The world seeks to replicate itself. Smooth surfaces create reflections, objects cast shadows, and apertures transmit the appearance of what lies beyond them. When sunlight falls through the spaces between leaves on a tree, the "pin-hole" apertures in the foliage create images of the sun on the ground below. This film records replicas of the sun as they appear and disappear in the dappled light under trees. -Adele Horne

Simulating Optical Projections in Neolithic Tombs and the Temple of Eleusis

Neolithic passage tombs, such as those studied in Wales and Scotland, share a fundamental similarity with the construction of a camera obscura, suggesting that ancient people could project images of the outside world into their chambers without the need for a lens. Sites with solar alignments could project an enlarged sun disc or landscape images, with some even featuring projections of spectral human figures that created striking, otherworldly spectacles, potentially transforming these tombs into places of rich multisensory experiences.

In parallel, the Mysteries of Eleusis in ancient Greece, a dominant sect of mystery religions, captivated initiates with an intense ritual sequence that culminated in visions of divine light, representing the appearance of the goddesses Demeter and Persephone. Research explores whether the anaktoron acted as a "box of light," using illumination to project images into the dark, creating the powerful effect of divine apparitions. This has been tested and found feasible, blending physical phenomena with mythological storytelling.

Objective:

Explore the historical use of optical projections in Neolithic passage tombs and the Temple of Eleusis to understand how ancient peoples might have used architecture and natural light to create powerful, otherworldly experiences.

Materials:

• Cardboard or foam board (to construct models)
• Blackout fabric or material (to simulate darkness)
• Small figurines (to represent people or deities)
• Light sources (e.g., LED flashlights, small lamps)
• Mirrors or reflective surfaces
• Transparent materials with patterns (optional, for creative projection effects)
• Basic building tools (scissors, tape, glue)

Steps:

1. Research and Background:
   • Study the architecture of Neolithic passage tombs like Newgrange and Cuween Hill, and the Temple of Eleusis.
   • Understand the principles of camera obscura and how light projections work.
   • Investigate how solar alignments play a role in creating these effects within historical sites.
2. Model Construction:
   • Passage Tombs: Create a scaled model of a passage tomb chamber using cardboard or foam board.
   • Temple of Eleusis: Design a model of the anaktoron or suggestive element of the Eleusinian setup.
   • Ensure models can be enclosed to simulate a darkened space.
3. Light Source Placement:
   • In the tomb model, position light sources to simulate solar alignments that project light onto walls or surfaces.
   • For the Eleusis model, use a small light within the structure to project the shadows of figurines onto walls, simulating the "apparition of the goddess."
4. Experimentation:
   • Neolithic Tomb Projections: Experiment with placing light sources at different angles and distances to see how images and patterns are projected within the model.
   • Eleusinian Projector: Try using reflective surfaces or translucent patterns in front of the light source to mimic the effect of divine visions or apparitions.
5. Observation and Documentation:
   • Observe the effects created within the models, noting any similarities to historical descriptions.
   • Document the process, capturing photographs or sketches of significant projection effects.
6. Analysis and Presentation:
   • Analyze the results to speculate on the intent and impact of these projections in their historical contexts.
   • Present findings in a written report or presentation, discussing how these constructions might have contributed to spiritual or psychological experiences in ancient societies.

Evaluation Criteria:

• Creativity and Accuracy: How accurately do the models represent the historical sites? Were the simulations innovative in their approach?
• Understanding of Concepts: Does the project demonstrate a clear understanding of how light and architecture interact to create optical illusions?
• Documentation and Analysis: Quality and depth of documentation, along with insightful analysis regarding the implications of the experimental results.

TEAM01: Amalia Koch, Bradley Kosgei, Omaru Konneh

ELEUSINIAN PROJECTOR (FRONT) 16M / 50’

When our image is formed, which is 3 times the size of the object itself, the lens is 3 inches from the object and the source of light. The light source should be shining directly on the object--as close to it as possible (and at an angle) without blocking the object’s path to the screen. The screen is 12 inches from the lens. This means that the object is about 15 inches from the screen. When we moved the lens closer or farther from the object, the image projected onto the screen would become blurry. We discovered that the optimal distance from object to lens is about 3 inches. When we tried using the pinhole with the lens, we found that only a very small portion of the object would be translated onto the screen (and sometimes it only appeared as a spot of light).

CUWEEN HILL

We used a similar technique at the second station. We were unsuccessful in using the sunlight to create the image, but we used a flashlight that was 7 inches from the wall at the end of the contraption. The object was also 7 inches from the wall and the lens was about two inches from the object. We were unable to produce a clear image of the cat when we used the pinhole and so had to keep the contraption door open. When we did try to make an image with the sunlight, we used the pinhole on the door and projected a circular dot (surprising, since the hole was square-shaped) onto the back wall of the contraption. When we used the sun, the sun was shining directly into the pinhole (no lens used, lightsource shining directly into the contraption rather than reflected off of something).

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TEAM02: Jimmy Chen, Zeneve Jacotin, Felix Murphy, Simon Woodside

Cuween Hill:
Set up: foam model, flashing panda ring, image on phone, window

We tried to use 3 flashlights to illuminate the panda, but were unsuccessful. When we moved to the window we were able to get a faint image of the tree outside. (with biggest pinhole)

Smaller aperture allowed for more color- we were able to get some slight blue. We were also able to catch a slight reflection off of a car outside.

Eleusinian projector:

Set up: foam model, light, cat toy, lenses

We are struggling to get an image with the pinhole, but we were able to get a clear image of the light from the pinhole. When we moved both the cat and the smaller lens in front of the way, we got an image of the cat. The clearest image was 19cm away from the post-it. We were also able to get an image with the smallest lens when the cat was behind the wall and as far back as we could put it.