With over 25 miles of reported tunnels, that are seemingly great feats of engineering, one would expect to find some indication, or remenants, of the technology that existed to create them. None seems to be forthcoming. This leads, via query, to other potential paths to explore in terms of this mystery. The paths include older than expected age of the structures, still hidden chambers, early and complete looting, cover up or interference from a third party. These are just some intial pathways, all of which will be explored, in order to create potential scenarios and a mental model with which to work. Since the current model does not account for these anomalies new ones must be tried.   (The structures and objects both above and below ground do no fit into the models that are currently being offered as the 'truth'. )  

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Pull the moon tangent to the earth and inscribe a circle to contain both. What is the diameter of such a circle? It is 31,680 miles. Enclose the earth in a square. What is its perimeter? It is 31,680 miles. Very interesting don't you think? We can do a lot from here but a space, that exhibits such relationships, seems to provide a compelling calling. 

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If we go looking for the technology how big might it be and what shape should it take? We can assume, based on the level of perfection and similarity from one object to the next, that it must have been stationary equipment. If that is so then how big would we have expected it to be? Today the size of the equipment might be as much as 50 to 100 times the size of the object being machined. If that is true then we should be able to make a prediction on the outside limits and create a range of size of the object that we might seek to locate. The next blog will be more definitive in this area but this is a good path to take to begin, by inference, to make some educated guesses that might help to locate the missing technology (or at least give us some idea of what might have happended to it).       

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As I am working on an art project focused on the moon I thought it appropriate to add some entries in regards to my fasination with that object. As we all learned in school, the moon is responsible for setting and  maintaining most all of the rythms of life on earth. Imagine that a rock in space could have that power of influence on our planet and its biosphere. It's location and size make it ideal for these patterns for biological surface life as we know it. The Sun provides the energy and the moon maintains the patterns. Reflecting on this one begins to ask other questions and the answsers are astounding. Along with my current entries on the tools of ancient Egypt I will begin to explore some of these astounding and significant aspects of the moon and its place in all of our lives. Paintings will be posted on the site as completed.              

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Everyone puts their tools away when finished and I don't think that ancient Egyptians were any different. They would have put them away somewhere that they could have been protected from the elements. That means underground or in some above ground protected space. Since we have done a pretty good job above ground we should try our hand at the tunnels. We need to have a thorough and complete investigation into the tunnel system with a complete mapping project. We need a focus on the lost technologies as we know now that we have so little of the 'story'.   

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On a recent tour of Egypt our guide, who was an archaeologist told us that there was more under the surface than had been uncvered to date. As they have no place to put all of the 'stuff' they simply cover it back up and make note of its location. Could some remenants or suggestions of advanced technology have already been uncovered and not recognized? 

Moving on to the tunnels and looking at them as a possible resting place for advanced technology how would one go about the process. First there would have to be a concerted effort to map the whole of the tunnel system in any given area. We know there are tunnels throughout the Giza Plateau but to my knowledge there had never been an effort to map the whole of them. Ground penetrating radar could certainly be used. The completed map  would give clues to the intent and could then point to potential warehouse spaces for further exploration.

If there are tunnels under the Giza Plateau one could assume that there are probably ones under the temples and their complexes. At Dendara I experienced one that was under the temple and it had a corridor that was well decorated. I did not think of it at the time but I did not ask if anything else had been found in them or if they existed to to greater extent at that temple or others.

             

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When one thinks about underground networks of tunnels the first question to come to mind is the purpose.  Could these lead to and from warehouse areas where one might find proof of the idea that they used more advanced tool technology to construct their artifacts. Is so what is the best way to proceed to pursue this possibility? Since we do not have the abiltiy to go on site and physicaly pursue it we must take a tangential approach to the process. The first one is to explore what has been written about them and then also take a look at what has been found in other such systems built by other civilizations. This then will be the beginning of an exploration by inference. The next post will begin the journey.     

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So which direction will I take to begin to take the next steps in pursuit of the idea that the Ancient Egyptians had advanced manufacutring technologies? There are may trails on which to embark.  I have chosen the trail of  searching for physical evidence of the tools. If in fact more advanced tools, machines  and techology were used where did they all go? Has time merely sent them to the dust bin? My first stop on this trail will be to explore potential places where physical evidence might be fouind now that we have a better idea of what we may be looking for. The first place I would look is in the 'basement'. Here I am referring to the tunnels that we know have been discovered under the Giza Plateau. In my next blog I will discuss what has been reported/ not reported in relation to the tunnels. I will also discuss the paintings that I am working on in relation to these sub terranean spaces.             

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A recent book by Christopher Dunn entitled, Lost Technologies of Ancient Egypt, has ushered in a new era of possiblities and exploration into the Egyptian past.  Seeing the artifacts throught the eyes of a modern manufacturing expert brings up both new questions and possibliites in regards to the sophistication and knowledge of those that built the Pyramids, the Sphinx and the Temples. A new light is shed on a potential pathway to answsers to questions that have long eluded the best archaeologists. The problem has been the narrowness of their training and capabiities to see what Dunn so dramatically displays in his book.

The question on the table now is where do we go with these new insights.  If in fact Dunn is correct, and all evidence points in that direction, then what is our next step in unraveling the mystery? This blog, in 2011, will continue to develop this idea and suggest some directions that can be taken.

His book has been an inspiration for me to return to Egypt to see first had the evidence that he has provided that seems to indicated that in antiquity our ancestors did in fact possess the skills to manufacture artifacts at a very high level. It has also motivated me to begin again to paint some of the Egyptian subjects but now with a new appreciation and point of view. The new paintings will be up on the site in the next couple of months and I look forward to your feedback.            

            

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The author Simon Leys states that "There is something more important than a finished work of art: it is the spiritual process that preceded it and guided its execution". This quote is the opening line in a paragrah about the Power of Emptiness. To Leys the work of art is of secondary importance and is only an artifact of the artists journey. It is the journey that is primary. Here I think he is referring to the true work of art as a symbol of some spiritual insight. It is the insight that is the source of a forever painitng and not just a painted copy. It is what the subject feels like rather than what it may look like.  Herein lies the quest to feel beyond mere surface appearences and render the essence of the subject matter.  It results in a painting that comes from within and not without. Watercolor is particulary suited for this process as it is more spontaneous than other mediums. What comes from 'within' is rendered 'without' in one stroke and cannot be overworked by the logical but mundane part of our mind. The best paintings are those that occur when the artist has 'let go' and is not concerned or in fear of failure. This ability to let go comes from the confidence and motivation supplied by the spiritual processs referred to by Ley's.       

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