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Prehistoric
Science – Complex Mathematics Encrypted in Art |
The
Stone-Age engraving pictured here is not a free-hand drawing. It was
constructed to exact specifications with
revealing accuracy. If so, then this image would
be the most important one in humanity's possession. It
contains abundant proof that more than 14,000 years ago
someone had profound knowledge of Mathematics, and a method of encoding
exact ideas into Art.  The work comes across as constructionist, and modern once we get past its pseudo-naive facade, and past our own presumptions. Art can express ideas, and even exact ideas like this image, which has a hermetic level fully impregnated with mathematical meaning. As such it is cryptographic Science-Art with emphasis on the 'cryptographic' and 'science'. This engraving dramatically changed my perspective of prehistory. The young lady's portrait is so impressive in its science, it may be the portrait of an all-knowing goddess, hence the name Athena engraving. Unprecedented, it is precedent to many topics, some encountered throughout ages, and some modern. Once my research hit the vein of prehistoric mathematics in Magdalenian art, it became uniquely suited to recognition of the same vein elsewhere, in the layout of the Giza pyramids in Egypt, the adjoined temples there, engraved glyphics at the Abydos temple of Seti I, and Ramses II, or the giant glyph of a monkey from the Nazca Lines in Peru. This report covers a lot of ground and a long timeline. My suggestion is to start reading it from the most recent chapter - "Laying out the Great Giza Pyramids from a Line Segment." This chapter presents the clearest cut case in the report, conferring transparency onto essentials of the subject and the method. This case is also my offering to folks, who require academic credentials, or peer-reviewed publications before they pay attention - a bona-fide academic accomplishmentt, whose virtues may be objectively measured against the rest of the field. Whereas in previous cases my research was and still is a one-horse race, this last case is about a successful solution to a challenging problem, which has been worked on since 1883 by significant numbers of researchers from all over the world. Leading such a distinguished field to a convincing solution implies that despite fantastic circumstances my other research may be similarly valid. |
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Laying Out the Great Giza Pyramids from a Line Segment
| Since Sir William Flinders Petriehad
provided reliable measurements from his geodetic survey of
Giza in 1883, more than a century of
public scrutiny has revealed great
many apparent geometric and numeric relationships, but no one
has
been able to devise the layout with perfect accuracy from pure ideas.
Some authors
mention builder errors to explain why pyramid corners and
edges
are not where they say they ought to be..
Of course, theories often
contradict one another, and the academy, in general, scoffs at
the
whole idea. With so much smoke around, this is the burning question: Were the three
great Giza pyramids laid
out as parts of one grand plan? A die-hard skeptic will opinionate that even if Giza could be cleanly translated into a systematic geometric design, it would mean nothing without the discovery of original blueprints, or a statement from the architect. Indeed, there is a speck of truth in every big lie, and in this case, there must be a number of procedures to recreate Petrie's Giza layout. But, for a procedure to survive more than a glance, accuracy, and swiftness are mandatory. If the layout is random to begin with, even the most efficient procedure, the geometrical how-to of its recreation, will perforce be dragged out, and soulless. As well, the closer a reconstruction wants to get to the original, the more its complexity grows. Other than in rare special cases, there is no way to accurately describe a random position by a few simple geometric operations. By the same token, if an elegant method of developing the Giza layout in almost exact agreement with Petrie's blueprint does exist, then it is, in all likelihood, the original method rediscovered. It is my pleasure to present that method here. Do I sound overconfident? A little arrogant, perhaps? Frankly, no, true arrogance would be to think that it was me, who had imbued the layout of Giza with so much spirit, and science. Please, read on, and see for yourself, how magnificiently the method works. The sheer existence of such a method, because of its exactly defined mathematical nature, automatically denies the possibility of success to any other would-be competitive method.  Giza Pyramid Temples & the Golden Section The pyramid temples are conspicuous by the inordinate quantity of golden rectangles in their layout. The Abydos Helicopter & the Golden Section Abydoská helikoptéra & Zlatý řez (author's Czech translation)  ©Bruce Rawles background photographed in November1992 The scene had caused some sensation in the nineties, but soon Egyptologists claimed to have identified at least two sets of overlapping hieroglyphics in this picture. This proffered a simple scientific explanation: What we see is a palimpsest, i.e., an accidental illusion. First there were some original glyphs, which were later hidden by plaster, and replaced by a set of different glyphs, engraved partially in stone and partially in plaster. Eventually, the plaster fell out, and the overlapping hieroglyphs began looking like images of modern craft.. With this simple explanation science seemed to have prevailed once again over sensationalism. The present scientific consensus depends on the assumption of Chaos as the ruling creative force behind the Abydos Helicopter scene. To thwart the consensus, one would have to prove that the fundamental nature of the glyphs is not subject to chaotic forces, but instead to rational order. Further testing then leads to one conclusion : The Abydos Helicopter scene is not a palimpsest, it is a design. Hesire's engraving & the Golden Section  |
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Part 2 - The Nazca Monkey Report - The Seal of Atlantis |
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......................................  The geometric creations within Athena's torso belong to the Square, the second part of the basic Cone & Square configuration. Here we see the “Pyrostar” configuration. Image boundary lines – the Frame Boundary lines form the simplest aspect of the image - the Frame. At the first glance, the thirteen whole numbers expressing distances between points of the Frame in millimeters - are random. Yet, if our goal were to show off advanced knowledge of Pi, Phi,and Equinoctial Precession, through just a set of a few numbers - then these numbers would be ideal choices, in ideal order. The Frame encodes the rate of equinoctial precession at par to our modern value. This fact suggests that this rate has not changed much at all since, quite contrary to the prevalent current opinion, all in all, a pretty valuable tidbit of information. It took modern instruments in the hands of scientists to arrive at this value. What did it take in prehistory? Equinoctial Precession - the Osiris Numbers - number 432  The Frame's Geometry a: The Hex-Machine – a family of three hexagons b: Two systematically related 5-pointed stars |
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An
image cut-out from the site of Les Trois Fréres,
France, also dating back to the Magdalenian period of the Old
Stone Age.
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I
took the liberty of reorienting Lwoff's drawing so the figure's feet
are firmly planted on the ground.
This way the stance looks natural.
Fostering love of mathematics is a calculated risk..
©
Jiri
Mruzek - Vancouver, BC, Canada
- Send me a few words. : mynameeatyahoodotcom
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