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 Post subject: Anasazi glyphs(pictures and meaning)
PostPosted: Fri Mar 11, 2011 5:52 am 
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I HAVE A book about Anasazi glyphs,I scanned some of them to post it.

some look like the glyphs in wm painting,and wm says "About a third of the glyphs contained on the paintings can be traced to four different, extinct languages: Chakobsan, Anasazi, Sumerian, and Mayan. "
http://www.wingmakers.com/acio.html
hope this helpful to each of you!
if you can not see pictures,right click mouse select a command to"show the picture"
OR see the link below
http://www.douban.com/photos/photo/887151592/
http://www.douban.com/photos/photo/887151671/

Image
Image

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If you are not in you breath,then you are in your mind.


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 Post subject: Re: Anasazi glyphs(pictures and meaning)
PostPosted: Fri Mar 11, 2011 9:59 am 
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thank you yhg, for your efforts and for sharing your finding ... very interesting how these things are being brought into our consciousness and how familiar they seem.

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"...to know this information and then remain passive—a pure observer—is a programmed response, and that is not an answer to how do I best serve truth? It is a denial of truth.” 5th Interview


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 Post subject: Re: Anasazi glyphs(pictures and meaning)
PostPosted: Sat Mar 12, 2011 4:11 pm 
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Quote:
starduster wrote:
I thought you were in Alaska Golda ... and that Shay is in the middle of western Canada ... close? or did you move south?
oops, did I give away your general location ...? I have no idea where SdeC lives ... but maybe that accounts for your high and mighty attitudes if you are all Canucks :lol:

I saved that picture of you gals the last time you got together ... member this ?


Image
,,,,.Espri,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Shay,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Golda

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Cathedral - CS&N
https://www.youtube.com/watch?v=7MaSU0ABrnY


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 Post subject: Re: Anasazi glyphs(pictures and meaning)
PostPosted: Sun Mar 13, 2011 11:51 am 
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I think valor to be one of the most misunderstood virtues. What I posted of what starduster originally posted is saying NO MORE to her habit of doing this kind of thing when she doesn't like certain people on the forum and does what she can to get rid of them. We are not doormats for her. She is the only person on the forum who claims to be "transformed" and her behavior is the worst save her friend who supports her with similar behavior. They both make a sham of the WMM and neither seem to have any intention of exercising the Virtues let alone treating people with respect. I choose not to ignore this and will bring it to her attention every time she does it. I do not do this out of revenge or any of those lower frequencies that is where she reacts from. I do this because noone else will because it isn't politically expedient for them to do so and most don't know how to handle it or are afraid of her derisive sarcasm. In the scheme of all things I do forgive this, understand and do feel compassion for her and markz but it doesn't mean I will allow either of them to get away with this kind of behavior because to do nothing is like saying its acceptable. And it is because of the virtues I am using here that I am compelled to act. To pretend it isn't what it is , is sanctioning it and for so many who claim to like these materials sometimes they do need to be defended from charlatans who twist and distort them to fit into their own personal agenda which is used to purposely hurt others and turn them away. It's not enough to complain or discuss or ignore , action is demanded here and this is mine. I value Esprit and Golda , they are warm and loving people who shouldn't have to tolerate this kind of behavior from starduster and markz just because starduster doesn't think they deserve to be on this forum and her obvious jealousy of them.

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Cathedral - CS&N
https://www.youtube.com/watch?v=7MaSU0ABrnY


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 Post subject: Re: Anasazi glyphs(pictures and meaning)
PostPosted: Sun Mar 13, 2011 12:53 pm 
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Let go...and let the Symbols...and Light Rays....heal that which is keeping you apart.....Unity is at hand....and you have the choice to be a part of....and harmonize or stay out of tune..


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 Post subject: Re: Anasazi glyphs(pictures and meaning)
PostPosted: Thu Mar 31, 2011 12:25 am 
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yhg342 wrote:
I HAVE A book about Anasazi glyphs,I scanned some of them to post it.

some look like the glyphs in wm painting,and wm says "About a third of the glyphs contained on the paintings can be traced to four different, extinct languages: Chakobsan, Anasazi, Sumerian, and Mayan. "
http://www.wingmakers.com/acio.html
hope this helpful to each of you!
if you can not see pictures,right click mouse select a command to"show the picture"
OR see the link below
http://www.douban.com/photos/photo/887151592/
http://www.douban.com/photos/photo/887151671/

Image

Image


Thanx for these they are quite interesting. I love the simplicity of them. The symbol for disease looks like a lot of energy interference, perhaps, generated from within the person ? :D

_________________
The SI IS.

"Oneness, Truthfulness and Equality"


Cathedral - CS&N
https://www.youtube.com/watch?v=7MaSU0ABrnY


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 Post subject: Re: Anasazi glyphs(pictures and meaning)
PostPosted: Sun Jul 17, 2011 11:07 pm 
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I found this very interesting ...

From ... http://www.h4.dion.ne.jp/~doufaufa/wing ... view05.htm

Main Site: http://www.h4.dion.ne.jp/~doufaufa/

Glyphs of WingMakers: language of light

shima: I think the research on glyphs of WingMakers is one of the areas which is not the most advanced. I would like to try to cast new light on this topic through this interview with Dr. Lock.

I guess we clearly know the meaning of only two symbols to date. One is the Wholeness Navigator in Chamber 24, and the other is Para Vach in Chamber 2. (fig.2)

Image

fig.2 Wholeness Navigator and Para Vach

According to one of the "ACIO Classified Documents", it is said that about a third of the glyphs contained on the paintings can be traced to four different, extinct languages: Chakobsan, Anasazi, Sumerian, and Mayan. And in the original interview 2, Dr. Anderson said that the WingMakers' language is based on 98 different symbol pictures instead of the 26 found in our own alphabet. And if you actually count the number of glyphs in Chamber Paintings of the Ancient Arrow site, we find about 250 glyphs are represented.

In the standard of languages on our planet, these numbers indicate the linguistic structural features of phonograms, but James explained the WingMakers' language has a linguistic structure based on ideograms.

Reading more of James' explanation, it is assumed that this linguistic system contains numeric characters, symbols of operation, musical notations or phonetic values besides ideograms.

If this supposition is correct, I presume that the WingMakers' language has a mixture of linguistic ideogram characters and phonograms like Sumerian, Mayan and Japanese.

And looking at the image "quintessence formula" in the fourth interview secret passages, it seems that one mathematical-like formula is represented, obviously in the formation of glyphs.

These glyphs are part of the glyphs in Chamber 2, I think these glyphs express the equation that relates to the discovery of the Grand Portal. (fig.3)

Please let me hear the doctor's insight for the linguistic system of WingMakers.

Image

fig.3 symbol list of Chamber 2

Dr: It's a long question, so bear with me. I think you will find the comments in the classified ACIO documents are examples of the fictional element with some basis in fact. There may be certain Ancient SW USA Indian and Sumerian stylistic similarities with a few of the glyphs, but I haven't noticed any actual glyph similarities with Mayan (not that I'm an expert on Mayan by any means). The Anasazi appear to have had no written language. We don't even know what their spoken language was, only that it was the antecedent of the modern Puebloan languages of Tewa, Tiwa, Towa, Keres, Hopi, and Zuni. They may have left us a few of the rock petroglyphs we find in the US SW, but it is taking literary license to call these a complete language.
http://wiki.answers.com/Q/What_did_the_ ... _look_like.

Finally, if Chakobsan is a metaphor for the language of the Bolivian Chacobos, which is usually referred to as Chacobo, it is a Latin script which doesn't get us anywhere.
http://en.wikipedia.org/wiki/Ch%C3%A1cobo_language,
http://www.native-languages.org/chacobo.htm.


BTW, according to Andrew Basiago, there was a Dr Anderson actually involved with the Montauk project and the Montauk Chair that, as you know, was allegedly involved with time travel; and just as in the AA P story there were child casualties involved with that.


Our world's scripts, according to ancient language expert Andrew Robinson, are basically of three types: Logosyllabic , which includes Chinese, Egyptian hieroglyphs, Mayan glyphs, Sumerian cuneiform, Hittite hieroglyphs etc ; Syllabic, including Linear B, Cherokee, Cypriot, Persian, and your own kana etc; and Alphabetic and Consonantal, including Russian, Sanskrit, Anglo-Saxon, Arabic, English, Hebrew, Etruscan etc.

Logosyllabic scripts, often referred to as ideographs or pictographs, have anything from 497 signs, in Hittite, up to 5000 plus in Chinese. We have in current use no pure 100% logosyllabic systems as each of these still contain phonetic elements.

Syllabic scripts have around 40 signs (as in Persian) to around 90 (as in Japanese kana, and Linear B which has 87).

Alphabetic scripts have from around 20 (as in Etruscan, with 26 in English) up to about 36 (in Russian,).

Once you have a very good sample of text, or a full lexicon of glyphs, a decipherer can then judge fairly accurately what type of script one is dealing with. Michael Ventris, for example, who deciphered Linear B, guessed correctly that because the script contained only 87 characters that it was a phonetic syllabic script, and from there went on to decipher the language. This he was only able to do, however, because of the thousands of examples of existing text. These are necessary for cross-correlation, checking and confirmation of findings that are often originally little more than hypothesis or suppositions. Even with an actual Rosetta stone, other examples of text are still needed in order to check the correctness or otherwise of the given translations.

Since, as you recognize, we have over 250 glyphs in our WM lexicon obviously Dr Anderson's comment that the language is based on 98 different symbol pictures is inaccurate and just part of the story. If there were only 98 basic symbol pictures they would presumably be represented phonetically, somewhat in the vein of the Egyptian phonetic pictographs. You know from your kana languages that between 80 -100 characters is enough to provide all the phonemes necessary for a functioning phonetic alphabet.

There is no evidence that the other 152 glyphs (250-98) combine with any basic 98 glyphs to create 152 further or different phoneme variants. Even the International Phonetic Alphabet doesn't have as many phonemes. There would be an abundant redundancy.

It is highly unlikely that we have anything but a small sample of the WM Language of Light (WML) represented. We can therefore, quite confidently predict that the WML glyphs are an ideographic or logosyllabic script; and if we only have 250 of them, with almost no duplicates but some variants, we almost certainly have nowhere near enough to decipher the whole language, or even any part of it from the glyphs alone. We can only really make intelligent -if that -guesses.

The signs Para Vach and Wholeness Navigator also are telling us this: each of these two glyphs illustrates a word or concept i.e. they are logosyllabic. We have no idea of their pronunciation or phonetic quality in the Tributary Zone where they have their origin. They are translated into the Roman alphabet and phonetics of Para Vach and Wholeness Navigator in English. The most we can currently hope for is to understand the WML logosyllables in meaning. We have no possibility of actually reading it in its native phonetics.

A phonetic language would, I think, also be fairly useless for intergalactic communications with a new planetary species speaking numerous languages because it would merely make the language audible but carry no meaning; we would have no idea what the sounds we could make would mean. This is still part of the problem with understanding Mayan. Some Mayan glyphs we can now pronounce but remain ignorant of as to their meaning.

The best bet for communicating with a new multi-language species without personal interaction, in my opinion, would be a lgogsyllabic language that, like the alleged Senzar, would be understandable in any language through its imagery; and would speak more to the subconscious or unconscious. Each culture would then translate each logosyllable into its own language, just as we are doing with Para Vach and Wholeness Navigator, although these two terms are likely new to most Earth languages so they may just be represented phonetically in most of our languages.

By way of illustration: whatever the WML glyph for the English word communication is that glyph would be translated into each language differently once the glyph is understood, but the glyph would convey something of the essence of the word communication to our subconscious. Of course, the problem is we have to come to understand all the glyphs before we can know the language. But we do have a partial form of a WM Rosetta stone, and it is the entire WMM; the paintings, philosophy, poetry, music and story are all telling us basically the same thing but in different language forms, or media.

Personally I think the WML will be as difficult, or more difficult to learn than Chinese, and with as many glyphs or characters. We basically have to learn a whole dictionary of meanings, though the pictographic nature of the characters will help us remember the characters and meanings. I think it likely that the Language of Light or WML glyphs could well prove to have a higher percentage logosyllabic script than even Chinese with perhaps some modifier, and yes perhaps some phonetic, glyphs; but that's just my guess.

There is an interesting, for me at least, precedent for this. Contactee Billy Meier allegedly receives all his communiques in the form of a logosyllabic language which contains thousands of symbols or characters, of which I have almost 600 samples. Being logosyllabic they share some characteristics with the WML glyphs as a language, although their form is generally vastly different --with perhaps one notable exception that I will write on in Chamber Painting 18 paper. Meier calls his language the Spirit Symbols (SS) and they are for the most part strictly geometric compared with the far more organic nature of the WML glyphs. Each of Meier's symbols represents a word or concept in the German language. And he allegedly had to be programmed to understand the whole SS dictionary or lexicon before transmission could begin.

I would not be surprised if the SS and the WML represent respectively a kind of left and right brain language of First Source (which Meier calls Creation), and have been made available because most individuals prefer to function predominantly from one side of the brain or the other, depending on personal idiosyncrasies. I have only noticed one or two instances where the two respective, for want of a better term, cosmic glyph languages have any similarity. So Meier's glyphs again may not aid our understanding of the WML glyphs. Does the left brain understand the right brain and vice versa?

Similarly, a few of our Earth languages' have glyphs that will find some echo in the WML due to their being inspired on occasion to be included and at other times are likely remnants in part from ancient languages when our language was closer to the WML, a time probably before we ever arrived on this planet. This would explain why Blavatsky had the insurmountable problems she did with talking about the Senzar language.

For what it is worth, I also think it possible that a few of the Chinese and Japanese kanji or radicals may have certain elements that have evolved from or were derived intuitionally from either the WML or Meier's SS. And the same may go for other languages too, and this may be what the "ACIO Classified Documents" were hinting at, or metaphorically representing. We are now on a long journey back to the original and primordial languages of humankind; a language or pair of languages that speaks directly to the subconscious from either First Source, Source Intelligence or the Genetic Mind, in a similar way that dreams and visions speak to us, only on a higher level. The WML might be compared to an ideographic, mostly monotone, version of the dream world, except it speaks precisely, clearly, and for the most part without the clutter and confusion of a filtering human mind.

BTW here is the set of presumably linked-glyphs from the Collectors' Edition box of prints.

Image

Titled box cover of Collectors' Edition of Prints.

WM mathematics:
There will doubtless be a numerical system in the WML but I think James was saying that some of our mathematical figures (and music glyphs, and glyphs associated with sound itself and phonetic qualities rather than actual phonetic glyphs) may be featured in the paintings and carry meaning. (Of course, the possibility remains that some are phonetic, and this ironically would add to our problems in deciphering the language.) An example can be seen in the reversed numeral 2 in the chamber 6 painting. This doesn't mean the WM numerical system is represented graphically with numerals as in Western civilization. It doesn't, in my opinion, necessarily represent two of something but the meaning associated with our numerical 2 glyph, i.e. helper, servant (though not servile), facilitator, supporter, and within Chamber painting 6 as the Sovereign Integral servant or facilitator of First Source. But again this is just my idea.

You could be right about the quintessence formula. I tend to think, however, that practical numeric mathematics as a universal language would be more easily recognizable and useful to us, and anyone, if it were an actual numeric equation. Again, it's the meaning of some of our numerical glyphs that may carry a similar meaning within the WML rather than their numerical quantity equivalents. Again, this is merely my current opinion.

Elsewhere within the WMM their numerals are represented in Mayan. It is reasonable to expect that any pure math equation would use these or a similar simple 10 -20 odd glyphic system to represent numerals and then other simple glyphs for more advanced equation elements like integrals, square roots etc. Again, this is just my idea, and we do not know for sure.

Numerals in any advanced language are easier to read and decipher because there are so few of them (usually only 10-25). It's tempting to think the simpler glyphs in your fig 3 (Ch 2 painting) are numerals, and perhaps they are, but as I explain below I have my doubts about this. This doesn't mean, unfortunately, that WM math is necessarily easy to decipher as a complete system.

We still do not completely understand the mathematic system of Linear A, which I have been trying to do a little work on. We still need examples to confirm suppositions. Linear A fractions, for example, remain still largely indecipherable because there are so few samples of them in existence. We can only really guess.

This is also why the Phaistos Disk (PD) and Rongorongo remain undecipherable: there are not enough samples for us to test conclusively any hypothesis. The PD is the only example of this type of text and while Fisher has done some excellent work on these two languages, and linking the PD with ancient Greek and Linear A or B, there is no way we can test and thereby know whether he has the correct interpretations for either of them unless many more examples of the texts turn up. This seems highly unlikely for Rongorongo, though perhaps possible for the PD.

Image

Phaistos Disk

Image

Small Santiago Tablet, showing parts of lines 3 (bottom) to 7 (top).
The glyphs of lines 3, 5, and 7 are right-side up, while those of lines 4 and 6 are up-side down.

Our greatest mathematicians have, during dreams, nearly always received communiques directly in the language of math and formula as we know them. This is in stark contrast to other dream communiques that usually use visual semiotics (not to be confused with visionary semiotics) rather than written characters or glyphs. Numerical equations are usually stylistically simple, and if they are in the form of unknown glyphs I would still expect them to be in a similarly stylistic simple glyph format, partly because so few glyphs are necessary, and because simplicity is virtually necessary for the practical utilization of a mathematical language. A numerical and mathematical system doesn't have to be that way, of course, but it would seem easier and more efficient and so I'd expect an advanced language to use a simple repetitive stylistic format of some kind for expressing at least mathematic numerals. As mentioned earlier, we only need 10 glyphs for a basic math system. Yet we have almost no repeats of the WML in the 24 chamber paintings. This suggests there are no numerals as such present; leading me to surmise the quintessence formula is more descriptive and explanatory math than an actual numeric mathematic equation.

An example of one such equation used by James is in his recent interview with Project Camelot (p16). It is: Earth/Nature + Individual Preparation = Sovereign Integral Realization. There are "mathematical equations that guide the process" within the human mind. To paraphrase James, the process is so basic and fundamental that the outcome in the mind is assured and predictable. So much so that it can be reduced to or referred to quite literally as mathematical.

You may remember our previous discussion on fractals, shima. In nature we have the Golden Section, e, pi, etc and First Source or Source Intelligence uses this language of mathematics at a very fundamental level of expression. Upon reaching the material level in the human the formula may be morphed into inaccuracy due to the intervening human consciousness, thinking, actions, or emotions.

The human instrument then is evolving rapidly toward a life in which it lives and expresses from a First Source or Sovereign Integral based fundamental law of mathematics. This does not mean, of course, that we are losing our free will or that we will all become mathematicians. This level of math is fundamental to existence itself, just as it is fundamental to everything existing in cyber space or on the computer.

Just as we do not need knowledge of these numerical values and how they convert into other communication systems and media to successfully operate the computer, neither do we need to understand the numerical values associated with the mathematics of the mind and higher mind in order to, via the human instrument, express with mathematical precision the Sovereign Integral consciousness in our lives. It is enough, and far easier for us personally, to have these math or equations expressed in words or thoughts. Currently at least, it seems these word equations are best expressed as in the above example of James' equation -- a number of details of which are known to me. Perhaps we can discuss these at a later date together with any other questions this interview may give rise to.

I believe other equations have been mentioned by James that you can find and investigate for yourselves. These are key equations in the process of beginning to express oneness and Sovereign Integral Consciousness in our daily lives.

There will, however, likely be a WM glyph representing "=". If you can find some glyphic equations each with an identical glyph that could represent "=" you may be on to something.

Remember too, that we are approaching the time when all the avenues of relevant scientific research combine together in the discovery of the Grand Portal. With the aid of computers and more we will, this century, further the process of expressing everything via mathematics, and via psychology, and via art, and via music. The connection between music and math is fairly obvious, yet the paintings are, in their original formats, partly at least produced, adapted or converted from music --a form of math. It may be difficult to perceive these paintings as math and yet that is also what they are. Just as the organic development of a tree in growth could be mathematically predicted if we had enough knowledge of every single and collective influence upon the tree to occur throughout the lifetime of its growth, everything in the universe could be reduced to or represented in a form of math. If we had all the data we could predict the result. That is math. It is merely because the math behind organic growth is so immensely complex and involved given influences over time that it is often too difficult for us to imagine how it could be predicted, and thereby be mathematical; but it is none the less.

I think these are the kinds of mathematics and formulas James is referring to.But that is just my idea, and until we know for sure, you could be right, of course.

I think the same for the glyphs in Chamber Painting 2, although initially I thought as you that they held the formula for discovering the Grand Portal. We have a variant of the Source Codes glyph there. I see this entire set of glyphs as formulaic and giving an instruction or statement of reality rather than a numerical math formula. The theme for this painting is "Time" and, if I remember correctly, James said somewhere that visions are the most elegant form of time travel. The Grand Portal is not so much about time travel as it is our discovery of spirit. Spirit is the gateway to the timeless or the open door to experiencing vertical time, but again I tend to think the glyphs in chamber 2 are more an instruction on how to access the spirit or soul so that the human instrument can effectively and accurately travel in time via consciousness. I also do not think this is a formula for mathematically building anything like a time machine or BST.

BST could be a metaphor for the ever-growing expansiveness of the empty mind, or no mind, from which, with our Sovereign Integral consciousness, we cerate our new future.

The overriding message in all these paintings is who we really are and how we can best develop, evolve, and live our lives in fulfillment of our rapidly approaching Sovereign Integral destiny. So I tend to think James is giving the math formula metaphorically, as he so often does.

The mathematicians that will need the math, or need to develop it in the future, in order to actually unveil the Grand Portal will, in my opinion, probably receive it in dreams, as they usually do, when the time is right. The WM paintings are, in my opinion, useful and very beneficial for each and every one of us, not just the odd mathematician who can find the hidden equation and the future humans who reap the reward of those published findings (delivered in any media format before the public at large.)

So, in short, I think the glyphs in chamber 2 are telling us how to live our lives in elegance and fulfillment of our truest and highest destiny, and if we do we will attain a new understanding and experiencing of time.

BTW Rocket scientist and mathematician David Adair, who designed the Electromagnetic Fusion Containment Engine that could travel from 0 to 8,754 mph in about 4.6 seconds that he subsequently had to destroy, received much of his math and information from dreams. Furthermore, he was told by Stephen Hawking when they met that Hawking too received much of his mathematical information through dreams.

You can read David's story here: http://www.greatdreams.com/david-adair.htm.

On a tape I have of David Adair he mentions the big alien engine cited online there as having many curious glyphs on it. While testifying before the Congressional hearing he said a few of these glyphs were identical to a couple that were shown as coming from an earlier crash retrieval.



shima: The Rosetta stone for decoding the linguistic system of WingMakers is 7 clusters of glyphs in the 24th Chamber on the opposite wall from 24th Chamber Painting. (fig.4)

What does this image mean? Do Seven Tributary Zones have any relationship with this? Obviously, the double helix symbolizes DNA...

Image

fig.4 translation index for the linguistic system of WingMakers?

Dr: I hope you don't think I'm being picky, but I wouldn't call this the Rosetta stone. The Rosetta stone gave us the answers translated in three languages. It was a gift in that respect. Fig 4 is a hint, key, clue, or as you say, an "index" rather than a Rosetta stone. This gives the impression that not all will be revealed, but something will be understood throwing light on the area under consideration. Even if we knew what these sets of glyphs said --every one of them --we still would not understand anywhere near a quarter of the WML.

I, therefore, believe these sets of glyphs are a key that gives the themes of the seven tributary zones on the Earth (and elsewhere), and thereby reveals a number of the glyph meanings to us. These may then present an index to the ETC sites or Tributary Zones on the earth and a key for helping us understand the glyph messages in the 24 chamber paintings. But the whole WML will be another matter entirely. As we know what the tributary zone themes are we might be able to work out what the glyphs say, or at least which set represent what theme and/or place.

My initial guess is the central bottom set, or possibly the one above it to the left, explain the genetics theme of the Chaco Canyon site. This is because these two sets are located on the DNA strand itself. The bottom central set have a central core going through the DNA strand occupying the central position just as the Chaco Canyon site plays the genetic and central role of all seven sites.

So maybe someone can try their hand at working out what these clusters of glyphs mean.


shima: Regarding the clue as to decoding the meanings of the glyphs, I think the text from Chamber Poetry and Chamber Philosophy are another Rosetta stone. For example, one member of the Japanese WingMakers Forum offered an intriguing hypothesis. Her idea was that the annular shape formation of the glyphs in Chamber 3 Painting might mean the following from the passage in "My Central Message". (fig.5)

"I am behind everything that you see, hear, touch, taste, smell, feel, and believe."

Image

fig.5 annular shape formation of glyphs of chamber 3

What do you think about this interpretation or decoding? And I wonder why these glyphs make a ring...

Dr: As mentioned earlier the reason why the Rosetta stone was such a valuable deciphering tool is because it contained three different languages all carrying exactly the same message. Cross-correlation work by Champollion and Young enabled the, until then, unintelligible Egyptian hieroglyphs to be deciphered for the very first time. So, yes, just as you suggest, the differing languages of Chamber Poetry, Chamber Philosophy, and I would add all the other language or media forms, are indeed our WM Rosetta stone. They are all one and all saying basically the same thing, though of course there will be differences of nuance and more between them; and James has said the paintings are the original media form. Everything else having sprung from them their importance just cannot be over emphasized in my opinion. As I have said before, in my opinion, they represent the clearest and truest representation of the WMM and the message James is presenting to the world.

You will notice the important difference between cross-correlation and plain common comparison which we covered in supplement #3 when in very simple fashion I compared Ch 6 painting to Gauguin's mythological masterpiece.

The hypothesis put forward by your J forum member is indeed intriguing. She is herself using cross-correlation here, and may well be onto something. If I may, I shall talk to her directly in an open letter format that applies to all readers:


I do think you are on to something, but it needs confirming. If you are correct, each word is important and so will likely find some representation in the glyphs. Which words correspond with which glyphs? Or is the whole MCM sentence just one glyph, and if so which one? What of the rest of the MCM, and the rest of the painting?

The annular ring is a fairly, if not the, central message of the painting. The glyphs are one main element of the picture and so must be a major part of the painting's message. What then is the painting's overall major message? When you have this you have the theme of the painting and are at a major breakthrough. This opens for you the intriguing question as to whether the theme of the painting is the sentence you've noticed -- or the entire "My Central Message." I'd go over the entire "My Central Message" passage with a fine tooth comb, looking at every sentence, word, and nuance, and feeling invoked there. Carry it with you and refer to it continually. Look at all the glyphs carefully one by one. Analyze them and then let them speak to you.

I'm not going to do this at this time. It is your journey or that of anyone else who wishes to go there. I will tell you that the upper part of the painting is an expression of various forms of First Source. This adds credence to your hypothesis and the likelihood that this painting could be a message from First Source or that FS plays a very large role in the painting. But take it further and discover through critical cross-correlation and your own attunement to First Source what the painting is saying, both in the annular ring and elsewhere. Also ask yourself, "What kind of portal is this?"

The painting is a unified message. Every painting is. Let it speak to you, but don't be easily satisfied. Keep at it and be determined to find the answers. It doesn't matter if you are unsure about your ideas. Just work them through and note them all down. Eventually when you have enough you will be able to find the relevant ones and expand upon your discovery.

Keep the picture before you whenever possible. Meditate on it. Just by looking at it on the train for ten minutes at a time will help. If you donft already do so, look at it for at least 10 minutes before sleeping each night. Listen to the relevant music and read the relevant poetry too, especially while researching it. Carry the relevant poems with you too. If you tire of one media format or reach a mental block, switch to another format. Above all enjoy it and know that if you find answers they will benefit many people. Do it with just a pure love in your heart, not for anyone or anything, but just because it is love. Maybe it is you who are to write a passage on this painting or communicate its meaning to others in some other way. I look forward in anticipation of hearing more from you.


In answer to your question as to why the message is annular, shima: If you found a circular door with a message going all around it would you ask why the message was circular, or would you make an assumption? If the latter, what would your assumption be?


shima: One big feature of the WingMakers glyphs is, as you said in your paper, that they possess a three (four?) dimensional structure.(fig.6 & 7)

Image

fig.6 three dimensional glyphs from Chamber 6

Generally speaking, letters are two dimensional in our cultures, I have never heard about three dimensional letters...
[img]
http://www.h4.dion.ne.jp/~doufaufa/wing ... /3d-01.jpg[/img]

fig.7

And glyphs of WingMakers give us an organic impression. They seem to be alive. (fig.8 & 9)

[img]http://www.h4.dion.ne.jp/~doufaufa/wingmakers/j_e-magazine/wms05/3d-02.jpg
[/img]
fig.8

Image

fig.9

In the Prologue of AAP, WingMakers language is said to be written as "Intelligent lines -- a language of light". What does "Intelligent lines" mean?

Dr: Yes, it is a curious feature of the WMs paintings. We do have 3D figures in our cultures on outdoor signs and in neon lights, but seldom in 3D graded tone text writing and especially in paintings where the writing is just included in the picture, as in the WM paintings, and not about the design of the letters themselves. We don't know if this 3D quality is on the original paintings James made, just on the computer digital versions, or if the digital versions are James' original paintings. If they are on original non-digital paintings then I would assume they are 3D because James specifically wanted them that way, presumably because they are like that in original Lyricus artworks, which is probably the case.

The glyphs are made more real and alive in 3D, like ourselves, and this I think answers the second and third parts of your question, which you have virtually answered yourself: Intelligence is something that lives and is therefore alive. Being the lines and Language of Light most closely associated with Source --also termed "insignias of First Source" -- they become the glyphs of Source Intelligence itself. As such they are then the closest thing to Universal Intelligence expressed in writing, i.e. Source Intelligence lines, or "intelligent lines", perhaps even in a sense, alive.


shima: I think this issue also dealt with very technical topics. I hope this interview will be catalyst for researchers in the future. Thank you for commenting, Dr.

Dr: You are very welcome.

This has been a bumper issue and I've noticed our issues have recently become longer and longer. Please do not expect this lengthiness to continue. There will be shorter issues. It is just the questions were long this time and demanded some lengthy input to do them justice.

Much of the information on the three types of languages mentioned in this interview can be found in Andrew Robinson's Lost Languages. It is a book I highly recommend for anyone interested in ancient or lost languages and the deciphering of languages. It is easy to read and stands head and shoulders above most other books on the subject.
English link:
http://www.amazon.com/Lost-Languages-En ... rd_title_0.

John Chadwick's classic The Decipherment of Linear B that traces Michael Ventris's unparalleled achievement is the must-read little book for anyone attempting to decipher a language. Linear B is the only successfully fully deciphered lost ancient language by one man, and in this book you can learn every step of how it was done, and Ventris's final impeccable methodology.
English link:
http://www.amazon.com/Decipherment-Line ... 351&sr=8-1.

Andrew Robinson has also written a book on Ventris.
Here's a Japanese link:
http://bookweb.kinokuniya.co.jp/htmy/0500510776.html.

Or for an English synopsis of Ventris see:
http://www.umass.edu/wsp/philology/gallery/ventris.html.

Finally, to realize just what problems one confronts in deciphering an unknown language try Stephen Fischer's Glyphbreaker (I managed to get a new hardback copy from amazon.com for just 1$). It is a fascinating account of his valiant attempt to decipher both the Phaistos Disk and Rongorongo. While Fischer thinks he has deciphered them both there is no way to confirm either decipherment. His methodology and quest have many admirable qualities but unavoidable assumptions remain so neither hypothesis is generally accepted.
http://www.amazon.com/s?ie=UTF8&tag=moz ... lla-search.


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