 | ||||||||||
"There are threads that lead to another, infinitely more ancient, civilisation than the Atlantis of Plato...."
Mooney, p.175
Any communication system relates information content, the symbols of which must be encoded in a coda, such as an alphabet. To extract the meaning of this coded information, it must be decoded, using a system of matching which enables translation.
This is what I have done in developing my decoding and translation model. This has allowed me to construct hypotheses, which lead to syllogisms based on using the best evidence with logical deduction. These form the theory which explains the meaning of crop circles and their information content.
Some crop circle researchers have gone on record with their conclusion that the circles are made by an intelligence other than human and are a communication system. None of these researchers have found who are making the genuine formations, nor what specific information they contain. I have found that the decipherable information is embedded in the repeated symbols used and in another level of meaning contained in a transformation process depicted graphically. This is directly related to the subtle and profound implication of the fact that this information is contained in the shaping of life-itself, in life-sustaining crops. In this sense then, "the medium is the message."
In my 4-book series on Communication I explore the information system, media, and consciousness aspects of the phenomenon. In my 5-book series on Inanna I explore the implications of why this ancient, Sumerian "Goddess of Grain" is depicted both implicitly and graphically; also, since her sacred animal was the lion, and the Mars Face reveals embedded in its design the face of a lion (and given the fact that mathematical constants shared by crop circles AND the Mars structures such as the various pyramids in and around "the city", as discovered by Richard Hoagland's research team, lead to the logical conclusion that both were and are constructed or at least designed by the same intelligence), I contend that the Sphinx is closely associated with Inanna and the Face on Mars could be a depiction of her.
My explanatory model is not built on mere statistical associations (correlations), but rather on the extraordinary and distinctive pattern fit of crop circle symbols with one, and only one, human historical and cultural database of Sumerian symbols. This close matching provides the necessary access to the information required with which to decipher the redundant patterns in what turns out to be a communication system.
Using these clearly identifiable symbols, the circlemakers have identified the planet of their origin, who they are, some of their ancient and ongoing programs of interest (such as genetics-reproduction, and mining), and possibly an indication of when they can be expected to return to Earth after an absence of almost 2500 years.
The circlemakers' connection to their UFO craft is made through three growing, separate bodies of cause-and-effect evidence (eye-witness testimony, still photos, and video tapes) which allows us to identify where UFO craft are from and who are responsible for them.
That the artificial structures in the Cydonia region of Mars were conceived, designed, and constructed by the circlemakers is shown by the shared abstract, conceptual, mathematical constants in these two sets of alien artifacts - crop circles and the so-called Monuments of Mars.
NASA in 1987 announced the detection of a tenth planet of the solar system. Crop circle symbols are consistent with the ancient symbols used for this planet, known as Nibiru to the Sumerians.
That the planet of origin of UFOs is part of the Earth's solar system is further supported by two researchers, Koch and Kyborg, of Berlin, Germany. They show that Marjorie Fish's so-called "Star Map", derived from the Betty Hill drawing recalled from her 1961 abduction experience, shows an exact and complete fit for all lines and points on the map with mineral-rich asteroids and solar system planets on the precise date of the abduction.
The crop circle phenomenon per se is not amenable to scientific study because we cannot control the variables and do experiments related to the circles' manifestations. Yet my research process is scientific in this way - using the tried and true method of comparing the characteristics of an unknown phenomenon (crop circles) to those of a known phenomenon (in this case an ancient knowledge base of the Sumerian culture and it's records several thousand years old). This is how I constructed my explanatory and interpretive model.
The way we solve a mystery is to compare properties of the mystery to a known database ot knowledge base. When the fit or match is highly correlated and well beyond the realm of pure chance, then the power of this model is increased and its validity enhanced. That's what I found, the ancient symbols that match consistently many of the crop formations.
They form a sort of language, one based on nouns. Embedded in the ancient symbols is information. If we apply the rudiments of information systems analysis we see it conforms to what we can decipher and decode. So we can translate them and interpret their meanings as messages, as distinct statements. The linear aspect of sequencing matches the processing of the left hemisphere of our brains. The circlemakers know us very well and how we process information.
The circles are constructed artifacts, and the information they contain forms a communication system that identifies where the circlemakers are from, and by inference who they are. This is not surprising, identifying where they are from and who they are and why they are returning - just like we would do when we first communicate with someone.
Redundancy is also part of this encoded data, and this helps the decoder decipher the essential meaning of the information being conveyed. In other words, with the repeated use of the same symbols, over and over again, even year after year, we see more of the clarity in the symbolic references. Technically, with greater redundancy comes less entropy, or disorder in any system.
The question "Why in grain?" is an intriguing one. There is a way to ascertain the motive for utilizing such a medium as crops by the circlemakers. A specific ancient ruler of Sumeria is identified in one of the most complex crop pictograms to have appeared, that of July 11, 1990 near Alton Barnes, in Wiltshire, England. Her name was Inanna. She was a powerful ruler and being from Nibiru (part of its ruling elite). Later, in Akkad, she was known as Ishtar. She was known as the "Goddess of Grain" - is it any wonder then that these messages are appearing in grain?
The transformation theme of the crop circles is consistent in its reference to the past, its appearing in the present, and its providing a warning about the future.
Hesiod speaks of a golden race of men who preceded his own generation and became the 'holy demons upon the earth,....guardians of mortal men.'
Jaynes, p.164
"The Koran speaks of the existence of 'bricks baked in Hell and written by the demons,'... the reference applies to the many inscribed bricks that are found throughout Mesopotamia." (Chiera, pp.41-2). These baked tablets and bricks were inscribed with Sumerian cuneiform writing.
The Sumerians recorded that they were taught this first system of human non-picture writing by the Anunnaki, the Nefilim, "those who from sky to earth came/fell." These beings were, according to the findings of Z.Sitchin, from the planet Nibiru, literally "Planet of Crossing" in Sumerian. this is the tenth planet of the solar system, which has a highly-inclined, retrograde orbit which is very elongated and which takes 3600 Earth years. NASA' 1987 press announcements about detecting a possible tenth planet might have been the first public, modern indication confirming what the ancients knew for thousands of years.
"We know very little about the origins of the Sumerians.... The Sumerians had a high regard for the art of writing and placed its invention at the very beginning of their civilisation. Moreover, they considered that civilisation as of great antiquity,...."
(Chiera, p.50)
Z.Sitchin cites sources that point out that the Sumerian civilisation arose all of a sudden, with fully developed social institutions and laws that had no evolutionary precedent. Further, these sources make clear that we would recognise these cultural institutions as modern.
"Kuhn has indicated the paradox: a theory has to be accepted before substantial evidence for it comes in. It has to be accepted because it is a novel way of looking [paradigm shift] and scientists will have to put on the new glasses in order to see anything."
Briggs and Peat, 1988, p.230
The gist of the information I have been able to inductively put together in an explanatory model is made of three sets of connections. these are the essentials of my theory that connects crop circles, UFOs, and Cydonia Mars region's architecture, - all have one source:
1. Symbols that identify where the circlemakers are from (see below), and by inference who they are, and what their activities, concerns, programs, or projects will be when they return to Earth; in other words, the why of this announcements system (see below). Or at least part of the why.... I do not pretend to have fathomed ALL of the decipherable reasons, nor do I claim to be fluent in what I call "crop circle language." This communication system IS a language, I contend, because it is composed of meaningful symbols, i.e. meaningful in the context of human knowledge that is verifiable. This is not an alien symbol system; it matches perfectly our history, as revealed in archaeology.
2. The second set of connections is with UFOs.... caught on videos, photos, and seen by eyewitnesses in proximity in space and time with the appearance of genuine crop formations.
3. The same mathematical constants, such as e/p, found in the Cydonia region of Mars' artificial structures, and some crop pictograms, as shown by Richard Hoagland and others.
I was asked recently by the director of a crop circle research center how I was able to predict a crop circle's specific design, as described in Volume 8, Chapter 59 of my 1992 10-volume book Crop Circle Language. The following short six paragraphs were my response.
In 1991 I developed a cohesive and consistent theory that explains and allows interpretation of the information content of these communication artifacts. Through the inductive method of reasoning this theory evolved as one based on ancient knowledge (Sumerian, for example).
I have attempted only ONE prediction. More are quite unnecessary. the fact that it was successful does not qualify my theory as a scientific one because crop circles are not an experiment based field of research, because we cannot control the physical variables involved in their appearing (whatever they might be; including time and place).
What the success of my predictions did, based as it was within the context of specific ancient knowledge, was to confirm the validity, correctness and accuracy of my crop circle explanatory and interpretive theory.
What I did was test the knowledge base of my set of hypotheses. My theory was supported and strengthened by this successful prediction.
So that is HOW I predicted a crop formation's specific design. The prediction's success has demonstrated what is called a theory's validity. The theory's power is shown in how it also explains the origin of other phenomena too, such as UFOs, and the Mars Structures.
This was not an extraordinary process to apply to testing an explanation of an unknown phenomenon. All I did was apply the old tried-and-true method of explaining a mystery... compare its properties and characteristics to a body of known human knowledge and see how it fits (in this case the fit is sufficient for it to qualify as the explanatory model). There is no other way we come to learn anything NEW (check the theories of learning and the basic tenants of epistemology to verify this).
The designs utilised in numerous crop circle types are consistent with symbols used by ancient cultures, such as Sumerian, to represent what they knew to be a 10th planet of the solar system. A June 26, 1987 NASA press release shows possible detection of the presence of a 10th planet.
This planet is not "hidden," but does have, according to ancient records (even Incan, found in the Andes! see Z.Sitchin's 4-book series "Earth Chronicles"), a very elongated, retrograde, highly inclined orbit that takes 3600 years to complete. One ancient symbol shows it to be a heat-generating body, thus it is not frozen solid in the depths of space so far from the sun.
The crop circle design types I noticed to be the same as the ones used by the Sumerians, Babylonians, etc. to stand for this planet (known as Nibiru, and later as Marduk) are; (1) large, plain circles, (2) ringed circles, (3) crosses (Nibiru in Sumerian means literally "Place of Crossing"; see Sitchin's books), and (4) a 4-way radiating circle within a circle, such as .
The information thus gained from such redundant, abundant, repetitive and consistent use of specific crop design symbols allows us to identify from where come the circlemakers, and by inference who they are.
Crop formations use specific symbols known by ancient cultures, such as the Sumerian, that guide the researcher along an evidence trail leading to a researchable, testable solution to this modern mystery. I utilise the tried-and-true scientific method of comparing the characteristics of an unknown phenomenon to a body of human knowledge (a set of known data) and am thus able to develop a theory that is not only internally consistent but which also provides an explanatory model for understanding and explaining the unknown phenomenon under investigation. that is how a mystery is solved.
Crop pictograms use specific and identifiable symbols, and form definite, precise, clear statements. Using my original 14 decipherable methodologies, I have interpreted some of these statements, which of course yield information that is consistent with the ancient knowledge base, that is, the cultural context of the symbols utilised to form these linear statements.
In my book Crop Circle Language my main finding has been to identify WHO is making the circles and WHERE they are from (Nibiru). This is verifiable because of consistent comparison of crop circle types over time to ancient symbols - both are the same design, so they mean the same thing (large plain circle, ringed circle, various types of 'crosses', and 'winged globe' as the planet Nibiru); also 'horns' as those ruling beings from Nibiru on Earth. Their reasons for returning to Earth are the same as earlier and clearly described in crop pictograms (such as 'gold mining' and a specific directive to bring gold to Mars' along with genetic/reproductive transformation).
Although John Michel (then) editor of "The Cerealogist", wrote in 1991 (#3, p.2): ..."no one has yet found a coherent set of symbols which corresponds to the marks of crop circles", he had at that time not seen my work; nor has he yet seen my most recent eight titles.
My books have been reviewed in England, Germany, Italy, and Scotland. I have yet to hear anyone counter my theory with any knowledge-based interpretation that is (as my theory is): (1) internally consistent (2) has been able to demonstrate the poser of their theory by predicting a specific design on the basis of that knowledge (3) much less show what is called elegance by accounting for three separate phenomena in one theory - crop circles, UFOs, and Mars Cydonia artifacts.
I have been able to explain the meaning content of crop pictograms in the context of ancient human knowledge. In this system I have identified the "Face" on Mars, at Cydonia (in my Crop Circle Translation Guide, and more recently in Innann Book No.3, The Sphinx and Mars Face Identified).
In my Crop Circle Reading Manual I apply my original "reading techniques" to decipher a 1990 complex pictogram as a way to successfully understand the messages in crop circle meanings.
My knowledge-based prediction came directly out of my ancient-knowledge-based theory. If any reader knows of any other crop circle theory that has been able to predict a specific pictogram design (Steven Greer's CSETI group does not count because they meditate on an image and ask for it to be duplicated), please notify IRCUP or the author immediately.
Steve's Crop Circle Meanings, in which he goes on to explain the Transformations, will be continued in issue 9 of Enigma.
In the meantime, readers can contact Steve for more information and/or a book list by writing to Steve Canada, Box 4961, Salinas, CA 93912, USA, or by going to Internet World Wide Web address www.newageinfo.com/bus/cropcirc
| ||||||||||||||||||||||||
| |
|||||||||||||||||||||||