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Aboriginal rock paintings that show astronomical alignments

Stone Age Text Links Australia to Europe: Initial Evidence for Worldwide Travel by an Ancient Stone Age Civilization

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Dr. Derek Cunningham has recently introduced a new intriguing theory to archaeology that many geometric patterns seen worldwide are a form of ancient text, with the angular writing based on the astronomical values used by astronomers to measure time and predict eclipse events. In this theory it was noted that many geometrical patterns seen throughout the archaeological record align to angles matching the circa 1 degree sidereal motion of earth as it travels around the sun; the 5.1 degree angle of the moon’s orbital plane relative to Earth, the 18.6 year lunar cycle, and the 27.32 day sidereal month.

One of his early studies was the preliminary analysis of Saksaywaman Temple in Peru , where he argued that the polygonal walls of the temple align, and also the entire temple complex were designed to align to these key astronomical values. In this theory the angular offsets are argued to be either offsets angled to either above or below the horizontal or to the left and right of the vertical; with perhaps the direction of the offset marking a vowel sound and the angle the sound of the consonant. Thus it is quite possible that the walls could have created a basic but readable text.

The polygonal walls of Saksaywaman in Peru

The polygonal walls of Saksaywaman in Peru

Arrangement of stones in a wall at Saksaywaman. Astronomical values can be found in the form of an angular array, offset to either above or below the horizontal, or the right or left of the vertical.

Arrangement of stones in a wall at Saksaywaman. Astronomical values can be found in the form of an angular array, offset to either above or below the horizontal, or the right or left of the vertical. Photo credit: Derek Cunningham

In Derek’s most recent study of this proposed angular text, he has returned with what can only be said is a well thought out study that takes direct aim at the often used counter argument that the alignments are actually totally random.

In this new test, Derek reasoned that if all geometric patterns found worldwide are entirely random, then even if within the experiment deliberate bias is shown to align the geometric image so that one particular angle dominates - in other words to force an optimum angular alignment - then because in the counter argument all lines are entirely randomly distributed, then the secondary to quaternary values should also be entirely random. In other words, only the primary value optimised should be the same.

If, however, the various geometric patterns found worldwide are as Derek claimed an ancient form of text, then perhaps the exact same secondary, tertiary and quaternary angular values should be emphasised in the various ancient images. And that is exactly what he found.

Using the 5.1 degree angle representing the moon’s orbital plane relative to Earth as a key reference point for his study, a very careful study of Australian geometric images has revealed that the secondary to quaternary angles seen most in geometric artwork does repetitively and routinely aligned to the same secondary to quaternary angular values. For the preliminary study Australia was chosen because it has remained isolated for much of its history, and thus the observed result could not be argued to be caused by potential long distance trade routes.

Derek then chose to extend this study to look at to various geometric images found in Europe . This included a comparison with the Polygonal walls found at Delphi, and an interesting analysis of the extremely archaic and unusual fan motif found carved on a tibia bone of a straight-tusked elephant at Bilzingsleben in Germany. In each case the intent was to directly compare the European secondary to quaternary angular values with those seen in ancient Australian geometrics. 

Photograph showing part of the Polygonal Wall found under the Temple of Apollo at Delphi.

Photograph showing part of the Polygonal Wall found under the Temple of Apollo at Delphi. Image taken by Dr. Derek Cunningham.

 

Image of a 20,000-year-old Cylcon held in the collection of ancient writing of Martin Schøyen. Here a detailed analysis of the various lines present on the stone showed an identical angular distribution to the Polygonal Stone Wall found at Delphi  

After a careful study of the angular distribution produced by the various polygonal stones found at Delphi it was determined that the same angular preferences seen in Australia are indeed found in distant Europe. Specifically, it was found that European and Australian art both emphasised the 18.6 year lunar cycle and the 27.32 day sidereal month; and because identical primary to quaternary values were seen, the statistical analysis argues that the link between these images must date back at least 50,000 years ago. This suggests that an ancient Stone Age civilization was actively traveling the world, leaving behind postcards for us to find. 

One of the more unusual visual pieces of evidence gathered in this particular study was an engraved stone found in Australia that replicates a geometrical pattern discovered in Bilzingsleben Germany. The Australian stone was discovered by Jennifer Summerville, who then passed the stone on to Derek for a more detailed analysis.

Astronomical alignments of Aboriginal engravings found on a stone in Australia

Astronomical alignments of Aboriginal engravings found on a stone in Australia

The two Bilzingsleben Samples found in Germany.

As can be seen the engraved Australian stone creates a fan motif that is constructed using the same angular data found on extremely ancient elephant tibia bones recovered from the Bilzingsleben Archaeological site in Germany. The Bilzingsleben bones are currently estimated to be between 300,000 to 400,000 years old.

Equally intriguing, the exact same angular values can be found in the various geometric images found in Lascaux Cave. These geometrics are at a minimum circa 13,000 years old. 

The various similarities seen in the geometric artwork found in Australia and Europe have long been known. What really has been missing until now is a simple method to measure the “artistic intent” of the Stone Age artist who made these patterns. 

As astronomical values are inherently numerical in nature this creates the potential to analyze mathematically ancient artwork for intent, and also to create a method that allows us to directly compare artwork that is entirely dissimilar. This is a major breakthrough in the study of the ancient past. 

With this new ability to directly compare dissimilar geometrical images an entirely new experimental technique is created that for the first time ever allows us to read the drawings left behind by our very distant ancestors.

Top image: Aboriginal rock paintings that show astronomical alignments.

Comments

It is always VERY important to try to enter the mindset of a primitive culture, before drawing conclusions from the few clues that remain of their lives. Intuition, empathy, insight/experience, experimentation all enter into the equation that produces real, plausible observations in an Anthropological/archaeological investigation. Combine these strong imaginings with actual experience and you have a much stronger foundation for figuring out the lives of primitive cultures.

In my case, I have grown up hunting and gathering in some of the most remote/inhospitable climate/geography in the world. In addition, I have farmed for decades. As a hobby I experiment with ancient weapons, and primitive living. (It started as a way to challenge/reinvigorate my lifestyle while dealing with encroaching technology/development and morphed into a preferred lifestyle for lengthy periods of time.) As a result, I've learned almost all there is to know about domestic and wild animals and hunting/gathering.

Here's the deal about HAND PRINTS... These people spent their entire lives quite isolated, and pursuing animals by their paw/hoof/foot prints. Their weaponry required a stalking/ambush approach to hunting which involves a significant portion of tracking. Animal tracks also can be used for inventory purposes of what is out there, and the primitives keenly inventoried tracks just like a fat person eyes the last slice of cake.

Languages were primitive and groups were small, but the language of hunting was universal, and primitive artists KNEW this truth. Since the cave/rock walls they decorated cannot hold impressions in relief without (noisy/possibly dangerous) chiseling, they chose to use pigment to put their hand prints everywhere. Worldwide. It lays claim to their living space, and says we are this many and here are our paws to prove it.

It is hardly evidence that some genetically related group traversed the world spreading graffiti. Sitting at a desk in suburbia for 3-4 generations might make it seem so, but anyone afield with an atlatl and a knife can see the reason for the hand prints. It is as plain as day.

And the date of the Indonesian handprints is similar to the earliest geometrics found in Europe….

http://www.independent.co.uk/arts-entertainment/art/news/40000-year-old-...

More intriguing is my secondary work which uses a Stone Age map of the stars to make a very intriguing map of Earth.

The Stone Age map uses the exact same astronomical values found in geometric text to mark the location of ancient sites.

Dr. Derek Cunningham
Author: The Map that Talked and The Babel Texts

I find it intriguing that the hand prints found in European caves are also found elsewhere.
I remember seeing a photo of one located in Tierra Del Fuego and another in Indonesia(?).
It seems that the unusual method of making the prints - pigment blown through a reed against a hand pressed against the stone - would indicate (at least to me) that the same stone age culture made them.

Just to clarify. The image shown here is an Australian Cylcon not a finger bone. It is a quite large stone that is circa 20,000 years old. 

...the reason why this particular stone is key to this study is the circa 200 lines etched on its surface. This image in the article shows only one side of the stone. 

A very large number of lines assists the statistical analysis, because I can now use experimental bias to happily align the primary alignment to 5.1 degrees, because in this specific study the primary alignment is then immediately thrown out and then no longer becomes central to the second part of the test.

The second part of the test (which is the key to the test) is to now ignore the 5.1 degree alignment and instead to look at only the second most; third most; and fourth most common alignments. 

If the alignments are random, as current archaeological theory insists, then the second most to fourth most common alignments should logically also be entirely random, and no statistical link should be seen between very distant art pieces. 

However, If the theory of a world Stone Age text is correct then these secondary alignments should be common throughout the archaeological record. 

Surprisingly that is what is found, the second to fourth most common values are not just similar.....they are in many cases identical. 

Until now no archaeologist has ever systematically studied the angular distribution seen in these geometric images, because they had no method to systematically align the geometric image. Archaeologists are not astronomers.

Have a look at the two source papers.....I think you will see that the study is very carefully thought out, and statistically the data does links Europe to ancient Australia. The various links between various archaeological sites and art pieces are also described in more detail within my book. 

Dr. Derek Cunningham
Author: The Map that Talked and The Babel Texts

In the Damascus Museum, there is, or there used to be a stone finger- rather like that illustrated in the article- which IS why I mentioned it. It is reckoned to be anything up to about 9000 years old, and is covered in writing. This is the age claimed for the age of several cities in that area. If you cannot Google it at the moment there is a war going on, you know, conducting again by groups of people arguing over nothing.....

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