by William Stevens

from TheWingMakers Website
 

INTRODUCTION

This memorandum will focus on two objectives:

1) Placing the artifacts found at the Ancient Arrow site in the context of current BST (Blank Slate Technology) initiatives

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.

 

CHAMBER PAINTINGS

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 chambers.

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 languages:

• Chakobsan

• Anasazi

• Sumerian

• Mayan

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 (click image left) and 7 (click image right).

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 mathematical disclosures.

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 7^th, or the lost cluster, of Pleiades is represented. The significance of this is yet to be determined, but Owens believes it may relate to the WingMakers' place of origin and time of entry to earth.

 

TECHNOLOGY ARTIFACTS

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.

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