Genesis 1 Structure

With the new editor’s support for tables, I decided to take on the structure of the first creation story in the Bible. Each number is for the day when something is created.

Celestial1. Day, night4. Sun, Moon, stars
Far Terrestrial2. Sea, sky5. Flying animals, aquatic animals
Near Terrestrial3. Land, (plants)6. Land animals, humanity

On the day after these labors, God rested, taking the first day off in the history of the Universe. This is rather obviously a charter myth for the seventh-day Sabbath.

Back to the previous six days, God creates each of these three kinds of environments, and then returns to create their inhabitants. It is very orderly and systematic, and very unlike the second creation story, with its very improvised look. It even fits the factorization of 6 into a product of 2 and 3 — environments vs. inhabitants and three kinds of environments.

This structure explains the oddity of flying animals before land animals, and the story also has the oddity of placing plants in environments rather than in inhabitants.

Genesis 1 – Indo-European?

This may seem very odd, but I have developed a hypothesis for that, by assembling various bits and pieces of history and mythology.

The story starts with the speakers of Proto-Indo-European dialects some 6000 years ago in the grassland between eastern Ukraine and Kazakhstan. They had a creation story that goes something like this:

Once upon a time, there were two twin brothers, *Mannus, and *Yemos, Man and Twin. Man sacrificed Twin, dismembered him, and constructed the familiar universe from his body parts.

They also had a story about how a god of storms and war fought and killed a reptilian water monster.

They spread out from their homeland, and though they eventually got assimilated in the Fertile Crescent, these stories were picked up by local people and conflated into a Chaoskampf, “chaos struggle”. The older gods are threatened by a chaos monster, and they send out a younger god to fight it. He defeats it, he creates the familiar universe from its parts, and he becomes the ruler of the gods.

This story is picked up by some Israelites, and they trim it down by God cutting up primordial material. “In the beginning, God separated the heaven and the earth”. The story was then revised into its present form, and it was turned into a charter myth for the seventh-day Sabbath.

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Transcendental Future Orientation

Psychologist Philip Zimbardo has proposed that much of our attitudes can be explained by our time orientation. Are we oriented to the past? The present? The future? Is our orientation positive? Or negative? That is, do we think about good things or bad things? He explains what he means at his site, The Time Paradox.

That site has an odd time orientation: Transcendental Future. He even has a quiz about it: Transcendental-future Time Perspective Inventory (TTPI). Continue reading

Gods from Outer Space

Transcendent Outsiders, Alien Gods, and Aspiring Humans: Literary Fantasy and Science Fiction as Contemporary Theological Speculation by Ryan Calvey, discusses a range of such entities, and I wish to fill out his discussion further. His hierarchy is:

  • Transcendent outsiders: entities much more powerful than us.
  • Human beings.
  • Aspiring human beings: a huge collection of robots, software constructs, magically-animated toys, assembled organisms, and the like. They want to either become human or else to have the sort of respect that we give each other.

About the first one, RC distinguished between authoritarian and friendly ones, and I have expanded on his classification.

  • Authoritarian and Punitive: the movie The Day The Earth Stood Still
  • Friendly and Helpful: Carl Sagan’s book and movie Contact
  • Aloof: the movie 2001: A Space Odyssey
  • Absent or Nonexistent: Isaac Asimov’s Foundation series
  • Emergent: Isaac Asimov’s short story “The Last Question”

I’ll explain more about each of them after the fold.

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Theological Retcons

“Retcon” is short for retroactive continuity, and it is a common literary technique for resolving gaps and discrepancies in serial fictional works, like novels, comic books, movies, TV shows, computer games, etc. Though it is often their fans that produce retcons for them, their creators may also do so.

There are three main types of retcon:

  • Addition. Of features that clarify parts of the existing story world, usually without contradicting existing features. These may take the form of additional adventures that were only alluded to in the original works, like someone’s novels about the Star Trek Eugenics Wars.
  • Modification. Some of the features get revised to make continuity possible. A character who dies in one work and returns in a following work my have their death explained as only a seeming death, something common enough in some genres to be called a comic book death. Thus, Sherlock Holmes and Mr. Spock had died comic-book deaths. Likewise, some works may be explained as dreams of some of the characters (Pam Ewing dreamed an entire season of Dallas!), an alternate universe, etc.
  • Subtraction. Disliked works are ignored or written out, and they effectively no longer exist. Perhaps the ultimate form of subtraction is the reboot, that is, wiping the slate clean.

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