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The Stonehenge code: five lunar phase diagrams in Wiltshire crops from 1996 and 2001 Eleven years ago on July 7, 1996, an amazing crop picture with 149 separate circles appeared in less than an hour near Stonehenge, during the late afternoon sunlight, while cars and trucks were passing on a busy road nearby, and tourist planes were flying overhead:
Nobody saw or heard anything unusual. It was not noticed until a professional pilot, making regular daily flights over Stonehenge, was astonished to see it while flying overhead. He had not seen anything in the same field just 45 minutes earlier. Due perhaps to the excitement of the moment, most people were keen to understand what that "long curving spiral" might represent? And so they settled quickly on its superficial resemblance to a "Julia set" from modern fractal mathematics:
But was it really meant to be the schematic representation of a Julia set? Or was it meant to represent something else, more consistent with its proximity to the most famous site for megalithic astronomy on Earth? Again, could its true meaning be fairly subtle? Or could modern humans simply have lost touch with the natural world of those megalith builders, so that we can no longer understand what they are telling us? Stonehenge 1996 In fact, the true meaning of that crop picture is not really very subtle, but fairly obvious to anyone with a moderate knowledge of naked-eye astronomy. As shown in the labelled diagram below, it was meant to represent the 29.5-day monthly phase cycle of our Moon:
Each monthly phase cycle of 29.53 days starts on day 1 with a small "new Moon" in the west (lower right), then proceeds gradually by day 15 to a large "full Moon" in the east (upper left), both observed at sunset. Then from days 16 to 29, the full Moon goes beneath the eastern horizon and grows smaller (red crosses) as seen by an observer on Earth, until it re-appears along the opposite western horizon on another day 1. The "white dashed line" in this diagram represents Earth's horizon at sunset, whether in the west (new Moon) or east (full Moon). Those crop artists, with their usual cleverness, told us where that horizon might located using two straightforward clues. First, they attached "three small straight balls" to the outside of large ball 15 (full Moon), whereas neighbouring small balls on both 16 and 14 remain highly curved. Secondly, they aligned the entire picture so that their intended west-to-east horizon would run parallel to a crop tramline. Finally, as a nice final touch, they cleverly added an "extra tiny ball" just to the left of the new Moon on day 1, in order to represent an extra half-day "0.5" by which any monthly phase cycle of the Moon exceeds 29 days exactly. A true astronomical version of the same thing is shown below, as viewed from a perspective in space beyond Earth's surface:
Here the "white dashed line" once again represents Earth's horizon at sunset. On day 1, any new Moon will be seen first as a thin crescent on the western horizon, close in Earth's sky to the setting Sun. Then by day 15 (labelled "5" in this drawing), any full Moon will be seen as a full circle on the eastern horizon, opposite in Earth's sky to the setting Sun. After day 15, that full Moon goes beneath the eastern horizon from days 16 to 29 (labelled as "unseen" or "5" to "8" in this drawing), until it re-appears on the western horizon on another day 1. All of this seems obvious in retrospect. How could eleven years have passed without anybody noticing? Well, we did not understand until recently that many crop pictures concern megalithic astronomy. See for example "Four megalithic sundials: astronomical and geometrical analyses" or "The 1994 Avebury spider web as a lunar calendar", both posted elsewhere on this same website. On the other hand, a cynical modern astronomer had this to say: "Modern humans have lost touch with the night sky compared with their ancestors. Some of the most intelligent people on the planet today are too wrapped up in their day-to-day business, to know what is going on at night!" In order to further evaluate this lunar-phase interpretation of Stonehenge 1996, I measured "large ball sizes" from that crop picture for days 1 to 15, then compared those on a relative scale with either (a) the fraction of the Moon illuminated or else (b) its relative intensity over the same 15-day period. The results are listed below:
It seems clear from these data that "crop ball sizes" were meant to represent "fraction of the Moon illuminated" rather than "relative intensity". For example, looking at day 8, we can see that fraction illuminated equals 0.56, which is about the same as crop ball size 0.50, whereas relative intensity is only 0.24. Some of the ball sizes on days 1 to 3 were drawn larger than expected, probably because those particular balls would be hard to see in a open field if they were drawn very small. In order to reconstruct Stonehenge 1996, one would first construct a logarithmic spiral in which each successive arm-to-arm angle would be set proportional to "fraction illuminated" on any day 1 to 29. Next, one would adjust the total angle of that spiral so that it equals 180 degrees with respect to an imaginary west-to-east horizon, when going from day 1 to day 15. Individual day-angles would not represent true intermediate sky locations of the Moon, since they would depend on fractional illumination rather than on azimuth. How might that 1996 crop picture relate to the large megalithic observatory nearby? Why draw such an amazing picture in an open, widely-viewed field next to Stonehenge, unless you wish to draw attention to some conceptual relationship between that crop picture and the large megalithic observatory nearby? When interpreted as a "Julia set", it made no sense. But when interpreted in terms of "monthly phases of the Moon", it becomes eminently sensible. "Stonehenge, located at latitude 51 degrees North, is a 5,000-year-old solar-lunar calendar and observatory. Its stone locations and sightlines indicate four different astronomical events: summer solstice sunrise, winter solstice sunset, southernmost moonrise and northernmost moonset. Furthermore, at the latitude of Stonehenge, the angle between winter solstice sunset and southernmost moonrise becomes 90 degrees." Now if we "line up" that white dashed line from our labelled crop picture with the known locations of a new Moon or full Moon at summer solstice for latitude 51 degrees North, we find the following:
The new Moon rises on any summer solstice with a western azimuth of 320 degrees (close to the setting Sun at 310 degrees), while the full Moon sets on any summer solstice with an eastern azimuth of 140 degrees (opposite to the setting Sun). The west-to-east horizon (white dashed line) runs directly alongside of the large central ball in that crop picture, which represents the Earth's surface, as shown also in an astronomical diagram above. Likewise, it runs exactly parallel to a crop tramline, and also parallel to "three small straight balls" that were attached to the outside of the full Moon (upper left). Next, if we transfer that "white dashed line" from our crop picture to the original structure of Stonehenge nearby, we can see that it makes a precise 90 degree angle, perpendicular to the central axis of that enormous stone structure:
The rising Moon takes 13.5 days to go from 320 degrees (new) to 140 degrees (full), as indicated by green arrows. Indeed, we can see 14 vertical stones along the outer perimeter of Stonehenge, which match its summertime path through the sky by approximately one stone per day. What about in winter? If we next transfer that "white dashed line" to Stonehenge on the winter solstice, we find a western azimuth of 230 degrees for the new Moon (close to the setting Sun at 230 degrees), and an eastern azimuth of 50 degrees for the full Moon (opposite the setting Sun). Both of these now align themselves directly with the central axis of that structure, which is aligned in turn with the famous "Heel Stone" nearby (not shown):
The rising Moon in winter takes 15 days to go from 230 degrees (new) to 50 degrees (full), as indicated by green arrows. Indeed, we can see 15 vertical stones along the outer perimeter of Stonehenge, which match its wintertime path through the sky by approximately one stone per day. Stonehenge was also used for calendar-type counting, in addition to astronomical observations of the Sun or Moon. For example, counting twelve times around its outer circle of 30 stones, while alternating as either 29 or 30, gives a lunar year of (12 x 29.53) = 354 days. Similarly, adding 11 extra stones as located in its centre gives 365 days, which equals one solar year. Now we can understand more clearly how the original builders of Stonehenge might have watched both the Sun and the Moon. Not only did they look at the Moon on the horizon during sunset or sunrise. They also followed the Moon's path through the sky on other days, when it rose above the horizon to different altitudes. Then they recorded such results by counting stones as for an abacus. Sunset, sunrise and midnight Before going further, we must introduce some additional astronomical concepts about "sunrise" and "midnight", because three other crop pictures: Milk Hill 2001, Windmill Hill 1996 and Chisledon 1996, all seem to show observations of lunar phase at midnight rather than sunset In order to compare sunset with sunrise and midnight, I calculated various aspects of lunar astronomy for latitude 51 degrees North (Stonehenge), and in the hypothetical year 2010 when the Moon will lie midway between two of its "standstills", using a program available on http://aa.usno.navy.mil/data/docs/AltAz.html. Why 2010? Well in 2006, the new Moon showed an azimuth of 320 degrees at sunset on the summer solstice ("major standstill"); whereas in 2015, the new Moon will show an azimuth of 300 degrees at sunset on the summer solstice ("minor standstill"). By performing calculations in 2010, we can obtain mean values that lie midway between those two extremes.
Here we can see that the Moon at sunset shows rising and setting azimuths of 310 (new) and 130 (full) degrees in summer, or 230 (new) and 50 (full) degrees in winter. But one could also observe monthly phases of the Moon at either sunrise or midnight. Observations of the Moon at sunrise would be similar to those made at sunset (see angles in the Table above), except that the Moon would proceed from "full" on day 1 to "new" on day 15, as shown in the astronomical drawing below:
A more interesting time of observation might be midnight, when the Moon rises as "half full" on the western horizon near 270 degrees, proceeds to "full" when it reaches due South or 180 degrees, then sets again as "half full" on the eastern horizon near 90 degrees:
For midnight at latitude 51 degrees North, the Moon reaches a maximal summer altitude of just 15 degrees above the southern horizon, versus a much larger winter altitude of 62 degrees. The difference of 47 degrees between those two numbers is due to the Earth's tilt with respect to the Sun (or Moon), as 2 x 23.5 = 47 degrees. In other words, as the northern latitudes on Earth "tilt toward" the Sun in summer, they simultaneously "tilt away" from any full Moon, which always lies opposite the Sun in Earth's sky. Likewise in winter, when those northern latitudes tilt away from the Sun, they tilt towards any full Moon. The next three crop pictures all seem to show monthly phase observations of the Moon as made at midnight, rather than sunset or sunrise. A "sixfold Julia set" appeared in crops at Milk Hill on August 12, 2001. Unlike Stonehenge 1996, Milk Hill seems to show a gradual variation of lunar phases from half (day 1) to full (day 7) then back again to half (day 13), as would be expected for monthly observations made at midnight:
That crop picture also shows 13 "large balls" rather than 15, as would be. expected for any half-full-half cycle of lunar phases near the Earth's equator, or at the latitude of Stonehenge in winter. Yet at latitude 51 degrees North in summer, it takes only 13 days to produce such a variation of phases when viewed at midnight, because of the low altitude of the Moon above the horizon then (see the Table above). The six fold symmetry of lunar paths as shown at Milk Hill might symbolize a slow yearly motion of those paths relative to the distant stars. It would have been fairly easy for the builders of Stonehenge to observe the Moon at midnight, because a full Moon always lies directly due South at 180 degrees in all seasons of the year:
Just three weeks after Stonehenge 1996, a "triple Julia set" appeared near Windmill Hill on July 29, 1996. When interpreted in terms of lunar phases as seen at midnight, it shows just 11 "large balls" for any phase variation from half to full to half:
Yet if those lunar phases were observed at a high latitude of 60 to 70 degrees North (say in southern Norway), then the Moon would take only 11 days at midnight there to complete any west-east horizon cycle, as noted in the Table below:
The Moon also becomes full at such high latitudes after only four days, as shown in the same crop picture. Finally, it spends much of its time there below the visible horizon, as suggested by a "long tail" of 19 small balls proceeding to the right. The threefold symmetry of Windmill Hill could again represent yearly motion of the Moon's path relative to distant stars. Indeed, a sidereal lunar phase cycle of 27.2 days was kept at Avebury Ring nearby. A very similar "triple sundial" appeared at Hackpen Hill in 2003; it suggested equally high latitudes of 60 to 65 degrees North with reference to the Sun rather than the Moon. I remain uncertain whether these two midnight-phase crop diagrams, Milk Hill 2001 and Windmill Hill 1996, might refer to "fractional lunar illuminations" of 50-100-50%, or else to "rise-full-set days" above the northern horizon? Those are almost the same near Earth's equator, but become slightly different at northern latitudes of 50 to 70 degrees in summer. In any case, the fourth crop picture to be analyzed definitely shows "fractional illuminations at midnight", and also provides direct experimental confirmation for all of our interpretations thus far. Two separate but nearby crop pictures were found at Chisledon on August 2, 1996, only five days after Windmill Hill or one month after Stonehenge. One of those showed a "Full Moon and Half Moon", while the other showed a simple lunar phase diagram with a central pointer:
The "Full Moon-Half Moon" drawing evidently pointed to some specific location on the horizon, but no records have been kept so that we can tell exactly where. By contrast, the central pointer in that lunar phase diagram pointed to just one specific day:
Could that pointer be telling us some precise lunar phase, on the day when the crop picture first appeared? With that idea in mind, I made further calculations of lunar phase at midnight for latitude 51 degrees North, at times of 00:00 on various days in late July or early August 1996, and found the answer immediately:
There was a half Moon (53%) on July 24, a full Moon (100%) on July 30, and another half Moon (52%) on August 6. That "central pointer" therefore pointed to midnight 00:00 on August 3, only twelve hours after those Chiseldon crop pictures appeared. On that day at midnight, our Moon showed precisely the same fractional illumination as was drawn in the crop picture showing lunar phase. Furthermore, its total midnight phase cycle lasted for just 13 days, as again shown five years later at Milk Hill in 2001. Now onto the fifth and final crop picture that will be discussed here. Only two days after Milk Hill, another small but important crop picture appeared on August 14, 2001 at Huish. It showed a "daily sundial" for the full Moon, which was labelled specifically so as to represent a full Moon near the summer solstice:
At its base we can see a sundial-type "gnomon" (red square), used to create a long shadow from the reflected light of any full Moon. Also at various locations around its round dial we can see daily azimuth values of 130, 180 or 230 degrees. Those correspond precisely to where a full Moon in summer at latitude 51 degrees North would be located at sunset, midnight or sunrise respectively. Finally, we can also see a series of thin circular lines that could be used to determine the Moon's altitude above the southern horizon, during different times of the year. At midnight during any time of the year, the full Moon always lies due South at 180 degrees, relative to any local horizon. Therefore, by measuring a distance along those thin circular lines in winter (62 degrees altitude) versus in summer (16 degrees altitude), one can tell the approximate time of year. In order to make these interpretations more rigorous, I calculated altitudes and azimuths for all full Moons in the year 2001, when that crop picture at Huish appeared. It seems to match most closely the values of +16 altitude and 130, 230 degrees azimuth shown for July 5, or approximately one month before it was found.
We learned from this fifth and final crop picture that the megalith builders not only kept track of monthly phase cycles of the Moon, say at sunset, sunrise or midnight. They also kept track of daily sky cycles on any full Moon, relative to Earth's horizon. Indeed, when those daily lunar cycles are superimposed onto an image of Stonehenge, everything lines up nicely:
Hidden astronomical codes for the Moon and Sun in ten different crop pictures from 1994 to 2007 What are we to make of these remarkable data? There were apparently "hidden astronomical codes" buried within all five of the crop pictures discussed above: Stonehenge 1996, Milk Hill 2001, Windmill Hill 1996, Chiseldon 1996 and Huish 2001. Those particular codes referred to monthly or daily cycles of our Moon; whereas four other crop pictures from 2003 to 2007 showed hidden astronomical codes which referred to the yearly apparent motions of our Sun. Likewise, a spectacular crop picture from 1994 told us how to decode ten different lunar cycles that were originally kept at Avebury Ring. See "Four megalithic sundials: astronomical and geometrical analyses" or "The 1994 Avebury spider web as a lunar calendar", both posted elsewhere on this same website. Tentative conclusions Let us now briefly summarize some tentative conclusions that may be reached from these new analyses. You may have heard many other superficial opinions about crop pictures in the past, for example "all of them are made by human fakers" or "some of them are made by aliens trying to communicate with us". The important point to realize here is that most people love to theorize, or even reach premature conclusions, without any careful study of the facts. So when a news commentator, government official, crop-circle enthusiast or crop-circle faker expresses some firmly held opinion, without much or any concern for the facts, then we really do not need to listen very seriously. By contrast, these are the actual facts, as accepted by most people who know the subject well: 1. Something very remarkable has been happening every summer in Wiltshire from at least 1990 to 2007 On the face of it, we seem to be receiving pictorial messages from the megalith builders themselves, or from some other advanced race who might be allied with them. 2. Many crop pictures show a close geographical relationship with megalithic sites; others show Celtic symbols from the distant past; and now in 2007, we have finally learned that some of them show solar and/or lunar concepts from megalithic astronomy, which few if anyone alive today could possibly know, without doing intensive research as I have done here. For example, that "long curved spiral" which appeared near Stonehenge in 1996 was interpreted by practically everyone for the past eleven years as a "Julia set". But now we have suddenly come to realize that it shows monthly phases of our Moon! And so on, for another ten major crop pictures as cited above. 3. In the face of so much new evidence, we might slowly begin to entertain what at first seems to be an astounding notion: namely, that such messages could have been sent to us from the distant past 4000 or 5000 years ago. Not from aliens, not from our future descendants, not from local human fakers, but instead from our distant ancestors. 4. If true, they would have required a very special kind of technology in order to send such messages: certainly a space-time wormhole, or maybe even a two to four-wormhole combination called a "Roman ring". But those were just the objects shown in schematic form last year 2006 at Avebury Trusloe and Savernake Forest! And another one just appeared this year on May 23, 2007. 5. Supposing that our distant ancestors in the British Isles did somehow gain access to a wormhole or Roman ring, how would they go about making modern crop pictures? If they also had some kind of remote-controlled agricultural device, designed for crop harvesting or production, then no specially designed artistic device might be required. We see today that plant stems in authentic crop pictures are often bent smoothly without breakage by 45 to 90 degrees, just as for heating an iron bar, then bending it into some other shape before it cools. I can't really say anything else about Wiltshire crop pictures until further evidence is obtained. At first it might seem preposterous that our ancestors could have possessed a wormhole. Could we forgotten so much of true human history? If you would like to understand more clearly how important messages might be sent through time using a "wormhole", please see a new movie called "Deja Vu" with Denzel Washington. There he uses a space-time wormhole to foil a terrorist plot, and also to save a beautiful young woman! Enochian lunar astronomy One ancient text in particular, called the Book of Enoch (Astronomy), seems to recapitulate everything we are seeing in modern crop pictures. That might not be too surprising, because C. Knight and R. Lomas have argued that it was written in the ancient British Isles sometime around 3200 BC, just before the Flood (in their book Uriel's Machine). I have listed some useful excerpts from it here in modern English: "Uriel the holy angel showed me their laws. Both the Sun and the Moon set in portals of the west, make their revolutions by the north, then come forth through portals of the east. When the Moon's light is full, it amounts to one-seventh the light of the Sun. I also saw how the Moon performs her monthly revolutions. When the Moon rises, only one-fourteenth part of her first appears in the sky. Her light does not become full until the fourteenth day. Fifteen parts of light are then transferred to her on the fifteenth day, when her light is finally accomplished. In her waning, the Moon decreases on the first day to fourteen parts of light, on the second day to thirteen, on the third to twelve, on the fourth to eleven, on the fifth to ten, on the sixth to nine, on the seventh to eight, on the eighth to seven, on the ninth to six, on the tenth to five, on the eleventh to four, on the twelfth to three, on the thirteenth to two, on the fourteenth to one, then all of her remaining light disappears on the fifteenth day. Uriel also showed me another law: how light is transferred to the Moon, and on which side it is transferred by the Sun. During all of the period during which the Moon is growing in light, she remains opposite the Sun for fourteen days. Her light is accomplished when she becomes illuminated throughout. On the first day she is called a "new moon", since on that day the Sun's light first shines on her. She becomes a "full moon" exactly on the day when the Sun sets in the west, and when she rises at night in the east. On that day, the Moon shines all night until the Sun rises opposite her in the morning. The Moon makes three months of thirty days, and three months of twenty-nine (author: each lunar phase cycle contains 29.53 days). Over three (solar) years there are 1092 days, or over 5 years there are 1820. Whereas for the Moon, over three years there are 1062 days, or over 5 years there are 1770 (author: his solar year contains 364 days, while his lunar year contains 354). Such is the picture of every luminary which Uriel the archangel showed me. He said: "Observe, Enoch, these heavenly tablets, and read what is written on them, noting every individual fact." I did observe those heavenly tablets, and read everything which was written on them, and understood. Also I read a book of all the deeds of mankind, and of the children of men, that shall live on Earth until the remotest generations." Supposing that Enoch is being truthful here (and he does seem to be truthful everywhere else), let me ask you: how could Uriel, a original builder of those megaliths in the ancient British Isles, possibly have learned about the entire "future history of Earth", without access to some kind of wormhole? Red Collie |
