Wondjina gods, Australian Aborigines, 6000 B.C.

Theories about ancient aliens speak about extraterrestrials with superior knowledge who landed on Earth thousands of years ago, sharing their expertise with early civilizations and forever changing the course of human history.

Since the dawn of humanity there has been evidence of sightings and contacts with visitors from outer space.

Prehistoric man left us carved in stone symbols and drawings of what we now try to interpret and maybe our first impression is the right one: “Yes, it looks like an UFO or alien to me, too!”

The  artifacts presented bellow representing ancient aliens are famous, and many of them are featured in museums and are also available to the general public through cave viewings. The depictions of aliens and ufos are obvious.

Paintings from Val Camonica, Italy, 10,000 BC,  depict extraterrestrial visitors.

The two images are from France, the cave of “Peche Merle” near “Le Cabrerets” c.17,000 – 15,000 BC – the scene depicts a landscape full of wildlife together with a number of saucer shaped objects. The objects seem totally out of context.

Sego Canyon, Utah, USA, 7500 BC

Tassili, Algeria, 8000 BC

Lascaux, France, Paleolithic

Val Comonica, Italy, 7-10.000 BC

Flat bone statuettes with copper ornaments, Gumelnita Culture, Romania, Neolithic

Madhya Pradesh, India

Dogu Statue, Japan, 10.000 BC

Other Dogu Statues, Japan

Lolladoff Plate, Nepal, 3.000 BC

Querataro, Mexico, 7.000 years old

Nazca Lines, The Astronaut, Peru, 600 BC

Cucuteni Statue, Romania, Neolithic

Tanzania, 29.000 years old

Cuenca, Ecuador, Astronaut Statues

Peche Merle Cave, France, paintings, 17.000-15.000 BC

Peche Merle Cave, closer look

Rock art panel near Kilmartin, Argyll , Scotland, Neolithic

Dropa Stones, China, 12000 BC

(you may also read http://aenigmaunveiled.wordpress.com/2011/03/30/920/)

Victory Stele of Naram-Sin, Babylon, c.2200 BC

The Tulli Papyrus, Egypt, c.1400 BC

           The Tulli Papyrus named after professor Alberto Tulli, former director of the Vatican Egyptian Museum is considered an evidence of visitors from outer space to Egypt. It describes a “UFO sighting sometime during the reign” of Thutmosis III. A translation of the papyrus is the following:

               “In the year 22, in the third month of winter, in the sixth hour of the day, the scribes of the House of Life noticed a circle of fire that was coming from the sky [...] From the mouth it emitted a foul breath. It had no head. Its body was one rod long and one rod wide. It had no voice. And from that the hearts of the scribes became confused and they threw themselves down on their bellies [...] then they reported the thing to the Pharaoh [...] His Majesty ordered [...] has been examined [...] and he was meditating on what had happened, that it was recorded in the scrolls of the House of the Life. Now after some days had passed, these things became more and more numerous in the skies. Their splendor exceeded that of the sun and extended to the limits of the four angles of the sky [...] High and wide in the sky was the position from which these fire circles came and went. The army of the Pharaoh looked on with him in their midst. It was after supper. Then these fire circles ascended higher into the sky and they headed toward the south. Fish and birds then fell from the sky. A marvel never before known since the foundation of their land [...] And Pharaoh caused incense to be brought to make peace with Earth [...] and what happened was ordered to be written in the Annals of the House of Life so that it be remembered for all time forward.”

 

Hieroglyphs, The Temple from Abydos, Egypt, 3000 years old

 

 

           The hieroglyphs found on the walls in the Temple of Abydos, Egypt look like modern flying machines and submarines. It looks like ancient Egyptians had access to our advanced technology from today.

Airplane model, Saqquara, Egypt, 200 BCE

Rongo-rongo (pronounced /ˈrɒŋɡoʊˈrɒŋɡoʊ/ in English, [ˈɾoŋoˈɾoŋo] in Rapa Nui)  is a system of glyphs discovered in the 19th century on Easter Island that appears to be writing or proto-writing. Despite numerous attempts at decipherment it couldn’t be read. If rongo-rongo proves to be writing, this could be one of the three or four independent inventions of writing in human history.

Two dozen wooden objects bearing rongo-rongo inscriptions, some heavily weathered, burned, or otherwise damaged, were collected in the late 19th century and are now scattered in museums and private collections. None remain on Easter Island. The objects are mostly tablets shaped from irregular pieces of wood, sometimes driftwood, but include a chieftain’s staff, a bird-man statuette, and two reimiro ornaments. There are also a few petroglyphs hich may include short rongo-rongo inscriptions. Oral history suggests that only a small elite was ever literate and that the tablets were sacred.

Authentic rongo-rongo texts are written in alternating directions, a system called reverse boustrophedon. In a third of the tablets, the lines of text are inscribed in shallow fluting carved into the wood. The glyphs themselves are outlines of human, animal, plant, artifact and geometric forms. Many of the human and animal figures, such asand, have characteristic protuberances on each side of the head, possibly representing ears or eyes.

Individual texts are conventionally known by a single uppercase letter and a name, such as Tablet C, the Mamari Tablet. The somewhat variable names may be descriptive or indicate where the object is kept, as in the Oar, the Snuffbox, the Small Santiago Tablet, and the Santiago Staff.

Rongo-rongo is the modern name for the inscriptions. In the RapaNui language t means “to recite, to declaim, to chant out”.

The original name—or perhaps description—of the script is said to have been kohau motu mo rongo-rongo, “lines incised for chanting out”, shortened to kohau rongo-rongo or “lines for chanting out”. There are also said to have been more specific names for the texts based on their topic. For example, the kohau ta‘u (“lines of years”) were annals, the kohau îka (“lines of fishes”) were lists of persons killed in war (îka “fish” was homophonous with or used figuratively for “war casualty”), and the kohau ranga “lines of fugitives” were lists of war refugees.

Some authors have understood the ta‘u in kohau ta‘u to refer to a separate form of writing distinct from rongo-rongo. Thomas Sylvester Barthel (1923–1997) a German ethnologist and epigrapher who catalogued the undeciphered rongo-rongo script recorded that, “The Islanders had another writing (the so-called ‘ta‘u script’) which recorded their annals and other secular matters, but this has disappeared.”

The forms of the glyphs are standardized contours of living organisms and geometric designs about one centimeter high. The wooden tablets are irregular in shape and, in many instances, fluted (tablets B, E, G, H, O, Q, and T), with the glyphs carved in shallow channels running the length of the tablets, as can be seen in the image of tablet G at right. It is thought that irregular and often blemished pieces of wood were used in their entirety rather than squared off due to the scarcity of wood on the island.

Rongo-rongo glyphs were written in reverse boustrophedon, left to right and bottom to top. That is, the reader begins at the bottom left-hand corner of a tablet, reads a line from left to right, then rotates the tablet 180 degrees to continue on the next line. When reading one line, the lines above and below it would appear upside down, as can be seen in the image at left.

However, the writing continues onto the second side of a tablet at the point where it finishes off the first, so if the first side has an odd number of lines, as is the case with tablets K, N, P, and Q, the second will start at the upper left-hand corner, and the direction of writing shifts to top to bottom.

Larger tablets and staves may have been read without turning, if the reader were able to read upside-down.

According to oral tradition, scribes used obsidian flakes or small shark teeth, presumably the hafted tools still used to carve wood in Polynesia, to flute and polish the tablets and then to incise the glyphs. The glyphs are most commonly composed of deep smooth cuts, though superficial hair-line cuts are also found. In the closeup image at right, a glyph is composed of two parts connected by a hair-line cut; this is a typical convention for this shape. Several researchers, including Barthel, believe that these superficial cuts were made by obsidian, and that the texts were first sketched with obsidian and then deepened and finished with a worn shark tooth. The remaining hair-line cuts were then either errors, design conventions (as at right), or decorative embellishments.Vertical strings of chevrons or lozenges, for example, are typically connected with hair-line cuts, as can be seen repeatedly in the closeup of one end of tablet B below. However, Barthel was also told that the last literate Rapanui king, Nga’ara sketched out the glyphs in soot with a fish bone and then engraved them with a shark tooth.

Tablet N, on the other hand, shows no sign of shark teeth. The glyphs of this text appear to have been incised with a sharpened bone, as evidenced by the shallowness and width of the grooves. N also displays secondary working with obsidian flakes to elaborate details within the finished contour lines. No other rongo-rongo inscription reveals such graphic extravagance.

Other tablets appear to have been cut with a steel blade, often rather crudely. Although steel knives were available after the arrival of the Spanish, this does cast suspicion on the authenticity of these tablets.

The glyphs are stylized human, animal, vegetable and geometric shapes, and often form compounds. Nearly all those with heads are oriented head up and are either seen face on or in profile to the right, in the direction of writing. It is not known what significance turning a glyph head down or to the left may have had. Heads often have characteristic projections on the sides which may be eyes (as on the sea turtle glyph below, and more clearly on sea-turtle petroglyphs) but which often resemble ears. Birds are common; many resemble the frigatebird which was associated with the supreme god Makemake. Other glyphs look like fish or arthropods. A few, but only a few, are similar to petroglyphs found throughout the island.

Origin

Oral tradition holds that either Hotu Matu‘a or Tu‘u ko Iho, the legendary founder(s) of Rapa Nui, brought 67 tablets from their homeland. The same founder is also credited with bringing indigenous plants such as the toromiro. However, there is no homeland likely to have had a tradition of writing in Polynesia or even in South America. Thus rongo-rongo appears to have been an internal development. Given that few if any of the Rapa Nui people remaining on the island in the 1870s could read the glyphs, it is likely that only a small minority were ever literate. Indeed, early visitors were told that literacy was a privilege of the ruling families and priests who were all kidnapped in the Peruvian slaving raids or died soon afterwards in the resulting epidemics.

Dating the tablets

Little direct dating has been done. Tablet Q (Small Saint Petersburg) is the sole item that has been carbon dated but the results only constrain the date to sometime after 1680.

Direct dating is not the only evidence. Texts A, P, and V can be dated to the 18th or 19th century by virtue of being inscribed on European oars. In 2005 Catherine Orliac examined under the microscope seven tablets (B, C, G, H, K, Q and L) and calculated that the wood for Tablet Q(Mamari) was cut from the trunk of a tree some 15 meters (50 ft) tall, and Easter Island has long been deforested of trees that size. Analysis of charcoal indicates that the forest disappeared in the first half of the 17th century. Jacob Roggeveen, the dutch explorer who discovered Easter Island in 1722, described the island as “destitute of large trees” and in 1770 González de Ahedo wrote, “Not a single tree is to be found capable of furnishing a plank so much as six inches [15 cm] in width.” Forster, with Cook’s expedition of 1774, reported that “there was not a tree upon the island which exceeded the height of 10 feet [3 m]“.

All of these methods date the wood, not the inscription. However, Pacific rosewood is not durable, and is unlikely to survive long in Easter Island’s climate.On the other hand, glyph 067 () is thought to represent the extinct Easter Island palm, which seems to have disappeared from the island’s pollen record circa 1650, suggesting that the script is at least that old. The start of forest clearing for agriculture has been dated to circa 1200, implying a date of the 13th century or later.

Eugène Eyraud, a lay friar of the Congrégation de Picpus, landed on Easter Island on January 2, 1864, on the 24th day of his departure from Valparaíso. He was to remain on Easter Island for nine months, evangelizing its inhabitants. He wrote an account of his stay in which he reports his discovery of the tablets:

“In every hut one finds wooden tablets or sticks covered in several sorts of hieroglyphic characters: They are depictions of animals unknown on the island, which the natives draw with sharp stones. Each figure has its own name; but the scant attention they pay to these tablets leads me to think that these characters, remnants of some primitive writing, are now for them a habitual practice which they keep without seeking its meaning. “

Destruction

In 1868 the Bishop of Tahiti, Florentin-Étienne “Tepano” Jaussen, received a gift from the recent Catholic converts of Easter Island. It was a long cord of human hair, a fishing line perhaps, wound around a small wooden board covered in hieroglyphic writing. Stunned at the discovery, he wrote to Father Hippolyte Roussel on Easter Island to collect all the tablets and to find natives capable of translating them. But Roussel could only recover a few, and the islanders could not agree on how to read them.

Yet Eyraud had seen hundreds of tablets only two years earlier. What happened to the missing tablets is a matter of conjecture. Eyraud had noted how little interest their owners had in them.

As European-introduced diseases and raids by Peruvian slavers, including a final devastating raid in 1862 and a subsequent smallpox epidemic, had reduced the Rapa Nui population to under two hundred by the 1870s, it is possible that literacy had been wiped out by the time Eyraud discovered the tablets in 1866.

Thus in 1868 Jaussen could recover only a few tablets, with three more acquired by Captain Gana of the Chilean corvette O’Higgins in 1870. In the 1950s Barthel found the decayed remains of half a dozen tablets in caves, in the context of burials. However, no glyphs could be salvaged.

Of the 26 commonly accepted texts that survive, only half are in good condition and authentic beyond doubt.

As with most undeciphered scripts, there are many fanciful interpretations and claimed translations of rongo-rongo. However, apart from a portion of one tablet which has been shown to have to do with a lunar calendar, none of the texts are understood. There are three serious obstacles to decipherment, assuming rongo-rongo is truly writing: the small number of remaining texts, the lack of context such as illustrations in which to interpret them, and the poor attestation of the Old Rapanui language since modern Rapanui is heavily mixed with Tahitian and is therefore unlikely to closely reflect the language of the tablets.

The prevailing opinion is that rongo-rongo is not true writing but proto-writing, or even a more limited mnemonic device for genealogy, choreography, navigation, astronomy, or agriculture. For example, the Atlas of Languages states, “It was probably used as a memory aid or for decorative purposes, not for recording the Rapanui language of the islanders”. If this is the case, then there is little hope of ever deciphering it.  For those who believe it to be writing, there is debate as to whether rongo-rongo is essentially logographic or syllabic, though it appears to be compatible with neither a pure logography nor a pure syllabary.

In 1938 in the Baian-Kara-Ula mountains on the border that divides China and Tibet an archaeological expedition led by Chi Pu Tei, has found some caves that had obviously been occupied by a primitive people long ago. The caves could have been artificially carved, and were a complex system of tunnels and underground storerooms. The walls were squared  as if cut into the mountain with a source of extreme heat.

Inside the caves were several ancient burial sites, and in them the skeletal remains of a strange people. The skeletons, measuring a little more than four feet tall, were frail and having large skulls.

On the walls were carved pictograms of the sun, the moon, the stars, and the Earth with lines of dots connecting them. Half-buried in the floor of the cave was a stone disk having approximately nine inches in diameter and three-quarters of an inch thickness. In the center of the disk was a perfectly round, 3/4″ hole, and etched in its face was a fine groove spiraling out from the center to the rim. This plate was dated to be between 10,000 and 12,000 years old – older by far than the great pyramids of Egypt. In all, 716 such plates were found. And each held an incredible secret. The groove was in fact a continuous line of strange carved hieroglyphis – writing.

The almost microscopic hieroglyphis were in a unknown language.

In 1962 another Chinese scientist, Dr. Tsum Um Nui, was able to decode the message of the stone plates – a message so incredible and earth-shattering that the Prehistory Department of the Beijing Academy prohibited its translation to be published. Eventually, the message was published, and what is says is trully amazing.

Dr. Tsum Um Nuipublisged the book “The Grooved Script Concerning Spaceships Which, as Recorded on the Discs, Landed on Earth 12,000 Years Ago.”

The Dropa disks tell the story of a space probe from a distant planet that crash-landed in the Baian-Kara-Ula mountains of the Himalayas. The occupants of the spacecraft – the Dropa – found refuge in the caves of the mountains. Despite their peaceful intentions, the Dropa were misunderstood by members of the Ham tribe who were occupying neighboring caves and who hunted down the aliens and even killed some of them. A translation of one of the passages says: “The Dropa came down from the clouds in their aircraft. Our men, women, and children hid in the caves ten times before sunrise. When at last they understood the sign language of the Dropa, they realized that the newcomers had peaceful intentions….”

The stones go on to say how the Dropa were unable to repair their disabled spacecraft and could not return to their home planet, and so were stranded on Earth.

In 1968, W. Saitsew, a Russian scientist who republished the findings of Tsum Um Nui conducted a few tests on the Dropa disks that revealed some very peculiar properties. The granite stones contained high concentrations of cobalt and other metals – a very hard stone indeed that would have made it difficult for the primitive people to carve the lettering, especially with such small characters. When testing a disk with an oscillograph, a surprising oscillation rhythm was recorded as if, the scientists said, they had once been electrically charged or had functioned as electrical conductors.

His father was a Canadian ambassador, and his childhood was split between Ottawa and various Latin American countries.

Benjamin Fulford at the age of 17 went by boat in the Amazon to live in a tribe. He continued seeking answers and better understanding Western society, spending time in a modest community in Argentina before heading to attend university in Japan.

In the early 1980s he came to Japan to study at Sophia University. After receiving a B.A. from the University of British Columbia he returned to Japan in the mid-1980s to pursue a career in journalism. He worked in Japan as a correspondent for Knight Ridder, the International Financing Review, the Nihon Keizai Shimbun English edition, and the South China Morning Post before moving to Forbes magazine, where he was the Asian Bureau chief from 1998 to 2005.

Rumours say that Fulford resigned as Asia-Pacific Bureau Chief of Forbes Magazine after investigating a scandal which the editor refused to report.

After leaving Forbes he wrote a series of books in Japanese. He naturalized to Japanese citizenship in 2007.

As he researched global affairs further in his own time, it is believed that he uncovered the complex web which is global financial control at the hands of the Rockefellers and the Rothschilds – and also the existence of racially targeted bioweapons such as SARS and AIDS. It was these suposed plans for global depopulation that upset some important and powerful factions in Japan, Taiwan and China.

Benjamin Fulford became the first Westerner for 500 years to be admitted into the ranks of the Eastern Secret Societies, a vast group with six million members. Acting as their spokesman, he stepped up to the plate to deliver a message to the Illuminati: “Recognize that your time is over…”

He has claimed amongst others that:

• AIDS and SARS are bio-engineered weapons designed to reduce the African and Asian populations. AIDS was created to reduce the African population, and SARS was meant to reduce the Asian populations of the world.

• A Chinese Secret Society with a membership of 6 million (intellectuals like professors in various fields, scientists, politicians, etc.), this includes 1.8 million gangsters, and 100,000 professional assassins has issued an ultimatum to the Illuminati, warning them that if they persist with their plan to depopulate the earth, they will be killed. The society has created an alliance joining China, Russia, India, South America, ASEAN, the free Muslim nations and Africa that is united in stopping the Illuminati.

• The 9/11 terrorist attacks were an “inside job” carried out by the US government as a false flag attack to bring about new imperial mobilization.

• The Pentagon, the oil industry, banking elite, and the pharmaceutical industry suppress inventions including free-energy and anti-gravity technology to maintain power.

• Since 2009, Fulford has stated that the US government, using a secret military program known as HAARP (High Frequency Active Auroral Research Program) has been altering the climate, and using high power microwave energy inducing earthquakes including the Asian Tsunami (2004) and earthquakes in Japan (1995), China (2008), Haiti (2010), Chile (2010), New Zealand (2011), Japan (2011).

How wrong or right is this man it seems impossible for us to discover yet. Maybe these statements were intents to explain those tragic events and his imagination brought him too far away, but maybe not… Who knows?

See other predictions from Baba Vanga in “Prophets and their predictions” Category of this blog.

Hereward Carrington, Ph.D. (born Hubert Lavington) (17 October 1880 – 26 December 1958) was a well-known British investigator of psychic phenomena and author. His subjects included several of the most high-profile cases of apparent psychic ability of his times, and he wrote over 100 books on subjects including the paranormal and psychical research, conjuring and stage magic, and alternative health issues.

” By the mid 1920s Hereward Carrington had written many books about psychical research and had mentioned more than once the phenomenon of astral projection, but he mainly condensed the work of others and gave little information that would be of interest to someone who had a spontaneous OBE. In November 1927 he received a letter from a young American called Sylvan Muldoon, telling him what he thought of his book. Muldoon wrote, ”What puzzles me most is that you make the remark that M. Lancelin has told practically all that is known on the subject. Why, Mr Carrington, I have never read Lancelin’s work, but if you have given the gist of it in your book, then I can write a book on the things that Lancelin does not know!” Muldoon went on to sketch a wealth of details about the astral world, the silver cord, and the formation and movement of the phantom. Then Carrington’s curiosity was attracted. He contacted Muldoon, and together they wrote two books. The first was The Projection of the Astral Body and was mainly an account of Muldoon’s own experiences. The second The Phenomena of Astral Projection contained a collection of cases.

Muldoon’s first conscious projection occurred when he was 12 years old. He awoke in the middle of the night to find himself conscious, but not knowing where he was, and apparently unable to move, a condition he later called astral catalepsy. Gradually the sensation of floating took over, and then a rapid up-and-down vibration and a tremendous pressure in the back of his head. Out of this nightmare of sensations the boy’s hearing gradually began to return and then his sight, by which he could see that he was floating in the room above his bed. Some force took hold of him and pulled him from horizontal to vertical. He saw his double lying quietly asleep on the bed, and between the two of them stretched an elastic-like cable which joined the back of the head of his conscious self, to a spot between the eyes of the body in bed, six feet of so away. Swaying and pulling against the cord Muldoon tried to walk to another room to wake someone, but found that he passed right through the door, and through the bodies of other sleepers too, when he tried to shake or clutch them. Frightened, he roamed around the house for what seemed like fifteen minutes, and then slowly the pull of the cord increased and he found himself being pulled back to his body. Everything went in reverse. He tipped back to horizontal, again became cataleptic, felt the same vibrations and then, with a jerk, dropped back into the body. He was awake and alive again.

Muldoon experienced hundreds more projections but he was not fully conscious in all of them from beginning to end as he was in the first one. This one is especially interesting because it included so many of the features which were to form a part of his later writings. First, there is the astral catalepsy. At the beginning of a projection the catalepsy lasts until the phantom has assumed a vertical position, whereupon it becomes free to move again. The appearance and effect of the cord, or cable, varies greatly according to Muldoon. When the astral is close to the physical the cord is about the diameter of a silver dollar, although its surrounding aura makes it look larger. When it is thick like this it exerts a powerful ‘magnetic pull’ and one is then in what Muldoon calls ”cord activity range”. In his experiments in projection he found that this range varies from about 8 feet to 15 feet, and this depends on physical vitality. When the physical body is healthy the cord exerts the most effect and over the greatest range. Indeed, in many cases it makes projection impossible. When the body is weakened in some way the activity of the cord is correspondingly weaker and projection is easier and the cord activity range less. This is why illness or physical weakness, as well as fasting, are conducive to projection, leading up to that final projection – death. It is therefore significant that both Fox and Muldoon were often ill. When the astral body manages to pull away from the physical and out of cord activity range it becomes free to move at will, and the cord is then stretched to its thinnest, about the thickness of sewing thread.

Once away from the physical the astral is supposed to have three moving speeds. At its slowest it simply walks, or moves as a physical body would. At the intermediate speed the projector feels still and everything passes backwards. Streaks of light thrown off by the astral body trail behind. Finally at supernormal speed the phantom can cover great distances without being aware of them, faster than the mind can imagine. Covering such distances one might think that astral body could get lost, but Muldoon categorically denies this. While the cord is intact it can always pull the projector back.

It is Muldoon’s contention that projection, at least partial projection, is commoner than most of us think. When we receive a shock or physical blow the astral may temporarily separate, and under anaesthesia it projects, although we usually do not recall the excursion. He even suggests that if the physical body is stopped suddenly, for example in a car, then the astral may continue for a moment, so leading to feeling of sickness. All kind of odd feeling, fainting, breath-taking sensations, and jerks before falling asleep, are attributed to partial separation of the double. Most important, though, is projection during sleep. In natural sleep, claims Muldoon, the astral separates slightly to be replenished with ”cosmic energy”. Most of us do not realize this and remain unconscious throughout; but in falling, flying, and other special dreams we can experience just part of the astral body’s night-time travels.

In his experiments Muldoon discovered many other features. Like Fox he found that emotional involvement in anything would terminate the projection. Sexual desire he found a negative factor, but some kinds of stress could help in inducing projection. When the body is immobilized in sleep, for example, if there is a strong desire for something the astral may try to leave to get it. Similarly the breaking of a long-established habit can lead to projection. Muldoon related this to hauntings in which, he claims, the phantom may continue with accustomed routines.

Some of Muldoon’s most interesting experiment are those in which he tries, in his astral body, to affect material objects. This is not easy. The reason, he explains, is that the astral body has a higher rate of vibration when it is far away from the physical, and the higher the rate of vibration, the less it can interact with objects of a low vibration rate. This is necessarily so, he claims, because if the astral body were not at this higher state of vibration it could never pass through material objects, and if it were always at the highest rate then other astral entities would not be able to pass through it on their travels, which clearly they can. This leads to the conclusion that the astral body gains higher vibrations as it moves further from the physical, and consequently it becomes less able to affect material objects.

In addition Muldoon argues that the conscious will cannot move object in the astral, but only the subconscious, or crypto-conscious, mind. On one occasion when he was very ill he tried to call out to his mother but failed to wake her. Getting out of bed he crawled across the floor, but fainted, and only his astral body ascended the stairs. His consciousness then faded; but next he knew, he found his mother and small brother discussing excitedly how the mattress had lifted up and nearly thrown them out of bed. Although other explanations can be suggested, Muldoon attributes the effect to the crypto-conscious will. On another occasion he produced raps which were heard by others when he was dreaming of producing them; but on many occasions he failed to touch or move physical objects when projected.

One of the facts Muldoon stresses is the importance of thought in the astral. Thought holds up the astral body, for when it walks upon an upper floor, it is not the floor which holds it up (it could easily pass through that); it is habits of thought. In fact thought is everything in the astral world. Critics, he realized, would be worried by the clothes of the phantom. Why should the astral body wear earthly suits, pyjamas and dresses, as so many have reported? The answer, he explained, is that ”thought creates in the astral, and one appears to others as he is in mind. In fact, the whole astral world is governed by thought.”

Many readers will find Muldoon’s descriptions difficult to understand. He does not give simple descriptive accounts as Fox did. Instead every account is steeped in the theory which he so laboriously developed. Some of his findings, such as the power of thought in the astral world, and the methods of moving, are familiar from other accounts; but his detailed description of the cord and its activity range is quite idiosyncratic, as are his method and position of projecting.

Muldoon constantly adjures reader to try for themselves, perhaps the only way to learn many things about astral projection. But I am sure that most people who try it will find that only some of Muldoon’s elaborate details fit their own experience. Above all we are beginning to see just how variable the OBE can be. Perhaps the most important discovery so far is that ”thought creates in the astral”. As one person’s thought differs from another’s, so we may expect his OBE to differ. In the next chapter we shall learn that three habitual travellers have described experiences that are different again.”

From the article “Sylvan Muldoon” by Susan Blackmore

The disc of Phaistos is the most important example of hieroglyphic inscription from Crete and was discovered in 1903 in a small room near the depositories of the “archive chamber”, in the north – east apartments of the Phaistos palace, together with a tablet and pottery dated to the beginning of the Neo-palatial period (1700- 1600 B.C.).

According to mythology, the city of Phaistos was the residence of king Radamanthis, brother of king Minos.
Excavations by archaeologists have unearthed ruins of the Neolithic times (3.000 B.C.).
During the Minoan times, Phaistos was a very important city-state. Its dominion, at its peak, stretched from Lithinon to Psychion and included the Paximadia islands. The city participated to the Trojan war and later became one of the most important cities-states of the Dorian period.
Phaistos continued to flourish during Archaic, Classical and Hellenistic times. It was destroyed by the Gortynians during the 3rd century B.C. But Phaistos continued to exist during the Roman period.

Both surfaces of this clay disc are covered with hieroglyphs arranged in a spiral zone, impressed on the clay when it was damp. The signs make up groups divided from each other by vertical lines, and each of these groups should represent a word.

Forty five different types of signs have been distinguished, of which a few can be identified with the hieroglyphs in use in the Proto- palatial period. Some hieroglyphic sequences recur like refrains, suggesting a religious hymn, and Pernier regards the content of the text as ritual. Others have suggested that the text is a list of soldiers, and lately Davis has interpreted it as a document in the Hittic language in which a king discusses the erection of the Palace of Phaistos.

In a century which has seen the cracking of other ancient languages, Ugaritic, and other orthographic systems, the Phaistos Disk has eluded decipherment. The disk is thought to date from around 1700 BC. It is a roundish disk of clay, with symbols stamped into it. The text consists of 61 words, 16 of which are accompanied by a mysterious “slash” mark.

For 400 years the Topkapi Palace had been the Ottoman Empire’s sultan main residence. In 1929, the Turks decided to transform the palace into a museum, bringing to light artefacts hidden in the dark chambers and cellars. Then was discovered a map drawn in 1513 by the admiral and cartographer Piri Reis. The map showed the western side of Europe, the western side of Africa, South America and surprisingly the Antarctica. Reis had drawn with precision the way the borders of Africa and South America fitted together before they were separated in time and also Antarctica – a frozen land first seen (as we all thought) in 1820 by Mikhail Lazarev and Fabian Gottlieb von Bellingshausen.

 This map became more mysterious because Reis had drawn also a reference to Columbus, reminding of an ancient map that Columbus had used during his expeditions on sea. Columbus map became an “El Dorado” for treasure hunters, bu no one has yet found it.