Monday, August 23, 2010

CHRISTOPHER DUNN SHOWS HOW THE ANCIENTS DID IT-- BUT I ASK: WHY?

I highly recommend Christopher Dunn’s new book to all who are interested in achieving a better understanding of our world’s ancient history. Lost Technologies of ANCIENT EGYPT Advanced Engineering in the Temples of the Pharaohs (Bear & Company, Rochester, Vermont, 2010) gives a thorough exposition of Dunn’s theory that the ancient Egyptians used a high technology to create their temples and colossal statuary. I say “theory” with some reluctance, for, in my view, Dunn has made a conclusive case for his idea, using diagrams, color plate photography, and state-of-the-art engineering analyses.

But the question remains: Why would the ancient Egyptians apply such a high degree of precision in their constructions when it was unnecessary by any architectural or esthetic criteria?

In regard to the Great Pyramid, Dunn has argued that extreme precision was employed by its builders because it was a machine, and that in order for it to function, the Great Pyramid had to be constructed with very fine tolerances of error. This is a good argument and has great logical force. But...why would statues-- especially very big statues seen from a distance-- have been made with such fine tolerances of error? The statues were not machines...or were they?

I think Schwaller de Lubicz had a firm understanding of all this, although, as far as I know, he didn’t write about it explicitly. Some of his comments in his Symbolist writings suggest literal magick. The Soviets called it psychotronics. Schwaller de Lubicz would have probably just called it alchemy.

Why did the ancient Egyptians execute such precision in the detail of sculptures that, overall, were on a colossal scale? I believe the ancient Egyptians made these sculptures to function as talismans, i.e. objects to capture, configure, and transduce astral energy. I believe that what we are observing at the Luxor Temple and at other similar ancient Egyptian sites is an application of a sophisticated topological knowledge involving set theory--
or simply put: the ancient Egyptians were using shape to control the deep powers of the astral realm-- the higher dimensions that parallel our perceived, physical reality.

It is conventionally assumed that the colossal scale of ancient Egyptian statuary was used by the Pharaohs as a kind of propaganda to impress their subjects and foreign adversaries with their physical power. No doubt propaganda or “advertising” was a part of why these sculptures were made so big, but it does not explain the precision with which they were made. Something more than propaganda was going on here in the old days of Egypt.

I believe the statues were made on a colossal scale literally to magnify their power. A direction of analysis for an avid investigator to pursue would be the proportional relationships between the colossal Egyptian statuary, the idealized human body, and-- say-- the diameter of the planet earth. I think if someone would make an analysis along these lines, some interesting results would be produced involving set theory as applied to infinite regressions and progressions-- a kind of engineering application, perhaps, of Harmut Müller’s Global Scaling Theory. Christopher Dunn has already gone in this direction implicitly in his analysis of the Ramses crowns, the shapes of which were developed from an infinite set of numbers generating a series of increasingly large circles.

Also in any such analysis, the orientation of the sculptural and architectural elements in relationship to the surrounding landscape should be considered. I believe these elements were very precisely oriented in accordance with surrounding geomorphological structures. It is well known that the Great Pyramid was precisely aligned with geographic North. This illustrates the idea that not only were the ancient Egyptian structures precisely configured in and of themselves, but they were oriented to their earthly and stellar surroundings with equal precision.

I believe the ancient Egyptian temples were created for the purpose of controlling astral energy, not only through the priestly rituals carried out within their walls, but in and of themselves as physical structures. The ancient Egyptian temples were esoteric machines.
Thus, what was being attempted by these ancient builders-- and I believe accomplished to a significant extent-- was not some ignorant superstition, but an extremely high science.

I am convinced that the source of this high science was Atlantis. Unlike Christopher Dunn, I consider the Great Pyramid to be a creation of the Atlantean civilization, built with extremely advanced knowledge of the multidimensional nature of the universe. By the time the Temple of Luxor was built, a great deal of this Atlantean knowledge was lost, but certainly not all of it. Today, we would recognize in the ancient Egyptian artifacts some of this remnant Atlantean knowledge as a sophisticated and precise engineering of physical materials. This is the part of the knowledge that Christopher Dunn has recognized.
But the other part of the knowledge-- the esoteric part--was the most important part of the corpus; it was the purpose motivating the physical construction of the colossal architecture and sculptures. The otherwise inexplicable precision of the colossal sculptures becomes explicable when it is realized that the purpose of the sculpture was esoteric.

This esoteric purpose of the ancient Egyptian colossal statuary points back to the Great Pyramid, explaining it as the ultimate expression of an esoteric agenda-- an esoteric machine par excellence. The ancient Egyptian temples were devolved from the high, multi-dimensional technology of the Great Pyramid. This devolution of knowledge continued until our Renaissance. In the last five hundred years, our civilization has begun to regain some of the old lost knowledge, but some of the Atlantean corpus was never lost.
It was nurtured within the secret societies and passed down to the present in an aurea catena. This is especially true in regard to the techniques of precisely orienting colossal statuary according to the surrounding environment. For example, the Statue of Liberty was precisely oriented with its geomorphology. The line running down the center of its face which cuts the head into two equal parts is oriented precisely at a 90º angle to a line of compression stress in the earth that passes through the site of the Statue’s base. This knowledge of orientation has never been lost, and is secretly used today for the same reasons that the ancient Egyptians used it: to control astral energy.

In Lost Technologies of ANCIENT EGYPT, Dunn discusses the “Unfinished Obelisk” which Reginald Engelbach discovered in 1921. It is an enormous 137 feet in length and weighs an estimated 1,168 tons. The obelisk cracked while it was being carved and was never extracted from its surrounding stone. Dunn reasons, quite logically (from a materialistic premise), that even though the obelisk cracked, there was still a great amount of stone remaining that could have been used for other purposes. Why was this stone abandoned completely-- and even buried? Dunn’s conclusion: “Why the obelisk was abandoned will probably always be a mystery.”

It is not a mystery to me, nor to anyone else who understands that the ancient Egyptians were esoteric engineers. The stone masons abandoned the obelisk because, in cracking, it had negated the intention for which it was being made; it was spoiled, ruined magically. None of the remaining stone was any good for magical, esoteric use, and this is what concerned these stonemasons: the creation of magical objects. According to magical criteria, the rest of the stone, no matter how much there was of it, was useless for any other application to which the builders could put it. Nor could the stone be used for any exoteric purpose; an ordinary object made out of this stone would be cursed, i.e. would possess topologies unharmonious with the rest of the universe. Those familiar with master alchemist Edward Leedskalnin will recall how he always said with great pride that he “never ruined a stone.” Read what Leedskalnin had to say about wearing hand-me-down clothing. It is all the same thing-- awareness and manipulation of astral energy.

Christopher Dunn’s analyses of the precision manufacture of ancient Egyptian statuary are very sound and impressive. To the honest and unbiased reader his line of argument will have great force. It establishes that the ancient Egyptians had manufacturing machines that could measure and cut stone better than what we can do today in the year 2010. Now I would only like Mr. Dunn to turn his attention to the esoteric side of this subject, because that is where things really get interesting.

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