Are sasquatch the direct descendants of Lemurians? If you get a chance, this video is well worth the watch. It seems that these are "interdimensional creatures," as we would say in "hairless human" language. But it they don't themselves *experience* many dimensions. Instead, they talk about "all-(dimensions)-as-one." Amazing documentary. https://www.youtube.com/watch?t=832&v=dK0gOhO_F48
This story of Spartacus is based on a book written by Howard Fast. Another non-Italian. Since we no nothing of Spartacus prior to his escape, the story written by Howard Fast is entirely fictional. If we look deeper, we can see that all the people involved in the creation of this fictional and fabricated movie are from the same *group.*
Charles Hapsgood did extensive research the subject of pole shift and crustal displacement. The idea of the crust sliding over the earth's mantle, with irregularities in the subserfice casuing some areas to ft upwards or down is not so far fectched. Even today we have smaller examples of that having occurred with earthquakes and volcanic erruptions, such as seen with the Alaskan coast upthrusts, the submergence of Port Royal, and a large section of Alexanderia. And then there's that Aztec motif showing a pyramid at a tilt, sinking into waters of a flooded land with a volcano erupting.
Sorry Caroline, if there is a Dr Ricardo Castanon PHD in existence, he was certainly never one of the scientists chosen to test the ONLY available samples taken from the cloth for carbon date testing back in 1988. Furthermore, there has never been any DNA testing done on the shroud with regards to the ‘blood’ eveidence to back this theory up you make reference to. This comment you post only serves to muddle the investigation of those out seeking the real truth about the TS.
Very good article, though it failed to mention the supposed link between Morgana le Fay and the Lady of the Lake, as well as the theory that Morgana herself followed the Celtic matriarchal ‘old’ or ‘pagan’ religion. This would surely have cast her in the role of ‘villain’ when one takes into account the changing culture of Britain at the time – from pagan to Christian.
This article has nothing to do with a real origins of Easter. Only Anglo-saxon countries use this designation. These pagan myths are nothing more then a parallel to jewish tradition that is born from nomadic spring feasts of of totaly different content.
The deep dug water wells would do more my belief in this, than those stones. Wells yes would have made it a more permanant living place than stones would have been, in middle of nowhere. Literally. How far from the nile ? and the nile was there,same place it is now; back then..
But, where are the wells ? they Need to be found and measured for depth. at least that..
I think it'd be great to see factual movies regarding the history of the Jews from the beginning to the current time. This should also include a factual recording around Hitler and the Holocaust or "Holohoax" as some independently thinking and seekers of truth see it. Should be written, directed and produced by outside sources. But... then again that may not be necessary as Justice is in the Hands of the Creator.
reference: Side a of Rongorongo Tablet, the Stephen-Chauvet fragment. ( Wikipedia)
This image is upside down.
Turn it 180 degrees, then you will see a one man dominating another by forcing him into a kneeling position, a kneeling and screaming man with his mouth opened extremely wide yelling up at the heavens. There are also fish and what appears to be either a turtle or a man on what looks like a surfboard or dugout canoe. There are 2 distressed people. It appears a famine is being recorded here for future generations.
These three watched in sequence state objective TRUTH proven scientifically. The blood of every known Eucharistic Miracle matches that of the blood upon the Turin Shroud and also that found on the Sudarium of Oviedo. Science PROVES without a shadow of a doubt, that the person whose blood is on the Shroud and the Sudarium, is from the same person whose flesh can be examined in every known Eucharistic Miracle.
Dr Ricardo Castanon PHD has examined the Eucharistic Miracles, which were sent to two Universities for complete analysis.
The two further links provide the remaining information
Fifth para: “So, even if someone went to great lengths to create such a stunning visual representation of a man interred or otherwise as you’ve done through flour or egg yolk, surely the effort would be reproduced in art or otherwise thereafter? I find it hard to believe that this brand new representation of the human form in medieval times was not reproduced by artists, or even attempted after or before! “
You are asking artists to seize upon and promote a new technology as a means of advancing art. But they were not privy as to how the TS image was produced, that being a closely-guarded secret. Had word of the technology slipped out, the TS could and would have been immediately declared a forgery (as indeed it was by Bishop Henri de Poitiers, but he had to be content with describing the TS as “cunningly painted” suggesting he too had failed to grasp that the artefact was produced by technology, not art).
Nope: I’ve looked at the hypothesis on offer and concluded that the science is more blue-sky thinking than practical chemistry.There’s also precious little if anything to link de Molay with the TS (and I speak with some personal experience of having tried myself to do just that via scorch technology being used as a metaphor for his being roasted to death!). The day the scales fell from my eyes was seeing a veronica-like addition to a the Machy mould, and realizing that the TS image was an attempt to mimic an ancient sweat imprint, but doing so in a way that did not require sweat, or anything that could be seen as a substitute for watery sweat. Instead someone had a technological brainwave: there’s no need to use real or artificial sweat, or indeed anything that is a messy weave-penetrating liquid, like paint or dye or acid. Switch instead to using a fine powder as imprinting medium, imprinted onto wet linen, one that turns yellow when heated to a temperature chosen to get a selective coloration of the imprint (leaving the linen just slightly yellowed – which helps to create an impression of age).
Here’s the second and final instalment in response to your comment, Stuart,
First para: you seem to assume the de Molay theory to be the default position. I suspect you won’t get many takers for that, though you clearly are an enthusiast and disciple. Your Lomax and Knight went out on a limb – good for selling books if backed up with some kind of supportive evidence – though somewhat tendentious re the chemistry as I’ve said before – but to make out it’s now the mainstream is simply not the case. (Are L and K still pursuing their model, or was it a one-off brainwave?).
Second para: You say that de Charny and his wife and whomever else would not have gone to the same trouble as I have done to obtain a crowd-pulling end result.
Oh, but they would, but following an entirely different pathway, one that might be described as getting the technology right, as distinct from the science. I need hardly remind you that there’s a world of difference between technology and science. Technology is concerned purely with getting the desired end-result, something fit-for-intended-purpose, in this instance a faint image on linen that can be claimed to have been formed centuries earlier. Any methodology that generates a faint brown image is worth testing, no matter how far removed from the biblical ‘narrative’. I too could have adopted that approach, but had I done so I’d have made myself an easy target for those who could have said that such and such approach was a waste of time, since it would have been detected by the STURP team’s use of this or that physical or chemical test. In other words, my approach was not only constrained by the science, but has to be that of the scientist, not technologist. I was not free to go dabbling with this or that concoction, on the off-chance that might lead to desired end result.
So how did I finally arrive at the flour model one might ask? Answer: via two entirely different routes that finally converged at the same answer. Both were I would maintain scientific routes, not hit-or-miss technology. I’ll spare you the detail of those two approaches, but can give links to the key steps in my thinking if you’re interested. One came about through trying out ways of making linen more receptive to a contact heat scorch – by impregnating it with dry white flour that produced a local Maillard browning reaction in contact with the hot metal template. The other was to take as starting point the idea that the TS image had been produced by use of acid to discolour fibres, testing sulphuric acid, finding it wanting, switching to nitric acid, getting better coloration, but finally dispensing with acid altogether once it was realized that the target for image formation was not just carbohydrate but probably protein too. Result: add extra protein in the form of white flour, but replace a hot metal template with a cold one, followed by hot oven treatment. The final “recipe” is absurdly simple – imprint with dry flour off a real person onto wet linen, then place in oven. It could have been arrived at by a technologist with no scientific training. But it wasn’t! It required two different scientific trains of thought to get there by methods that may seem painfully slow but which are arguably sure – ones based on known chemical/biochemical models by which linen AND other non-linen plant-based molecules respond to thermal energy to produce Maillard browning reactions due to chemical reaction between protein amino-groups and sugar carbonyl functions,
Third para: But the TS image is also flat and two dimensional. The much trumpeted “3D properties” (a misnomer if ever there was!) only appear when one enters the image into software that converts the map of image density on the xy plane to height on an entirely imaginary vertical z axis. In other words one converts a 2D map to a 3D one purely via digital re-processing. I would also dispute the suggestion that one views the TS as the work of an artist. It’s not. The TS image is an imprint. It’s the work of technologist, deploying imprinting technology. It’s no more art than, say a brass rubbing. Sure, there are ways of getting more or less pleasing end-results, depending on technique, but that’s still not art, more craft.
Fourth para: “But we know the TS was not created as a painting with no evidence of artist pigment.”
Correct.
Here you can navigate quickly through all comments made in any article sorted by date/time.
Are sasquatch the direct descendants of Lemurians? If you get a chance, this video is well worth the watch. It seems that these are "interdimensional creatures," as we would say in "hairless human" language. But it they don't themselves *experience* many dimensions. Instead, they talk about "all-(dimensions)-as-one." Amazing documentary.
https://www.youtube.com/watch?t=832&v=dK0gOhO_F48
And Dan of the yakhuber clan the Jacob clan became Denmark Mark of Dan
This story of Spartacus is based on a book written by Howard Fast. Another non-Italian. Since we no nothing of Spartacus prior to his escape, the story written by Howard Fast is entirely fictional. If we look deeper, we can see that all the people involved in the creation of this fictional and fabricated movie are from the same *group.*
Charles Hapsgood did extensive research the subject of pole shift and crustal displacement. The idea of the crust sliding over the earth's mantle, with irregularities in the subserfice casuing some areas to ft upwards or down is not so far fectched. Even today we have smaller examples of that having occurred with earthquakes and volcanic erruptions, such as seen with the Alaskan coast upthrusts, the submergence of Port Royal, and a large section of Alexanderia. And then there's that Aztec motif showing a pyramid at a tilt, sinking into waters of a flooded land with a volcano erupting.
Care to divulge with evidence? because as it stands your statement is just a racist blurb.
I am aware of the conspiracy to wash away the history and remove Anglo Saxon culture from the world... So be careful what you say.
peace...
Its is the heart of Muslim nation.We respect it.
Sorry Caroline, if there is a Dr Ricardo Castanon PHD in existence, he was certainly never one of the scientists chosen to test the ONLY available samples taken from the cloth for carbon date testing back in 1988. Furthermore, there has never been any DNA testing done on the shroud with regards to the ‘blood’ eveidence to back this theory up you make reference to. This comment you post only serves to muddle the investigation of those out seeking the real truth about the TS.
Very good article, though it failed to mention the supposed link between Morgana le Fay and the Lady of the Lake, as well as the theory that Morgana herself followed the Celtic matriarchal ‘old’ or ‘pagan’ religion. This would surely have cast her in the role of ‘villain’ when one takes into account the changing culture of Britain at the time – from pagan to Christian.
Could you elaborate? What is it about this article that you don't find convincing?
This article just illustrates the fact that history is always written by the victors. Thank you for a great read!
This article has nothing to do with a real origins of Easter. Only Anglo-saxon countries use this designation. These pagan myths are nothing more then a parallel to jewish tradition that is born from nomadic spring feasts of of totaly different content.
The deep dug water wells would do more my belief in this, than those stones. Wells yes would have made it a more permanant living place than stones would have been, in middle of nowhere. Literally. How far from the nile ? and the nile was there,same place it is now; back then..
But, where are the wells ? they Need to be found and measured for depth. at least that..
I think it'd be great to see factual movies regarding the history of the Jews from the beginning to the current time. This should also include a factual recording around Hitler and the Holocaust or "Holohoax" as some independently thinking and seekers of truth see it. Should be written, directed and produced by outside sources. But... then again that may not be necessary as Justice is in the Hands of the Creator.
reference: Side a of Rongorongo Tablet, the Stephen-Chauvet fragment. ( Wikipedia)
This image is upside down.
Turn it 180 degrees, then you will see a one man dominating another by forcing him into a kneeling position, a kneeling and screaming man with his mouth opened extremely wide yelling up at the heavens. There are also fish and what appears to be either a turtle or a man on what looks like a surfboard or dugout canoe. There are 2 distressed people. It appears a famine is being recorded here for future generations.
These three watched in sequence state objective TRUTH proven scientifically. The blood of every known Eucharistic Miracle matches that of the blood upon the Turin Shroud and also that found on the Sudarium of Oviedo. Science PROVES without a shadow of a doubt, that the person whose blood is on the Shroud and the Sudarium, is from the same person whose flesh can be examined in every known Eucharistic Miracle.
Dr Ricardo Castanon PHD has examined the Eucharistic Miracles, which were sent to two Universities for complete analysis.
The two further links provide the remaining information
Dr Ricardo Castanon PHD - Faith and Science (A former Atheist proves the Real Presence of Our Lord Jesus Christ)
https://www.youtube.com/watch?v=bzJV5P7XWq4
The Eucharistic Miracle of Lanciano
https://www.youtube.com/watch?v=6PJ8BORx1p8
Shroud of Turin and Christ and the Sudarium.
https://www.youtube.com/watch?v=_ojyZX5_iyU
Also, have you heard about the miraculous Tilma of Guadalupe?
Very precise documentary and analysis here!
Documentary - The Tilma of Guadalupe - Living Image
https://www.youtube.com/watch?v=BbK2ya0zqTU
Also, THIS is very scientific TOO!
https://www.youtube.com/watch?v=oGUlWa2r-bk
The Urantia book has their origin evolution and destiny
The Urantia book has the complete history of the Basque and Berber peoples
Fifth para: “So, even if someone went to great lengths to create such a stunning visual representation of a man interred or otherwise as you’ve done through flour or egg yolk, surely the effort would be reproduced in art or otherwise thereafter? I find it hard to believe that this brand new representation of the human form in medieval times was not reproduced by artists, or even attempted after or before! “
You are asking artists to seize upon and promote a new technology as a means of advancing art. But they were not privy as to how the TS image was produced, that being a closely-guarded secret. Had word of the technology slipped out, the TS could and would have been immediately declared a forgery (as indeed it was by Bishop Henri de Poitiers, but he had to be content with describing the TS as “cunningly painted” suggesting he too had failed to grasp that the artefact was produced by technology, not art).
Nope: I’ve looked at the hypothesis on offer and concluded that the science is more blue-sky thinking than practical chemistry.There’s also precious little if anything to link de Molay with the TS (and I speak with some personal experience of having tried myself to do just that via scorch technology being used as a metaphor for his being roasted to death!). The day the scales fell from my eyes was seeing a veronica-like addition to a the Machy mould, and realizing that the TS image was an attempt to mimic an ancient sweat imprint, but doing so in a way that did not require sweat, or anything that could be seen as a substitute for watery sweat. Instead someone had a technological brainwave: there’s no need to use real or artificial sweat, or indeed anything that is a messy weave-penetrating liquid, like paint or dye or acid. Switch instead to using a fine powder as imprinting medium, imprinted onto wet linen, one that turns yellow when heated to a temperature chosen to get a selective coloration of the imprint (leaving the linen just slightly yellowed – which helps to create an impression of age).
Here’s the second and final instalment in response to your comment, Stuart,
First para: you seem to assume the de Molay theory to be the default position. I suspect you won’t get many takers for that, though you clearly are an enthusiast and disciple. Your Lomax and Knight went out on a limb – good for selling books if backed up with some kind of supportive evidence – though somewhat tendentious re the chemistry as I’ve said before – but to make out it’s now the mainstream is simply not the case. (Are L and K still pursuing their model, or was it a one-off brainwave?).
Second para: You say that de Charny and his wife and whomever else would not have gone to the same trouble as I have done to obtain a crowd-pulling end result.
Oh, but they would, but following an entirely different pathway, one that might be described as getting the technology right, as distinct from the science. I need hardly remind you that there’s a world of difference between technology and science. Technology is concerned purely with getting the desired end-result, something fit-for-intended-purpose, in this instance a faint image on linen that can be claimed to have been formed centuries earlier. Any methodology that generates a faint brown image is worth testing, no matter how far removed from the biblical ‘narrative’. I too could have adopted that approach, but had I done so I’d have made myself an easy target for those who could have said that such and such approach was a waste of time, since it would have been detected by the STURP team’s use of this or that physical or chemical test. In other words, my approach was not only constrained by the science, but has to be that of the scientist, not technologist. I was not free to go dabbling with this or that concoction, on the off-chance that might lead to desired end result.
So how did I finally arrive at the flour model one might ask? Answer: via two entirely different routes that finally converged at the same answer. Both were I would maintain scientific routes, not hit-or-miss technology. I’ll spare you the detail of those two approaches, but can give links to the key steps in my thinking if you’re interested. One came about through trying out ways of making linen more receptive to a contact heat scorch – by impregnating it with dry white flour that produced a local Maillard browning reaction in contact with the hot metal template. The other was to take as starting point the idea that the TS image had been produced by use of acid to discolour fibres, testing sulphuric acid, finding it wanting, switching to nitric acid, getting better coloration, but finally dispensing with acid altogether once it was realized that the target for image formation was not just carbohydrate but probably protein too. Result: add extra protein in the form of white flour, but replace a hot metal template with a cold one, followed by hot oven treatment. The final “recipe” is absurdly simple – imprint with dry flour off a real person onto wet linen, then place in oven. It could have been arrived at by a technologist with no scientific training. But it wasn’t! It required two different scientific trains of thought to get there by methods that may seem painfully slow but which are arguably sure – ones based on known chemical/biochemical models by which linen AND other non-linen plant-based molecules respond to thermal energy to produce Maillard browning reactions due to chemical reaction between protein amino-groups and sugar carbonyl functions,
Third para: But the TS image is also flat and two dimensional. The much trumpeted “3D properties” (a misnomer if ever there was!) only appear when one enters the image into software that converts the map of image density on the xy plane to height on an entirely imaginary vertical z axis. In other words one converts a 2D map to a 3D one purely via digital re-processing. I would also dispute the suggestion that one views the TS as the work of an artist. It’s not. The TS image is an imprint. It’s the work of technologist, deploying imprinting technology. It’s no more art than, say a brass rubbing. Sure, there are ways of getting more or less pleasing end-results, depending on technique, but that’s still not art, more craft.
Fourth para: “But we know the TS was not created as a painting with no evidence of artist pigment.”
Correct.
More to follow
Some of the reported symbols are (to me) like some of the Phaestos Disk.
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