WingMakers: Ancient Arrow
This memorandum will focus on two objectives:
1) Placing the artifacts
found at the Ancient Arrow site in the context of current BST
2) Describing the
presumed purpose of the various artifacts found within each of
the 23 chambers.
I think for purposes of this
memorandum, it would be better to begin with the description of the
artifacts and then follow-up with a description of how we -- of the
scientific core -- contemplate how the artifacts may be utilized in our
current BST initiatives.
Attached you will find high-resolution, fully cropped, photographic copies
of each of the 23 paintings discovered within the Ancient Arrow site
As most of you know, these paintings have not been fully decoded at this
time. We've successfully decoded about 65% of the glyphs and symbolic
structure of the paintings, but we believe that the glyphs represent only
one, albeit significant, element of the total story behind each of the
The paintings have incredible detail and their coloration is brilliant. Each
of the chamber paintings has a similar color palette and artistic style. We
have done a painstaking analysis of both contemporary and historical artists
who have composed or painted in a similar style, and we have found none.
This style is truly unique.
While none of our scientists within the Labyrinth Group
can claim to be an art critic, everyone who has seen the paintings
first-hand have been utterly amazed at their color and detail.
If you look closely at any particular area of the painting you will
see details emerge that draw the eye further into the painting. I
think one of the best ways to describe them is that they have a
hypnotic effect on the viewer, even when viewed through photographs,
but particularly when seen in person within the chambers themselves.
About a third of the glyphs
contained on the paintings can be traced to four different, extinct
However, the remaining glyphs
have absolutely no corollary to any other pictographic language that we are
aware of. Also, the glyphs found at the AA site were completely different
than those found within the chamber paintings. It is interesting to note
that the technology artifacts within chambers 2 and 5 contained glyphs
represented in paintings found in chambers 1 and 7.
There are also representative glyphs that are of a universal nature i.e.,
the spiral and concentric circles. These glyphs, while they seem similar to
those found on various rock structures in Utah, Colorado, and New Mexico,
they are more subtle in their line and many have an incredibly detailed set
of lines surrounding them that seem to be part of the glyph as well. These
lines have not been decoded, though Dr. Owens is convinced they are
an integral part of their language.
(Please note the
attached samples with their closest corollaries in
the Barrier Canyon and
Classic Freemont styles)
We are certain that the
paintings were completed using unspecified paints and an application
technique requiring special tools. Chemical analyses of the paints show
conclusively that hybrid compounds of selenium, gypsum, and jemsonite
were used in all of the paintings. The same polymer coating that was applied
throughout the interior of the AA site was also applied over the paintings.
This was done in a single layer, and has cohesion about 100 times greater
than our best derivatives formulated at our Donner Lab.
The paintings were produced with an unusual, if not haunting, precision.
They are perfectly rectangular, with sharp edges that seem meticulously
prepared as if purposeful in its mathematical precision. However, we've not
found any recognizable pattern in their geometric proportions or
Many of the paintings include depictions of the stars. We initially thought
these were arbitrary representations, but Drs. Nolan and Richards
have suggested otherwise. The consistent and telltale sign of the
constellation Taurus and of particular interest, the 7th, or the lost
is represented. The significance of this is yet to be determined, but
Owens believes it may relate to
WingMakers' place of origin and time of entry to earth.
As you know, the disappointing news is that the technology artifacts seem
impregnable to our probes. It is as if the WingMakers
wanted us to start our analysis on the paintings and their cultural
artifacts, and leave the technology alone. However, we continue to probe
with ever-increasing persistence. The Corteum are bringing a
new technology that may help, but it will be about another three months
before we will be able to experiment with it.
For now, let me explain our
findings, as minimal as they are. Since my last update, we have continued to
make good progress in decoding the optical disc, though it is a slow,
methodical process. We believe our accuracy rates are extremely high, though
we have yet to determine how the glyphs factor into the translations from
the paintings and the AA site itself.
In the construction of the
technologies, the most common metal is a form of synthetic
beryllium, and the most common mineral is quartz or a
synthetic variant. This synthetic quartz is extremely conductive and has
properties that seem responsive to human touch and thought. Spectral
analysis of the quartz artifacts demonstrate that it is an amplifier
of thought waves, but we cannot program the amplification. It is
completely spurious and unpredictable.
Under extreme magnification, the quartz is impregnated with a form of
nano-technology that we've never seen before. This technology
appears to act as the digital nervous system for the artifact, while the
synthetic quartz acts as its power supply and amplification system.
Human genetics have been implanted into all of the quartz artifacts,
however, we're uncertain to what extent this is part of the smart system and
how much of this is related to a personal recognition system that activates
or channels the energy of the artifact based on genetic interleaving as we
prescribed in our AdamSon Project.
-- Classified Material --
("click" on images to enlarge)
Chamber Nº 1
Chamber Nº 2
Chamber Nº 3
Chamber Nº 4
Chamber Nº 5
Chamber Nº 6
Chamber Nº 7
Chamber Nº 8
Chamber Nº 9
Chamber Nº 10
Chamber Nº 11
Chamber Nº 12
Chamber Nº 13
Chamber Nº 14
Chamber Nº 15
Chamber Nº 16
Chamber Nº 17
Chamber Nº 18
Chamber Nº 19
Chamber Nº 20
Chamber Nº 21
Chamber Nº 22
Chamber Nº 23
Chamber Nº 24