VISITORS
Fox's world-wide Egyptian Television Special "Opening the Lost Tombs: Live from Egypt" were broadcast live from Egypt's Giza Plateau on march 2nd 1998, this included a segment where Richard C. Hoagland presented evidence that had never been seen on network television before, hinting towards a prior 'high-tech' civilization period prior to the known Egyptian Civilization.
Such glyphs were made popular by this "Enterprise Discovery", and the glyphs discovered carved into ceiling beams of a 3000-year old New Kingdom Temple, just over a hundred miles south of Cairo and the Giza Plateau, at Abydos. The glyphs can be found located just below the several hundred ton ceiling. Hoagland alleged that these admittedly 'astonishingly-modern-looking flying machines would have been completely impossible under any current archaeological views of the sophistication of ancient Egyptian Technology.
Of course, any Egyptian Archaeologist knows that such talk is nonsense, it is clear the Egyptians could not have created such technology as current archaeological discovery stands, and if they did - no archaeological discoveries remain, at least known or seen. An investigave journalist with a degree of occult knowledge and a general scientific understanding could lean towards the Egyptian Remote Viewing explanation, that the Egyptian Dynasties possessed divination systems and teachings (extremely likely to be sourced from Sumaria ref: Annuna Ki, the 50 gods of earth sand-script/Hebrew text ['This is not our knowledge, it was given to us by the Annuna Ki]'). Of course such notions are more than amazing, however in conventional thinking Remote Viewing is still, somewhat considered Metaphysical Pseudoscience, with no real evidence in a Lab (i.e. Randii et al).
The much more favoured archaeological explanation for the Abydos tablet is that it was a Palimpsest ( a re-used / reworked tablet), the reasoning behind this specifically is that the 'symbols' in this one tablet appear bizarre, astounding even. With an imagination one can easily see markings that look like modern vehicles, the Pampliset explanation presented by many well known archaeologists such as Katherine Griffis-Greenberg suggests:
"It is acknowledged by all (AFAIK), that it is a carved limestone that was altered in antiquity with plaster, to give a new meaning to the phrases. That is, BTW, part of the definition of a pampliset, of which these inscriptions are a prime example" - K G G - International Association of Egyptologists University of Alabama at Birmingham , Member, American Research Enter in Egypt
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The Problem
That the scene is a palimpsest of course! - and not a single work?
What difference would it make if it was not a palimpsest?
None, The abydos scene would not be judged on its own, but be judged by extrapolation from the rest of archaeology, and indeed reality, which is then presented monolithically opposed.
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Leaving any decisive verdict in relegation , still, even not as a palimpsest entrenched in conservative consensus. Clearly, there are many similar itineraries of controversy in the Egytpian Dynasties, but none quite so strange as this. So, if the scene was not a palimpsest , it could not be hieroglyphic either (the symbols are improperly formed), and would have to be considered an artwork or derivative artwork (palimpsest). Since arts realms merge into reality and fantasy, we would end up with at the beginning again, with the conclusion based on the chance and artistic endeavor.
The conclusion that any archaeologist is forced to take can only be dependant on the assumption of Chaos as a ruling force behind the Glyph. The only real way to destroy this consensus is to
prove that the fundamental nature of the glyphs is not subject to chaotic forces, but instead to rational order. * vejprty.com
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Not only do we have to prove that the objects in the glyphs were created deliberately, but we have to establish that the creator was more than an artist. To make the glyphs scientifically meaningful, they would have to be custom designed, constructed and encrypted with exact order. Then the glyphs would take on special significance. Geometrical engineering of the glyphs draws parallels with engineering of advanced transportation technology, which it may be showing.
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Another Great Mystery
Another great mystery similar to the Abydos mystery is the Golden Section, some research might suggest that the Egyptians DID NOT know the Golden Section. This may not be valid, and we can explain why.
In fact, under geometrical analysis, not only does the Abydos Tablet hold up to displaying deliberate, non chaotic, precise creation. It is order of the highest magnitude, and the reconstruction of the Abydos tablets below serve as proof to this premise.
Geometrical Analysis
As the Abydos columns text does look fairly auspicious, it begs testing for orderly, and the findings are simply astounding, totally blowing up this case in whole new lights.
1 unit (diameter of semi circle)
2 an axis
Above - The semicircle in the glyph looks quite true, when tested by a circle.
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The usual construction begins with the six operations, or steps, as shown above. Circles '4', and '5' help in obtaining the axial cross, and are discarded afterwards. After this we have a choice of two operations, which will produce the Φ-ratio in the position. The diagram below uses the big green circle concentric with the red circle.
The yellow circle represents the glyphic semicircle, and becomes the red circle in the diagram below. The green circle from above is replaced by the blue square below.
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The diagram of the classic Golden Section was imported into the Abydos image by scaling the unit circle to the semicircle in the image. As seen below, this experiment worked like a charm.
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"We are looking at the proof that the glyphs are proportioned by the Golden Section along the horizontal axis. The area under the helicopter is sectioned by vertical lines into Φ proportions.
If the semi-circle's radius counts as 1 then the breadth of the row of six columns on the horizontal axis is (Φ²) 2.618.. From the semi-circle to the left on the axis we see successively the distances of:"
0.5 ←→ 0.5 ←→ Φ-1 (0.618..) ←→ Φ-1 x Φ-1 (0.381966..) ←→ Φ-1
and combined distances like
1 ←→ Φ (1.618..) ←→ 2 ←→ Φ² ( 2.618..)
The square that we employed for the Golden Section turns out to fit the square formation of columns, and triangles.
To get to its present location, the square rotates 45 degrees, and slides to the area's boundary on the left. Then it slides down, until the x-axis becomes the square's upper Golden Section divide (below).
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The square fits the glyphic square of columns, and triangles very well on three sides, but we do see a bit of imprecision at the top. But, this is amply made up for by the accuracy of the Φ-rectangles within this square.
Here, it should be pointed out that it is the triangles, which give us the width of the square, and actuate the golden proportion. According to Egyptologists' chronology, the columns came first, but according to the reconstruction by the Golden Section, the points of the square had been given before any corresponding columns could be created!
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Horizontal lines from E, and F, with the vertical line from H, divide the square into golden sections. The lines are set by both the top and bottom of the middle triangle row, the upper columns, and by the upper edges of the inner rectangles at bottom left . The square as above contains no less than eight Golden Rectangles, plus corresponding squares. All fit the layout of the engraved square really well.
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Two big golden rectangles: horizontal width = 2.618..units, height = 1.618 units
Golden rectangles based on the unit circle (base 1 unit long, height 0.618)
We can recreate the golden rectangle limiting the area under the helicopter, because its left bottom corner coincides with the square's corner. The big rectangle from under the helicopter just happens to also be the perfect container for the upper two craft on the right, as well, if we see the plane as transporting a suspended object. The plane's horizontal axis, which seems engraved in, is at the same time a Golden Section line for the rectangle.
The rectangle on the left contains five smaller golden-rectangles, and they all fit the engraving. The entire area under the helicopter forms a perfect Golden Rectangle, when the helicopter's belly rests upon the upper line of the rectangle, although it's hard to see atthis resolution. Fortunately, this marvellous fit is easy to see in the blow-up below .
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A part of the rectangle line was cut away, because it was screening out the belly line of the helicopter. The fit is visually perfect. Mindful of the excellent fit of the other three sides, we can say that this rectangle is highly accurate.
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Another close-up then shows how the other rectangle also fits right on, at the top.
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Layout
There are containers for all the objects, the 'Abydos Craft' have rectangular frames, which size is determined by the size of the object.
The rectangle frames two of the suspected craft together with visual perfection (it is the tightest rectangular container for these two objects). Again it is a perfect (CAD drawn) GOLDEN RECTANGLE. (the ratio between its sides is Φ).
Just like the helicopter reposes on a golden-rectangle, so does the boat/tank .
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a. All the area under the 'helicopter' is contained in a golden rectangle
b. The Helicopter and 'boat/tank' sit on golden rectangles
c. Four of the rectangles originate from the lower left corner and two from the right
d - the two yellow rectangles are of the same size
e - the rectangle on the lower right also contains a perfect square and a smaller rectangle. Adding, or subtracting a square from a golden rectangle makes for another golden rectangle. So, the smaller rectangle is also a golden rectangle!
Each of the four Φ-rectangles above (two yellow, two cyan, with bases equal to the semicircle's base) has an engraved line, which divides it into a square, and another golden rectangle. That's altogether eight golden rectangles. Evidently, the whole area is carefully planned.
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From this great archaeological work one is now forced to believe, that not only did the Egyptians understand how to use the Golden Ratio, but that the archaeology itself is not a palimpsest, for if it were, it would truly be the most unique archaelogical evidence ever found in a palimpsest to date, it is the opinion of the writer that much distortion arrives in Egyptian Archaeology either intentional or otherwise, especially in the case of the Abydos tablet, it has been subject to much debate and venom.
It would appear, yet again, the sheer sophistication and expertise of the Egyptian empire are missed on our modern ideas of expertise, either by error or by wish, by fact or fiction, and there is more - this tablet, if not an artwork, and if not a hieroglyph, what? Not only is it not a palimpsest but it has a great amount of order to it, are we supposed to believe that the Egyptians were remote viewers? No, theirs no archaeological evidence for that.
There is archaeological evidence to support this tablet in the old Sumeria though, now known as Iraq, there are many popularized Sumerian tablets that lay out quite clearly our local star system of planets, and in Sumerian text it actually says the "50 Gods of Earth" or, the Annuna Ki are the ones who 'gave them' that evidence. Richard C. Hoagland is indeed one of my heroes, and I could not thank him enough for getting the publicity and hype this needs in our modernized version of society.
I think however, that even Hoagland will have to step aside on this one. The archaeology doesn't point towards RV, the archaeology doesn't point towards our technology either! It points towards something that will astound you all... and it is quite obvious when you see. The Egyptians used hieroglyphics techniques to create much of their art, this tablet was rushed, quickly, and was a little sloppy, why? The tablet uses similar heiroglyphic shapes to draw the symbols, why? The golden rectangles indicates 2 ships are sitting on top , and one ship goes into 2 golden rectangles, why? Is this intentional, yes, but why?
I think we know why, because the ships are intentionally linked together (look at the tablet) - it's implying they are 'inside eachother' or part of a union. We're being visited folks, and someone doesn't want us to know, and whoever drew that tablet, probably did as well. Aliens have been visiting Sumeria, Egyptians and Americans for a very long time indeed. One doesn't have to look in prophecy far, but yet again the sciences and 'experts' mislead us, until they get some more upto date information or technology. Well, the Egyptians didn't wait around for that, and apparently they never needed to either. The writer sits back in his seat, surprised it got this far in history at all. It's the writers opinion, history and Egyptology books are going to change, and if they don't then the history books are just plain wrong.
There is one aspect of the inscription which is puzzling. The temple in Abydos (or Abdjou, as the location was called by Egyptians), is quite a remarkable edifice, especially as far as the quality of glyphs is concerned. They are all very precise and as far as I can judge, there's no trace of sloppy workmanship anywhere in the temple, bare the above inscription. " - Lumir G Janku
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Thanks Lumir G. Janku, but in archaeological fact, the truth is diametrically opposite. It really doesn't leave much to ponder as to why Graham Hancock thinks experts should be banned altogether.
What you've all been waiting for...
The Enterprise Mission
The Abydos Helicopter & The Golden Section