aware of things like Gates, Arches, Bells and pay attention to how often Einstein plays a role in the changes that have occurred in how we think of TIME, the words we use in relation to TIME, how we measure TIME and how it affects us.
If you don’t know, the One who established TIME is GOD Himself:
Genesis 1:14-19 – The Fourth Day
And God said, “Let there be lights in the expanse of the sky to distinguish between the day and the night, and let them be signs to mark the seasons and days and years. And let them serve as lights in the expanse of the sky to shine upon the earth.” And it was so.
God made two great lights: the greater light to rule the day and the lesser light to rule the night. And He made the stars as well.
God set these lights in the expanse of the sky to shine upon the earth, to preside over the day and the night, and to separate the light from the darkness. And God saw that it was good.
And there was evening, and there was morning—the fourth day.
The Clock Tower (Zeitglockenturm) was Bern’s first westerncity gate(1191 – 1256) and formed the boundaryof the first city extension. Today it is one of Bern’s most important sights. The ornate astronomical calendar clock was created in 1530.
The tower clock was the city’s main clock and therefore had an authoritative function in Bern. It was from there that travel times indicated on the hour stones along the cantonal roads were measured. Length units – formerly cubit and fathom, today meter and double meter – for public inspection are displayed in the arch of the gate.
Many times each week, deep inside an iconic medieval clocktower in the heart of Bern, Switzerland, a man by the name of Markus Marti watches over the clock that inspiredAlbert Einstein‘sfirst thought experiment. It was an experiment that would set Einstein on a path towards the discovery of his General Theory of Relativity that changed human history forever.
Marti has been watching over the clock, known as the Zytglogge, for 40 years now, and BBC’s Larry Bleiberg recently met up with him. “Marti has a delightful job title, which roughly translates as the Governor of Time, although his responsibilities are quite serious. Every day he or one of his two assistants must wind the clock, a full-body effort that pulls a set of stone weights to the top of the 179ft (54.5m) tower. As the load slowly descends, it powers the timepiece, which rings every 15 minutes. Bern residents pace their lives to the sound.”
For unsuspecting visitors to Bern, the clock might appear as just another of Europe’s beautiful towered timepieces, but the Zytglogge triggered an idea inside the mind of a very young burgeoning physicist named Albert Einstein.“[Einstein’s] first thought experiment has to do with time and stems from a thought Einstein had while riding home in a streetcar in Bern. He saw the clock tower passing behind him and wondered how the clock would appear as the streetcar moved faster and faster,” writes Chris Impey of Teach Astronomy.
“At 300,000 kilometers per second, the streetcar would be moving away as fast as the light wave that showed the time as 6pm, for example — time would be frozen! It perhaps more correct way to look at this is to remember all observers see light traveling past at the same rate. If you are flying along a lightbeam, the only way you can see it traveling at the same rate that a stationary person sees it traveling is if your watch ticks slow (i.e. just like a stationary person will observe a passing car going 60 miles per hour north, while a driver going 50 mph north will only see the passing car as going so fast relative to them if their watch is running really really slow.)”
. Photo credits: Jon Arnold Images Ltd/Alamy, Douglas Pearson/Getty, Blaine Harrington III/Getty, Douglas Pearson/Getty, Prisma Bildagentur AG/Alamy)
Throughout the medieval period these clocks were the center of the community. They did so much more than keep time. But, keep time they did. Very accurate, dependable time. They were so dependable in fact that people lived their lives by them. After Einstein’s theory took the world, these clocks were changed, one by one over time. Why because the calendar was changed, understanding of astrology and cosmology changed, and the time changed. That is why this section is called changing clocks to change the time.
Bern’s unique cityscape – distinguished by UNESCO as a World Heritage Site in 1983– is shaped by the city’s cosmopolitan charm.
The Clock Tower (Zytglogge) was the first western gate of the city (1191 – 1256) and, with its famous astronomical calendar clock built in 1530, is now one of the main attractions of Bern and the oldest clocks in Switzerland.
The tower clock served as the master clock for the city of Bern and hence set the standard. From there, the hours were measured which are indicated on the hour stones of the canton’s roads.
The hour chimes, the two tower clocks, the mechanical figures and the astronomical clock are all driven by a common mechanism.
The exterior appearance of the tower is dominated by late-Baroque elements. The large dial is framed by a fresco produced by Viktor Surbek in 1930.
space saver
The Zygtlogge tower with the 15th-century astronomical clock in Bern, Switzerland.
The tower and the clock was extended in the late 15th century, and the clockwork was completely rebuilt by Kaspar Brunner between 1527 and 1530. The structure has two clock faces.
The Munich Glockenspiel is definitely one of the most overrated shows on Earth that continues to attract hundreds, usually thousands of people to witness it personally on a daily basis. Nevertheless, it is also something that is “classic Munich” and is the best-known work of artistic engineering of its kind in the world. It takes place in the tower of the New Town Hall at Marienplatz at 11 a.m., noon and, except in the winter, also at 5 p.m. Munich’s glockenspiel is the largest in Germany and the 4th largest in Europe. It has 43 bells, the largest of which weighs over 1,300 kg.
Part of the second construction phase of the New Town Hall, it dates from 1908. Every day at 11 a.m. and 12 p.m. ( as well as 5 p.m. in the summer)[2] it chimes and re-enacts two stories from the 16th century to the amusement of mass crowds of tourists and locals. It consists of 43 bells and 32 life-sized figures. The top half of the Glockenspiel tells the story of the marriage of the local Duke Wilhelm V(who also founded the world famous Hofbräuhaus) to Renata of Lorraine. In honour of the happy couple there is a joust with life-sized knights on horseback representing Bavaria (in white and blue) and Lothringen (in red and white). The Bavarianknight wins every time, of course.[3]
This is then followed by the bottom half and second story: Schäfflertanz (the coopers‘ dance). According to myth, 1517 was a year of plague in Munich. The coopers are said to have danced through the streets to “bring fresh vitality to fearful dispositions.” The coopers remained loyal to the duke, and their dance came to symbolize perseverance and loyalty to authority through difficult times. By tradition, the dance is performed in Munich every seven years. This was described in 1700 as “an age-old custom”, but the current dance was defined only in 1871. The dance can be seen during Fasching (German Carnival): the next one is in 2019.[3]
The whole show lasts somewhere between 12 and 15 minutes long depending on which tune it plays that day. At the very end of the show, a very small golden rooster at the top of the Glockenspiel chirps quietly three times, marking the end of the spectacle.[3]
Rathaus Historic Building in Ulm Save Share The 14th-century Rathaus has an ornately painted Renaissance facade and a gilded astrological clock (1520); bells count off every quarter-hour. Inside you can see a replica of the flying machine created by the ‘Tailor of Ulm’, Albrecht Berblinger.
Munich Glockenspiel
Facts about the Glockenspiel in Munich – part of one of the world’s most delightful clocks.
Every day the city’s central Marienplatz square is crammed with onlookers with their chins aimed skywards.
They’re watching one of the city’s most loved oddities, the Munich Glockenspiel, or carillon. This chiming clock was added to the tower of the Neues Rathaus (New Town Hall) the year the building was completed in 1907.
MUNICH GLOCKENSPIEL: Its two levels play out scenes from Munich’s history.
At 11am and midday (and 5pm between March and October) the Munich Glockenspiel recounts a royal wedding, jousting tournament and ritualistic dance – all events which have etched a mark on Munich’s popular folklore.
The show lasts about 15 minutes and concludes with the golden bird up the top emerging and chirping three times. Different tunes are played on the clock’s 43 bells. To get a better view of what’s going on head up to the third or fourth floor of the Hugendubel bookstore across the square.
Topside
THE GROOM: Wilhelm V’s wedding is played out on the Munich Glockenspiel.
The top level recounts the 1568 wedding of Duke Wilhelm V(1548-1626) and Renata of Lorraine (1544–1602), one of the most expensive and downright decadent weddings of the Middle Ages.
It was a huge dynastic deal, the Austrian archdukes arrived in a train of over 1500 horses and more than 600 oxen were carved and cooked up for the revellers. On the day of the nuptials, the bride was collected from the nearby town of Dachau by no less than 3500 mounted riders.
The whole party lasted about two weeks. The crowd highlight was the Kröndlstechen, or crown joust, which took place right on Marienplatz and is now a big part of the Glockenspiel show. HORSEBACK HEROES: A medieval joust plays out Glockenspiel’s top level.
A well-named bloke called Caspar Nothaft von Wernberg zu Alhaming was declared the overall winner. He’d reportedly “injured several fingers on his left hand, but not before unhorsing four riders”. The Munich Glockenspiel shows a Bavarian knight battling a French jouster and as you’d expect the Bavarian always wins. The groom, Wilhelm V, became famous as the man who founded the famous Hofbrauhaus, and rather infamous for leading massive witch hunts across his domain.
Down below
On the lower level you can see the red-coated city’s coopers (barrel makers) do a ritualistic jig known as the Schäfflertanz. The dance is popularly thought to have begun in the devastating plague year of 1517, but it actually dates back further. Legend says the coopers started the dance to give Munich’s residents the all-clear that the plague was done and dusted. The Bavarian duke Wilhelm IV ordered the dance be re-enacted every seven years to keep the deadly disease in the collective memory. The next Schäfflertanz, performed by guys in the same old-fashioned get up, will be in February 2019! You can see a couple of cooper statues in more detail at the entrance to Schäffler Strasse, west of the Marienhof park at the back of the Neues Rathaus. There’s also a mini-show at 9pm, when two figures appear from the bays below the clock face. On one side there’s the Angel of Peace blessing the Münchner Kindl, the Munich’s child-monk mascot. On the other side a night watchman appears, sounding the city curfew on his horn.
Video of the Glockenspiel in Munich
Here you can watch a video of the Munich Glockenspiel – it’s very well filmed, but believe me, the Glockenspiel is just one of those things you should see in real life!
The Astronomical Clock at Deutsches, Munich, Germany
The astronomical clock at the Deutsches Museum in Munich, Germany, image Melissa Hulbert – The Deutsches Museum in Munich was founded in 1903 and is one of the oldest and largest museums in Europe that is devoted entirely to science and technology
Deutsches Museum, the world’s largest museum of science and technology, welcomes about 1.5 million visitors each year. You can explore nearly 28,000 objects in 50 science and technology fields. Founded in 1903 on the initiative of engineer Oskar von Miller, the museum’s main site is on Museum Island in the Isar river. (Two other spots in the city host additional exhibit spaces.) Explore the museum’s interactive exhibits dedicated to natural sciences, telecommunications, tunnel construction, technical toys, astronautics, bridge building, marine navigation, aerospace, and much more. Photography is permitted, so don’t forget your camera. Deutsches Museum is just one of the many highlights you can arrange to see using our custom trip planner, Munich Edition.
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Prague Orloj, astronomical clock, Old Town City in Prague, Czech Republic
By Steve Collis from Melbourne, Australia – Astronomical Clock, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=24306300
Prague astronomical clock (or Prague Orloj), mounted on the wall of Old Town City in Prague, Czech Republic. It’s the oldest still working intact example of its kind.
The astronomical dial and the mechanical clock was made and installed in 1410. Around 1490 a calendar dial was added and the whole structure was decorated with Gothic sculptured.
The clock was improved with the Walk of the Apostles and other moving statues in the 17th century and after a major repair in 1865-1866. A present-day calendar was constructed in 1870.
— Prague’s medieval astronomical clock is not just one of the prettiest timepieces you’ll ever come across, it’s also one of the most famous examples of its genre. Starting in the 13th century, astronomical clocks began springing up around Europe, using intricate functions to show information such as lunar phases, the position of the sun and moon, and the zodiac at any given moment.The oldest part of the Prague astronomical clock—or Orloj—dates to 1410 and is located in the heart of Old Town Square. Less than a hundred years later, the calendar dial was added and Gothic sculptures were installed to adorn the clock tower. Now, tourists flock to Old Town Square to gaze up at Prague Orloj, with many waiting until the top of the hour. Each hour, animated figurines flanking the clock are set in motion. The figurines, which were added in the 1600s, represent four vices. Vanity is shown as a man admiring himself in a mirror, a miser holding a bag of gold represents greed, while another strumming an instrument is to show lust or “earthly greed.” The fourth sculpture, a skeleton, represents death and rings the bell each hour as the other figurines shake their heads.Over time, the clock has been continuously repaired, and was almost destroyed on May 8, 1945 at the hands of the Nazis during the Prague Uprising. The calendar plate suffered extensive damage and had to be restored, with the clock resuming function in 1948. The Prague Astronomical Clock has continued to undergo restoration over the years, with the most recent effort starting in July 2017 and ending in January 2018.
How to Read the Prague Astronomical Clock
With so many ornate mechanisms, how does one tell time using the astronomical clock? Starting with the oldest, original portion of the medieval clock, going disk by disk, it becomes easy to see how the timepiece functions.
The colorful stationary plate at the back of the clock face represents Earth and our view from the sky. With Earth in the center, gradations of color signify different moments in the day, from the orange hue of dawn to the uppermost blue of daylight. During the day, the wand representing the sun sits against the appropriate color so, for instance, at night you’ll find it against the black circle.
The outermost numbers, set against a black background, tell Old Czech Time or Italian hours. In Italian hours, the “24” represents the hour of sunset, and so this ring slides throughout the year as appropriate. Alternatively, the inner ring of Roman numerals indicate the normal 24 hours in Central Eastern Time, which is Prague’s local time.
But the clock is about much more than telling time. Two separate wands representing the sun and the moon move around the zodiac ring. The sun moves counterclockwise against the ring, and gives an indication of where the sun and moon are in their orbit around the Earth. The moon wand is half white and half black in order to show the current cycle of the moon. Interestingly, the rotation of the ball showing the lunar phases is entirely owed to gravity, something unique in this genre of timekeeping.
A small golden star shows the position of the vernal equinox and sidereal time based on the Roman numerals. Sidereal time is used by astronomers to locate celestial bodies and though all this information may seem odd to us now, consider that astronomical clocks functioned as a sort of astrolabe, and were meant to give a concise vision of the state of the universe at any given moment.
CALENDAR PLATE
The calendar plate, which sits just below the astronomical clock, was redesigned by Josef Mánes in the late 1800s. His original is now located in the Prague City Museum, with a copy in its place on the clock tower. The plate shows Prague’s Old Town crest in the center, surrounded by 12 circles featuring the signs of the zodiac. This is surrounded by a larger ring of circles that represent the months of the year by demonstrating workers. For instance, in August a farmer flails crops while in October grapes are harvested.
The calendar plate rotates throughout the year so that the current day is always shown at the top.
Best Time to Visit the Medieval Clock Tower
Prague’s Orloj is one of the city’s most popular attractions, so if you want to view it in solitude, away from the masses, it will take some planning.
In general, crowds really flock around the top of the hour to see the moving statues. If catching this show isn’t important to you, you’ll surely find fewer people in between the hour. If you really want to catch the action, try to arrive at least 15 minutes early so you aren’t stuck in the back of the crowd.
And, in general, late afternoons and early mornings are quieter times, as most people do their viewing mid-day.
The medieval astronomical clock adorns the southern wall of the Old Town City Hall in the Old Town Square. It announces every hour with 12 apostles passing by the window above the astronomical dial and with symbolic sculptures moving aside. That makes it a popular tourist attraction.
Legend about clockmaster Hanus
The origin of the Astronomical Clock was misrepresented for centuries. It was believed, that the author was clockmaster Hanus, also called Jan of Ruze, who lived in the 15 th century. The story said that the clock was admired by many foreigners, but Hanus refused to show construction plans to anybody. When Prague Councillors found out that he was going to make another, even better clock, they became jealous and blinded him so he could not finish it. Later he allegedly damaged the astronomical clock in revenge, and nobody was able to repair it.
Real history of the Astronomical Clock
The real author of the clock was discovered in 1961 in an old document, which describes the astronomical dial and says it was made by Mikulas of Kadan in 1410. He probably cooperated with the astronomer and Charles University professor Jan Sindel.
The Astronomical Clock was repaired and improved by Jan Taborsky in the 16 th century. However, it became very faulty as time went by, and it was mostly out of order. It was even considered whether it should be liquidated in the 1780s. The clock soon stopped working for a long time.
The major repair was inevitable and it came in 1865. The clock was modernized and a new Calendar Dial was painted by Josef Manes. In 1945 the German army damaged the Astronomical Clock and some of the statues burned. They were replaced by replicas later, and the striking of the clock was changed from the Old Czech Time to the Central European Time.
The Astronomical Clock consists of the windows with apostles at the top, the Astronomical Dial, which is the oldest part, the Calendar Dial underneath and various sculptures around.
Figures of Apostles
The wooden figures of apostles with their attributes appear in the windows every hour, while at the same time some of the sculptures begin to move: the Death holds its hourglass and beckons to the Turkish man sculpture, which shakes its head in response. There is Vanity portrayed as a man with a mirror and Miserliness as a man with a moneybag, shaking a stick. The other statues, that don´t move, are an Astronomer, a Chronicler, a Philosopher and an Angel. When the apostles finish their journey, the golden cockerel at the top crows and quivers its wings, the bell rings and the clock chimes the hour.
Astronomical Dial
The Astronomical Dial shows the medieval perception of the Universe: the Earth is the center. The blue part of the dial represents the sky above the horizon, the brown part the sky below it. There are Latin words ORTVS (east) and OCCASVS (west) written above the horizon, and AVRORA (dawn) and CPEPVSCVLVM (twilight) below. There is a Zodiac ring, which represents the stars in the sky and it moves according to it. The two clock hands bear the signs of the Sun and the Moon. There are three circles on the dial, showing different time: the outer circle with Schwabacher numerals shows the Old Czech Time (“Italian Time”), the circle with Roman numbers shows the Central European Time and the inner circle with Arabic numerals shows the “Babylonian Time”: the length of an hour differs there according to the season – it is longer in the summer, shorter in the winter. The Prague Astronomical Clock is the only one in the world able to measure it. Furthermore, the little star by the zodiac ring shows the sidereal time.
Calendar Dial
The newest part of the clock is the Calendar Dial. There is the Prague Old Town symbol in the centre. The rotary outer circle describes every single day of the year, and the current date is indicated at the top. There are also medallions with zodiac signs and with pictures depicting every month.
Einstein was having none of it, and his insistence that God does not play dice with the Universe has echoed down the decades, as familiar and yet as elusive in its meaning as E = mc2. What did Einstein mean by it? And how did Einstein conceive of God?
Hermann and Pauline Einstein were nonobservant Ashkenazi Jews. Despite his parents’ secularism, the nine-year-old Albert discovered and embraced Judaism with some considerable passion, and for a time he was a dutiful, observant Jew. Following Jewish custom, his parents would invite a poor scholar to share a meal with them each week, and from the impoverished medical student Max Talmud (later Talmey) the young and impressionable Einstein learned about mathematics and science. He consumed all 21 volumes of Aaron Bernstein’s joyful Popular Books on Natural Science (1880). Talmud then steered him in the direction of Immanuel Kant’s Critique of Pure Reason (1781), from which he migrated to the philosophy of David Hume. From Hume, it was a relatively short step to the Austrian physicist Ernst Mach, whose stridently empiricist, seeing-is-believing brand of philosophy demanded a complete rejection of metaphysics, including notions of absolute space and time, and the existence of atoms.
But this intellectual journey had mercilessly exposed the conflict between science and scripture. The now 12-year-old Einstein rebelled. He developed a deep aversion to the dogma of organized religion that would last for his lifetime, an aversion that extended to all forms of authoritarianism, including any kind of dogmatic atheism.
This youthful, heavy diet of empiricist philosophy would serve Einstein well some 14 years later. Mach’s rejection of absolute space and time helped to shape Einstein’s special theory of relativity (including the iconic equation E = mc2), which he formulated in 1905 while working as a “technical expert, third class” at the Swiss Patent Office in Bern.Ten years later, Einstein would complete the transformation of our understanding of space and time with the formulation of his general theory of relativity, in which the force of gravity is replaced by curved spacetime. But as he grew older (and wiser), he came to reject Mach’s aggressive empiricism, and once declared that “Mach was as good at mechanics as he was wretched at philosophy.”
Over time, Einstein evolved a much more realist position. He preferred to accept the content of a scientific theory realistically, as a contingently “true” representation of an objective physical reality. And, although he wanted no part of religion, the belief in God that he had carried with him from his brief flirtation with Judaism became the foundation on which he constructed his philosophy. When asked about the basis for his realist stance, he explained: “I have no better expression than the term ‘religious’ for this trust in the rational character of reality and in its being accessible, at least to some extent, to human reason.”
But Einstein’s was a God of philosophy, not religion. When asked many years later whether he believed in God, he replied: “I believe in Spinoza’s God, who reveals himself in the lawful harmony of all that exists, but not in a God who concerns himself with the fate and the doings of mankind.” Baruch Spinoza, a contemporary of Isaac Newton and Gottfried Leibniz, had conceived of God as identical with nature. For this, he was considered a dangerous heretic, and was excommunicated from the Jewish community in Amsterdam.
Einstein’s God is infinitely superior but impersonal and intangible, subtle but not malicious. He is also firmly determinist. As far as Einstein was concerned, God’s “lawful harmony” is established throughout the cosmos by strict adherence to the physical principles of cause and effect. Thus, there is no room in Einstein’s philosophy for free will: “Everything is determined, the beginning as well as the end, by forces over which we have no control … we all dance to a mysterious tune, intoned in the distance by an invisible player.”
The special and general theories of relativity provided a radical new way of conceiving of space and time and their active interactions with matter and energy. These theories are entirely consistent with the “lawful harmony” established by Einstein’s God. But the new theory of quantum mechanics, which Einstein had also helped to found in 1905, was telling a different story. Quantum mechanics is about interactions involving matter and radiation, at the scale of atoms and molecules, set against a passive background of space and time.
Earlier in 1926, the Austrian physicist Erwin Schrödinger had radically transformed the theory by formulating it in terms of rather obscure “wavefunctions.” Schrödinger himself preferred to interpret these realistically, as descriptive of “matter waves.” But a consensus was growing, strongly promoted by the Danish physicist Niels Bohr and the German physicist Werner Heisenberg, that the new quantum representation shouldn’t be taken too literally.
In essence, Bohr and Heisenberg argued that science had finally caught up with the conceptual problems involved in the description of reality that philosophers had been warning of for centuries. Bohr is quoted as saying: “There is no quantum world. There is only an abstract quantum physical description. It is wrong to think that the task of physics is to find out how nature is. Physics concerns what we can say about nature.” This vaguely positivist statement was echoed by Heisenberg: “[W]e have to remember that what we observe is not nature in itself but nature exposed to our method of questioning.” Their broadly antirealist “Copenhagen interpretation” — denying that the wavefunction represents the real physical state of a quantum system — quickly became the dominant way of thinking about quantum mechanics. More recent variations of such antirealist interpretations suggest that the wavefunction is simply a way of “coding” our experience, or our subjective beliefs derived from our experience of the physics, allowing us to use what we’ve learned in the past to predict the future.
But this was utterly inconsistent with Einstein’s philosophy. Einstein could not accept an interpretation in which the principal object of the representation — the wavefunction — is not “real.” He could not accept that his God would allow the “lawful harmony” to unravel so completely at the atomic scale, bringing lawless indeterminism and uncertainty, with effects that can’t be entirely and unambiguously predicted from their causes.
The stage was thus set for one of the most remarkable debates in the entire history of science, as Bohr and Einstein went head-to-head on the interpretation of quantum mechanics. It was a clash of two philosophies, two conflicting sets of metaphysical preconceptions about the nature of reality and what we might expect from a scientific representation of this. The debate began in 1927, and although the protagonists are no longer with us, the debate is still very much alive.
And unresolved.
I don’t think Einstein would have been particularly surprised by this. In February 1954, just over a year before he died, he wrote in a letter to the American physicist David Bohm: “If God created the world, his primary concern was certainly not to make its understanding easy for us.”
This article was originally published byAeon, a digital magazine for ideas and culture. Follow them on Twitter at @aeonmag.
What I want to know is how a single man, who was totally against all that was believed and reverenced for thousands of years, since the dawn of time, was able to completely turn the world on its ear? What is the force behind that? And the only proof, given in his lifetime for his theory is what was shown to us in a telescope which was created by “scientists” working to prove their theory!! We don’t have any idea of how that equipment alters what we see. We have learned that light and how we perceive it can be very deceptive. I don’t trust Modern Scientism. I believe in old-time science, testing what we can observe naturally. But, much more importantly, I KNOW there is a Creator, who cares for EVERY DETAIL of our lives. That ought to be evident through the study of the detail he put into EVERYTHING he created from the smallest detectable cells to the greatest physical object. I know HE speaks to us THROUGH HIS WORD. HIS WORD IS TRUTH. I will follow HIM.