I came across this cool infographic yesterday on Twitter, which is taken from a New Scientist article from 2010. Click to go through to the detailed image:
French caves are known for their prehistoric rock art. But also marked on the walls around the paintings are 26 symbols that have appeared again and again at French sites across 25,000 years of prehistory. Early signs suggest that many of these symbols crop up in other parts of the world too, leading some to wonder if symbolic communication arose with early humans.
Funnily enough, the next thing I clicked on was a link to the new trailer for Ridley Scott's Prometheus, which features a plotline in which common symbols are found in prehistoric cultures around the world (an "invitation" from an alien race). I thought I'd include it below, simply for your own enjoyment of my fun little synchronicity.
At least if we decode some ancient pictograms in future from an alien race, we'll be more circumspect about accepting the invitation...
I recently mentioned a newly-released book on a mysterious megalithic site, The Georgia Guidestones: America's Most Mysterious Monument, by Raymond Wiley and KT Prime (foreword by Graham Hancock). For those of you who, like me, are stuck on another continent, the following video tour by one of the authors of the book is sure to be of help in picturing and better understanding the structure:
You can download an inexpensive eBook version of Wiley and Prime's book from the official website, or grab a physical copy from Amazon US or Amazon UK. And of course, check out my own essay from Darklore, Beyond the Apocalypse: Myths and Legends Concerning the Georgia Guidestones", which I think offers some interesting insights into the mythology behind the monument.
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Let's party like it's 1999: former Egyptian antiquity supremo Zahi Hawass has rekindled a decade-old antagonism with 'alternative history' author Robert Bauval. On the front page of the top Arabic daily newspaper Al Ahram for Thursday April 12, Hawass, ex-Minister of Antiquities in Egypt, and Farouk Hosni, ex-Minister of Culture, claimed* that Bauval's next book, co-written with Ahmed Osman (Breaking the Mirror of Heaven, to be released August 15), attributes Egyptian civilisation to the Jewish people. Bauval notes on his blog that...
Hawass further claimed that my parents were ‘Belgians Jews’ from Alexandria — a claim clearly intended to be derogatory, implying that being a ‘Jew’ explains the reason for me writing this book (as an act of ‘vengeance’) and that, in any case, being a ‘Jew’ I cannot be believed.
In response to this, I have shown proof on my blog that such claims are untrue. My parents were Catholic Christians, and they were baptised (as I was) in the churches in Alexandria.
It is not the first time that Zahi Hawass has used the ‘Jews’ to try and discredit his opponents. Since 1991 Hawass has played this ‘Jews’ card against his opponents. In 2009 Hawass went as far as accusing the Jews of ruling the world and controlling the USA.
...But the amazing irony is that Hawass’s recent outburst evoking ‘Jews’ and his obvious desire to show that he ‘protecting Egyptian civilization’ against ‘Jews’ may, in fact, be a smoke screen to his own very involved relationship with American Jews – something that today in Egypt would definitely not go down well in the present political climate. It is well known in academic circles that Hawass obtained his PhD in America (at the University of Pennsylvania) with his tutor and assessor of his thesis being Dr. David Silverman, who is Jewish. Dr. Silverman, and his university, have been granted long-tern concessions in Egypt by Hawass, and the latter and Dr. Silverman have collaborated on many projects and even wrote a book together. It is also well-known that Hawass has ‘facilitated’ the Edgar Cayce Foundation of America to work at the Giza Pyramids many times, and that the principal funders were Joseph Jahoda and Joseph Schor, two promiment Jewish American businessmen.
Let it be very clear to everyone that I do not hold any anti-Semitic sentiments whatsoever. And I do not consider it either a detriment or an advantage to collaborate on projects with Jews – or Christians or Muslims for that matter. Indeed religion, as far as I am concerned, does not and should not be a factor at all in Egyptology or any other endeavour. But we may wonder what Zahi Hawass is playing at by constantly attacking his opponents by claiming that they are ‘Jews’. There is, excuse the pun, something not quite Kosher in his behaviour.
I've written previously about the tangled web surrounding Zahi Hawass's involvement with this controversial topic. In this case, one wonders how much of this attack is political positioning by Hawass, given the former's close ties to former Egyptian president Hosni Mubarak, and rumours of Zahi's involvement with Zionist businessmen, versus the recent rise of Islamist power-brokers in the Egyptian political system. In any case, it's not exactly the type of publicity that Robert Bauval would want in his home country.
* I haven't seen the English version of the article, so am going by Robert Bauval's translation here
Dr Zahi Hawass, once-king of Egyptian archaeology via his position as the (former) Minister of State for Antiquities, may face charges of breaking Egypt's antiquities law:
General Prosecutor Abdel Meguid Mahmoud on Monday referred charges of wasting public money and stealing Egyptian antiquities against Zahi Hawass, former minister of state for antiquities to the Public Fund Prosecution office.
Nour El-Din Abdul-Samad, Director of Archeological Sites, had filed the accusations against Hawass, and requested that the objects in question be returned to the Egyptian Museum.
The Public Funds Prosecution office also received other charges accusing Hawass of wasting public money and exposing Egyptian antiquities to stealing in collaboration with former regime members.
Hawass is accused of sealing a deal with the American Geographical Society to display rare Egyptian antiquities in exhibitions across the United States and Australia, violating the law of protecting antiquities.
Hawass admitted in a television talk show that he had a 17 million dollar deal with the American Geographical Society with regard to a Tutankhamun exhibition to raise donations for Suzanne Mubarak's association, wife of former president Hosni Mubarak. Suzanne Mubarak's association was a private association not a state body, and as such Hawass was not legally allowed to use his position as a state minister to raise funds for it.
The charges relate to Hawass agreeing to transfer and display 143 objects from the Egyptian Museum to Washington DC in 2003. The antiquities have yet to be returned to the museum.
Beyond the irony of Hawass possibly being charged for sending antiquities away from Egypt (given his long-running crusade to have stolen artefacts repatriated), I'm not sure how much of this is simply political point-scoring. These kinds of exhibitions would have had plenty of value - from education through to inspiring tourism - and it would be sad for Hawass to be convicted for simply spreading the Egypt love around. Things like the money going to the Susan Mubarak association may be more problematic for him though....
A trailer for a subject I didn't know existed: Portugese megaliths. Timelapse and megaliths will look good no matter where they were filmed though...something about the combination of cosmic depth, the relentless march of time, and the permanence of megaliths, that just works beautifully together.
Well this little piece of news deserves to be making more waves (no pun intended): Neanderthals were ancient mariners, crossing the Mediterranean in boats 100,000 years ago:
Neanderthals lived around the Mediterranean from 300,000 years ago. Their distinctive "Mousterian" stone tools are found on the Greek mainland and, intriguingly, have also been found on the Greek islands of Lefkada, Kefalonia and Zakynthos. That could be explained in two ways: either the islands weren't islands at the time, or our distant cousins crossed the water somehow.
Now, George Ferentinos of the University of Patras in Greece says we can rule out the former. The islands, he says, have been cut off from the mainland for as long as the tools have been on them.
Ferentinos compiled data that showed sea levels were 120 metres lower 100,000 years ago, because water was locked up in Earth's larger ice caps. But the seabed off Greece today drops down to around 300 metres, meaning that when Neanderthals were in the region, the sea would have been at least 180 metres deep (Journal of Archaeological Science, DOI: 10.1016/j.jas.2012.01.032).
Ferentinos thinks Neanderthals had a seafaring culture for tens of thousands of years. Modern humans are thought to have taken to the seas just 50,000 years ago, on crossing to Australia.
The journeys to the Greek islands from the mainland were quite short - 5 to 12 kilometres - but according to Thomas Strasser of Providence College in Rhode Island, the Neanderthals didn't stop there. In 2008 he found similar stone tools on Crete, which he says are at least 130,000 years old. Crete has been an island for some 5 million years and is 40 kilometres from its closest neighbour - suggesting far more ambitious journeys.
Strasser agrees Neanderthals were seafaring long before modern humans, in the Mediterranean at least. He thinks early hominins made much more use of the sea than anyone suspects, and may have used the seas as a highway, rather than seeing them as a barrier. But the details remain lost in history.
This week's news story about the integration of acoustics into ancient sacred sites brought to mind a passage in Paul Devereux's wonderful book The Long Trip: A Prehistory of Psychedelia (available from Amazon US and Amazon UK), which I had the privilege of publishing in an updated edition a few years ago. In this short section, Paul speculates freely about the possible use of acoustics at a site such as Newgrange, in Ireland.
On stones in the passage and within the chamber are engraved lozenges, spirals, triple spirals and other form constants. Outside, there is an entrance stone in front of the passage entrance which is richly carved with similar patterns, as are three of the exterior kerbstones to the mound. Are these markings the equivalent of those in the Chumash shaman’s cave? Did a calendrical, ritualised vigil take place here, of mythic significance to the builders of Newgrange, where the ancient Lords of Light are said in legend to have dwelt? Did some Neolithic shaman or shamanic elite take a mind-altering infusion and then sit within the inky blackness of the awesome chamber, perhaps amongst the ancestral bones, intoning deep, echoing chants until the very walls reverberated, waiting to receive the ecstatic golden blast of soul-searing solar light at the dark turning of the year?
We may never know for certain, but the evidence leads to interesting
speculation. The structure was clearly related to midwinter solar astronomy, the entoptic-style rock art there does speak of altered mind states, and acoustical tests conducted within the chamber in 1994 by Robert G. Jahn, myself and colleagues showed that the resonant frequency of the Newgrange chamber was 110 Hz (cycles per second), within the baritone vocal range. We could speculate further, and suggest that chanting at the resonant frequency of the chamber might itself “drive” the brain and help induce trance states – initial EEG studies are currently indicating that the 110 Hz frequency does cause alterations in brain activity. And we can stretch speculation to guesswork. Inside the chamber there are large stone dishes; if these had been filled with water on ritual occasions and hot stones placed in it, clouds of steam would be produced creating a “sweat-lodge” type of environment (there is evidence of this kind of practice in early Ireland). The droplets of moisture in the steam would have vibrated with the resonant chanting within the chamber. Experiments have shown that in such a case water droplets (or other aerosol components) floating in air assemble into wave patterns reflecting the frequency of the sound, and these show up when subjected to a lightbeam. We can therefore picture the solstitial sunbeam cutting a vivid shaft of light through the steamy interior of the Newgrange chamber revealing shifting light and dark patterns relating to the 110 Hz frequency of the sound. Interestingly, these patterns would be similar to the sort of rock art motifs we find at Newgrange. The acoustically-driven steam patterns would probably also have assisted the “flicker” mechanism in the sunlight that Dronfield has found evidence for. In this scenario we can see the combination of at least five mind-altering techniques: the use of a hallucinogen, be it psilocybin mushrooms, an ergot derivative, or henbane, taken at the start of a long initial period of sensory-deprivation in the silent blackness of the chamber, followed by prolonged resonant chanting in a sweat-lodge type of hot steamy atmosphere, culminating in powerful flickering light.
Paul has of course immersed himself in this very topic - he wrote a book titled Stone Age Soundtracks, and has written articles examining 'archaeoacoustics' - so while he's speculating, it is informed speculation.
The Long Trip itself is a great book - if, like me, you're interested in both ancient cultures and the human mind, it's really a must-have for your collection (and of course, purchasing a copy helps support both Paul and The Daily Grail). You can grab a copy right now by ordering from Amazon US or Amazon UK.
I recently posted Part 1 and Part 2 of a chat between British band Turbowolf and 'hidden history' researcher Graham Hancock. The final two parts of the interview have now been posted at YouTube, and can be viewed below:
Also, for the convenience of those who haven't watched the first two instalments yet, here's the entire interview embedded as a playlist:
Here's part two of Graham Hancock talking to British rock band Turbowolf (I posted part one last week):
In Darklore Volume IV I wrote a piece on the enigmatic 'Georgia Guidestones' titled "Beyond the Apocalypse" (available as a free PDF download from the Darklore website, or in HTML form here at TDG), in which I pointed out the probable origin of the monument's construction in Masonic stories and myths about the transmission of human knowledge to survivors of apocalyptic events. If my article made you hungry for more information about the Guidestones, a new book may be just what you're looking for: "The Georgia Guidestones: America's Most Mysterious Monument", by Raymond Wiley and KT Prime (and featuring a foreword from Graham Hancock).
The Georgia Guidestones are a collection of standing stones near Elberton, Georgia. Built in 1980, they are primarily composed of six slabs of granite: one central pillar, four "major" stones that fan out from the center, and a capstone. The capstone has engravings on all four of its sides in four different ancient languages, all of which read, "Let these be guidestones to an Age of Reason," when translated. The major stones are each engraved on both sides, and each side contains text in one of eight modern languages asserting the same ten guidelines.
Those guidelines have proven extremely controversial, causing speculation and rumors of conspiracy that go far beyond northeast Georgia.
Conspiracy theorists surmise a global plot on the part of a group of shadowy men to subjugate and oppress the world's population and create a "new world order." Others believe that the man behind the monument was a Rosicrucian, and that the stones are representative of that group's magical manifesto. Some people even believe that it is a landing site for an alien spacecraft of some kind. At the heart of this confusion is the missing piece of the puzzle: who was the mystery man who started the entire chain of events?
Georgia native Raymond Wiley was interviewed for The History Channel's Brad Meltzer's Decoded program about the Guidestones and is a principal expert for a feature length documentary currently in production. With local writer KT Prime he has written the definitive account of America's most famous megalithic monument.
Note that Graham Hancock's foreword and Chapter 1 of the book are available freely at Scribd if you want to 'try before you buy'. I've embedded the sample material below: