Indonesia: StoneHenge, with singing rocks

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Natural Sound Behaviour in Archaeological Contexts

Postby Allegro » Fri Sep 06, 2013 9:57 am

Beginning at mark 4.15 in the second of four vids that comprise Devereux’s lecture: “… It tells me somewhere in southern India, over about a two to three thousand year period, we came from basic rocks to very sophisticated use of stone for producing sound. There was a sonic technology, an acoustical technology in southern India that relied on rocks.” In that same vid, he talks of the music in rocks, too.

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Natural Sound Behaviour in Archaeological Contexts
Paul Devereux, speaker



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Re: Indonesia: StoneHenge, with singing rocks

Postby stillrobertpaulsen » Fri Sep 06, 2013 4:23 pm

StoneHenge? Singing?

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simulated StoneHenge

Postby Allegro » Fri Sep 06, 2013 6:30 pm

Here’s a simulation, a kind of rendition, a version, a delivery, a construction, a reconstruction, a project, a story, one person’s expression of Britain’s prehistory Sounds of Stonehenge. It’s a fun listen if you like simulated drums :), and I’ll take rhythms anywhere I can feel’em!

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    < Stonehenge Resurrection produced with Odeon architectural acoustics modelling software.*

    This commentor let the cat out of the bag: “As a visitor to both Stonehenge UK and Stonehenge USA (Maryhill) [Monument in Washington State], I’m aware of the differences between the two as well as the obvious similarities. Maryhill is made from concrete blocks, not sarsen and, where the Stonehenge sarsens are irregular in size and shape, the Maryhill stones are much more uniform. Plus, of course, the Maryhill site is located in a raised position on the side of a vast river valley while Stonehenge UK is in the centre of a large, more-or-less flat plain. These differences must make a difference to the acoustics and I’d be interested to know what allowances were made for them in using Maryhill to acoustically map Stonehenge.

    “At Stonehenge UK, I’ve been hugely impressed by the acoustics even in its current ruined state, while I found ‘awakening’ the resonances of Maryhill much more difficult, assuming this to be partly due to the differing acoustic properties of concrete and sarsen.”

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* An audio mixer based on 3D acoustical simulation of architectural models

    The acoustic illusion of music being performed in any room, being virtual or real, is possible with today’s advanced room acoustic software, Odeon. Recently, a music CD has been released with the simulated acoustics of the famous Hagia Sophia in Istanbul, although the recordings were originally made in an anechoic room. More.

Edit: added a link.
Last edited by Allegro on Fri Sep 06, 2013 10:10 pm, edited 1 time in total.
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Re: Indonesia: StoneHenge, with singing rocks

Postby 82_28 » Fri Sep 06, 2013 7:07 pm

I just watched this for the first time yesterday. Believe me when I say IT MUST BE WATCHED. It brought me to tears of laughing my ass off. Apparently it is super popular in archaeologist circles. Do yourself a favor and watch!

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Re: Indonesia: StoneHenge, with singing rocks

Postby stillrobertpaulsen » Mon Sep 09, 2013 1:03 pm

Stonehenge was built on solstice axis, dig confirms

By Dalya Alberge, The Observer
Sunday, September 8, 2013 12:17 EDT

Image

English Heritage excavations show site has nothing to do with sun-worshipping, and find evidence circle was once complete

English Heritage says it has discovered a “missing piece in the jigsaw” in our understanding of Stonehenge, England’s greatest prehistoric site. Excavations along the ancient processional route to the monument have confirmed the theory that it was built along an ice age landform that happened to be on the solstice axis.

The Avenue was an earthwork route that extended 2.5km from the north-eastern entrance to Wiltshire’s standing stones to the River Avon at West Amesbury. Following the closure of the A344 road, which cut across the route, archaeologists have been able to excavate there for the first time.

Just below the tarmac, they have found naturally occurring fissures that once lay between ridges against which prehistoric builders dug ditches to create the Avenue. The ridges were created by Ice Age meltwater that happen to point directly at the mid-winter sunset in one direction and the mid-summer sunrise in the other.

Professor Mike Parker Pearson, a leading expert on Stonehenge, said: “It’s hugely significant because it tells us a lot about why Stonehenge was located where it is and why they [prehistoric people] were so interested in the solstices. It’s not to do with worshipping the sun, some kind of calendar or astronomical observatory; it’s about how this place was special to prehistoric people.

“This natural landform happens to be on the solstice axis, which brings heaven and earth into one. So the reason that Stonehenge is all about the solstices, we think, is because they actually saw this in the land.”

The findings back theories that emerged in 2008 following exploration of a narrow trench across the Avenue. Parker Pearson said: “This is the confirmation. It’s being able to see the big picture.”

Dr Heather Sebire, English Heritage’s Stonehenge curator, said: “The part of the Avenue that was cut through by the road has obviously been destroyed forever, but we were hopeful that archaeology below the road would survive. And here we have it: the missing piece in the jigsaw. It is very exciting to find a piece of physical evidence that officially makes the connection which we were hoping for.”

The excavation was conducted by Wessex Archaeology for English Heritage.

The A344 will be grassed over next year as part of English Heritage’s £27m transformation of the World Heritage Site, which receives more than 1 million visitors annually. There will be a new visitor centre, 1.5 miles away out of sight, to allow Stonehenge to reconnect with the surrounding landscape.

Sebire, who likens the Avenue to The Mall leading to Buckingham Palace, said that the latest findings should spark vigorous academic debate.

The excavations have also uncovered three holes where missing stones would have stood on the outer sarsen circle, evidence, it is believed, that the circle was indeed once complete. Surprisingly, even the most sophisticated surveys failed to spot them. Two members of staff noticed dry areas of grass, or parchmarks.

Susan Greaney, an English Heritage historian, said: “The discovery … has certainly strengthened the case for it being a full circle.”Asked why no-one noticed them until now, Parker Pearson said: “The problem is we’ve not had a decent dry summer in many years. Stonehenge is always regularly watered, and the only reason these have shown up is because – for some reason this year – their hose was too short… So we’re very lucky.”


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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Thu Sep 19, 2013 10:11 am


Scientists Levitate Small Animals

Tibetan Sound Levitation Of Large Stones Witnessed By Scientist


Excerpt from 'Anti-gravity and the World Grid' edited by D.H.Childress, ch.8, Acoustic levitation of stones by Bruce Cathie, pp. 213-217

A New Zealand scientist recently gave me an intriguing extract from an article published in a German magazine, relating to a demonstration of levitation in Tibet. After obtaining a translation by a German journalist, in English, I was amazed at the information contained in the story, and was surprised that the article had slipped through the suppression net which tends to keep such knowledge from leaking out to the public.

All the similar types of stories that I had read up until now were generally devoid of specific information necessary to prove the veracity of the account. In this case a full set of geometric measurements were taken, and I discovered, to my great delight, that when they were converted to their equivalent geodetic measures, relating to grid harmonics the values gave a direct association with those in the unified harmonic equations published in my earlier works.

The following extracts are translations taken from the German article: 'We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds...the knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication, Implosion No. 13.

The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager, Henry Kjelson, a friend of mine. He later on included this report in his book, The Lost Techniques. This is his report.

A Swedish doctor, Dr. Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr. Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama.

After Dr. Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living.

Dr. Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about or observe.

One day his friend took him to a place in the neighbourhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 metres was a big hole which looked like the entrance to a cave.

In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes.

In the middle of the meadow, about 250 metres from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one metre and a depth of 15 centimetres. A block of stone was manoeuvred into this cavity by Yak oxen. The block was one metre wide and one and one half metres long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 metres from the stone slab.

The radius of 63 metres was measured out accurately. The musical instruments consisted of 13 drums and 6 trumpets.(Ragdons) Eight drums had a cross-section of one metre, and a length of one and one half metres. Four drums were medium size with a cross-section of 0.7 metre and a length of one metre. The only small drum had a cross-section of 0.2 metres and a length of 0.3 metres. All the trumpets were the same size.

They had a length of 3.12 metres and an opening of 0.3 metres. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone. The big drums were made of 1mm thick sheet iron, and had a weight of 150kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks.

When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 metres high. After three minutes of ascent it landed on the platform.

Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 metres long and 250 metres high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task.

Dr. Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed.

The English Society for which Dr. Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand.: End of trans.'

The fact that the films were immediately classified is not very hard to understand once the given measurements are transposed into their geometric equivalents. It then becomes evident that the monks in Tibet are fully conversant with the laws governing the structure of matter, which the scientists in the modern day western world are now frantically exploring. It appears, from the calculations, that the prayers being chanted by the monks did not have any direct bearing on the fact that the stones were levitated from the ground.

The reaction was not initiated by the religious fervour of the group, but by the superior scientific knowledge held by the high priests. The secret is in the geometric placement of the musical instruments in relation to the stones to be levitated, and the harmonic tuning of the drums and trumpets. The combined loud chanting of the priests using their voices at a certain pitch and rhythm most probably adds to the combined effect, but the subject matter of the chant, I believe, would be of no consequence.

The sound waves being generated by the combination were directed in such a way that an anti-gravitational effect was created at the centre of focus (position of the stones) and around the periphery, or the arc, of a third of a circle through which the stones moved.

If we analyse the diagram published with the original article, then compare it with the modified diagram, we become aware of the following coordinates, and the implications, when compared with my previously published works.

The distance between the stone block and the central pivot of the drum supports is shown as 63 metres. The large drums were said to be one and one half metres long, so the distance from the block to the rear face of each drum could be close to 63.75 metres considering that the pivot point would be near the centre of balance.

My theoretical analysis, by calculator, indicates that the exact distance would be 63.7079 metres for the optimum harmonic reaction. By mathematical conversion we find that this value is equal to 206.2648062 geodetic feet, which is harmonically equal to the length of the earths radius in seconds of arc (relative to the earths surface) 206264.8062. This also leads us to the following associations:

(206.2648062 x 2) = 412.5296124 This number squared = 170180.68 which is the theoretical harmonic of mass at the earths surface.

The four rows of monks standing behind the instruments in a quarter circle added to the production of sound by their loud chanting and must be taken in to account in regards to the geometric pattern. If we assume that they were standing approximately two feet apart, we can add a calculated value of 8.08865 geodetic feet to the radius of the complete group. This gives a maximum radius of: 214.3534583 geodetic feet.

The circumference of a complete circle with this radius would be: 1346.822499 geodetic feet.

Which is a half harmonic of 2693.645 (unified field)

The distance from the stone block to a calculated point within the cliff face and the height of the ledge on the cliff face from ground level is given as 250 metres. If we can now imagine that the raised stone blocks pass through a quarter arc of a circle during their flight from ground level to the hole in the cliff face, then the pivot point of the radius would be coincident with this position.

The theoretical radius was found to be: 249.8767262 metres which very closely approximates the estimate. This converts to 809.016999 geodetic feet. The diameter of the full circle would therefore be: 1618.034 geodetic feet.

A circle with this diameter has a circumference of 5083.203728 units, which can be divided into three even lengths of 1694.4 It therefore appears that the levitated blocks, once resonated to a certain frequency, would tend to carry out a flight path that is coincident to one third of a circle. The spacial distance being equivalent to the mass harmonic at the center of a light field, 1694443.

The instruments used by the group, in theory, would also have been tuned to produce harmonic wave forms associated with the unified fields. The given measurements are in rounded off parts of a metre but in practice some slight variations from these measurements would be expected in order to create the appropriate resonating cavities within the instruments

The geometric arrangement, and the number of instruments in the group would also be a most important factor.

If the given measurement for each type of drum is modified fractionally and converted to its geometric equivalent an interesting value for the cubic capacity is evident.

The large drums:

1.517201563 metres long, 1.000721361 metres wide = 58.94627524 geodetic inches long, 38.88 geodetic inches wide = 69984 cubic inches capacity = 40.5 cubic geodetic feet capacity.

Therefore the cubic capacity for eight drums = 324 cubic geodetic feet This harmonic value is built into the world grid and is equal to half the harmonic 648.

The medium size drums:

1.000721361 metres long, 0.695189635 metres wide = 38.88 geodetic inches long, 27.00948944 geodetic inches wide = 22276.59899 cubic geodetic inches capacity = 12.89155034 cubic geodetic feet capacity.

Therefore the cubic capacity for four drums: = 51.56620136 cubic geodetic feet

14.97414932 centimetres = 5.895334377 inches = 5.817764187 geodetic inches = 0.484813682 geodetic feet

As the dish-shape was focused upward towards the stone block to be levitated it would be expected that some type of reaction would take place which had an effect on the mass. The geometric shape of the cavity does seem to be engineered in such a way the projected frequency vortex causes a reciprocal reaction to the mass harmonic of each block. The reciprocal of 0.484813682 = 2.062648055 Twice this value: = 4.12529611 The square of this value: = 17.018068 (the harmonic of mass at the earth's surface.17018068

I believe that there is not much doubt that the Tibetans had possession of the secrets relating to the geometric structure of matter, and the methods of manipulating the harmonic values, but if we can grasp the mathematical theory behind the incident, and extend the application, then an even more fascinating idea presents itself.
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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Fri Sep 20, 2013 8:51 am

Decoding the Hidden Ruins of Southern Africa - Discovering the True Cradle of Humankind
By Michael Tellinger

Please welcome for September 2013 Author of the Month Michael Tellinger, whose new book African Temples of the Anunnaki -The Lost Technologies of the Gold Mines of Enki, provides Archaeological proof of the advanced civilization on the southern tip of Africa that preceded Sumer and Egypt by 200,000 years. The evidence also shows how these 200,000-year-old sites perfectly match Sumerian descriptions of the gold mining operations of the Anunnaki and the city of Enki. Join Michael during September on the AoM Message Boards and become part of the discussion.
A 3-D reconstruction of Adam's Calendar
Image
A 3-D reconstruction of Adam’s Calendar

The history of southern Africa is one of the great untold stories of the world. It has remained a guarded mystery by traditional knowledge keepers and African shaman for thousands of years. But in 2003 everything changed with the accidental and serendipitous discovery of an ancient stone calendar that caused a chain reaction of events, which led us to decoding one of the greatest missing pieces regarding our human origins and the activity of the Anunnaki on planet Earth.

Many history books and scholars have told us that the first civilisation on Earth emerged in a land called Sumer, some 6000 years ago. This Sumerian civilisation left behind a detailed account of human activity in millions of clay tablets that continue to reveal critical human behaviour and outlines the relationship between the Anunna gods and the people of Sumer.

But our archaeological discoveries that began in 2003 suggest that the Sumerians may have inherited much of their knowledge from a civilisation that emerged many thousands of years earlier in southern Africa, already thought to be the cradle of humankind. These discoveries also suggest that the same deities, who have become known as the Anunnaki through the works of Zecharia Sitchin and many others, were also very active in the lives of the people of southern Africa, more than 200,000 years ago.

In 2003, a strange arrangement of large stones that were neatly planted at the edge of a cliff near the town of Kaapschehoop, South Africa, was spotted by Johan Heine from his aeroplane. After returning to the spot the next day to see the site on the ground, he instantly realised that this was no ordinary, nor natural arrangement of monoliths, and so began a process of measurements and calculations that lasted several years. His meticulous analysis clearly shows that this was an ancient calendar that is aligned with the movements of the sun, solstices and equinoxes, and that we can still mark every day of the year by the movement of the shadows cast on the flat surface of the calendar stone at the centre of the site.

But as it is with many ancient sites, including Stonehenge, the calendar aspect is not the main purpose of this structure, but merely a crucial feature built into the site. We have discovered deeper and more mysterious functions that only became apparent after many electronic and scientific measurements several years later.

Through its alignment with the stars and the movement of the sun, this African Stonehenge that I named ‘Adam’s Calendar’ has for the first time created a link to the countless other stone ruins in southern Africa, and suggests that these ruins are much older than we initially thought and forces us to start rethinking the activity by early humans in the so-called “Cradle of Humankind”.

The discovery of this calendar site was nothing new to Johan Heine, who had already spent at least 15 years photographing mysterious circular stone structures scattered throughout the mountains and valleys of southern Africa. These circular stone ruins have become affectionately known as the “stone circles” and they lie scattered in large clusters throughout the entire sub-continent that includes South Africa, Zimbabwe, Botswana and parts of Mozambique. The complex that links Nelspruit, Waterval Boven, Machadodorp, Carolina, Badplaas, Dullstroom and Lydenburg, and has a radius of approximately 60 kilometres, covering an area larger then modern-day Los Angeles, has emerged as the largest and most mysterious ancient city on Earth.

The discovery of a bird statue that resembles Horus carved out of dolerite, a small sphinx about 1,5 metres long carved out of the same dolerite rock, a petroglyph of a winged disk, many carvings of Sumerian crosses in circles and an ankh in a radiating circle suggest that the prototype Sumerian and Egyptian civilisations had their origins in southern Africa thousands of years before they emerged in the north.

After meeting Johan Heine in early 2007, he invited me, along with a large group of the most senior scholars in the field of archaeology, history and geology from several South African universities, to experience the spectacular vista of the ruins from a helicopter, an event that spanned an entire weekend. Though this was an incredible opportunity of a birds-eye-view of the stone circles, on the day of the event, I was the only one to arrive. And so, I alone gained new perspective and became the one that carried the torch of future research and investigation.

Six years of research by a group of independent scientists and explorers has delivered what may be the crucial missing elements in our understanding of the lives and development of early modern humans. Our discoveries have been noted in two books - Adam’s Calendar and African Temples of The Anunnaki and will be updated in the soon to be released The Lost City of ENKI. But the research has also shown that these stone settlements represent the most mysterious and misunderstood structures found to date. It points to a civilisation that lived at the southern tip of Africa, mining gold for more than 200,000 years, and then completely and suddenly vanished from the radar. We may be looking at the activities of the oldest civilisation on Earth.

Little did I know that when I named the newly discovered stone calendar “Adam’s Calendar” how close to the truth I would be. This was only revealed to me by the preeminent Zulu Shaman Credo Mutwa some 2 years later, when he told me that he was initiated at the site in 1937 as a young shaman, and that this site is known to African knowledge keepers as Inzalo Ye Langa, or “Birthplace of The Sun”, where “heaven mated with mother earth” and where humanity was created by the gods.

But Credo went even further in his detailed explanation of the deep significance of the site when he explained that it was not just any god of the ancient times that created humanity, but specifically a deity that is know in Zulu as “Enkai”, the same deity know as ENKI in the Sumerian texts. This throws a whole new spin on our understanding of the Anunnaki on Earth and the “fingerprints” they left not only on ancient stone ruins but also the genetic manipulation and creation of the human race. These fingerprints have now been very clearly exposed in our genetic makeup by the brilliant work of William Brown, a molecular biologist and geneticist of the highest order who is part of the research team of Nassim Haramein’s Resonance Project Research Foundation, on the island of Kauai.

Out of Synch Alignments

After surveying Adam’s Calendar, it turned out that the north, south, east, west alignment is out by 3 degrees – 17 minutes – 43 sec in an anti-clockwise direction. This may be a critical discovery regarding turbulent times in antiquity because it irrefutably proves that the earth’s north-south alignment today, is not where it was when the calendar was constructed. It irrefutably proves that our planet has undergone a crustal displacement, or something along those lines, taking the north-south pole alignment with it. The theory of Crustal Shift or Crustal Displacement was proposed by scientist Charles Hapgood and strongly supported by Albert Einstein. Adam’s Calendar gives us the geophysical proof that such events did actually occur. What we do not know however at this stage, is when this shift happened.
Mysterious ancient ruins of southern Africa.

Until I started my research in 2007, it was generally accepted by scholars that there are about 20,000 ancient stone ruins scattered throughout the mountains of southern Africa. Modern historians have been speculating about the origins of these ruins, often calling them “cattle kraal of little historic importance”. The truth of the matter is that closer scientific inspection paints a completely different and astonishing new picture about the ancient history of these stone ruins. The scientific reality is that we actually know very little about these spectacular ancient ruins and it is a great tragedy that thousands have already been destroyed, and continue to be destroyed through sheer ignorance by power lines, forestry, municipalities, farmers and new housing developments.

After my personal explorations on foot and by air over the ruins, I confidently estimated the number of ancient stone ruins to be well over 100,000. This figure was confirmed by Prof. Revil Mason in January 2009. But after doing an extensive count on Google Earth and other aerial photographs I concluded that there are at least a staggering 10 million of these circular ruins. The mystery deepened when I found out that they have no doors or entrances in their original form and therefore could not have been dwellings. They were all originally connected by what we now call channels – (which our history books call roads that tribes drove their cattle on) – and are also surrounded and connected to an ongoing grid of agricultural terraces that cover more than 450,000 square kilometres. This clearly points to a vast vanished civilisation who grew crops on a gigantic scale.

Population Problem

This immediately poses a huge problem for archaeologists, anthropologists and historians because the accepted history of this part of the planet does not at any time in our past place anywhere nearly enough people here to have built this number of structures. It gets even more complex when you realise that these were not just isolated structures left behind by migrating hunter-gatherers, but a giant complex of circular structures all connected by the strange channels and suspended in a never-ending web of agricultural terraces. If we were to assume that these were dwellings, it would suggest a population of at least 10 million people – which is unimaginable to most of us today.

Ancient Gold Fields

It is important to note that the mysterious ruins of southern Africa, which include Great Zimbabwe and millions of similar ruins in that country, also extend into neighbouring areas like Botswana, Namibia, Zambia, Kenya and Mozambique. But why were these ancient people here in the first place? What were they doing?

The past 200 years has seen a number of explorers write in great detail about these ruins, but their findings have been largely forgotten and their books are out of print. Most of these early explorers write about thousands of ancient mine shafts found in close proximity to these ruins. In fact, most of these mines have been described as gold mines, copper, tin and iron mines. In my personal experience and research I have found at least 25 ancient mine shafts in gold-rich areas and been told about dozens more by farmers all over South Africa. Ancient mines covered by 30 metres of soil have been reported by at least 2 miners in the ‘30’s in the province of Limpopo and more than 75,000 mines have been reported by geological companies in Mpumalanga. It seems that gold mining has been going on here for a lot longer than most of us ever imagined.

Ann Kritzinger, a geologist from University of Zimbabwe has shown in several papers that many of the ruins in Zimbabwe were most likely for the purpose of extracting and purifying gold – and were not slave pits, animal pits or grain pits as is often suggested by ignorant scholars.

The presence of Dravidian gold miners is shown in great detail by Dr Cyril Hromnik in his astonishing book “Indo Africa” 1981 – showing in great detail the exploits of the MaKomati people – Hindu Dravidians - who were here in southern Africa mining gold as far back as 2000 years ago and probably even further back in time.

Sumeria and Abantu

The links to the Sumerian civilisation in southern Africa simply cannot be ignored or erased. They can even be traced with etymology in the names and origins of indigenous people. The most obvious evidence are the mysterious origins of the word “Abantu”, the name commonly used to describe black South Africans. According to Credo Mutwa, the name is derived from the Sumerian goddess Antu. “Abantu” simply means the children or people of Antu.

Energy Generation – Ancient knowledge

Extensive electronic measurements in 2011 have shown that the circular stone ruins are in fact energy generating devices, using the natural sound that emanates from the surface of the Earth, creating electromagnetic fields as a result of the sound amplification. The shape of the circular ruins are all very specific and unique because each circle represents the cymatic pattern of the sound energy as it appears on the surface of the earth at that point. This energy was amplified by a simple understanding of harmonics and utilised in the same way that we generate LASER and SASER beam technology today. Giant magnetron-shaped structures suggest that this was well understood by the ancients. I have measured these spectacular energies and electromagnetic waves and therefore do not hesitate to make these claims. Some of the sound frequencies go into the extremely high Giga hertz levels (over 380 Giga hertz) which are unheard of on Earth today in any normal application.

The fact that these circles are all connected by the stone channels makes it very clear to any scientist who works with electricity or energy that the stone circle complex is a giant energy generating grid that was most likely used in the mining and processing of gold on a scale unimaginable to us today.

Dating of The Ruins And Artefacts

This is a critical aspect of my research and there are several methods that I have had to resort to because we cannot use carbon dating to establish the age of stone. Neither can we assume that pottery or other artefacts found in the ruins were left behind by the architects. The many tools and artefacts that I have collected for my small museum in Waterval Boven are very unique and very mysterious – all made out of stone. They all seem to display strong acoustic properties and I call them “stones that ring like bells”. This was the realisation that led me to discover that sound played a critical role in the building of the ruins and the use of the energies that they create. One of the most obvious techniques I use in determining the possible age of the tools, is the patina growth that forms on the rock. The kind of patina or skin that grows on these artefacts, grows at a very slow rate that is estimated to be about one thousand years per microscopic layer. In other words, by the time that the patina is visible to the naked eye, it is already a few thousand years old. Most of the artefacts in my collection are completely covered in patina several millimetres thick, suggesting that these ancient tools must be well over 100,000 years old or even substantially older.

In conclusion, we are standing at the threshold of a brand new discovery that will expose great surprises and unveil a great hidden part of human history. My new book UBUNTU Contributionism – A Blueprint For Human Prosperity should be released by the end of September 2013 and I am completing the follow up to African Temples of The Anunnaki that will contain all the latest discoveries and conclusions I have reached regarding the vanished civilisations of southern Africa to date.
Image
An aerial view of the calendar site perched on the edge of the Transvaal escarpment consisting of black reef quartzite. The tree on the right is the north marker – the tree on the left marks south. All the monoliths that make up the circular calendar structure are dolerite. We do not know where the dolerite comes from. Note the sculptured pointed monolith closest to the edge. This is one of the 3 fallen monoliths that aligns with the rise of Orion’s belt.
Image
Johan Heine shows us the shadow that moves from left to right of the calendar stone, allowing us to mark the days of the year, from the summer solstice on the left edge, to the winter solstice on the right edge.
Image
A close-up view of the Adam’s Calendar, showing that the north-south line dissects the two central calendar stones. The tree in the centre is where the north marker stone is located.
Image
This monolith at Adam’s Calendar was removed from its original position in 1994 where it stood looking at the sunrise on the equinox over the large central monoliths. It now serves as a plaque stand at the entrance to the nature reserve.
Image
Although it is badly eroded, the original circular form of the calendar site can still be seen on this satellite image, with the 2 main monoliths at its centre. The north-south deviation can also be immediately seen as the north marker slants slightly to the left of 12 o’clock. It was measure do be 3 degrees, 17 minutes and 43 sec.
Image
One of the many mysterious ancient stone ruins that seems to have a greater purpose in its design. The Phi factor of 1,618 seems to be well used in this and other structures’ dimensions.
Image
A small section of the ancient energy grid that stretches more than 450,000 km square linked by the ancient channels that can be clearly seen from the air. This kind detail is not at all visible to observers on the ground.
Image
Ancient terraces surround large complex structures and cover more than 450,000 km square.

For more information about my research and presentations please see my website

http://www.michaeltellinger.com
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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Mon Sep 23, 2013 1:31 pm




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audible bell-like tones in rocks

Postby Allegro » Tue Sep 24, 2013 11:19 pm

When considering audifying inaudible vibrations in rocks, we would also consider the resultant sounds as part of our universe’s music, all of which is still fascinating to me!

The following are my notes taken while watching the video.
Thanks for the tip, SLAD.

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http://youtu.be/iBbqpnQ3Cnc
    < Annunaki: A Tour of Adam’s Calendar with Michael Tellinger

    At about mark 25.00, South African Geologist, Dr. Gieon Groenewald, famous for finding a dinasaur egg, said it’s very difficult to explain why the rocks had been carried over long distances then stacked to produce the numerous sites of circular constructions. The explanations would take some work after measuring magnetic energies in and around the rocks.

    At about mark 29.00, the geologist said it’s difficult to know the locations from where the rocks had been carried. More importantly, the context for the collective whole that contains all of the sites’ circular constructions is important for geological study to which Tellinger agreed.

    At about mark 32.12, Tellinger explained the preliminary sound frequency measurements showed the rocks were vibrating inaudibly to humans; all constructions are circular but each differently shaped; each construction is apparently a viewable geologic identification of vibrations distinct from vibrations measured in any of the other viewable geologic identifications’ locations. (I hope I’ve written that so it’s understandable.)

    At about mark 51.05, Tellinger demonstrates by knocking his knuckle against one of the rocks, which rings bell-like tones. When two rocks are lightly struck against each other, we hear ringing harmony.

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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Thu Oct 03, 2013 9:03 am

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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Mon Oct 14, 2013 10:56 am

12 October 2013 Last updated at 05:24 ET

Amesbury dig 'could explain' Stonehenge history

The excavation at Amesbury will be led by David Jacques (r) and filmed by a documentary crew

A group of archaeologists is undertaking a major dig in Wiltshire, which it is hoped could explain why Stonehenge was built where it was.

The team, which consists of leading experts in the Mesolithic period, also hopes to confirm Amesbury as the oldest continuous settlement in the UK.

The site already boasts the biggest collection of flints and cooked animal bones in north-western Europe.

The dig in Amesbury will run until 25 October.

The term Mesolithic refers to specific groups of archaeological cultures defined as falling between the Palaeolithic and the Neolithic.

'Something really special'
Andy Rhind-Tutt from Amesbury Museum said Amesbury pre-dated Stonehenge by as much 5,000 years, and could "go a long way" to explaining why Stonehenge is where it is.

"No-one would have built Stonehenge without there being something really special about the area.

"There must have been something there beforehand and Amesbury may well be it - [it could be] one of the greatest Mesolithic sites in the country."

Mr Rhind-Tutt said the team would also be looking to "find evidence of settlement for 10,000 BC".

"In previous excavations, they've found evidence of settlement up to 7,596 BC - a boar's tusk - but we're not at the bottom of the trench yet.

"Thatcham near Newbury [in Berkshire] is proving to be the oldest continuous settlement in the UK, but if Amesbury has older evidence this time, then it will be instead.

"At the moment, it is only 104 years short of being the oldest."

Well-preserved remains of a Mesolithic settlement dating from 7,700 BC have previously been found at Thatcham, which is 41 miles (66km) from Amesbury.

The Amesbury dig will also be filmed and made into a documentary by the BBC, Smithsonian, CBC and others to be screened at a later date. The project it being led by Buckingham University.
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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Mon Oct 14, 2013 1:57 pm

Golden age: Ancient possessions of Stonehenge worshippers go on display

DAVID KEYS MONDAY 14 OCTOBER 2013

'Like driving a road through Stonehenge': Stretch of historic Offa's Dyke flattened
Wanted: manager to look after Stonehenge - the world's most famous stone circle
Stonehenge: new study suggests landmark started life as a graveyard for the 'prehistoric elite'
Bouncy-castle style Stonehenge on display in international inflatable exhibition
Secret history of Stonehenge revealed

Golden treasures from prehistoric Britain’s Stonehenge era, most of which have never previously been on public display, are today being unveiled at a small provincial museum.

The exhibition is the largest collection of early Bronze-Age gold ever put on public display in England.

It was impossible to exhibit most of the gold treasures before because of security concerns. Up until now the closest the public got to them was by seeing photographs.

Housed in a new, high-security and humidity-controlled series of galleries inside the Wiltshire Museum in Devizes, 15 miles north of Stonehenge, the gold treasures and other objects are being used to reveal the remarkable cultural story behind the world famous prehistoric stone monument.

The new Stonehenge-era galleries will feature at least 500 Neolithic and Bronze-Age objects from Wiltshire, many of them from the once sacred landscape around the monument itself, including a beautifully decorated golden cloak fastener, a magnificent bronze dagger with a gold-covered hilt, a gold decoration from a dagger sheath, the golden tip of a ceremonial sceptre and gold necklaces, earrings and pendants – as well as other high- status precious objects made of jet, amber and stone.

“These and other spectacular treasures from the age of Stonehenge were unearthed by antiquarians and archaeologists in the late 18th and early 19th centuries, but until now it’s never been possible to give the public permanent access to them,” said the museum’s director, David Dawson.

“Stonehenge is an iconic monument – but this is the first time that such a wide range of high-status objects from the spectacular burials of the people who used it, has ever been put on permanent display”.

They will tell the story of the people who lived in and around the Stonehenge landscape when the monument was one of the great religious centres of Western Europe.

“Many of the items may well have been worn by Bronze-Age priests and chieftains as they worshipped inside Stonehenge,” said Mr Dawson. Axes and daggers on display in the new purpose-built galleries are identical to images of weapons carved into the giant stones of Stonehenge itself.

“We believe the new displays are a major step forward in helping to explain the extraordinary sophistication of the remarkable people who used the world’s most famous prehistoric monument,” said Mr Dawson.

Over the past few years, an unprecedented amount of new research has been carried out on Stonehenge and its ancient culture – and the new galleries reflect that new knowledge, especially an increased understanding of how the different prehistoric artefacts were made and what they were originally used for.

Around 30 gold objects, made by craftsman between the 2200 and 1800BC, will be on permanent display along with hundreds of other Stonehenge-era treasures.

The creation of the new high-security Stonehenge-period galleries puts Devizes’ Wiltshire Museum into a totally different league in terms of exhibits and their interpretation.

The new galleries have cost £750,000 to build – with funding coming from, among others, the Heritage Lottery Fund, English Heritage and Wiltshire Council.

Devizes has its magnificent collection because it is the home of one of Britain’s oldest local archaeology organisations – the Wiltshire Archaeological and Natural History Society which has been collecting Wiltshire archaeological material since its foundation 160 years ago.

Over that period it has conducted more than 50 excavations which have provided the museum with more than 50,000 archaeological finds. The town itself is located between prehistoric Britain’s two top monuments – Stonehenge and the Avebury stone circles.

The launch of the new permanent display at the town is part of a wider display of Stonehenge-era archaeology. On 18 December, just one and half miles from Stonehenge itself, English Heritage will open its new Stonehenge visitor centre, complete with around 300 Stonehenge-period exhibits – while, next spring, Salisbury Museum will unveil newly redesigned archaeological galleries including material of a similar age.
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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Thu Oct 17, 2013 5:06 pm

Star Beings In Stone? Rock Art Site In Central South Africa

By Gary A. David


Under the South African Sun

At the southern tip of Africa, equidistant from the Indian Ocean and the Atlantic, lies a high plateau known as the Great Karoo. This arid savannah aptly called the “thornveld” is dotted with camel thorn and umbrella trees. South of the fabled Kalahari Desert, the harsh region is still hot enough in summer for temperatures to reach well over 100 degrees Fahrenheit.

The late summer monsoon rains drawn from the Indian Ocean sometimes collect in saltpans spread across the barren plains—then quickly dry up. Rainfall in the northern part of the Great Karoo averages only about eight inches annually. Thunderstorms are violent but patchy, with ribbons of rain sometimes evaporating before reaching the ground—much like on the deserts of the American Southwest. However, the rainfall here was once sufficient to support a rich diversity of wildlife: giraffe, zebra, wildebeest, hartebeest, eland, springbok, buffalo, and ostrich. Along riparian areas rhino, hippo, and elephant roamed. Predator species included lion, leopard, hyena, and wild dog.

This unforgiving territory is the ancestral homeland of the San, sometimes known as Bushmen, and the Khoi, the latter formerly called the Hottentots. In fact, the word karoo is a San word that means “land of great thirst.”[1] The San were basically hunter-gatherers, whereas the later Khoi were pastoralists, herding sheep and cattle. The San and their famous click language were introduced to Western popular culture by the humorous movie “The Gods Must Be Crazy” and the more recent Disney film “A Far Off Place.”

On the distant horizon flat-topped hills (“koppies”) of sandstone and shale also resemble the mesas of my home territory in the southwestern U.S. Dark dolerite outcroppings strewn with of mineral-stained, igneous boulders were perfect for carving petroglyphs, or, as they call them in South Africa, rock engravings.

In September of 2009, I had the opportunity to travel there in order to assist my friend and colleague Rob Milne with his rock art research.[2] He and I along with his wife Slava visited a site called Driekopseiland, an Afrikaans name meaning “three hills island.” It is located on a working farm along the Riet River near the city of Kimberley in Northern Cape Province. Little did I expect to encounter images in stone that resembled the star beings carved by the ancient Hopi Indians of Arizona.
We arrived on the vernal equinox (September 22) at about 5:00 a.m., when Orion was just reaching its meridian. Getting out of the car to open the farm gates, I saw both Crux (the Southern Cross) and the brilliant Canopus for the first time in my life—the second brightest star in the night sky after Sirius. The San, by the way, consider Sirius to be the Grandmother of Canopus. A few rabbits and a steenbok (antelope) darted across the dirt road as we made our way to the site in the predawn chill. (Later in the day we saw a warthog dash across the road and a troop of mongooses scampering about and chattering. Surely a cobra must have been nearby.)

The Riet (“Reed”) River, a tributary of the mighty Orange River that flows into the Atlantic, is lined with non-indigenous eucalyptus trees and reeds over 15 feet high.[3] Driekopseiland contains over 3,500 engravings pecked or chiseled into a glaciated andesite “pavement” that parallels the river. The main part of this blue-gray slab is cut by natural fractures, thin and straight, that divide the horizontal rock expanse into various sections or panels. The whole area is at least 150 yards long and 75 yards wide.

Image
View from a koppie near Kimberley in the northern Karoo.
Barely visible on the horizon is Platfontein, one of the final relocation settlements of the San.
A giant red anthill is seen in the foreground.

According to archaeologist David Morris, whom we later met at McGregor Museum in Kimberley and who autographed his new book for us (see Endnote 8.), over 90% of the petroglyphs are geometric, abstract, or nonrepresentational: grids, meanders, dots, hatches, zigzags, concentric circles, ovals, spirals, star shapes, sunbursts, nested figures, and calendar wheels. Every foot or so we came across some bewildering design deeply carved into a plane of stone so smooth it almost looked polished. Ranging in size from a few inches to a few feet, these perplexing petroglyphs were rarely superimposed—that is, one carved on top of the other.

We even found a great number of Celtic crosses, which are equilateral crosses inside circles. South African scholar Brenda Sullivan comments on their meaning:

“This symbol has many names. It has been called the five-fold bond, the tree of life enclosed within the circle of eternity, and more commonly, the Celtic cross. Well, the Celts may claim pride of name, but this most ancient symbol has been associated with the isangomas [medicine people] of Africa for millennia, and is still one of Africa’s most powerful signs of protection and communication with the Creator through the Shades.”[4]


Image
On a panel downstream from the main section of the site, we also found petroglyphs that represented a number of animals: eland, elephant, rhino, baboon, anteater, and warthog. We encountered a few human-shaped engravings cut into the horizontal surface as well, which in some cases was as flat as a paved roadway.

Because rock art is difficult to date, the time frame of these images frozen in stone is anybody’s educated guess. Estimates range widely—from between the 10th millennium BC and the end of the first millennium AD.

Whenever the Driekopseiland glyphs were incised, they certainly took a long time to make. In other words, these labor-intensive markings were no idle doodling to wile away a hot afternoon. Andesite is a fairly hard mineral, and is rated 6 on the Mohs scale. Granite is a bit harder at 6.5 and quartz is only 7. Diamond is the hardest mineral and rates 10 on the scale.

Mined for thousands of years not far from here, the holy “Stones of the Sun” were most likely used to carve this hard rock. In 1866, these valuable gems were discovered downstream from the confluence of the Orange and Vaal Rivers, and hordes of miners flooded the area. Kimberley, of course, is now home to the world-famous De Beers corporation, whose “Big Hole” and museum Rob, Slava, and I later visited.
Image

The author, Rob Milne, and San guide Adam. Photo © by Bronislava Milne.
Image
Foreground: profile of creature with headdress framed by natural triangular fractures.
Image
Celtic crosses (upper-left), sunburst, abstracts. Photo © by Bronislava Milne.
http://www.grahamhancock.com/images/for ... dGA3/5.jpg
Lunar calendar:13 lines inside inner circle and 28 lines in outer circle.
Image
Cupules forming space-capsule cone (?). Ingot shape (upper-left) is one of a group.
Image
Geometric petroglyphs at Driekopseiland. Photo © by Bronislava Milne.

Aye, there’s the rub.

But what is the meaning of these enigmatic dream-symbols carved into the bedrock? David Lewis-Williams, cognitive archaeologist and specialist in South African rock art, says that these engravings were not merely representations of the natural world or abstractions of inner space rendered on static stone. Unlike the modern artist’s canvas, they were instead “windows on other worlds”— veils between the physical world and the spirit world. Like the interactive screens of a sacred video game, the petroglyphs were in fact “reservoirs of potency” that came alive the moment the San people trance-danced in front of them.[5]
Lewis-Williams is also the major proponent of the theory that the geometrics found at Driekopseiland were a depiction of the entoptics created by the optic nerve in the initial stages of an altered state. The shaman experienced these varied abstract shapes via intense drumming and dancing, sometimes in conjunction with hallucinogens. Just rub your eyes hard to get a mild sense of this phenomenon.

Even the academic Professor Morris admits to sacrosanct function of the engravings. “As a powerful portal between spiritual realms, a point of breakthrough perhaps second to none in the area, Driekopseiland would have been the kind of place where !Khwa was appeased, where protections were sought, so that ‘the rain comes down gently.’”[6]

Like the Pueblo people of the American Southwest, the San distinguish between (1) “male rain,” or lightning, fierce winds, and thunderstorms that pummel the earth, causing floods; and (2) “female rain,” or gentle rains that slowly soak into the earth.[7] Morris believes that the ancient people who made these carvings conceptualized the river as the mythic Water Snake named !Khwa, a figure prominent in San mythology.

“The regular emergence and submergence of images from the waters of the Gama-!ab [San term for Riet River] seems to us a crucial element in the power of the engravings and, arguably, a key to their meaning. Like the body of a large beast living in the depths of the river, the rock surfaces appear to rise from one medium to another, glistening, striated and engraved. Using a related analogue, the artist Walter Battiss spoke of ‘great whales lying in the mud’ of Driekops Eiland, their backs ‘decorated with innumerable designs.’”[8]

Arching its engraved back, the giant Snake breaks the surface of the water—then plunges back into the stream. This vertical undulation has cosmological significance due to the fact that “to go under water” is a San trance metaphor for death or “to die.”

Likewise, the Hopi describe a subterranean water serpent known as Pálulukang, which lives in springs, waterholes, or rivers and controls thunderstorms and floods. Hopi cosmology also identifies the underworld with a pluvial afterlife where departed spirits reside.


A Hopi drawing of a mudhead katsina (also spelled kachina, associated with the nether realm) wrestling with Pálulukang, the horned water serpent, which is akin to the Mesoamerican deity Quetzalcoatl.

Phallic engravings with cupules next to river (dark area to the left).

The late epigrapher Barry Fell had interpreted some of the more abstract symbols at Driekopeiland as Libyan inscriptions written in Ogam script, one translation of which is as follows: “Under constant attack we have quit this place to occupy a safe stronghold.” Brenda Sullivan amplifies Fell’s rendition: “‘People suffering. A time of death and suffering. People were forced to abandon the place, and seek protection elsewhere’—either because they were attacked, or because of violent storms and flooding.”[9]

Although I am not psychic, as I sat in the midday sun at this site, a vague sense of malaise and subliminal tension pervaded the atmosphere. Even my South African friend Rob admitted he would not camp overnight here, due not to the dangerous wildlife but because of the evils spirits that potentially inhabit the place even today. Maybe we were simply experiencing, to quote the South African author Laurens van der Post, “...the ghosts of Africa which, as we all knew, walked not at midnight but noon.”[10]

Some of the most puzzling engravings that we found depicted humanoids with some sort of bizarre paraphernalia. What Rob has dubbed “the Spaceman” is located adjacent to “the flying saucer” and “the rocket.” The protrusion from this figure’s helmet is somewhat similar to the cone-shaped nose on a Hopi kachina, or spirit messenger.

The intimacy that many African tribes have with the celestial realm is presently confirmed by a world-renowned Zulu Sangoma (medicine man) and High Sanusi (“uplifter of the people”) whose name is Vusamazulu Credo Mutwa. Unlike most academics who seem to put up barriers between peoples and compartmentalize them for study, Baba Mutwa continuously shows us the enduring but dynamic connections between continents. For instance, he sees direct parallels between Native American and African tribes.

“There is not a single nation among Native American peoples whom I visited in my journeys to the United States that does not have cultural and linguistic links with Africa. Among the Hopi Indians of the American Southwest, I found a custom where masked people, who are called Kachinas, come at certain times during the year and conduct sacred ceremonies and bless the people. In the African country known as Zambia, there is a group of people who practice what is called Mackishee. People wearing elaborate masks, which refer to certain spirits, visit villages at times and listen to confessions of the villager’s sins. These ‘spirits’ bless the people for the coming period of time and go on their way again.”[11]



LEFT: Anthropoid with staff and striped helmet, Driekopseiland, South Africa.
RIGHT: Hopi Corn Kachina doll, Kriss Collection, Museum of Northern Arizona.
LEFT: Petroglyph of flying saucer ascending (?).
RIGHT: Petroglyph of cone-shaped rocket (?).
Credo Mutwa claims that creatures from a star in Orion once lived in pre-human times on the Earth and built a huge subterranean metropolis in the heart of Africa.

“Before human beings were created on this planet, there had existed a very wise race of people known as the Imanyukela. These people had come from the constellation known to white people as Orion, and they had inhabited our earth for thousands and thousands of years. And that before they had left our earth to return once more to the sacred Spider constellation, they made a great evacuation under the earth, beneath the Ruwensory [Rwenzori] Mountains—the Mountains of the Moon. And deep in the bowels of Mother Earth, the Imanyukela built a city of copper buildings. A city with a wall of silver all around it. A city built at the huge mountain of pure crystal. The mountain of knowledge. The mountain from which all knowledge on earth comes. And a mountain to which all knowledge on earth ultimately returns.”[12]

The Hopi also have a female spider figure named Kokyangwuhti, who usually assists people in their quests and was present during the origin of humankind. The Hopi, incidentally, acknowledge four races of people. Spider Grandmother gathered four colors of mud –black, white, yellow, and red– and mixed them with her saliva in order to create these four races, each with its own basic language. Humans were, by the way, created in the image of the sky god Sótuknang. In addition, the Hopi have many legends of what they call “flying shields.”


Hopi drawing of their sky god Sótuknang. Because of his control of lightning, he is associated with Pálulukang.


Driekopseiland “Spaceman” engraving next to trapdoor spider and burrow (above). Rob Milne believes that the depiction of the eight legs would be superfluous, because the spider is stationary. The trapdoor spider is a nocturnal insect. Credo Mutwa claims that Orion is the Spider constellation.

One petroglyph that Rob showed me ostensibly looked like a sun symbol, with rays emanating from the circle. Then I flashed on another icon of a very different sort and thought, “no, that can’t be it,” and put it in the back of my mind.


Later I got a picture of NASA’s Pioneer Plaque and compared it with the engraving with a radial pattern. (Photo is rotated so the natural rock fracture bisecting the circle is horizontal.) There are seven rays in each hemisphere of the circle, corresponding to the pulsars (see diagram below). At the upper-right is a circle that contains two lines, corresponding to the hydrogen molecule on the plaque. The outer circle may contain 33 rays, but it is impossible to tell because the rock surface is flaked to the immediate right of the circle.

The 6” X 9” gold-anodized aluminum plaque (above) shows the position of the sun with respect to the center of the galaxy and nearby pulsars. Carl Sagan and Frank Drake created it in an attempt to communicate with extraterrestrial life somewhere in the far reaches of outer space. Launched in 1972, the Pioneer 10 and the Pioneer 11 were the first spacecraft designed to leave the solar system, and both carry duplicates of the plaque. It displays the then-nine planets, including Pluto, which, by the way, was discovered at Lowell Observatory in Arizona. It also shows the Pioneer spacecraft’s planet of origin, its trajectory past Mars and Jupiter, and its slingshot past Saturn outward from our helio-heart. The radial pattern consists of 14 lines made up of long binary numbers that represent the periods of the pulsars. The horizontal line that extends past the humans represents the Sun’s relative distance to the center of the galaxy. A silhouette of the spacecraft in scale is juxtaposed to the humans so that relative size can be determined. The two circles at the top represent the fundamental state of the hydrogen atom, which acts as a universal clock. The regular decrease in the frequency of the pulsars will enable ETs to determine the time elapsed since each spacecraft was launched. In about 2 million years the plaque should arrive at Aldebaran, 68 light-years away. Let’s hope that whatever intelligence retrieving this message in a bottle is not reading an elegy to an extinct civilization.

Did the people who made this South African rock engraving perhaps thousands of years ago actually “remote view” the future and glimpse this image we created in the late 20th century, which is now bound for the stars? Were they in contact with an intelligence that knew about the Pioneer Plaque from their journeys through space-time and wanted to convey its significance to indigenous tribes? Or is this all just a big “coincidence”?

Countless hours were spent carving sacred symbols into obdurate stone. These inner visions of the spirit world had been received from both cathartic trance states and quiescent deep meditation. The veil between the physical and non-physical universes was extremely thin, and in many cases the interaction between the two occurred right at the rock surface, which appeared as a translucent and permeable membrane.

Beyond the two worlds merging like dual circles of the vesica piscis are myriad realities, world upon world. Some of these are stars with revolving planets inhabited by entities whose technologies may be millions of years ahead of ours. Others worlds are purely inter-dimensional, with completely different laws of physics and ontological paradigms. As postmodernists thousands of years removed from San sensibilities, we must in the end admit that we are nothing but Horatios confronting this “wondrous strange.” At the end of the 19th century, one San informant reported: “We do not utter a star man’s name.”[13]
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Re: Indonesia: StoneHenge, with singing rocks

Postby conniption » Sat Oct 19, 2013 7:04 am

Men destroy rock formation in Goblin Valley, Utah

http://www.youtube.com/watch?v=AYFD18BwmJ4

Published on Oct 17, 2013

The story here: http://www.sltrib.com/sltrib/news/570...

Three men, tagged as Dave Hall, Glenn Taylor and Dylan Taylor, push over large rock boulders in Goblin Valley, Utah in this video posted to Hall's Facebook page. They claim they are preventing a safety hazard, but the activity in the video is likely illegal. Utah state parks authorities are investigating, and the three are facing felony charges. The video has since been removed from Facebook.

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Hero Boy Scout Leaders Protect Hypothetical Children, Destroy 20 Million Year Old Rock Formation - Wonkette
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Re: Indonesia: StoneHenge, with singing rocks

Postby seemslikeadream » Mon Oct 21, 2013 7:24 am

'Stonehenge's secret revealed at last': Ice Age man was drawn nearby pools which never froze over

Warm spring is just walking distance from the stones
They explain why mesolithic settlers were in the area
Post ice-age wildlife would have flocked to the water
By AARON SHARP
PUBLISHED: 08:18 EST, 19 October 2013 | UPDATED: 08:21 EST, 19 October 2013

The age-old secret of why Stonehenge was built where it was can now be revealed, according to historians.
The reason for the stone monument's location has remained one of the great unsolved mysteries of British prehistory, with no one theory accepted as correct.
But now a team of scientists working in Amesbury, a short distance from where the landmark sits on a hillside, believe the discovery of a warm water spring could be the key to solving the riddle.

Pre-historic: An area of warm springs close to Stonehenge are likely have been home to Mesolithic cavemen. They may have chosen to live by the pools, which scientists say would be 'irresistible' to passing wildlife

Breakthrough: The pools, which are just walking distance from the famous stones in Amesbury give an explanation of why Mesolithic settlers were in the area and to why the monument was built where it was
A small series of shallow pools close to Stonehenge have remained undisturbed for tens of thousands of years.
Hidden in a private estate and surrounded by trees, the inconspicuous plot which sits alongside the A303 in Amesbury, is believed to be a mesolithic landscape dating back to 7,596BC.
It is fed by a spring which keeps the pools warm at a constant 11 degrees, even during the depths of winter.
Scientists visited the site in 2010 when temperatures were sub-zero and found that the water remained unaffected by the surrounding snow.

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This gave them reason to believe that the area may have been one of great importance during and immediately after the ice age.
The warm water, it is claimed, would have been irresistible to passing wildlife who migrated north as the ice, which had previously dominated much of the earth's surface, retreated to the poles.
Andy Rhind-Tutt, chairman of the Amesbury Museum and Heritage Trust, who has surveyed the site over years, believes the springs are a vital to unlocking the mystery of Stonehenge.

Ice attraction: Scientists visited the area in minus ten degree temperatures and found that the pools were still a 'tepid' 11 degrees above freezing
He told The Times: 'The belief has always been that Stonehenge would not have been built here without there being something special about the area.
'We believe the answer lies in the springs which feed the River Avon. We came here in January when it was -10 degrees and the water was still tepid.
'The pools were surrounded by green grass when everywhere else was frozen.'
The discovery of water close to the neolithic monument also gave archeologists a candid look at pre-historic diets.

An archaeological dig, which took place a mile away from Stonehenge found frogs legs
Archeologists from the University of Buckingham discovered fragments of an 8,000 year-old charred toad leg nearby.
The remains which were found alongside fish bones at the site are the earliest evidence of a cooked toad or frog anywhere in the world, scientists say.
Archaeologists unearthed the leg alongside small fish vertebrate bones of trout or salmon as well as burnt aurochs' bones (the predecessors of cows).
David Jacques, senior research fellow in archaeology at the University of Buckingham, said: 'It would appear that thousands of years ago people were eating a Heston Blumenthal-style menu on this site, one-and-a-quarter miles from Stonehenge, consisting of toads' legs, aurochs, wild boar and red deer with hazelnuts for main, another course of salmon and trout and finishing off with blackberries.
'This is significant for our understanding of the way people were living around 5,000 years before the building of Stonehenge and it begs the question - where are the frogs now?'
Mazars and Deutsche Bank could have ended this nightmare before it started.
They could still get him out of office.
But instead, they want mass death.
Don’t forget that.
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