Search

The paper explores the doxologies in the book of Amos, arguing that they articulate a polemical viewpoint distinct from prevailing biblical and ancient Near Eastern notions about the formation of the sea, mountains, wind, and God's abode. Central to the comprehension of this cosmogony is the recurring phrase in Amos 5:8d and 6:9c, "(He) who summons the waters of the sea and pours them on the surface of the earth." While previous scholars have understood this phrase as referring to the primeval Flood, a tsunami event, or Levantine torrential rain, the present paper suggests a cosmogonic interpretation, in line with its context. Subsequent elements in the same series of texts are interlinked with this portrayal, emphasizing the unified—and polemical—perspective of the doxologies. This new explanation also has ramifications for the dating and composition of the doxologies in the book of Amos. [ABSTRACT FROM AUTHOR]

After the introduction of the Christian religion, a traumatic shift took place in the Norse approach to death rituals. Transition went with strains between the ancient era of cremation and the new inhumation period. We argue that the myth of Ragnarök, written after Icelandic Christianization, might refer to the Norse mythical past of funeral pyres as opposed to the Christian funeral practices. We provide novel insights about the role of Odin, who is swallowed by Fenrir as if he has been buried in the ground, and of Surtr, who burns the world to restore the purifying role of the flames. Yet, the fear among Norse people for dead revenants can be traced in the Ragnarök myth, in which malevolent and benevolent characters return from death. Ragnarök sets out how to cope with revenants either to keep them quiet, or counteract their evil powers, or fully remove their menace. Concerns about revenants were more compelling for Medieval Norsemen after Christianization, when the corpses could not be any longer destroyed/purified by the fire, but rather had to lie in the earth with easy access to return from death. Summarizing, we argue that: (a) Ragnarök outlines the transition from Norse to Christian burial practices and the ways Norsemen coped with this trauma; (b) Ragnarök is also a history of revenants, in which Norsemen strive to deal with the uncanny powers of dead. [ABSTRACT FROM AUTHOR]

This research aims to test the assumption, long-established in Oriental studies, that Confucian philosophy and, therefore, historiography, focused primarily on the specific and rational tasks of social management and government, which tend to ignore the issues of cosmogony, instead replacing it with cosmology. However, in recent times, claims about the paramount rationality of Confucian chronicles have been questioned. These doubts are of relevance in relation to the Korean official Confucian chronicle the Samguk sagi (Historical Records of the Three Kingdoms). Juxtaposing its text with other Korean sources, this article identifies three layers in which cosmogonic motifs and elements of cosmogonic myths can be found. These elements are observed in the stories about the founders of states as cultural heroes, in the approach of the historiographer Kim Busik to the presentation of the history of dynastic cycles (the emergence–bloom–decline–fall of the state), and in the biographies of various historical characters, which are included in a special biographical section of the chronicle. The composition of these biographies partially reproduces the cosmogonic model of the cycle of the hero’s transformations developed by Joseph Campbell. In the annalistic narrative, cosmogonic motifs are closely intertwined with cosmological motifs, forming a kind of a binary yin-yang monad. Kim Busik's Confucian historiographical rationalization does not reject myth entirely, integrating into the historical-political moralizing narrative those elements that correspond to the canon of historiography and their significance for the history of the country and the people. The very process of such integration requires serious efforts from the historiographer, since myths sometimes resist such reappropriation. As a result, many mythological stories are discarded, leaving in the historical narrative either the strongest, most significant elements, that in a sense overpower the canon, or those that resonate with the mythological basis of the canon itself.

The present paper questions the assumption in modern scholarship that section 55 of Dio Chrysostom’s Borysthenitic discourse is a reliable source for Chrysippus’ theory of conflagration. We may suppose instead that it is a description of the conflagration in broad Stoic terms that does not contain features that distinguish Chrysippus from other members of the school. And there is also room for disputing that the passage is a description of the conflagration. The phenomenon it describes may not be the conflagration at all, but the cosmogony. [ABSTRACT FROM AUTHOR]

I reconsider the article on "Indo-European cosmogony" that I published some decades ago, revising my ideas about the themes explored in different variants and the way these variants are related, while adducing three new examples. [ABSTRACT FROM AUTHOR]

This paper examines the unique representations of the separated heads on the ground line on the columns and gateways in the temple entryways associated with the Sed-festival. An analysis of the scenes shows that here are mutual iconographical and religious characteristics between this motif and the chthonic deity Aker. The focal point of the research is to study the known representations of these heads and present an additional hypothesis of attributing them to Aker. [ABSTRACT FROM AUTHOR]

The article analyzes the book "El pez de oro" by Gamaliel Churata from an ecopoetic perspective. Churata proposes an Indo-American philosophical and aesthetic reflection that responds to the influence of nature and recognizes America as a mother. Additionally, he highlights the importance of the connection with nature and the need to recover the ontological senses of Amerindian cultures. Churata considers virtuous love to be a healthy relationship with the sacred network of life and believes that coca carries fundamental knowledge of the cosmos. He also interprets the Andean matriarchal cosmogony and emphasizes that all living beings possess language, consciousness, and reason. Finally, he highlights the importance of faith and generous action in creation. [Extracted from the article]

During a period spanning over 37 years, Roberto Setti (1930-1984), a surveyor employed by the city council in Florence (Italy), was at the centre of extraordinary manifestations of mental and physical mediumship regularly reported by hundreds of reliable witnesses. During the same period, the entranced Setti also channelled, through the direct voice method, a number of purported spiritually advanced entities known as the Masters, whose utterances were recorded on tape, transcribed, and published almost in their entirety, amounting to what is possibly the largest and most detailed record available for such a particular form of anomalous information reception. The channelled information amounts to an extremely complex, articulated, and detailed edifice of philosophical, spiritual, moral, and cosmogonic thought--a doctrine in the broadest sense, which many authors have considered comparable to the teachings of great masters of monistic idealism such as Sri Aurobindo, Nisargadatta Maharaj, or Ramana Maharshi. This paper briefly reviews the life and personality of the medium, describes the format and phenomenology of the seances, discusses some features of the available recordings, and considers the surprisingly limited sceptical criticism that has been levelled over the years. The paper also attempts to provide a summary of the key elements of the vast body of philosophical thought allegedly channelled from the Masters. [ABSTRACT FROM AUTHOR]

The 21-cm spectral line widths, |$w_{50}$|⁠ , of galaxies are an approximate tracer of their dynamical masses, such that the dark matter halo mass function is imprinted in the number density of galaxies as a function of |$w_{50}$|⁠. Correcting observed number counts for survey incompleteness at the level of accuracy needed to place competitive constraints on warm dark matter (WDM) cosmological models is very challenging, but forward-modelling the results of cosmological hydrodynamical galaxy formation simulations into observational data space is more straightforward. We take this approach to make predictions for an ALFALFA-like survey from simulations using the EAGLE galaxy formation model in both cold (CDM) and WDM cosmogonies. We find that for WDM cosmogonies more galaxies are detected at the low- |$w_{50}$| end of the 21-cm velocity width function than in the CDM cosmogony, contrary to what might naïvely be expected from the suppression of power on small scales in such models. This is because low-mass galaxies form later and retain more gas in WDM cosmogonies (with EAGLE). While some shortcomings in the treatment of cold gas in the EAGLE model preclude placing definitive constraints on WDM scenarios, our analysis illustrates that near-future simulations with more accurate modelling of cold gas will likely make strong constraints possible, especially in conjunction with new 21-cm surveys such as WALLABY. [ABSTRACT FROM AUTHOR]

This article presents a comparative reading of two 10th-century Islamicate lettrist works: Kitāb Khawāṣṣ al-ḥurūf by Ibn Masarra and a commentary on the Sefer Yetsirah by Saʿadia Gaon. Close analysis of both treatises emphasizes that philosophy coexists with other ways of knowing in lettrist theories. While some lettrist authors overtly employ a philosophical structure, this paper argues that others reference and re-interpret philosophical concepts (such as primordial elements and prime matter) implicitly within their work. Through reading these texts in conversation, I suggest that a framework of "implicit philosophy" creates space for lettrism within the domain of philosophy and science, while also acknowledging the intertwining aspects of mysticism, esoterism, and occultism that weave both within and beyond the realm of philosophy. Thinking in terms of implicit philosophy opens up new ways of understanding and contextualizing lettrist works, both as individual texts and as constituents of a broader Islamicate lettrist milieu. [ABSTRACT FROM AUTHOR]

Copyright of Ideas y Valores is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

I seek recurrent characteristics of ancient world maps from different cultures to gain insights into constant aspects of human perceptions and world views. Discussed is how circular horizons are introduced to delineate the far and unknown world, how the shapes of the known areas are idealised by being given regular shapes, and how the way from the rim to the centre often epitomises cosmogony or evolutionary progress. [ABSTRACT FROM AUTHOR]

This paper deals with the physics of Anaximander and argues that, in his theory, the drying up of the sea cannot be accounted for in terms of the kind of conflict envisaged in his main fragment between the four basic substances: the hot, the cold, the wet and the dry (DK 12B1). In so doing, the paper takes issue with a classic interpretation of Anaximander's cosmology advocated by Jaap Mansfeld (2011). This issue also brings us to a wider philosophical problem: are meteorological phenomena in general amenable to this conflict according to Anaximander? In the conclusion, a few conjectural remarks are made regarding what may have been the real explanandum of this theory. [ABSTRACT FROM AUTHOR]

Partus mentis (the parturition of the mind) brings together the following two significant aspects of Romantic culture and ideology: the exploration into human generation, and the process of how imagination forms an idea and makes the mind creatively productive. This article suggests that analyzing William Blake's portrayal of imagination through the partus mentis trope can enhance our comprehension of how he illustrates and employs this faculty in his works. In Blake's partus mentis, the analogy between the brain and the womb is pivotal. The brain is seen as a host for ideas that are conceived through imagination, and once they are brought to life, they become art. This is a vital component of Blake's cosmogony, tying into his personal reinterpretation of biblical Genesis and his concept of the Human Form Divine. It also includes his response to medical theories and practises regarding generation and life. This article pays close attention to the medico-cultural discourse that was contemporary to Blake, and its wide use of the 'analogy', which defined the episteme of the long eighteenth century. The analogy approach was later challenged by the 'epistemology of the visual', which emphasized the use of anatomical atlases, wax models, and dissections for direct experiential insights into bodily functions and processes, particularly of the brain and the womb. This article argues that Blake is able to transcend these two epistemologies while harnessing specific elements from each. [ABSTRACT FROM AUTHOR]

There has been an increasing appreciation of Manichaeans' capability for certain optimistic expressions about the created cosmos, in spite of their reputation for obsessing about the evil agents of darkness. This present study reviews some of the supporting evidence and explores possible implications for day-to-day life experience among Manichaeans. In spite of a cosmology conveying an ostensibly very dark worldview, could a Manichaean ever have enjoyed life in this world? The second part of the essay turns to implications for mythologies such as those represented among Nag Hammadi tractates and some related cosmologies. In spite of some similarities in mythology, Manichaean tradition is often distinguished from these other cosmologies as a tradition with greater potential for reconciling the role of dark forces in the cosmogony with rather ordinary social and even political life. This essay questions why the same must be denied the authors and ancient fans of cosmogonies like those among Nag Hammadi writings. [ABSTRACT FROM AUTHOR]

The book by Professor Bruno Loureiro Conte proposes a solution to the problem of the place of Doxa in Parmenides' Poem. The author argues that the devaluation of Doxa is the result of the hegemonic reading of Fülleborn and the tradition inaugurated by Diels and Kranz. Conte argues that Doxa should be reduced to the cosmic arrangement of opposites or that it has two stages, the first being the cosmic arrangement and the second being the cosmogonic account. He also rehabilitates Doxa by interpreting the goddess's speech as a revealed teaching to be learned. The text discusses the interpretation of the goddess's discourse in Parmenides' poem and the relationship between his cosmogony and Parmenidean philosophy. The author argues that the modern interpretation of the goddess's discourse is mistaken and that the assertion that the second path is not "true" does not imply the rejection of truth. Furthermore, the text analyzes Parmenides' reception by Aristotle, highlighting how the Greek philosopher creates artificial debates to develop his own system of thought. The author also suggests that Aristotle recognized a cosmological discourse in Parmenides' poem. The author discusses Parmenides' doctrine of opposites as principles of nature, citing Aristotle's testimony as an important source of information. He also analyzes Parmenides' choice of hexameter verse and argues that the poem's goal was to convey a new image of the world, representing space as a spherical universe. The author highlights the presence of a cosmogonic discourse in the second part of the poem, revealing the permanent structure of reality. However, he raises objections regarding the main thesis and points out editorial problems in the book. The text questions the characterization of Greek philosophy as a transition from myth to logos, highlighting [Extracted from the article]

The Ukrainian folklore genres least studied in a mythological context are the epic songs: dumas and spiritual verses. In particular, it is possible to find concepts of the beginning and the end of the world in these works. In many aspects, they are close to the Old Germanic ones, especially concerning the mythological connection between natural cataclysms and the breaking of family ties, as shown by several archaic examples. This article deals with these cosmogonic and eschatological notions in Ukrainian and Scandinavian epics. The author points to a similar outlook in both epic traditions and a similarity in emotional and evaluative identifications of events. These parallels must be owed to Germano-Slavic contacts in the early Middle Ages. [ABSTRACT FROM AUTHOR]

This paper compares the ancient Mediterranean and Mesopotamian civilizations’ concept of borders and their relation with the spaces they transformed through a comparative approach of selected ancient civilizations, putting these cosmogonies into a chronological evolutionary line. The distinct motifs, symbols, and theological frameworks are examined through secondary sources. While each of these civilizations counts with individual studies, few serious attempts have been made to address these four civilizations together. The discussion aims to set the premises of the importance of borders in contemporary urban and territorial studies when religion often has a secondary role. While they were critical elements in the definition of territorial limits in the past, their inheritance is still present in our contemporary concept of borders as producers of fears.

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is about J. R. R. Tolkien's adaptation of Pythagorean musical elements in the 'Song of the Ainur' of the Silmarillion. It details Tolkien's use of Pythagorean dissonance, along with what that amounts to in terms of musical theory, and explores the epistemological origins of the concept and how it found its way into this work of fiction. On the latter point, Platonism, Neoplatonism, and early Christian theology are considered. This includes the likes of Prudentius, pseudo-Dionysius, Augustine, and Aquinas, among others. The article observes that Tolkien has deliberately chosen a somewhat esoteric element of Pythagorean musical theory, albeit highly relevant to his own historical context, in order to explore concepts of morality along with the traditional, Christian conundrum of predestination vs. free will. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Seth animal is generally regarded as a fabulous beast that existed only in the imagination of ancient Egyptians. But this composite creature may well have its origin in prehistoric times in a very real African animal with disparate features, the aardvark. In addition to its long downward-pointing snout, tall, pricked ears, and long tail, there are numerous other aspects of the aardvark's appearance and behavior that are echoed in the god Seth and its animal. Iconography alone is, however, not completely conclusive, but many of the recurring concepts associated with the aardvark throughout Sub-Saharan Africa also evoke those associated with Seth. This confirms, in all likelihood, the origin of the Seth animal. Besides this mere identification, the implications are wide ranging, as many of Seth's intriguing and often contradictory aspects in connection with kingship, disorder, sexuality, cosmogony, death, strength, magic, etc. finally make sense. [ABSTRACT FROM AUTHOR]

Regarding the creation account in Genesis 2–3, D.M. Carr observes that this text freely repurposes prior cosmological traditions, and so it is a case of a 'fluid adaptation of its Near Eastern precursors...' (Carr, [2020], 52–53). Building on his discussion, this article analyzes an ANE motif that has not been linked to Genesis 2–3 yet, i.e., the formation of humanity from divine tears or in the wake of divine laments. Known in various configurations from Egyptian, Mesopotamian, and Greek sources, this motif includes tears of a god or gods either as a generative substance in the making of humans or as a driving force for their origins. In light of these traditions, this article considers the pronouncement 'It is not good for the human to be alone' (Gen. 2:18), arguing that it is a variation on the 'divine tears' myth. As such, this pronouncement addresses a multi-faceted form of 'aloneness' in the emerging cosmos. [ABSTRACT FROM AUTHOR]

The aim of the article is to explore the relationship between cosmo-anthropogony and the imamology of Shi'ism through its earliest sources in the pre-Buyid Hadith corpus. It shows that the figure of the Divine Guide is the axis around which creation revolves. Early Shi'ism thus appears to be heir to some of the great doctrines of the spiritual and intellectual traditions of late Antiquity. [ABSTRACT FROM AUTHOR]

In this paper, an interpretation is attempted of the Romanian myth, “Legenda despre zidirea lumii”. Parallels are drawn with tales such as Genesis, the Babylonian narrative of Marduk constructing the world from Tiamat, and the Norse sto­ry of Odin shaping the world from Ymir. In the Romanian myth, Satan’s prideful omis­sion to enunciate God’s blessing as he collects sand results in the formation of varied terrains. His attempt to harm God inadvertently spreads divine blessings all over the world. Similarly, in Norse and Yoruba myths, stifling barriers and attempts at desecra­tion lead to the paradoxical spreading of life and blessings, emphasizing the unforeseen outcomes of resistance to divine will.

The article titled "Teponazcuauhtla, or 'Forest of Resonances' Mesoamerican Plot of Harmony" explores the symbolic cosmology of Mesoamerican peoples and its connection to the teponaztli, a type of wooden slit drum. The teponaztli is considered a sacred "living" being rather than a musical instrument and its shape, which resembles a stepped fret, represents the sacred-imperfect duality and the geometrical principle of "squaring the circle". The article discusses the variety of sizes, shapes, and sounds produced by the teponaztli due to the traditional manufacturing process. The article also mentions a mathematical-physical description of the teponaztli for further reference. [Extracted from the article]

This article analyses the problems of the traditional world views and beliefs of the Kazakh people. The main purpose of the article is to show the features of such cultural phenomena as âreligious syncretismâ and âhybrid worldviewâ. The author pays attention to the cosmogonic and cosmological beliefs, the perception and feeling of place and time, religious consciousness and national identity, folk customs and traditions, cultural branding. The farming and cattle-breeding practices in the harsh climatic conditions of wide steppe spaces influenced the formation of a special type of culture and unique worldview. In the long history of the nomadic peoples who inhabited the Eurasian steppes, the history of the development of the religious worldview occupies a special place. Being in the crossroad of civilization, Central Asia has been a region of interaction between different world religious traditions, such as Zoroastrianism, Buddhism, Christianity (in their earliest forms as Nestorianism), ManiÑhaiesm, and Islam. However, the Kazakh people did not break ties with nature due to their way of life, so peopleâs beliefs and superstitions were based on the animistic, totemistic beliefs and magic. The author concludes that the cornerstone of the entire system of worldview was the faith in the opportunity to transform the world for the good of peopleâs traditions and it was reflected in the special rites, traditions, and practices.

The article is devoted to a comparative analysis of the role of the feminine principle in the cosmogonic ideas of the Slavic peoples and the philosophy of the Ancient East, in particular, India and China, to the establishment of common and distinctive features of female personification. The authors conclude that the ancient tribal culture, which was based on the logic of nature, the maintenance of the world in unity and the balance of opposites, was much more favorable to women than monotheistic religions, which affirmed the sinful nature of women. Ideas about the origin and development of the universe occupy a central place in the mythological heritage, in the cosmic processes and powerful forces of nature, the unbreakable harmony of male and female principles can be traced, where male energy consists in the idea of fertilization, and female energy – in birth and creation. In every mythological system, there is a character of the Mother Goddess, who acts as a co-creator of the world and living beings, but with the establishment of the patriarchal system, the mythological paradigm undergoes changes, and the female principle is gradually recognized as secondary, or it was completely leveled in the processes of world creation. The archetype of the Great Mother reflects the functioning of human values and runs through the entire history of philosophy and culture.

The article examines the phenomenon of artistic depiction of the scream in the poetry of the 20th century English poet Ted Hughes. The analysis of the poems reveals a gradual semantic expansion of the poetic image: while in early animalistic and landscape lyrics the scream is interpreted as an expression of animal suffering or the personification of wild nature, later collections containing elements of the author’s mythology show the acoustic image as a metaphor of the divine presence (“Adam and the Sacred Nine”), a symptom of split consciousness (“Prometheus on his crag”), a mechanism for healing psychological traumas (“Wolfwatching”), and also acquires cosmogonic features (“Crow,” “Cave birds”). The paradigm of the meanings ends with the “birth of the logos,” marking the beginning of the character’s communication with the outside world. The semantic transformation of the investigated motif turns out to be practically significant for the study of the author’s myth evolution. Hughes’ statements in letters and interviews, as well as the facts of biography, reflect the leitmotif formation in author’s work. This fact reveals the possibility of correlating the metaphor of the scream with Ted Hughes’ “poetic voice.”

The relationship of Afrodiasporic communities with nature is addressed. It poses modern/colonial and capitalist exploitation. It is based on de-colonial theoretical currents, biointeraction, and African philosophies. It follows the methodology of documentary review and qualitative analysis. The conversational axes focus on African cosmogonies as a fabric of cosmic forces; nature as a source of Afrodiasporic ancestral medicine; the link with the territory, and the relationship between nature, culture, and identity. It concludes with an invitation to those psychologies that seek to broaden and to decolonize their interpretive frameworks. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the original critical dialectical approach of the Soviet philosopher Valentin F. Asmus. His publications on the heritage of Western philosophical thought in the journal Pod znamenem marksizma are examples of this approach. In the 1920s and 1930s, Asmus published a number of articles analyzing a variety of the ideas developed by Western European philosophers: "An Advocate for Philosophical Intuition (Bergson and His Critique of the Intellect)" (1926); "The Alogism of William James" (1927); "The Dialectics of Necessity and Freedom in Spinoza's Ethics" (1927); "Kant's General and Transcendental Logic" (1928); "Cosmogony and Cosmology of Descartes" (1937); "Fichte and the Vocation of Scholar" (1937); "Nicholas of Cusa. Selected Philosophical Works" (1938); and "Tommaso Campanella" (1939). These articles differed from the journal's usual rhetoric, which was shaped in accordance with the official Soviet state ideology. Asmus, through the thinkers he examined, showed the fundamental importance of philosophy for the human personality. This article argues that Asmus, despite his closeness to dialectical materialism, adapted the official terminology and issues in his historical and philosophical articles in a way that he advanced the human right to spirituality, creative activity, and individual freedom. [ABSTRACT FROM AUTHOR]

The Jewish secOnd generation art & family Museum Amsterdam (JOMA) opened in 2022. It combines the artwork of Maarten van der Heijden with the stories of his Jewish family. This article presents the various stages of van der Heijden's work and elucidates his practice as a second-generation artist, drawing on the notions of postmemory and sublimation. The article concludes by discussing the JOMA as a highly personal as well as a collective memory project and its role in human rights education. Keywords: human rights education, Jewish second generation, memory, postmemory, Shoah, sublimation, visual art, Introduction The Jewish secOnd generation art & family Museum Amsterdam (JOMA) is an (art)work in progress, located in the 100 square metre basement of my own house on the Brouwersgracht [...]