Chronos Apollonios' "Home On Olympus"
You were wondering when I'd get to that... friends (and a few
others) know me on e-mail lists for my perpetual quest to
materialize so much as a lousy pop-tart. Here are some of my
humble opinions that it isn't even necessary to be so bold as to
have to go where no one has gone before. It is my contention that
the following ancient artifacts were employed as "replicators"
like on Star Trek, that is, materialization devices:
CAULDRON: (discussed more in depth on this site's Holy Grail page)
(the CORNUCOPIA could be considered in this fashion and
the folklore is consistent for that icon as well as the
Cauldron). May range from artificial quantum singularity to
recieving resonant cavity, which can be used in connection with
guidelines for scalar energy effects as proposed by Thomas
Bearden in a number of his writings, and elaborated through Ion
Dumitrescu's "Hole in the Leaf" Kirlian photography and the
behavior of Paralastor wasps in Rupert Sheldrake's writings (ie,
they're plastering stuff over a hologram of a singularity
recieved by a hole in the ground). Michael Faraday's discoveries
about charge migration in cavities can be applied, as well as
concepts about "Mana"; a good explanation of mana in this regard
can be found in Von Danniken's "Pathways to the Gods". Mana is
said to acrue around Both positive and negative resonant masses,
appearing consistent with theorizing that some of the following, such as household temples, were also possessed of such powers and functions.
Detail of a cauldron from the Codex Nutall. All ancient people seem to have their own version of a magic cauldron, and it may be that this one is, in its own idiom, particularly explicit about the possible physical workings of such very things, leaving the enthusiast of Celtic mythology, for example, to find aspects of their roots in such normally "diverse" places as Mesoamerican manuscripts.
Some of the most particularly striking reasons for taking the Cornucopia rather seriously can be found in the persuit of (magickal) vortex science, including prodigal genius Nikola Tesla's comments about materializing entire planets. (All I want is a Pop-Tart, really...).
The truth is, all of this seems to be basically the same feat as the alchemist's "trick", palingenics, which mobilizes and assembles matter from the ashes of plants and proceeds to re-establish their physical form.
As exciting as it all sounds, it may be about as astounding in reality as stockings clinging together in the drier (and very closely related, perhaps, too, I might add). HOUSEHOLD TEMPLES:
were seemingly used also as "replicators", although not
all are recessed to serve as receiving resonant cavities. The
scalar concept alone might also be inverted here in addition to
the consideration of Mana. The particular ritualism involved in
supplicating the household gods, the Lar(e)s or Penates for
example, sounds suspiciously like what might be done if these
were indeed replicators: various activators and a returning of a
fraction of the meal to the shrine for the gods (ie, the part
recreates the whole-of the next meal).
WANDS:
The Grecian Thyrseus-wand may include among it's features
a number of phase-processing values that may sound suspiciously
like a good discussion of how the transporters work on Star Trek.
The phase transition coil feature may be made of the windings of ivy,and part of the accuracy may come from a molecular oscillation
standard; it is possible that any phase transition potentials in
its color changing fluid matter are also availed. (see also
Miraculous Growth of Plants in these pages.)
One of the less convincing scenes that implies that the ancient Egyptian balance is one from of ancient materialization device or object copier. The premise is still underscored here by the close proximity of a table with a leg of meat, helping underscore that the balance is to be associated with the supernatural providence of food.
The baboon that sits atop the balance in many scenes, which independently seems to be associated with light and possibly the element phosphorus, seems the appropriate zooicon for a device that materializes imitations of existing objects, since the lower primates are behaviorally imitative of man.
The likely way in which it is used involves placing an existing object on one bowl, which serves as a sample well (many renditions of the balance, not oddly, show it as being fixed so it cannot in fact act as a scale) and the identical replica will subsequently appear in the other bowl when the appropriate "ritual" acts are performed.
No scholar seems to have an adequate explanation for these unusual doublings that occur in Egyptian art. In fact, I don't seem to recall any explanation at all.
My take on this, of course, is that rather than looking at two "omphali", as the conventional caption inevitably reads for this image, that we might as well superimpose the balance on this drawing so we can see these columns (standing columnar waves?) as fields centered in the bowls of the balance, in which the atoms that this kind of pointilism (tiny dots) inevitably seems to represent, are coming together to materialize objects.
These feilds come complete, of course, with the most often used ancient symbol for magnetism, namely birds, and they are assymetrical as if to highlight that the materialized object is not wanted to be a mirror image of the original (the "witness")for it would be made of unwanted mirror-image molecules- in a food, these would be dextrorotary sugars and amino acids that our bodies cannot use.
The most likely implication with the birds is that the reference is to a particular system of materialization that uses magnetism- probably magnetic resonance; alternately but not in opposition would be the possible interpretation of the birds as dowsing forces- that the force that moves a dowsing rod back and forth can gently move a random scattering of atoms into the the shape of the desired object. Dowsing is often regarded as magnetic in nature, and has long been scientifically simulated with electronics using "molecular frequency oscillators".
Often suggested in ancient Egyptian artwork, with possible support from etymology, is the balance or scales. It is possible that one side works as a sample well, containing a sample of a "witness" or object to be created so as to provide the materialization system with data about what to create- and likely none more accurate than such an object itself without sweeping refinements in the mastery of such techniques, such as "counter-witnesses" or samples of what to subtract from the new object when it materializes.
It is possible, as a Watt & Breyer-Brandwijk (sic?) book on African Medicinal Plants points out cyanides occuring in stems of certain grains or cereal crops, that some ceremonial use of such these stalks in rituals and in ancient artwork depicts rituals and symbols in such a context-Ceres (Demeter) for example or the mysteries thereof (see page with Miraculous Plant Growth)
Although we might normally think of counterwitnesses of as a purified sample, so this sounds perhaps hard to understand, the rest of the rationale might be clear with furher work on th symbols and a better grasp of the process in general.
Certainly the material in question Has served in this case to begin raising such intriguing issues as such a general failsafe as an anticyanide feature in materialization device, which would prevent the formation of triple bonds between carbon and nitrogen, by dampening, jamming, perhaps even using the Pauli Exclusion Principle, or some prohibitive control not unlike the ideas involved with Magickal Fire Prevention on another of these web pages.
Diagram from Moray King's paper (left) on cohering Zero-Point Energy and a traditional altar of a Southwestern American native people (right). This would seem like just a coincidence without careful study of the finer points of both of these areas of knowledge.
It remains possible that in spite of the alleged and exceddingly plausible, and yet so far fruitless, successes in tapping Zero-Point Energy, that this Indian altar is a preservation of an ancient knowledge that is telling us that perhaps more likely than we can expect mastery of Zero-Point physics to produce for us a source of unlimited energy, perhaps to be wasted as so much energy is already, that we can expect Zero-Point physics to produce for us the ability to cohere random groupings of free matter into useful objects with great reliability.
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