I just wanted to finish out a line of thought in this whole area of imagery pertaining to the "abduction phenomenon" and the idea of a broader and deeper perspective on reality. To do this, I wanted to briefly finish up about ancient Egypt and then move on to a couple of quick book recommendations and a couple of critiques of the "ufology" writers in general.
I had mentioned earlier the data about the Dogon people of Mali--and they have an old, indeed ancient, cultural and historical link to Egypt. I then had brought up the data about Egypt and other ancient Mid-Eastern civilizations and the ancient written poems that were based on the even more ancient Indo-European civilizations that founded such cities as the first layers of Mohenjo-Daro and whose early relations had also been instrumental in the founding of Ur and the oldest known city, Jericho (which dates to at least 8900 B.C.).
Well, there's a little more about ancient Egypt and Babylon/Sumer than that. Out of the ancient Middle East and Greece has come down to us a play, written by Euripides, titled Medea, which many of us may have studied in more than one class in either high school or college. In any case, one interesting image that comes through about the main character, (Medea, Mid-Eastern wife of the mythical Greek hero Jason) is that of electrocution. It is fairly clear that Medea murdered Jason's new mistress by means of an electrical device, that she electrocuted both she and her father, who is also killed, unable to pull free when he attempts to pick up his daughter quaking, paralyzed body. We know that Medea is a Middle Eastern woman.
In that area, in the environs of Baghdad, have been found the remains of what appear to be electrical batteries. These have been tested: they were duplicated with newer materials and it turns out they do produce and electrical charge. In experiments conducted in the United States in 1957 and more recently in Egypt, with the help of copper sulfate solution, this battery, designed by supposedly barbaric nomads, produced .5 volts of electricity. This powerfully suggests that many of our images of at least some ancient societies is incomplete, that electricity was used on some level.
One place where such electricity may have been used, is in lighting. In the ancient Egyptian tombs, temples, tunnels and pyramids, for example, it has often been noted that there cannot be found even minute traces of the soot one would expect from conventional oil or other fossil fuel-based lamps. Since these places were the places of kings, queens and other rulers, it makes sense that the most advanced technologies and methodologies in any area would have been made use of in producing them.
In the ancient temple of Dendera near the city of Qena in Egypt, we may have discovered ancient technical writing and drawing that literally describes the ancient usage of incandescent lighting--or devices based on a similar principle. Wall drawings show people beside objects that look like giant light bulbs with serpentine images on them, along with characters describing undulation. Thoth, the Egyptian god of science who was credited with having the power to light the night, is illustrated nearby.
According to Dr. John Harris of Oxford and Austrian scientist Walter Garn, an electrical engineer, one could today design an electric light bulb utilizing the frescoes in a step by step order. The people who worked and wrote in this building were the equivalents of today's government administrators. The serpentine figures are the filaments used in electrical bulbs and two figures show kneeling below the bulb images and facing opposite directions are representative of the two opposite polarities of electricity.
In 1905, shortly after the death of famous novelist Jules Verne, a book that he had written a couple of years before was published. It was titled The City in the Sahara. In the book, Verne made one of his least known but most accurate "predictions" about a future technological device, the gyrocopter. Similar to a helicopter in principle, the gyrocopter utilizes a large overhead whirling blade to keep it aloft, with a pushing propeller in the rear to move it forward. Unlike a helicopter, the upper blade on the gyrocopter is non-motorized. It rotates by catching the air on one side as the pushing propeller moves the craft first along the ground, then into the air. Like the helicopter, the upper blade provides the lifting force.
Verne, interestingly, placed these devices in a city in the Middle East. He always maintained that any device he wrote about was introduced to him by his contemporaries on some level. In the case of the Nautilus, for example, the Civil War submarine the Hunley was a small-scale prototype.
The ancient Indo-European documents that clearly are originally based in the Mid-East, refer to flying craft of several different types, often called Vimanas. However, the accounts are fragmentary and it is difficult to get a clear idea of what may be referred to. The only two consistent themes that seem recognizable are the ramjet and the use of what appears to be mercury to in some way begin a process of movement in the parts of a flying machine.
According to these themes, a lifting body is designed that sounds remarkably like the gyrocopter.
1). The upper blade is stimulated into movement by the heating of quicksilver (mercury).
2). Once the mercury begins to move, its placement in the shaft that holds the main upper blade to the top of the flying machine causes the big blade to begin to rotate.
3). This rotating blade apparently housed on one side a huge ducted vent.
4). Once the big upper blade has rotated fast enough, it begins to produce the effect of a primitive ramjet--a device capable of sucking air into its front side, then forcing it out through its back at a fast rate of speed.
5). Once the speed of the rotating blade is sufficient, the ducted vent is forcing air into the front at a proportionately higher rate of speed.
6). Having achieved a certain rate of rotation for the upper blade, the rotation fo the blade is briefly slowed, so that the discharged air out the ducted vent, from the last round of rotation, is faster than the subsequent one. When this occurs, the craft can leave the ground.
7). A series of knotted ropes is placed in the rear of the craft, designed in a manner to allow for one rope to unknot and, in the process, re-knot the preceding rope. A chain reaction then ensues, in which the unknotting of one rope results in the re-knotting of the other ropes. This creates a horizontal movement for the craft.<>/p>
8). Having thus triggered the horizontal movement, the series of ropes then powers a rotating blade in the rear of the craft. The huge upper blade, continuing to move through the air, alternately moves faster, then slower, with the fluctuating speed of the knotting and un-knotting ropes ensuring that the ducted vent on the upper blade is periodically forcing air out at a rate faster than the subsequent rotational spin of the upper blade.
9). The result is a gyrocopter-like flying machine, with some apparent differences in appearance.
To see just what that appearance would be, let's stand back and look at this bad boy briefly:
The general appearance would be somewhat more similar to the gyrocopter of Verne's novel to the current gyrocopter. The upper "blade" is a huge affair, and not rigid as are current, motorized gyros. While it would be recognizable as a 'copter of some sort, it would have appeared quite bizarre, with the huge upper blade being nearly incomprehensible as a blade, looking rather more like a huge, solid sheet or blanket--or, perhaps, more in colloquial terms of the legends of the time, like a huge...carpet: a flying carpet.
Because the upper, rotating blade-carpet has to be slowed every other round of rotation in order for the ducted vent to produce a ramjet-like effect, there are small ducts on the alternate edges of the carpet, to briefly increase air drag for very short periods of time. These increase the carpet-like appearance of the upper blade.
There are still other sources for information about possible ancient knowledge of flying machines of various kinds. In ancient Peru, for example, the famous Nazca drawings and "lines" have often been attributed to extra-terrestrials. But they may have been produced by hot air balloon-flying Indians, thousands of years ago. On Easter Island, mysterious petroglyphs depict "birdmen" who visit the island and were apparently stranded there. Perhaps those were some of those Indians in balloons who, on attempting longer flights, were lost.
The first human flight allegedly occurred in France, when the Montgolfier brothers flew the first hot air balloon. Yet, seventy-five years earlier, there is a record in Portugal of a Franciscan monk having designed a small prototype of the hot air balloon. But the monk didn't get his information by experiment. He had returned to Portugal from an expedition to Peru, where he'd found a drawing of a hot air balloon device on a Nazca Indian vase, (which is still extant) and spoken with the Indians about what they'd used for such devices. He'd then duplicated one, in miniature, on his return to Portugal.
Based on this information, in 1975 a group of amateur hot air balloonists called the International Explorers Society visited Peru and built a contraption with an eighty-foot carpet-like flat envelope made of fabrics similar to those found in Nazca graves, as well as lines and fastenings woven from native fibers and a suspended gondola made from the reeds that grow in Peru's Lake Titicaca. It soared to a height of 600 feet in 30 seconds. It was buffetted by high winds at some locations but not most, so the balloon proved that it could be made and successfully flown.
In short, we have powerful evidence that "flying carpets" were real. Ancient civilizations used electricity and more than one type of flying carpet--both the gyrocopter and the hot air balloon. Electricity may also have been used as a weapon, as in Medea's murder of Jason's mistress.
I'd like to add here that this may only indicate that our own ancestors had more on the ball than we've sometimes thought--not that ets have visited. Nevertheless, the account of Sodom and Gomorrah and the ancient Vedas' account of a major explosion, all point to some outside intervention, since nuclear weapons were probably not in the Nazca or Indo-European repertoire.
One further point: the "abduction" experience has several other possible explanations besides the "conventional" ones ofeither (a) some type of bad dream or hypnosis-induced fantasy or (b) the "unconventional" one of et visitation. In fact, one of the reasons I am so fascinated with it, is that it does have this other dimension of explanations.
There is the archetypal explanation of Jung and, later, of Jacques Vallee, the other reputable writer, alongside Whitley Strieiber, whom I'd recommend. (Other writers in the field have varied considerably as to their credibility and/or responsibility--and, in fact, I can't really even recommend all the books of any writer in the field. D. Hatcher Childress has done some good research at times, but at other times he seems willing to slack off and rely on disproven accounts. I don't quite understand his rationale in doing so, and therefore can't recommend him. Certainly, Ph.D.s Linda Moulton Howe, Karla Turner and David Jacobs had also done good research--though again, questions have been raised about their involvement in hoaxes. Harvard M.D. John Mack, thus far, at least, has produced good, solid research, though it is difficult to draw the specific conclusion that "we've been visited" just because a NEW psychological phenomenon has been discovered as a result, primarily, of his research.
The specific two books I would recommend are Communion, by Whitley Strieber, and Passport to Magonia, by Jacques Vallee. These two books explore both Ufo and "abduction" phenomena in all their depth and breadth, not just as an "encounter wih aliens" or a "fantasy."
They also expand further than the archetypal imagery of Jung, bringing in such ideas as the earth's electromagnetic field. They note its potential to influence our thoughts and dream patterns, pondering whether electrically-based phenomena such as our nerve synapses may occasionally "cross over" into other dimensions. They also look into the idea that there is a common experience involved in out-of-body experiences, near-death experiences and the "abduction" experience. (There do seem to be common elements.)
The reason they do this, is that there are odd bits and pieces about many "abduction" experiences that don't quite fit simple explanations, of whatever order. There are "abduction" stories from the 1800s (many people don't know that). There are interesting bits of information that people-- who've never met before--share in the new therapy groups that are being set up for "abduction experiencers." There are also some common themes that have existed since ancient times.
The "visitors," for example, often seem to have many of the attributes of insects. In ancient accounts of "fairies," they are depicted as having gossamer wings or antennae. In more recent accounts of "visitors," they have large eyes and insect-like appendages.
In a piece I wrote for a graduate class a couple of semesters back (and which I have expanded and included as a chapter in my first copyrighted book, Tim, George Bush and Me), I speculate on whether the earth's electromagnetic field may sometimes cause our sleeping brains' electrical thought patterns to merge with those of the "hive minds" of local insect nests. If that is true, perhaps what we are really in "communion" with, is our own earth at these times. Perhaps, like other living organisms, the earth itself has an electrically-based "nervous system," complete with "synapses" from one "nerve cell" to another. And perhaps any organism on earth can, at one time or another, play the role of such a "neuron."
Our horizons seem to be broadened just by considering the "abduction" phenomenon, is my final point. As rhetors, it occurs to me that one of thegoals of persons like Jane Sutton is to broaden our perspective, decreaseour chauvinistic narrowness of view. There are vast vistas, new horizons, waiting for us to explore. We must try to rhetoric to include these new experiences and the new imagery they evoke.
Do we need to listen more closely to the insects and what they are saying to us? Of course we do--they help tell us how to run rational societies and, at the same time, tell us what shape our ecology is in. (There are no more wild bees. Army Ants and Fire Ants are being pushed northward by spraying programs and deforestation.)
Beyond this horizon, beings may exist that are vastly more complex than we are. Worlds exist that almost defy description, incorporating within themselves--and our future experience of them--the potential for breath-taking imagery and an expansive dialog beyond the bounds of anything we have ever known. Let's please not take this all so lightly. If we do, we'll some day look back on all of this and regret it.
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