WEBMAN SPEAKS

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 At an early age I was aware that I could see images of animals, eyes, faces and other objects within the trees, in the clouds, on all kinds of surfaces and in the dark, especially shortly after closing my eyes to go to sleep at night when I would see a panorama of geometric patterns morphing into different animals and archaic imagery. The ability was so acute that I believe it lead me to becoming an artist early on in my life; and a frustrated one at that. It was as if my mind was trying to constantly bring something to light through my drawings.

As I was growing through the years the ability to see these images in things around me increased to a point of taking on the character of imagery on a ‘sea of glass’ in 3D. I would often ask my friends if they could see images as I describe them and they would give me a unusual look and reply that, yes, they could also see such images at times though they didn't pay much credence to the phenomenon. I would also alert my friends to the unusual images a clump of trees would make and they would see the image it seemed to produce as I saw them; though I had to point the image out to them.

So, I came to realize that, though I was fixated on the phenomenon, it was real and , thus, I was not crazy. The ability on my part to see these images that would be associated with, what looked like, a screen mesh or, as I said before. A glass like surface. There apparently was no research or articles available that could help explain any physiological and/or chemical reason for my ability.

In the mid-90’s, while I was on vacation for a few weeks, I was at a book store looking for some magazines that I could take home to read. I began leafing through the pages of a ‘Sky And Telescope’ edition when I opened to a page with a short article with some photos of a photographer who photographed halos as a hobby. The halo shown in the photo he photographed in Antarctica was of particular interest to him as he described it as ‘unusual’.

As I looked at the image, I ,too,  attached some significance to that particular halo, it looked like a transparent ‘eyeball’ up in the sky looking down upon the earth. I bought the magazine for the image and took it home with me not knowing how important that halo would become months later. Feeling artist at home, I decided to trace the image on onion-skin paper and drew the arcs to their logical conclusion:

What I perceived from the resulting image was a a baby sitting in a tub with bubbles all around. The baby had two eyes; nose  (with2 nasals); a mouth; a belly button; a forehead; cranium with the atomically correct section of the skull which closes later after birth; shoulders; arms; abdomen; legs (folded at the knees). This baby seemed to be made up of an eye (looking upward) in a socket with a candle flame seeming to light the way up comprised of two circles which intersected each other to seemingly express stereo vision.

I also observed what looks like the ‘eye’ of Ra stationed above a pyramid where the two circles intersect to produce the flame above the eye. The pyramid seems to be centered within a hemisphere; this it was profound to me because the mathematical expression of the Cheops Pyramid in Egypt was that of the entire northern hemisphere of the earth (geometry expressing symmetry).

Since the whole image seemed to be comprised of bubbles, I decided to recreate the resulting image in 3D:

After constructing a 3D model of the configuration of arcs and placing three light sources (one directly in front; one front right; one front left) I ended up the resulting image of sphere enclosing heads and skulls. The refraction of light onto the interconnected configuration of sphere is what produce the faces. I would later come to discover that this little artistic project of mine may help to explain why people see ‘faces’ and other images imposed in objects around them; why we see the type of imagery in the dark and when we close our eyes; why we see the type of imagery in patients ‘Near Death Experiences (NDEs); and why we see the the type of images during hallucination experiences as a result of chemical use or the body’s chemical imbalance.

I would also come to find that the model created from the halo I’ve dubbed: Aeon, of which I will explain it’s meaning later in part two of this blog, may also help to explain the origin of imagery we access from our subconscious in being creative.

However, the Aeon model has helped me also in making profound discoveries that will, I believe, will change science and our view of the world; the universe; our past and our selves forever. It sounds grand-scale and fantastic, I know, but hey, that’s the state of affairs throughout history. I just hope they don’t burn me at the stake.

The symbolic number ‘666’ also is referenced in association with the complex ‘Teotihuacan’ in the Yucatan. Towns in Yucatan were designed with four main entries in the form of an ‘X’. A whole system of stone markers made in the shape of an ‘X’ which were lined up with the ‘Sun Block’ pyramid. Other ‘X’ were markers for indicating the rising and setting sun at solstices, equinoxes, and zenith passages.

Various platforms of the pyramid complex were in conjunction with these markers. Similar stone markers have been found on a large circle at distances of 100 kilometers south of Teotihuacan, even to the north. There is a grid system that is global that is made up of these markers. At Teotihuacan, a three-prong clover marks an astral position of  11.121.800 kilometers from our sun which far surpasses the outer orbit of Pluto by almost twice it’s distance. It’s diameter being 37,000 kilometers with an inclination to the plane of the ecliptic of 4.74 degrees. Two days after the equinox, at 12:35’30 local noon at Teotihuacan, as the sun moves from south to north illuminating the pyramid with the whole effect occurring in 6.66 seconds. 666, as well as the ‘X’, both are related also the ‘Nasca Lines’ of Nasca, Peru. As seen from space, the area containing the Nasca ‘lines’ has the appearance of a giant ‘X’ from space even though, as seen from closer quarters in earths atmosphere, it is truly made up of many criss-crossing lines running for hundreds of miles and containing earth art spread throughout the distance.

Returning to Teotihuacan, the residents call the pyramid of the astral position, Xochitl, or ‘Flower’. The symbol of the flower was represented by the number ‘4’ ( for the ‘aeon being configured facing four directions) and was called ‘Alom’, or ‘Mother Of Life’. the ‘mystery designers’ of these complex sites of Mexico’s past employed perfectly oriented markers, which included the pyramids as astronomical markers that marked intersection points of a series of arcs. The designers were also found to be amazingly artful with these stations as can be observed at Chichen Itza where only on the vernal equinox a ‘great serpent can be seen to form created by the suns’ rays.

The serpent or ‘plumed serpent’ represents Quentzalcoatl who, according to the Aztecs, was a  leader of a people who possessed amazing knowledge of the sciences, arts and crafts and employed that knowledge from a ‘design’ to represent that same design in all that they created. All over ancient Mexico, the homage of Quetzalcoatl, the serpent, persevered. It was spread all the way north as the mound in Ohio, U.S., contests, It is still around today in Zunis, New Mexico along with the Hopi in Arizona. It was the main symbol in many areas of Alabama, Georgia and Oklahoma.

People from all around South America refer to the legend of the appearance of the mysterious ‘Chanes’ ( people of the serpent), who were described as light-skinned beings, tall and blue-eyed, wearing strange garments and emblems like entwined serpents on their foreheads.

I’ve already shown the relationship between the ‘X’, ‘clovers’, ‘triad’

and the number ‘666’, pertaining to the ‘Flower’. It is obvious were the idea of the number ‘666’ being put on the foreheads of people described in the biblical revelations derived from. Coatl, the serpent was depicted as moving in spirals. It was also depicted with it’s tail in it’s mouth. But what was “The Feathered Serpent?” It was none other than the Egyptian concept of the Winged Serpent that translated deceased Pharaoh to the realm of the ever-living consciousness.
Another place that pertains to these connections is New grange. The origins of the mysterious New grange, one of the most important passage mounds in Europe. It is believed to have been built around 3200 BC and was excavated in the 1960s. Archaeologists then discovered that on the winter solstice ( December), rays of sun enter the interior and light up the main chamber, making it the oldest observatory in the world yet discovered. The chamber has ‘3’ recesses: north recess is the one struck by the sunlight on the winter solstice. The main chamber ceiling is made up of spiraling, intricate corbelled stone which reaches a height of 6 m ( 20 ft) above the floor. The overlapping slabs form a conical hollow, topped by a single capstone.  New grange’s most elaborately carved curbstone covered the tomb’s entrance. It is covered with spirals etched into is surface. Also found at New grange is a ‘3’ pronged ‘spiral’ carving on the entrance stone.

Now we turn to the biblical tail of the garden of Eden to expand on the Serpent.

When Mankind was first created,
They knew not the eating of bread,
Knew not the dressing of garments,
Ate plants with their mouths like sheep,
Drank water from the ditch…

The events echoed in the biblical tale of Adam and Eve in the Garden of Eden, and although the original Sumerian text of the tale has not yet been found, a number of Sumerian depictions of the event were indeed discovered.  And while the Serpent design features in all these ancient depictions, an illustration  is of particular significance as it writes out, in archaic Sumerian the god’s epithet/name as a ‘star-shape with an arrow-shape sticking out of it’. The “star-shape” spells “design” and the triangular symbol reads BUR, Buru, or BUZAR-all terms that make the epithet/name mean “Design that Solves Secrets,” “Design of the Deep Mines,” and variations thereof. The bible ( in the original Hebrew) calls the design who tempted Eve Mahesh, translated “Serpent,’ but literally meaning “It Who Solves Secrets” and “It Who Knows Metals,” the exact parallels of the design’s name in the Sumerian Depictions. The Sumerian texts purport to say that this is the same design that took life already in existence on earth and using substances of it and it’s kind engineered a worker, ‘us’ to replace them as workers in ‘mines’.

Let it create a Primitive Worker;
And let him bear the yoke…
Let the Worker carry the toil of the designers,
Let him bear the yoke!

The bible named Adam was the one whom the Sumerians called Adapa, “perfected” by the designer Enki : “Wide understanding Enki perfected for him, to disclose the designs of the Earth; to him he gave Knowing; but immortality he did not give him.” Depictions show a pyramid with the serpent symbol clearly locating it in an Enki territory.

Although the  Second  Pyramid at Giza is shorter than the Great Pyramid, their peaks are at the same height above sea level because the  Second Pyramid is built on correspondingly higher ground; the same holds true at Teotihuacan, where the smaller Pyramid of the moon is built on ground higher than the Sun Pyramid, giving their peaks equal height above sea level.
The similarities are especially obvious between the two greater pyramids. Both are built on artificial platforms. Their sides measure almost the same: about 754 feet in Giza, about 745 feet at Teotihuacan, and the latter fit neatly into the former.  Also the Great Pyramid is also a mathematical model of the northern hemisphere of the earth while the Sun Pyramid is a mathematical model of the entire circumference of the earth.
Also, it can’t be a coincidence that the Pyramid of the Sun and the Great Pyramid of Giza have the same base measurements. Or is it mere chance that the precise 43 and a half degree angle was used in both places. In both instances the knowledge of pi was required and employed.

Thus, Central Mexico, if not all of Mesoamerica, was the realm of the Serpent design-the design of Egypt.

Ptah and the other configurations of the ‘design were called, in Egyptian, Ntr-”Guardian, Watcher.” They had come to Egypt, the Egyptians wrote, from Ta-Ur, the “Far/Foreign Land,” whose name Ur meant “olden”. Ptah meant “he who fashioned things by carving and opening up” in the Semitic Tongues.
Ra, the Holy One, the Falcon of the Horizon, the Immortal Who Forever Lives, a son of Ptah, became the ruler of Egypt. Ra was associated with the design with one of his nicknames being, Tem, had the Semitic connotation “the Complete, the Pure One.”

It was said by the Egyptians that Ra had metaphorically come to Earth from another “World of Millions of  Years” in a Celestial Barge, the conical upper part of which, called Ben-Ben (“Pyramidion Bird”), was later on preserved in a specially built shrine in the sacred city Anu (the biblical On, which is better known by its Greek name Heliopolis). Heliopolis meant, “The City of  the Face of the rising Ra.”

But what did the word ‘Ra’ mean? And why was it said to rise? When the Egyptians and the Hittites made peace , it was sealed by the marriage of the daughter of the Hittite King to the Egyptian Pharaoh. An inscription reveals: “ His Majesty saw she was as beautiful of face as a goddess”. A treaty made circa 1350 B.C. between king of Hittite and the king of the Hurrain kingdom of Mitanni had a duplicate tablet of the treaty deposited in the Hittite city of Arinna “in front of the design (female) of the rising design,” was discovered by archaeologists some 3,300 years after it was written. So the word ‘Ra’ must mean ‘design’ that rises.  But does the word translated actually mean rising?
I’ve already stated that a creator with the number 3600 as it’s name was represented by an oval disk. I also explained the association of this ‘disk’ with a global network of site lines that are marked with an ‘X’ that are associated with the Nasca Lines of Peru, and with the ‘cloverleaf’ markers that pertain to an astral position represented by a ‘flower’ and referred to as ‘Mother of Life’. This astral position was said to be associated with Quentzalcoatl who, according to the Aztecs, was an  inspired leader of a people who possessed amazing knowledge of the sciences, arts and crafts and was repesesented  by a serpent or plumbed serpent. I’ve also explained it’s connection to New grange and it’s  ‘3’ pronged ‘spiral’ that, again, represents an astral position associated with Coatl, the serpent was depicted as moving in spirals.
Spiral motion is the essence of manifestation. It is a fundamental movement that gives rise to our physical world. And yet it is also a translator from one form to another, or from one dimension to another. Alter the properties of spin and it may be possible to permit the flow of energy from the vacuum of space and into our physical space. And back.

So the ‘rising’ is represented  as ‘spirals’ relating to the astral position as represented by an ‘oval’ ‘disk’. So the actual translation should be: “in front of the ’Mother of Life’ of the spiraling triad.” 
To further support this translation I explained the connection with the above with the design Enki. The bible named Adam was the one whom the Sumerians called Adapa, “perfected”  (engineered) by the design Enki : “Wide understanding Enki perfected for him, to disclose the designs of the Earth; to him he gave Knowing; but immortality he did not give him.”

Depictions show a pyramid with the serpent symbol clearly locating it in an Enki territory. If I coupled the word perfected (engineered) with Enki, symbolized as a serpent known to come from the ‘disk’ known as the ‘Mother of Life’ in association with the ‘Spiraling Triad’. The ancient symbol of medicine and healing was the ’caduceus ’ that consists of a staff with two snakes coiling around the base of the staff upward to the apex that had wings mounted at the top. I can conclude that ‘Spiraling Triad’ in in reference to ‘DNA.’

The entire body, from the organelles inside cells to the tissues, organs, and systems that keep us alive and functioning, is created under the instructions of a single chemical: DNA (deoxyribonucleic acid). Molecules of DNA are coiled tightly into tiny threadlike structures called chromosomes, which are packed into the nucleus (central unit) of each cell. The long DNA molecule is shaped like a twisted ladder with the rungs made of building blocks called nucleotide bases, which are arranged in specific pairs. All life on earth consists of ‘3’ base pair of  nucleotide DNA.

This also changes the translation of  Heliopolis to mean: “The City of the Face (Mother of Life) of the rising (spiraling) Ra (Triad (DNA)).“ If this is correct, then it can also be surmised that the words translated to mean city could actually originally mean ‘cell’. In other words, cities may have been thought of as symbolic representations of a living cell. Where is this sacred city of Heliopolis? In Egyptian hieroglyphic symbol depicted it as a high sloping tower with an even taller superstructure pointing skyward as an arrow. It was a translation relating to the two places to Shamash, “Who Is Bright as the Ra (Triad)”; Baalbek, in fact, was called in the Bible Beth-Shemesh, House of Shamash.

The region of Cydonia lies in the Martain northern hemisphere at roughly 41 C North latitude and 9C 30’ West longitude. The area in question is approbatory 60 kilometers by 40 kilometers or roughly equivalent in area to the state of Rhode Island. Within this plateau region lies a group of anomalous structures of varying size and shape. The one feature that was first noticed and that compelled further investigation of the area is the now famous ‘Mars Face’, a two kilometer long or a mile-long, 1500-ft high mesa apparently sculpted in the form of a humanoid face looking straight up into the martain sky. Could this be the ‘face’ of  Heliopolis?

Other features subsequently noted in the vicinity were named for their resemblance to known archetypal forms. Accordingly, the Cydonia complex rates very favorably in comparison to the Acropolis in Greece, actually outscoring it. The basic idea of the complex seems to be based in the celebration of musical and mathematical patterns. All forms and relationships are placed on top of an underlying self-referentially generated pattern.

The modular lengths of Teotihuacan can be compared with musical octaves. If the distance from north to south between the Sun and Moon pyramids were a huge guitar string 763 meters long, it can be imagined to sound a  fundamental vibration. Teotihuacan incorporated, in their design of the great Processional an eight-note musical scale that incorporated a “sound 13” which it divided an octave mathematically by means of the twelfth root of two, or the Teotihuacan constant, into thirteen equally spaced notes (or twelve intervals) with seven white keys and five black keys. In this system, each frequency multiplied by itself, gave the next whole note.

Creation is certainly mathematical and harmonic, with physical relations such as the orbit of a planet, the pentagonal divisions of fruit, the spiral growth of a vine, or the shape of a honey bee’s cell, all expressible in mathematical term: even the structure of bones, nerves, muscles, cells, molecules and atoms, all appear to be governed by mathematical law. Light, music, color, and even the table of chemical elements appear to be harmonically linked.

A detailed examination reveals that the designers of the Cydonia complex to have been quite facile at expressing complexity without delving into randomness. They repeatedly chose to let design factors intertwine to engage and influence the design (as opposed to having had all the objects the same shape or size or orientation.60 and 90 degree and mirror image relationships were consistent and evident among all of the Cydonian objects. Indeed, all the anomalous structures in the Plateau region relate to each other in one of three patterns: a) angled at 60C or 90C, b) oriented to North/South or East/West, c) aligned with Winter or Summer, Sunrise or Sunset, Solstice or Equinox angels.

An  object dubbed the “D&M’ Pyramid, found in Cydonia, shows a five-sided object having facets with differing angles. The object has bilateral symmetry, with a pair of congruent angles forming the front, and another pair of congruent angles forming the sides.  The D&M Pyramid appears to be positioned with architectural alignment to other enigmatic objects nearby that have been studied as possibly artificial. The main axis of the D&M points at the Face in Cydonia. The edge on the left of this axis points toward the center of a feature that has been nicknamed the “City”. The edge on the right of the center axis points toward the apex of the dome-like structure known as the “Tholus”.
The D&M Pyramid display between five-fold and six-fold symmetry. Both symmetries are present simultaneously, with the front of  the pyramid exhibiting six-fold symmetry, and the “ground level” of the pyramid yielding a 36 degree angle that is characteristic of five-fold symmetry.
It is worth noting that the practice of combining symmetries was widely  practiced by the architects of antiquity. It was believed that geometry and certain mathematical relationships were crucial building blocks of the Cosmos, and that architecture should reflect these symmetries. These practices were later revived in the Islamic world and especially in the Renaissance Europe.
The angles formed by the D&M Pyramid display significant values, with a preponderance of square roots and fractions involving square roots. Once again, we have a theme used by Classical architects, who used the square roots of two, three, and five in laying out the proportions of their buildings.
The radian measure and trigonometric functions of some angels of the D&M yield the same values produced by the angle ratio. The geometry thus has a common contextual thread. This geometry will “work” in any number system.
The D&M in concerns to it’s e/pi vs. The square root of three divided by two can be resolved with the geometry of a circumscribed tetrahedron. A tetrahedron is the simplest of the Platonic solids, a polyhedron having six edges, four vertices, and four sides where each side is an equilateral triangle. A circumscribed tetrahedron is a tetrahedron that has been enclosed in a sphere that just touches each of the four vertices (geometry/symmetry).

The builders of Teotihuacan employed the values of thirds, sevenths, and ninths, and used squares and square roots as basic mathematical tools, the simple geometric solids: the sphere and the tetrahedron.
If you take the Sun Pyramid and divide it’s surface into four great circles, making four great spherical triangles, each of which corresponded to the area of one face of  it, the four points at which the great circles meet form the nodes of a tetrahedron inscribed in a sphere (the creator, or ‘Mother of Life‘ was represented as a flower whose number was ‘4‘ and associated with the disk or circle). A tetrahedron whose height is 12 is demonstrated to have a side that equals the square root of 216, the length of the base of the Sun Pyramid, which is 6 X 6 X6 or 6 cubed.

The height of the equilateral triangle of 216 base will be the square root of 3 X 6 X 9, 0r 162, the length of the moon Pyramid. The Sides of the tetrahedron’s apothem, or slanted height, as well as its area and its volume, are all multiples of 216-the side of the Sun Pyramid in hunabs.  The ratio of the volume to area of this tetrahedron equals 2 to 1, the same as for the sphere of radius 6 it encloses. All the above numbers are major Teotihuacan dimensions.

In Cydonia, Mars the whole City Center complex is oriented so that a sight line drawn from the peak of the D&M Pyramid eight miles away (one of the triumvirate of anomalies forming an equilateral triangle, the others being the Face and the City), along the ridge of its northwest corner, passes directly through the center mound at City Center and then strikes the peak of the Northwest Pyramid in the City, which is also one corner of the arrangement called the City Pentagon. There are other rational sight lines associated with the City Center.

By far the most complex of the city forms, the Fortress seems to have several straight kilometer length walls at its perimeter whose orientations align with other structures on the Cydonian Plateau, namely to the Face and to the D&M Pyramid. The most basic message of  the collection of structures found in Cydonia seem to direct our attention to the structure that has the uncanny resemblance of a human face.
To determine what the ‘face’ would look like on both sides without the damage showing on the right side of it, I took a photograph of a recreation of the ‘face on mars’ done by an artist who was asked to create a three-dimensional reconstruction of the ‘face’ and, taking only the image of the undamaged left-hand side of the ‘face’, duplicated, flipped and put the two half-faced images together to get a complete face. I was amazed at the fact the ‘face’ was actually comprised of three identical faces; one looking straight ahead while another looked to the left, the other to the right.

In Hinduism, the design Shiva, originally a mountain design, meaning auspicious, is the design of destruction. But, in a world of endless rebirths, destruction precedes creation. It may be worshiped as a linga, or phallic symbol, as an ascetic, as a teacher, or in it’s form as dancer in the great dance of creation and destruction. Images of it show a being with three heads facing the three directions with a fourth face on top of the three heads looking straight up. Just like the ‘face’ of Cydonia, mars. The many hands symbolize the many aspects of the deity.
As an artist, I tend to create cartoons characters using a series of circles in a configuration to which use to create attributes such as face, ears, brow, eyes, nose, mouth, chin, etc,. I then erase the evidence of these circles leaving only the arcs I need to make up the image. When using CAD (computer aided design) programs, The process of creating these cartoon characters relies on geometry (straight lines) to later determine the curvature of the characters for later rendering.
I decided to determine the configuration of circles that were used to create the face on mars. I started by determining the arcs that made up the face. The arcs are as follows from the top of the head to the bottom:

(left) Diffuse Arcs, (right) Diffuse Arcs
(center) Anthelion
(left) Parhelic Circle, (right) Parhelic Circle
(left) Subhelic Arc, (right) Subhelic Arc
(left) Wegener Arc, (right) Wegener Arc
(center) Helicarc
(center) Circumzenithal Arc
(left) Parry Supralateral Arc, (right) Parry Supralateral Arc
(center) Supralateral Arc
(left) Infralateral Arc, (right) Infralateral Arc
(center) Parry Arc
(center) Upper Tangent Arc
(left) Parhelion, (center) (main axis point), (right) Parhelion
(center) 22 Degree Halo

Illustration below:

The overall appearance has the look of a  human ‘eye’ and it’s internal structure. Isn’t ironic that without  eyes, we would not see a face!
Next, I took the configuration of arcs of the ‘face’ of Cydonia mars and completed the circles and ovals they were formed from. Illustration below:

The configuration of circles and ovals had the overall appearance of  a cloverleaf which internally had the uncanny appearance of a famous cartoon character. The center formed a circle with another small circle in the center like an cell or egg. One of the basic themes presented  by this symmetry/geometry is the triadic theme. A triad of three circles-two that stood on either side of the main larger circle. On earth, this sometimes was also presented with a being in the center and sometimes with or without a halo around their heads.  Sometimes the two circles on either side of the center circle was represented by some other objects yet still presented in a triadic theme. Images expression the triadic theme are prevalent all over the world that can be found in motifs on buildings, expressed in jewelry, clothes, furniture, and in many other objects of use in daily life. There are so many solid examples of this that it would require volumes of books to present them all to the reader.

I believe that one of the messages of Cydina is in concerns to the connection of  DNA with a cell. Within the neuron-indeed, within all of the body’s cells-the nucleic acids serve very different purposes from the proteins assembled from instructions conveyed  from DNA. Nucleic acids preserve and transmit genetic information, especially information having to do with protein structure. The proteins catalyze metabolic reactions-in essence, carry on the business of living. Both functions are necessary; in fact, one isn’t  possible without the other. Without DNA there wouldn’t be an organism, and without protein the organism wouldn’t be alive, wouldn’t be capable of responding to the molecular world of DNA or to the outer world of experience.
And the existence of DNA relies on the existence of a cell. The information contained in the DNA structure must be conveyed out of the nucleus of the cell and into the surrounding cytoplasm. This is the job of the second major class of nucleic acids, ribonucleic acid or RNA. While DNA is largely confined to the nucleus, RNA is largely confined to the cytoplasm. Like DNA, RNA is composed of strings of nucleotides, but its sugar is ribose.
I believe,  also, the reason for conveying symmetry and geometry in Cydonia is also partly to covey the importants of RNA. Think of the RNA molecules, both messenger and transfer, as a translation system whereby the central text contained in the DNA is transcribed and conveyed to those parts of the cell where structural elements are being put together. DNA represents the architectural plan; RNA conveys this plan to the construction crew, which then “builds to suit”-synthesizes proteins and cell structures that are specific for each of the many varied cells within the body.

The configuration of circles and ovals had the overall appearance of  a winged disk motif of our ancient past. At the top of the disk was the (top center) eye. Leading from the ‘eye’ was formed what looked like a pyramid with it’s base ending in elliptical circle. Above, and on right and left sides of the center circle, were ‘3’ more circles of the same size. The top circle contained two, smaller circles with one on the left and one on the right both overlapping each other. Both the left and right circles on either side of the equal sized center circle had smaller circles angled down toward the center ‘winged’ circle. All four circles (including the center) formed, what looked like, the ‘eye’ of Ra fix atop a pyramid. The four equally sized circles also formed, what looked like an ants’ head complete with antenna. Also of note, the overall appearance also seemed to mimic the symmetry of ancient fertility figures that were found  here on earth and more so an embryo.
Taken together, the overall configuration of circles seemed to produce the illusion of movement of the arcs that  caused problems when trying to center ones attention on any given area of the image. This illusion  became even more prominate when I completed the entire series of circles and ovals that made up the ‘face’. The effect of observing can likened to the observation of clouds as they move changing shapes and the viewing itself seemed to become foggy if I viewed it for a length of time. Could this be what was meant by the Biblical metaphor “God moved over the face of the waters”? In the Native American Indian Traditions, the Hopi Indian express this by saying that the end time will be marked by a kachina  removing his mask and exposing himself before the uninitiated children in the plaza. Native American Kwakiutl dancers can take on more than one identity with a “transformation mask.” When the dancer pulls levers and strings, the outer mask opens up to reveal another.
At  this point I was shocked and exited at this discovery. I had found the connection of the ‘X’ and ‘3’ pronged cloverleaf of Teotihuacan’ in the Yucatan of earth within the site of Cydonia, mars. I had found the connection of the symbols, the eye of Ra, winged disk, pyramid, the rising and setting of the disks, and the disks spiraling effect when observed of ancient Egypt., I had found the ancient fertility symbol of earth here on mars., and I had found that this place, Cydonia, mars was “The City of the Face (Mother of Life) of the rising (spiraling) Ra (Triad (DNA)).
Once I had finished with all the configuration of circles and ovals that made up the Cydonia face I made another important connection between earth and mars., The image produced by this configuration of circles and ovals produced the image of the human heart with arteries, the human brain, a woman with her legs spread giving birth, a finger ring, the Maori Lucky Charm, Hei Tiki Amulet, the head of a pharaoh, the head of an ram, the head of a goat, the head of a bull, the head of a lion, the head of an eagles, and the head of a man. These are the same images described in the Biblical Ezekiel of the ‘wheels’. The overall symmetry also had the appearance of a bowtie, a cloverleaf, and the Buddhist Jewel In The Lotus seated on the lotus throne. Also, the appearance of the Hindu god, Ganesha.

In Hinduism, Ganesha overcomes all obstacles and is the god of new ventures. He has the head of an elephant, and so can forge through the thickest jungle. In myth Shiva mistakenly beheaded the god, and only an elephant’s head could be found as a replacement.
There are also much too many signs and symbols expressing this symmetry/geometry of mars on earth that I cannot even begin to list them all.
On the basic configuration I marked points at which the series of circles and ovals intersected each other. Again I was surprised! The image produced had the overall appearance of a spider and it’s nest  resulting from the creation of the ‘spider web’ mesh produced  connecting all the intersection points together with lines. In the Hopi tradition, they maintain that a woman was created to help the creator create life and her name was to be Spider Woman (Kokyangwuti). This leads me to conclude that the site markers on ancient sites such as Teotihuacan that marked astral objects in the sky and their movements in arcs were not necessarily concerned with the astral objects themselves , but rather using them as points and the fact they moved in arc to create an invisible configuration of arcs and geometry resulting from these arcs. I conclude that the same applies to site markers that point to other markers on the ground that is comprised of a global network of markers all expressing this configuration of arcs and geometry.

I’ve also concluded that geometry produced from this configuration of  circles matched those of ‘Nasca Lines of Nasca, Peru. Between the Pacific Ocean and the Andes Mountains, covering an area of about 520 sq. km (200 sq. miles), hundreds of immaculately straight lines, gigantic geometric patterns and huge animal drawings are sprawled over the scratch pad of the world. Countless lines of varying width and length-some more than 8 km (5 mi) long, one even as long as 65km (40mi) - fan out in all directions and often cross over one another in a seemingly random fashion. Gigantic rectangles, triangles and trapezoids are present, while enormous drawings and other abstract shapes, together with huge sketches of animal figures, are scattered throughout the elaborate criss cross of lines.
A variety of figures is depicted on the desert floor. Many of the animal drawings at Nasca were done before lines were etched. This is obvious since many of the lines cross over the animal designs suggesting that the desert was inscribed in two stages, first with animals and other figures, second with lines.
Paintings on the abundant pottery found in the area reveal images of what look like balloons and other kites have been  collected. It explains the images found along side of the lines of Nasca such as the spider, spiral-tailed monkey, the so-called balloons and kites that are etched into rocks found there.

What is interesting about the symmetry/geometry of the configuration that make up the ‘face’ on mars was that it reminded me a lot of tensegrity. All so-called natural systems, including carbon atoms, water molecules, proteins, viruses, cells, tissues and even humans and all living creatures are constructed using a common form of architecture known as tensegrity. The term refers to a system that stabilizes itself mechanically because of the way in which tension and compressive forces are distributed and balanced within the structure. Tensegrity structures are mechanically stable not because of the strength of individual members but because of the way the entire structure distributes and balances mechanical stresses.
This is enforced by the finding that the geometry of a circumscribed tetrahedron is not only suggested by the alignments in Cydonia, but also by the sitting latitude, size, shape, and orientation of the D&M Pyramid itself. It is my impression that the symmetry/geometry found to comprise the ‘face’ of Cydonia, mars is not just a message to the finder, but also a model that our own DNA replicates by.
It reminds me of the resent Si Fi movie, “Missing To Mars,” in which a group of astronauts discover a sound signal that was in patterns of ‘3s’ coming from the ‘face’ of mars that they discovered was conveying a model of DNA that was missing a pair of chromosomes that was  needed to complete the signal. However, in the real world, I discovered a message that was also coming from the ‘face’ on mars. But instead of an audible signal, I discovered it visually, in the symmetry  of the ‘face’.

I have decided to give the face symmetry/geometry of Cydonia, mars a name. I found a name that best suits it is ‘Abraxas.’ In gnosticism, the aeon is a celestial power of a high order. It is a term used to designate the 1st created being or beings, with abraxas as head.  Also, chief among them, apart from Abraxas, being the female Pistis Sophia and the male Dynamis. Abraxas is said to be the Supreme Unknown and is said to be the prince of the Aeons. The name is encountered in The Sword of Moses, The Book of the Angel Raziel, and other tracts of magic and mysticism. The word “abracadabra” is reputedly derived from Abraxas. Originally it was a word expressing, in gnostic system, the aeons or  cycles of creation; in a deeper sense, it served as a term for the creator.

Abracadabra, the ’face’ of mars reveals it’s secret: Abraxas!

It is said that since Creation there have been 365 aeons.

From a purely artistic perspective, I decided to use a  CAD program to reconstruct and replicate into copies the Abraxas symmetry. Then, taken Abraxas, I would then connect the copies together into different configuration. Again many more motifs, signs and symbols of our past were manifested in the Abraxas. I also decided to create spiral graphs using the Abraxas, again just from a purely artist standpoint. The images Abraxas created amazed me. Abraxas produced imagery of many of the unexplained pictograms found to appear, as if by magic, in crop fields around the world.

The phenomenon began to show up noticeably across the globe. Reports of simple formations came in from Holland, Hungary, Switzerland, USA, Canada, Japan, Australia, Russia and France. And while many formations in the fields turned out to be the work of pranksters, many others were created by unexplainable means and speed. The characteristics, in the case of the Winsford ‘scorpion’ was the discrepancy between the radiation at the edge of the formation and the centre that was 100% above normal, followed by the deformation of seeds: evidence implying an application of intense heat. Not only were the Circlemakers capable of advanced artistry, but they also possessed advanced intellect.

Later, a more complex set of dinergic spirals appeared at West Overton. The pattern could be seen not just from the air but also on the ground, for each spiral begins at each ‘ball’ and not, as would seem logical, at the center. Here, two swirl motions working in separate directions create two ‘eyes’ and generate the walls of each ‘ball’. The crop then flows inwards and along the path that eventually forms the inward-flowing spirals. At the centre of the design, the meeting of the two spirals was marked by an area of plants that had been boiled from the  inside, as evidence by charring on the stalks. Interestingly, each ‘ball’ registered opposite polarities; the center circle (more an ellipse, really) generated a perfect still point of energy. Geometrically, the diameter of each ‘ball’ was exactly 8 degrees from the centre, or 4 degrees at each ‘eye’- a possible  reminder that the Earth’s magnetic field appears to shift 4 degrees within the pictrographs. The entire design I referenced within 36-fold geometry, one tenth the circumference of a circle. 36 is the sum of the integers from 1 to 8, and ironically, 8 represents balance, just as eight points define the corners of a cube the symbol of matter. And matter is generated through the spiral motion of energy.

This creative energy of organic grouth, harmonizing opposite polarities in perfect equilibrium, is found in one of the most important elements within living cell structures blood corpuscles which group themselves in double spiral patterns resembling the West Overton crop glyph.

How could the abraxas design found  hidden in ancient ruins of Cydonia, mars, be connected with the current wave of  pictographs of unexplained origin forming here on earth? I will answer this question later on in the book. For now, I would like to share another discovery.

The imagery produced by abraxas were what many people who have used hallucinogenic drugs such as psilocybin and psilocin reported experiencing. 
In the spring of 1943, Albert Hofmann, a chemist working at the Sandoz pharmaceutical research laboratories in Basel, Switzerland, began an intensive investigation of the amides of Lysergic acid (LSD, etc), the chemical backbone of the plant fungus ergot. Effects of panic, bizarre behavior, hallucinations, delusions, and epileptic like convulsions that were secondary results of ergot poisoning were the result. By 1943, the chemists at Sandoz had synthesized a long series of compounds containing LSD. One of them was LSD-25, so called because it was the twenty-fifth compound of the series. Hofmann describes an experience after he, himself, used the substance:

I experienced daylight as disagreeably bright, there surged upon me an uninterrupted stream of fantastic images of extraordinary plasticity and vividness and accompanied by an intense kaleidoscope-like play of colors.

Similar descriptions existed in shamanistic-based writing over the centuries. An expert of mushrooms, Roger Heim, director of the cryptogamy laboratory of the National Museum of Natural History in Paris learned of Hofmann’s discovery of LSD, forwarded samples of mushrooms to him at the Sandoz laboratories in Basel. Hofmann, after swallowing 2.4 grams to test the substance had this experience:

Thirty minutes after taking the mushrooms, the exterior world began to undergo a strange transformation. Everything assumed a Mexican character. Whether my eyes were closed or open, I saw only Mexican motifs and colors….Mostly abstract motifs rapidly changing in shape and color.

A another plant from Mexico, Ololiuqui, or as Francisco Hernandez, a Spanish physician describes it, “ Formerly, when the priests wished to commune with their gods and to receive a message from them, they ate this plant to induce a delirium-a thousand visions and satanic hallucinations appeared to them. An aspect of the imagery of the Abraxas mechanism. Hofmann, after taken two milligrams of Lysergic acid amide, the main component of ololiuqui describes his experience: “I experienced tiredness, apathy, a meaninglessness of the outside world.”
Adding two ethyl groups to lysergic acid amide transformed the effects: An apathetic indifference and fatigue yielded to feelings of mystical union, cosmic connectedness, and transcendence of the usual boundaries of time and place.
It irrelevant to mention that just recently, it was determined that our brains are not an organ but, however, a gland incased within hormonal fluid. This gland controls all other bodily glands functions and determines every aspect of, not only bodily function and operation, but of emotion. Subjects given LSD or mescaline, at the first stage of it’s effects, experienced rhythmic geometric patterns, known variously  as ‘phosphenes’ or ‘entopic.’ The seven most common categories strike a familiar cord: grids, parallels, dots, zigzags, nested curves, meanders and spirals.
People of highly  creative nature seem keyed into entropics and altered states. Psychological journals report entopic that preface a migraine. Concentric circles, spirals, and grids are generated by the brain as a ‘visual language’. The literature on altered states of consciousness describe the sensory changes involved. The shift to iconic imagery is also accompanied by n increase in vividness. Subjects stop using similies to describe their experience and assert that the images are indeed what they appear to be.
There are strong similarities between rock art and the hallucination descriptions in the neuropsychology that are too striking to dismiss. An intoxicant, Ayahuasca, is employed in the jungles of South America ad throughout the western part of the Amazon Basin. The visual hallucination turn to brightly colored reds and oranges.
Most of the plants used by tribes to produce hallucinations were found to contain alkaloids that were closely related in their chemical structure to neurotransmitters found in the human brain. Put another way, the plants’ psychoactive agents bear  remarkable resemblance to agents involved in the biochemistry of mental function. Hypnotics are sleep-producing agents. Like drugs in the other four groups, hypnotics induce in the user a retreat from the world-in this case, into a world of sleep and dreams.
People who have had an NDE (Near Death Experience) have also described images produced by Abraxas:

Often concurrently with the occurrence of the noise, people have the sensation of being pulled very rapidly through a dark space of some kind. Many different words are used to describe this space. It has been described as a cave, a well, a trough, an enclosure, a tunnel, a funnel, a vacuum, a void, a sewer, a valley, and a cylinder. Although people use different terminology here, it is clear that they are all trying to express some one idea. Example:

“There was a feeling of utter peace and quite, no fear at all, and I found myself in a tunnel-a tunnel of concentric circles.”

There is an encounter with an intelligence seemingly made of light. The intelligence is described as being some a sort of guide or emissary.  Communication and knowledge is as direct, unimpeded transfer of thoughts and in such a way that there is no possibility either of misunderstanding or of being able to hide information from it. Furthermore, this unimpeded exchange uses a form of universal language which is understood by all.
Some people who experienced an NDE describe, what might be described as, a border or limit do some kind. Various accounts describe it as a body of water, a gray mist, a door, a fence across a field, or simply a line.

An example:

“Everything-the doctors, the nurses, the delivery room, the ship, the water, and the far shore-was just sort of a conglomerate. It was together, as if one scene were superimposed right on top of the other.”

Later in the experience:

“Immediately, I was moved out of that blackness, through a pale grey, and I just went on, gliding and moving swiftly, and in front of me, in the distance, I could see a gray mist, and I was rushing toward it. It seemed that I just couldn’t get to it fast enough to satisfy me, and as I got closer to it I could see through it. Beyond the mist, I could see people, and their forms were just like they are on earth, and I could see something which could take to be buildings. The whole thing was permeated with the most gorgeous light-a living, golden yellow glow, a pale color, not like the harsh gold we know on earth.

If Ra is the triad of the spiral, then why is it represented as a golden disk? We know that somehow the NDE phenomenon affects the limbic system. The limbic system is often referred to as our “gut”, or third brain. It has a direct neural connection with the heart. Yet only recently has it been recognized as the most complicated structure on earth. Direct or conscious entry into the limbic section of the brain is gained through any type of excitement or heightened stimulation. One way or another, some form of emotion is necessary to accelerate and prolong limbic involvement.
When you are talking about the limbic system, you’re talking about chemicals, which leads us to another tie-in…chemical yellow. For those near-death survivors who could recall, the first color encountered during their experience was usually either yellow or yellow gold. Some described it as just plain gold. Others saw it as more of a yellow-white, gold-white, or radiant white. Invariably, survivors commented on how different that color or light seemed; bright, yet somehow easy on the eyes and not at all like the yellow-gold-white tones of earth.
Even though other colors or light came next, such as rose, blue, or green, or that of radiant light, the overwhelming majority spoke of yellow. Although yellow occurred at onset, many times it changed; first becoming brighter and more mellow as it deepened into gold, and/or then turning lighter and more radiant as it transformed into glowing white. In concerns to the human eye, there is no color cone on the retina for yellow. We have cones for red, blue, and green, but not yellow. Yellow is created by a chemical reaction in the brain. The same is true in photography. Color negatives can only imprint red, blue, and green; yellow comes from the chemical reaction that occurs during film development. Yellow exists as a primary color only in paints and dyes. It is not primary in the light spectrum. Yellow is actually an illusion, a non-color.
Throughout history, halos of light emanating from and surrounding all things were often described as being yellow/white in color. Artists have always painted such halos of light as yellow/white or gold or silver. Drug users, especially those on hallucinogens, report the preponderance of yellow hues as they begin their experience.
So now we have the Golden Disk of Ra associated not only with DNA, but with the limbic system of  the brain. This would also explain the description of   Heliopolis, or “The City (cell) of the Face (Mother of Life) of the rising (spiraling) Ra (Triad (DNA)), as being ‘bright’ as Ra.
Abraxas produces four levels of the ND (Near Death) and otherworld imagery. The four are personal imagery; mass mind;  memory fields and truth according to P. M. H . Atwater in his book, “Beyond The Light” Copyrighted 1994. No matter which early dream or visionary symbol you refer to, including those of UFOs and alien beings, you can trace those same images back to common roots in the human psyche produced by Abraxas. Bethe Hagens, Ph. D., an anthropologist who discovered some striking correlations between ancient artwork/calendar systems and brain shapes.
Whenever we explore near-death or otherworld imagery, we reconnect on some level with brain function and the limbic system. We know that electrical stimulation of the right temporal lobe of  the brain  above the right ear  and specifically in the Sylvan fissure, can produce visions of God, hearing beautiful music, seeing dead friends and relatives, and even having panoramic life reviews. In all NDE produced by abraxas, each scenario, no matter how it is interpreted or what kind of imagery it encompassed, is absolutely and totally and completely real to the one who experienced it. What happened, happened. No one’s belief or disbelief can change that simple fact.
Many people don’t realize that the near-death experience they are having has anything to do with death.

Abraxas is also responsible for the universal experience of apparitions that has found its way into the language and folklore of cultures all over the world, from a time long  before the beginning of recorded history. Even today visionary reunions with the departed are  remarkably common. A  surprising number of spontaneous apparitions of deceased are seen in mirrors or other reflective surfaces. Many others are seen in the night or against backgrounds such as a blank wall in in the dark outdoors.. It is not a frightening or disturbing experience. There are many forms of visions produced by abraxas and many ways of facilitating them. Abraxas allows us the common experience of seeing faces in clouds which is a visual illusion known as pareidolia. Pareidolia underlies several forms of divination. The kahunas of Hawaii occasionally posed questions to themselves and then gazed into the clouds, expecting that patterns produced by abraxas  seen there would reveal the answers they sought. Capnomancy, or divination by smoke gazing, is still practiced among the indigenous populations of Central America. In medieval Europe the practice was customarily carried out by matrons and virgins. Tea-leaf reading, too, depends upon the seers making meaningful pictures out of the tea-leaf fragments.

Dream incubation was also used by the Greeks and by many cultures around the world, such as ancient Egypt, Mesopotamia, Canaan, and Israel to use Abraxas in healing. Sometimes it may just be bright flashes of color, or vivid dream sequences. Other times these clearer-than-life images have very powerful significance. A high percentage of the normal population has experiences of vivid imagery produced by Abraxas at the point of sleep. Sometimes these take the form of colorful images, sometimes surrealistically distorted events.
Hypnagogic states have been used by some creative geniuses to solve problems. With mirror gazing, most subjects are sure that their visionary reunions were real and not fantasies with the experience as being “realer than real.”

Today scientists believe that the earth is around 4,500,000,000 years old.  They trace the start of life on earth around 3900 My ago as far as current fossil records show. Around the time scientists believed the earth came into existence,  Mars was believed to have  suffered  a catastrophic meteor shower around 4.5 billion years ago that caused fragments of rocks of mars to  eject from its surface they ultimately came to enter earths atmosphere coming to rest in Antarctica. Only 12 such  martain rocks have ever been found here on earth. One such rock, which predates life on earth by 4.5 billion years contains within it, some scientists claim are the fossilized remains of micro-organisms. 4.5 billion years ago, mars was believed to have  been covered with large amounts of water. Mars surface is red due to high concentrations of salt water which oxidized the surface of mars.
For now, scientists believe that this martian rock found on earth is the first real clue to finding ancient life on mars and maybe the existence of possible life currently existing there under the martian surface. However,  before the discovery of the martian rock, two men, DiPietro and Molenaar, hired by NASA to do computer enhancement of the original martian surface photographs taken by the Viking spacecraft in 1976 made discoveries of their own. They believed  that, after enhancement of  a series of particular photographs of  a region of mars named Cydonia, they discovered a series of unique structures that seemed unnatural. One such structure was dubbed the ‘face’ because it looked all-the-world like a human face. They also discovered within the vicinity other “anthropomorphic objects” that seem artificial in nature.
While the quest continues today to put the controversy to rest as to weather these structures on mars are artificial or not through the use of a “Cydonia mathematics.” which seem to emphasize the impotence of two “dimensionless constants”: “e” ( the base of natural logarithms + 2.718282) ; and “pi” [the ratio of the circumference of a circle ( or sphere ) to its diameter  = 3.14159 ], I took a different route to  determine if these structures on mars were indeed artificial. Through the course of my investigation I discovered that, indeed, that curtain structures that lye  within Cydonia are artificial in nature but that was only part of the discovery.
I discovered a model our own DNA uses  as a template for growing different organisms here on earth, on mars! I also discovered a language from that discovery that is used by man as a universal language of the mind that creates the imagery in our dreams and creative thoughts and allows life on earth to recognize each other. This model, I also discovered, was used as the template by our ancient ancestors for creating the motifs seen around the world. The ancient people of  our past  incorporated the aspects of the model both metaphorically and literally into just about every part of their lives; from their beliefs and practices, to their everyday items such as dress, hair style, shoes, furniture and jewelry, etc. It is that which causes us to see faces in just about everything.
Along with these afore mentioned discoveries, I also found a direct correlation between many ancient sites on earth to the model on Cydonia mars. I also discovered that a correlation exists between the pictographs that mysteriously appear in crop fields and other earth surfaces and the model I discovered in Cydonia, mars.
I am, of cause, making some extraordinary claims here. And obviously extraordinary claims require extraordinary proof. So, do I have it ?, or am I another crackpot out with a book that contains nothing but conjecture?  I have proof, unequivocal proof. It is such that can not be denied nor challenged. I also discuss the fact that many people, those who have had a NDE ( Near Death Experience), out-of-body experience, people who have so-called abduction experiences by unworldly beings, and people who have suffered hallucinogenic imagery through the use of chemical substances, all come into contact with this model during their other worldly experiences..
Interestingly enough, though the model on mars is obviously ancient, the connection with the recent appearances of earth pictographs concerns me. It is obvious that some form of intelligence is responsible for creating them and obviously has knowledge of the model found on mars. Since both unexplained lights and unidentified objects have been seen before and/or after their appearances, and both display properties that seem to defy the very laws of physics. There is the possibility that, all things considered, we could, based on our own advancements in technology,  be looking at proof of a form of virtual reality.
My blogs will also be devoted to  who I believe created the model found on mars and what I believe it represents aside from the obvious conclusion of being the template for living thing things.
This is an exciting time for me and it should be for all of us here on earth; to know that some force presented a model for us to find on a nearby  neighboring world that is directly connected to us here on earth and what all that implies.