The Athena engraving had simply enchanted me.
Seeing it the first time, breathtakingly ancient, complex, and
brilliantly drawn, I had a strange feeling - being on the verge
of seeing something special. I heard tiny whispers from my
subconsciousness, but I couldn't make them out... I promised myself
another look at the image, eventually.
Half a year later, I was reading
the "Clam Plate Orgy" by the author of best-selling "Subliminal Seduction" Wilson Bryan Key. In chapter 3 -
Perceptual Engineering in Fine Art - he traces subliminal techniques of the ad-industry to works of earlier artists, down to
the 1300's A.D. As soon as I had read this, my inner voice exclaimed:
" I know Stone Age art using such
I must confess that I first saw the engraving in
Däniken's much villified "Chariots of
the Gods"... To many this is an utterly negative reference. But, look at the difference in our respective depths of approach. Däniken
devotes a paragraph or two to it, and passes on to some other two-paragraph 'proof' of ancient astronauts In contrast,
I've put a lot of time and effort into exploring this engraving, and it has
given me back enlightement on certain aspects of our prehistory, and their
continuation into the present day. My belief and confidence in the great wisdom, science,
and powers of the this engraving's creators are categorical, and
unshakable. I have learned so much science from it, it's almost magical. How could I deny
or misjudge this knowledge?
My early independent diagnosis had correctly determined
that the Engraving is a collection of a number of super-imposed images. From that point, my findings diverged radically from the consensus.
The images are mandalas, meaning
that there is no one main up, or down direction in them. As the
image turns - some figures always assume proper orientation to a
In the La Marche images, one can usually
distinguish a circular, or elliptical nucleus. Repeated motif
of a nucleus suggests that it was made a deliberate, and systematic
part of the layout. It was perceived as the center of the image.
- This may seem like a natural conclusion, but it should be noted
that the scientific opinion remains quite oblivious to this fact.
The picture's elements tend to
balance around axes of symmetry.
and Order versus Chaos
My point here is that it is easily
shown how particular sub-images share vital lines with each other. If
one figure is removed other figures will disappear, too. Ergo - no Chaos,
no tangled agglomerations of images, as alleged by the blindly
judgemental experts, who should really know better than that.
Some sub-images, which would
normally be readily recognizable when by themselves - seem effectively
hidden in the context of the whole image, made virtually
subliminal. Such artistic savvy bespeaks academic
Nature of some Sub-Images
Some people like Stephane Lwoff,
or myself, have an eye for picking out fantastic imagery from
the engravings of La Marche - in my case - pyramids, mechanical
craft, castles on hilltops, hybrid creatures, and equestrians, robots,
even a rifleman, alien looking beings, to mention just a few thought provoking items.
Some images have a quality of
transparency - ( this
is general consensus ).
Style - Cubism
Various areas enclosed by lines can be
rendered in contrasting colors. Subsequently, the entire picture
strikes us as Cubism, or some other abstract art from geometrically
savvied modern masters. By following a given line we often find that it
belongs to several geometrical forms, circle-arcs, triangles, etc.
flow of elements
Good Go or Chess players see and
think in terms of the whole board rather than just isolated sections of
it like the "fish". When applied to the engravings, this type of vision
tends to perceive an organized flow of elements - and a balanced layout. Such
observations are irreconcilable with notions that the images are chaotic
This report shows two ancient
designs to be based on scientific mathematics, and surely, other works should have
the same hermetic character .
2003 - Indeed, I have
discovered another such design - widely known as 'Abydos Helicopter'!)
Art, or Mathematics can be used
like a language. The combination of both in prehistoric works presents an
unfathomed potential. Because we are extracting information of
exact nature from the research material now, we should carry on with it for
as long as possible, and see where it all leads.
We have strong reasons
for measured optimism - the main purpose of the Ancients' work seems
outward-oriented, i.e., meant to challenge the viewer's intellect,
engage it in a game of logical detection, and reward it with knowledge. Once
vaulted in the ground, the drawings become adressed "to whomever it may
concern" - they become a time capsule.
We may also speculate on the
nature of the drawings's creators. Their choice of the medium and the method
(Art & Mathematics), and the longevity of their continent spanning
influence (12 millenia if the Nasca Monkey is 2 millenia old) makes them
seem positively powerful. I have the greatest respect for them, and
also great expectations.
I should also mention the lack of any
violence from the La Marche images. One and a half-thousand
Paleolithic drawings - and there is not a single instance of a hunting scene.
This speaks volumes.