A Proper Gander At Propaganda

Truth Transcends Community

"Then a mighty strange thing happened.  Guess you could call it fate. You see, a gust of wind blew the picture frame down and it landed on the muckety-muck's head And the mice they all went crazy. For the first time they saw the lie.

It was all a hoax on just simple folks. And the muckety-muck must die. And die he did. The members of his staff they just fled. They were scared. Hah. Just not prepared." - Song: The Proper Gander. Songwriter: Bobby Darin

"Propaganda in the United States is spread by both government and media entities. Propaganda is information, ideas, or rumors deliberately spread widely to influence opinions. It's used in advertising, radio, newspaper, posters, books, television, and other media."  -  Propaganda in the United States - Wikipedia

"A man without a government is like a fish without a bicycle.” Alvaro Koplovich
Article index

Origins of Inertia: The Theory of Impetus

"As an indication of exactly how good the Ptolemaic model is, modern planetariums are built using gears and motors that essentially reproduce the Ptolemaic model for the appearance of the sky as viewed from a stationary Earth. In the planetarium projector, motors and gears provide uniform motion of the heavenly bodies. One motor moves the planet projector around in a big circle, which in this case is the deferent, and another gear or motor takes the place of the epicycle."


Nicole Oresme

"In his Livre du ciel et du monde Oresme discussed a range of evidence for and against the daily rotation of the Earth on its axis.[6] From astronomical considerations, he maintained that if the Earth were moving and not the celestial spheres, all the movements that we see in the heavens that are computed by the astronomers would appear exactly the same as if the spheres were rotating around the Earth. He rejected the physical argument that if the Earth were moving the air would be left behind causing a great wind from east to west. In his view the EarthWater, and Air would all share the same motion.[7]As to the scriptural passage that speaks of the motion of the Sun, he concludes that "this passage conforms to the customary usage of popular speech" and is not to be taken literally.[8] He also noted that it would be more economical for the small Earth to rotate on its axis than the immense sphere of the stars.[9] Nonetheless, he concluded that none of these arguments were conclusive and "everyone maintains, and I think myself, that the heavens do move and not the Earth.""


It's All FIXED!

"The theory of impetus was an auxiliary or secondary theory of Aristotelian dynamics, put forth initially to explain projectile motion against gravity. It was introduced by John Philoponus in the 6th century and elaborated by Nur ad-Din al-Bitruji at the end of the 12th century, but was only established in western scientific thought by Jean Buridan in the 14th century. It is the intellectual precursor to the concepts of inertiamomentum and acceleration in classical mechanics."


impetus (n.) 

"early 15c., impetous "rapid movement, rush;" 1640s, with modern spelling, "force with which a body moves, driving force," from Latin impetus "an attack, assault; rapid motion; an impulse; violence, vigor, force;" figuratively "ardor, passion," from impetere "to attack," from assimilated form of in- "into, in, on, upon" (see in- (2)) + petere "aim for, rush at" (see petition (n.))."

A  Famed Thought Experiment

"The Buridan impetus theory developed one of the most important thought-experiments in the history of science, namely the so-called 'tunnel-experiment', so important because it brought oscillatory and pendulum motion within the pale of dynamical analysis and understanding in the science of motion for the very first time and thereby also established one of the important principles of classical mechanics. The pendulum was to play a crucially important role in the development of mechanics in the 17th century, and so more generally was the axiomatic principle of Galilean, Huygenian and Leibnizian dynamics to which the tunnel experiment also gave rise, namely that a body rises to the same height from which it has fallen, a principle of gravitational potential energy. As Galileo Galilei expressed this fundamental principle of his dynamics in his 1632 Dialogo:

The heavy falling body acquires sufficient impetus [in falling from a given height] to carry it back to an equal height.

This imaginary experiment predicted that a cannonball dropped down a tunnel going straight through the centre of the Earth and out the other side would go past the centre and rise on the opposite surface to the same height from which it had first fallen on the other side, driven upwards past the centre by the gravitationally created impetus it had continually accumulated in falling downwards to the centre. This impetus would require a violent motion correspondingly rising to the same height past the centre for the now opposing force of gravity to destroy it all in the same distance which it had previously required to create it, and whereupon at this turning point the ball would then descend again and oscillate back and forth between the two opposing surfaces about the centre ad infinitum in principle. Thus the tunnel experiment provided the first dynamical model of oscillatory motion, albeit a purely imaginary one in the first instance, and specifically in terms of A-B impetus dynamics.

However, this thought-experiment was then most cunningly applied to the dynamical explanation of a real world oscillatory motion, namely that of the pendulum, as follows. The oscillating motion of the cannonball was dynamically assimilated to that of a pendulum bob by imagining it to be attached to the end of an immensely cosmologically long cord suspended from the vault of the fixed stars centred on the Earth, whereby the relatively short arc of its path through the enormously distant Earth was practically a straight line along the tunnel. Real world pendula were then conceived of as just micro versions of this 'tunnel pendulum', the macro-cosmological paradigmatic dynamical model of the pendulum, but just with far shorter cords and with their bobs oscillating above the Earth's surface in arcs corresponding to the tunnel inasmuch as their oscillatory midpoint was dynamically assimilated to the centre of the tunnel as the centre of the Earth.

Hence by means of such impressive literally 'lateral thinking', rather than the dynamics of pendulum motion being conceived of as the bob inexplicably somehow falling downwards compared to the vertical to a gravitationally lowest point and then inexplicably being pulled back up again on the same upper side of that point, rather it was its lateral horizontal motion that was conceived of as a case of gravitational free-fall followed by violent motion in a recurring cycle, with the bob repeatedly travelling through and beyond the motion's vertically lowest but horizontally middle point that stood proxy for the centre of the Earth in the tunnel pendulum. So on this imaginative lateral gravitational thinking outside the box the lateral motions of the bob first towards and then away from the normal in the downswing and upswing become lateral downward and upward motions in relation to the horizontal rather than to the vertical.

Thus whereas the orthodox Aristotelians could only see pendulum motion as a dynamical anomaly, as inexplicably somehow 'falling to rest with difficulty' as historian and philosopher of science Thomas Kuhn put it in his 1962 The Structure of Scientific Revolutions,[16] on the impetus theory's novel analysis it was not falling with any dynamical difficulty at all in principle, but was rather falling in repeated and potentially endless cycles of alternating downward gravitationally natural motion and upward gravitationally violent motion. Hence, for example, Galileo was eventually to appeal to pendulum motion to demonstrate that the speed of gravitational free-fall is the same for all unequal weights precisely by virtue of dynamically modelling pendulum motion in this manner as a case of cyclically repeated gravitational free-fall along the horizontal in principle.

In fact the tunnel experiment, and hence pendulum motion, was an imaginary crucial experiment in favour of impetus dynamics against both orthodox Aristotelian dynamics without any auxiliary impetus theory, and also against Aristotelian dynamics with its H-P variant. For according to the latter two theories the bob cannot possibly pass beyond the normal. In orthodox Aristotelian dynamics there is no force to carry the bob upwards beyond the centre in violent motion against its own gravity that carries it to the centre, where it stops. And when conjoined with the Philoponus auxiliary theory, in the case where the cannonball is released from rest, again there is no such force because either all the initial upward force of impetus originally impressed within it to hold it in static dynamical equilibrium has been exhausted, or else if any remained it would be acting in the opposite direction and combine with gravity to prevent motion through and beyond the centre. Nor were the cannonball to be positively hurled downwards, and thus with a downward initial impetus, could it possibly result in an oscillatory motion. For although it could then possibly pass beyond the centre, it could never return to pass through it and rise back up again. For dynamically in this case although it would be logically possible for it to pass beyond the centre if when it reached it some of the constantly decaying downward impetus remained and still sufficiently much to be stronger than gravity to push it beyond the centre and upwards again, nevertheless when it eventually then became weaker than gravity, whereupon the ball would then be pulled back towards the centre by its gravity, it could not then pass beyond the centre to rise up again, because it would have no force directed against gravity to overcome it. For any possibly remaining impetus would be directed 'downwards' towards the centre, that is, in the same direction in which it was originally created.

Thus pendulum motion was dynamically impossible for both orthodox Aristotelian dynamics and also for H-P impetus dynamics on this 'tunnel model' analogical reasoning. But it was predicted by the impetus theory's tunnel prediction precisely because that theory posited that a continually accumulating downwards force of impetus directed towards the centre is acquired in natural motion, sufficient to then carry it upwards beyond the centre against gravity, and rather than only having an initially upwards force of impetus away from the centre as in the theory of natural motion. So the tunnel experiment constituted a crucial experiment between three alternative theories of natural motion.

On this analysis then impetus dynamics was to be preferred if the Aristotelian science of motion was to incorporate a dynamical explanation of pendulum motion. And indeed it was also to be preferred more generally if it was to explain other oscillatory motions, such as the to and fro vibrations around the normal of musical strings in tension, such as those of a zither, lute or guitar. For here the analogy made with the gravitational tunnel experiment was that the tension in the string pulling it towards the normal played the role of gravity, and thus when plucked i.e. pulled away from the normal and then released, this was the equivalent of pulling the cannonball to the Earth's surface and then releasing it. Thus the musical string vibrated in a continual cycle of the alternating creation of impetus towards the normal and its destruction after passing through the normal until this process starts again with the creation of fresh 'downward' impetus once all the 'upward' impetus has been destroyed.

This positing of a dynamical family resemblance of the motions of pendula and vibrating strings with the paradigmatic tunnel-experiment, the original mother of all oscillations in the history of dynamics, was one of the greatest imaginative developments of medieval Aristotelian dynamics in its increasing repertoire of dynamical models of different kinds of motion.

Shortly before Galileo's theory of impetus, Giambattista Benedetti modified the growing theory of impetus to involve linear motion alone:

"…[Any] portion of corporeal matter which moves by itself when an impetus has been impressed on it by any external motive force has a natural tendency to move on a rectilinear, not a curved, path."[18]

Benedetti cites the motion of a rock in a sling as an example of the inherent linear motion of objects, forced into circular motion."

Let's Swing Baby!

"One of the earliest known uses of a pendulum was a 1st-century seismometer device of Han Dynasty Chinese scientist Zhang Heng.[18] Its function was to sway and activate one of a series of levers after being disturbed by the tremor of an earthquake far away.[19] Released by a lever, a small ball would fall out of the urn-shaped device into one of eight metal toad's mouths below, at the eight points of the compass, signifying the direction the earthquake was located.[19]

Many sources[20][21][22][23] claim that the 10th-century Egyptian astronomer Ibn Yunus used a pendulum for time measurement, but this was an error that originated in 1684 with the British historian Edward Bernard.[24][25][26]

During the Renaissance, large pendulums were used as sources of power for manual reciprocating machines such as saws, bellows, and pumps.[27]Leonardo da Vinci made many drawings of the motion of pendulums, though without realizing its value for timekeeping.

1602: Galileo's research

Italian scientist Galileo Galilei was the first to study the properties of pendulums, beginning around 1602.[28] The earliest extant report of his research is contained in a letter to Guido Ubaldo dal Monte, from Padua, dated November 29, 1602.[29] His biographer and student, Vincenzo Viviani, claimed his interest had been sparked around 1582 by the swinging motion of a chandelier in the Pisa cathedral.[30][31] Galileo discovered the crucial property that makes pendulums useful as timekeepers, called isochronism; the period of the pendulum is approximately independent of the amplitude or width of the swing.[32] He also found that the period is independent of the mass of the bob, and proportional to the square root of the length of the pendulum. He first employed freeswinging pendulums in simple timing applications. His physician friend, Santorio Santorii, invented a device which measured a patient's pulse by the length of a pendulum; the pulsilogium.[28] In 1641 Galileo conceived and dictated to his son Vincenzo a design for a pendulum clock;[32] Vincenzo began construction, but had not completed it when he died in 1649.[33] The pendulum was the first harmonic oscillator used by man."

Arguing with Buckets

"Isaac Newton's rotating bucket argument (also known as "Newton's bucket") was designed to demonstrate that true rotational motion cannot be defined as the relative rotation of the body with respect to the immediately surrounding bodies. It is one of five argumentsfrom the "properties, causes, and effects" of true motion and rest that support his contention that, in general, true motion and rest cannot be defined as special instances of motion or rest relative to other bodies, but instead can be defined only by reference to absolute space. Alternatively, these experiments provide an operational definition of what is meant by "absolute rotation", and do not pretend to address the question of "rotation relative to what?"."

Newton Was Prejudiced Against An Immobile Earth & For A Heliocentric Model of the Cosmos

"Despite their embrace of the principle of rectilinear inertia and the recognition of the kinematical relativity of apparent motion (which underlies whether the Ptolemaic or the Copernican system is correct), natural philosophers of the seventeenth century continued to consider true motion and rest as physically separate descriptors of an individual body. The dominant view Newton opposed was devised by René Descartes, and was supported (in part) by Gottfried Leibniz. It held that empty space is a metaphysical impossibility because space is nothing other than the extension of matter, or, in other words, that when one speaks of the space between things one is actually making reference to the relationship that exists between those things and not to some entity that stands between them. Concordant with the above understanding, any assertion about the motion of a body boils down to a description over time in which the body under consideration is at t1 found in the vicinity of one group of "landmark" bodies and at some t2 is found in the vicinity of some other "landmark" body or bodies"



The "Fixed Stars" Are resorted to as explanation for the famed bucket experiment, yet this is not the only possible explanation. Relative motion is another option as is the Earth itself, which the 'fixed stars' seem to be fixed about.

The Quadrivium: The Subject Astronomy Used to Be Called Cosmology

"The quadrivium (plural: quadrivia[1]) are the four subjects, or arts, taught after teaching the trivium. The word is Latin, meaning "the four ways" (or a "place where four roads meet"),[2] and its use for the four subjects has been attributed to Boethius or Cassiodorus in the 6th century.[3][4] Together, the trivium and the quadrivium comprised the seven liberal arts (based on thinking skills),[5] as opposed to the practical arts (such as medicine and architecture).

The quadrivium consisted of arithmeticgeometrymusic, and astronomy. These followed the preparatory work of the trivium made up of grammarlogic, and rhetoric. In turn, the quadrivium was considered preparatory work for the serious study of philosophy (sometimes called the "liberal art par excellence") and theology."

"At many medieval universities, this would have been the course leading to the degree of Master of Arts (after the BA). After the MA, the student could enter for bachelor's degrees of the higher faculties (Theology, Medicine or Law). To this day, some of the postgraduate degree courses lead to the degree of Bachelor (the B.Phil and B.Litt. degrees are examples in the field of philosophy).

The study was eclectic, approaching the philosophical objectives sought by considering it from each aspect of the quadrivium within the general structure demonstrated by Proclus (412–485 AD), namely arithmetic and music on the one hand, and geometry and cosmology on the other.

The subject of music within the quadrivium was originally the classical subject of harmonics, in particular the study of the proportions between the music intervals created by the division of a monochord. A relationship to music as actually practised was not part of this study, but the framework of classical harmonics would substantially influence the content and structure of music theory as practised both in European and Islamic cultures."


Despite Claims of Slight Parallax, The Zodiac Remains The Same

"The current list of 88 constellations recognized by the International Astronomical Union since 1922 is based on the 48 listed by Ptolemy in his Almagest in the 2nd century, with early modern modifications and additions (most importantly introducing constellations covering the parts of the southern sky unknown to Ptolemy) by Petrus Plancius (1592, 1597/98 and 1613), Johannes Hevelius (1690) and Nicolas Louis de Lacaille (1763)."   https://en.wikipedia.org/wiki/Constellation#Early_Modern_era

The constellations retain their shapes and relative distances despite the supposed motions of the Earth during its imagined journey through the cosmos. This would seem to be a problem for Heliocentric-based models of the Universe.


Fixed or Not so FIxed?

"Fixed stars do have parallax, which is a change in apparent position caused by the orbital motion of the Earth. This effect was small enough not to have been noticed until the 19th century. It can be used to find the distance to nearby stars. This motion is only apparent; it is the Earth that moves.

The fixed stars exhibit real motion as well, however. This motion may be viewed as having components that consist in part of motion of the galaxy to which the star belongs, in part of rotation of that galaxy, and in part of motion peculiar to the star itself within its galaxy.

This real motion of a star is divided into radial motion and proper motion, with "proper motion" being the component across the line of sight. In 1718 Edmund Halley announced his discovery that the fixed stars actually have proper motion. Proper motion was not noticed by ancient cultures because it requires precise measurements over long periods of time to notice. In fact, the night sky today looks very much as it did thousands of years ago, so much so that some modern constellations were first named by the Babylonians.

A typical method to determine proper motion is to measure the position of a star relative to a limited, selected set of very distant objects that exhibit no mutual movement, and that, because of their distance, are ASSUMED to have very small proper motion. Another approach is to compare photographs of a star at different times against a large background of more distant objects. The star with the largest known proper motion is Barnard's Star."   https://en.wikipedia.org/wiki/Fixed_stars

cosmos (n.) 

c. 1200 (but not popular until 1848, as a translation of Humboldt's Kosmos), from Latinized form of Greek kosmos "order, good order, orderly arrangement," a word with several main senses rooted in those notions: The verb kosmein meant generally "to dispose, prepare," but especially "to order and arrange (troops for battle), to set (an army) in array;" also "to establish (a government or regime);" "to deck, adorn, equip, dress" (especially of women). Thus kosmos had an important secondary sense of "ornaments of a woman's dress, decoration" (compare kosmokomes "dressing the hair") as well as "the universe, the world." 

Pythagoras is said to have been the first to apply this word to "the universe," perhaps originally meaning "the starry firmament," but later it was extended to the whole physical world, including the earth. For specific reference to "the world of people," the classical phrase was he oikoumene (ge) "the inhabited (earth)." Septuagint uses both kosmos and oikoumene. Kosmos also was used in Christian religious writing with a sense of "worldly life, this world (as opposed to the afterlife)," but the more frequent word for this was aion, literally "lifetime, age."


"Cosmology (from the Greek κόσμος, kosmos "world" and -λογία, -logia "study of"), is the study of the origin, evolution, and eventual fate of the universePhysical cosmology is the scholarly and scientific study of the origin, evolution, large-scale structures and dynamics, and ultimate fate of the universe, as well as the scientific laws that govern these realities.[1] Religious or mythological cosmology is a body of beliefs based on mythologicalreligious, and esoteric literature and traditions of creation and eschatology.

Physical cosmology is studied by scientists, such as astronomers and physicists, as well as philosophers, such as metaphysiciansphilosophers of physics, and philosophers of space and time. Because of this shared scope with philosophytheories in physical cosmology may include both scientific and non-scientific propositions, and may depend upon assumptions that can not be tested. Cosmology differs from astronomy in that the former is concerned with the Universe as a whole while the latter deals with individual celestial objects. Modern physical cosmology is dominated by the Big Bang theory, which attempts to bring together observational astronomy and particle physics;[2]more specifically, a standard parametrisation of the Big Bang with dark matter and dark energy, known as the Lambda-CDM model.

The term cosmology was first used in 1730 by German philosopher Christian Wolff in Cosmologia Generalis.[citation neededTheoretical astrophysicist David N. Spergel has described cosmology as a "historical science" because "when we look out in space, we look back in time" due to the finite nature of the speed of light."

"This theory of heavenly motion is a radical break with the traditional view"

"This theory of heavenly motion is a radical break with the traditional view.  Traditionally, back to Aristotle, celestial and terrestrial phenomena were made of different stuff and so obeyed related but separate laws of physics;  the impetus theory enabled philosophers to include celestial motion into the same theory used to describe terrestrial motion.

Yet, though impetus theory appears sensible in many ways, it is in contradiction so many things that are observed.  Common sense says Aristotle might still be right.

So, even Buridan retains the traditional view of solid celestial spheres (not planets) being the objects in motion.

And Oresme ultimately believed that angles moved the celestial spheres. "


A Model that is Neither Elegant Nor Simple

The Earth's axial tilt and it's fixation with the Fixed Stars shows one of the problems with Heliocentric based theories.

Build a Model Earth, Moon and Sun Orbiter

"A planetarium projector is a device used to project images of celestial objects onto the dome in a planetarium.

The first modern planetarium projectors were designed and built by the Carl Zeiss Jena company in Germany between 1923 and 1925, and have since grown more complex. Smaller projectors include a set of fixed stars, Sun, Moon, and planets, and various nebulae. Larger machines also include comets and a far greater selection of stars. Additional projectors can be added to show twilight around the outside of the screen (complete with city or country scenes) as well as the Milky Way. Still others add coordinate lines and constellations, photographic slides, laser displays, and other images. The OMNIMAX movie system (now known as IMAX Dome) was originally designed to operate on planetarium screens.

Companies that make (or have made) planetarium projectors include Carl Zeiss Jena (Germany), Spitz (US), Goto and Minolta (Japan), Evans & Sutherland (US), Emerald planetariums (Israel) and Ohira Tech (Japan)."

"A good example of a "typical" planetarium projector of the 1960s was the Universal Projection Planetarium type 23/6, made by VEB Carl Zeiss Jena in what was then East Germany.[1] The planetarium projector was a 13-foot (4.0 m)-long dumbbell-shaped object, with 29-inch (740 mm)-diameter spheres attached at each end representing the night sky for the northern and southern hemispheres. Connecting the two spheres was a framework that held nearly 150 individual projectors, including those dedicated to the planets, the Sun, and specific stars.

Each globe held representations of almost 4,500 stars per hemisphere. The "stars" were created by tiny holes that were punched into copper foil, ranging from 0.023 to 0.452 mm in size, the larger holes letting more light get through and thereby creating brighter star images. Two glass plates held this foil between them to create what was called a "star field plate". Each globe was illuminated using a 1,500-watt lamp that was located in its center. A number of aspherical condenser lenses were placed within each globe to focus the light onto the plates. Twenty-three of the most prominent stars had their own projectors, designed to project a small disk instead of pinpoint of light, and were also colored: Betelgeuse and Antares would appear reddish, Rigel and Spica would each have a blue tinge. An image of the Milky Way was created by using drum-type projectors that were studded with unfocused pinprick-sized holes based on photographic images of our galaxy. Specific projectors could imitate the light changes of such variable stars as Algol or Omicron Ceti, and other projectors could produce images of the constellations, of specific historical cometscompass points and other astronomical phenomena. When a particular star or planet dipped below the artificial horizon, a gravity-based mercury-filled shutter would be activated, blocking out the light."

Planetarium projector - Wikipedia

"A planetarium (plural planetaria or planetariums) is a theatre built primarily for presenting educational and entertaining shows about astronomy and the night sky, or for training in celestial navigation.[1][2][3]

A dominant feature of most planetaria is the large dome-shaped projection screen onto which scenes of starsplanetsand other celestial objects can be made to appear and move realistically to simulate the complex 'motions of the heavens'. The celestial scenes can be created using a wide variety of technologies, for example precision-engineered 'star balls' that combine optical and electro-mechanical technology, slide projectorvideo and fulldome projector systems, and lasers. Whatever technologies are used, the objective is normally to link them together to provide an accurate relative motion of the sky. Typical systems can be set to display the sky at any point in time, past or present, and often to show the night sky as it would appear from any point of latitude on Earth.

Planetaria range in size from the Hayden Planetarium's 21-meter dome seating 423 people, to three-meter inflatable portable domes where children sit on the floor. Such portable planetaria serve education programs outside of the permanent installations of museums and science centers.

The term planetarium is sometimes used generically to describe other devices which illustrate the solar system, such as a computer simulation or an orreryPlanetarium software refers to a software application that renders a three-dimensional image of the sky onto a two-dimensional computer screen. The term planetarian is used to describe a member of the professional staff of a planetarium."

"The ancient Greek polymath Archimedes is attributed with creating a primitive planetarium device that could predict the movements of the Sun and the Moon and the planets. The discovery of the Antikythera mechanism proved that such devices already existed during antiquity, though likely after Archimedes' lifetime. Campanus of Novara (1220–1296) described a planetary equatorium in his Theorica Planetarum, and included instructions on how to build one. The Globe of Gottorf built around 1650 had constellations painted on the inside.[4] These devices would today usually be referred to as orreries (named for the Earl of Orrery, an Irish peer: an 18th-century Earl of Orrery had one built). In fact, many planetaria today have what are called projection orreries, which project onto the dome a Sun with planets (usually limited to Mercury up to Saturn) going around it in something close to their correct relative periods.

The small size of typical 18th century orreries limited their impact, and towards the end of that century a number of educators attempted some larger scale simulations of the heavens. The efforts of Adam Walker (1730–1821) and his sons are noteworthy in their attempts to fuse theatrical illusions with educational aspirations. Walker's Eidouranion was the heart of his public lectures or theatrical presentations. Walker's son describes this "Elaborate Machine" as "twenty feet high, and twenty-seven in diameter: it stands vertically before the spectators, and its globes are so large, that they are distinctly seen in the most distant parts of the Theatre. Every Planet and Satellite seems suspended in space, without any support; performing their annual and diurnal revolutions without any apparent cause". Other lecturers promoted their own devices: R E Lloyd advertised his Dioastrodoxon, or Grand Transparent Orrery, and by 1825 William Kitchener was offering his Ouranologia, which was 42 feet (13 m) in diameter. These devices most probably sacrificed astronomical accuracy for crowd-pleasing spectacle and sensational and awe-provoking imagery.

The oldest, still working planetarium can be found in the Dutch town Franeker. It was built by Eise Eisinga (1744–1828) in the living room of his house. It took Eisinga seven years to build his planetarium, which was completed in 1781.

In 1905 Oskar von Miller (1855–1934) of the Deutsches Museum in Munich commissioned updated versions of a geared orrery and planetarium from M Sendtner, and later worked with Franz Meyer, chief engineer at the Carl Zeiss optical works in Jena, on the largest mechanical planetarium ever constructed, capable of displaying both heliocentric and geocentric motion. This was displayed at the Deutsches Museum in 1924, construction work having been interrupted by the war. The planets travelled along overhead rails, powered by electric motors: the orbit of Saturn was 11.25 m in diameter. 180 stars were projected onto the wall by electric bulbs.

While this was being constructed, von Miller was also working at the Zeiss factory with German astronomer Max Wolf, director of the Landessternwarte Heidelberg-Königstuhl observatory of the University of Heidelberg, on a new and novel design, inspired by Wallace W. Atwood's work at the Chicago Academy of Sciences and by the ideas of Walther Bauersfeld and Rudolf Straubel[5] at Zeiss. The result was a planetarium design which would generate all the necessary movements of the stars and planets inside the optical projector, and would be mounted centrally in a room, projecting images onto the white surface of a hemisphere. In August 1923, the first (Model I) Zeiss planetarium projected images of the night sky onto the white plaster lining of a 16 m hemispherical concrete dome, erected on the roof of the Zeiss works. The first official public showing was at the Deutsches Museum in Munich on October 21, 1923.[6]"

"When Germany was divided into East and West Germany after the war, the Zeiss firm was also split. Part remained in its traditional headquarters at Jena, in East Germany, and part migrated to West Germany. The designer of the first planetaria for Zeiss, Walther Bauersfeld, also migrated to West Germany with the other members of the Zeiss management team. There he remained on the Zeiss West management team until his death in 1959.

The West German firm resumed making large planetaria in 1954, and the East German firm started making small planetaria a few years later. Meanwhile, the lack of planetarium manufacturers had led to several attempts at construction of unique models, such as one built by the California Academy of Sciences in Golden Gate ParkSan Francisco, which operated 1952-2003. The Korkosz brothers built a large projector for the Boston Museum of Science, which was unique in being the first (and for a very long time only) planetarium to project the planet Uranus. Most planetaria ignore Uranus as being at best marginally visible to the naked eye.

A great boost to the popularity of the planetarium worldwide was provided by the Space Race of the 1950s and 60s when fears that the United States might miss out on the opportunities of the new frontier in space stimulated a massive program to install over 1,200 planetaria in U.S. high schools."