स्सिन्तिल्लेशन

FROM http://en.wikipedia.org/wiki/Grid_illusion


Scintillation in Antiquity

The original ratios and coloration which generate the Scintillation effect were the natural materials of obsidian, ground obsidian or silica quartz, and pumice, all of which are natural to active volcanic regions.

It is plausible that humans of pre-historic times were able to generate a reference grid such as this by overlaying a wet fiber or hair on cooling lava such as to allow natural forming of the silica with the boiling moisture's expansion and the extrusive growth of a pumice hemisphere at the intersections by dripping water or placing wet salt or clay at this point. Ground silica glass from obsidian also has the exact luminosity required for the gray bars as does black obsidian and white pumice. There is indication that this reference frame was used for pre-historic sculpture and glass works and in early metal foundries and helped to standardize trade ratios and measures in oceanic regions.[1]

Although the square grid is interesting in its own, there are additional layouts that have even greater effect. Both a 6-point (equilateral triangle) and a more complex grid with masonic angle references also generate these effects.

Optimally, one would construct the grid as a variation of luminosity from the (circle) reference grid points, expanding outward from white to black. The result is a function based on the grid points and background shading with spatial highlights where the lines are in these examples.

This configuration is easily extruded in three dimensions by controlled cooling and expansion of volcanic lava flow by moisture to produce a semi-transparent panel which exponentiates the visual effects with projected false points (dots) in 3d. The resulting exact measure standard would be used to project sunlight or light from fire across the casting or sculpture so that artisans could further refine the arts or tools to the grid projection. When lit from behind or in sunlight, this semi-transparent glass panel has a glowing effect which further projects the Scintillation.[2]

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There are also modern studies of Anomalous Motion which uses this same pure white and black leading and trailing edge effects to generate optical illusions of physical motion or depth in static images. This same spatial projection technique was used historically when painted on the panels as above. When cast in glass, the accurate black-white-gray coloration could be used to project 3d images with perceived motion and holographic extrusion from the panel or sculpture.[3]

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Following a Point Centric SVG design for tile, the ratio of black to gray is 2:3 horizontal or vertical with a 1:3 circle center. The minimal gray color for effect is 1/2 the amplitude between black and white channels at any system luminosity. Using a 10x10 grid as a template, which can be rendered at any size, it is easiest to create 4*4x4 unit squares with 2 wide bars, or overlay 1/5th wide lines on the center of the image. The circle should be [PI] diameter using a 10x10 grid, or approximately 3u.

As a SVG, the following template may be used or rendered to a raster at any size:

प्रूफ़ ऑफ़ इन्फेस्ताशन्स

Well, the indicators are closing quickly.

It appears this topic is an artificial manifestation of attempts to generate a mass consumer educational system based on artificially and fraudulently generated ploys that include overthrow of religions and political sectors, false claims by various parties to intellectual authority, and a blatant asinine attempt to reverse map modern math, science, and physics into a ploy to revise the entire system by means of "miracles" and false deities.

http://upload.wikimedia.org/wikipedia/commons/1/12/Rotating_spherical_harmonics.gif


http://mathworld.wolfram.com/images/eps-gif/SphericalHarmonics_1001.gif

Amongst the obvious, are the disinformation fronts of the imperialist space cadets, the criminal gang mob elements on the event horizon, and a plethora of deluded and malevolent "scientists" running a scam against the world and all history...

http://mathworld.wolfram.com/images/eps-gif/SphericalHarmonicsReIm_1000.gif

अद्दिशनल इन्फोर्मेशन

Appended after the below edit:

http://eands.caltech.edu/articles/LXX1/rossman-web.pdf

has a nice article on the crystal characteristics, the samples are currently shown at Bowers museum in santa ana, ca.

as images: http://view.samurajdata.se/psview.php?id=09343443&page=2&size=full&all=1

how coincidental!

=====

Just as a pre-emption, there IS a slight plausibility that the target objects may be a hoax or remnants of a disinformation/falsification campaign which could easily date back to the WW2 era (or modern sweden/norway/denmark attempts to pillage the world): if you notice YEOUCH image, which is a visual trace from the video, the inverse of this diagram (which is assumed to be a projection template for a statue in 3d) corresponds almost perfectly with a modern population center map of germany and sweden. The main tie-downs are paris (to the right) and the stocking matches the water/boundary formations of sweden perfectly. Center of reference circle centered is berlin.

Additionally, I have again been pointed at this entity on the same topic:

http://knot.kaist.ac.kr/photo/9th_jk_knot_school0113/imagepages/image459.htm

http://knot.kaist.ac.kr/

Which is a known "spy" group working on artistic cyphers with strong ties (from public info) to american and british counterintelligence operations...

...

However, the resulting analysis of vibration modeling, glass works, various historical elements, etc, all correlate with nature, so obviously there is a foundation for the study regardless of the data's origin.

Reverse modeling of artistic technique is a valid pursuit regardless, and the techniques for casting and layup are quite interesting as derived from these documents.

=======

There is also a lengthy discussion of the optical characteristics of materials that is derived from a public request we made a while ago at:

http://gemologyonline.com/Forum/phpBB2/viewtopic.php?t=4529

and some additional inquiries which will be included below.

Significantly Higer Dimensions

Their N-Dimensional mathematical systems just made a quantum leap.

Referenced, are the signals and electrical characteristics of quartz crystal, volcanic glass, the electrical and optical properties of phosphors and gas versus the various oxidation and chemical composition of copper and copper oxide, amongst others.

In short, to establish an accurate scientific method of managing complex high dimensional math, vibrations and signals in multiple mediums, communication and institutional management, and the need to couple all of these to an easily understood humanly perceptible system, one needs merely to add a bunch of common and easily understood materials to a pot and grow a crystal structure.

The electrical characteristics of common materials: tangible metals (copper oxide, rectifiers), silica crystal and glass (quartz resonators, etc), temperature and electrical management in the fabrication environment (volcanics, sun, water), additional "alchemist" materials (typically the stuff that doesn't crystallize as salt when you boil sea water), and related gases (like hydrogen .. and .. and .. and ..)

combined with the vibrational characteristics of common materials: quartz crystal, (sapphire/ruby), copper (tin/lead/silver/gold), in both the electrical and sound ranges, and of course the transport mediums such as various water, air, glass, metal compounds.

Although a phosphor material may be usable for visualization of the field signatures, I am far more inclined to expect a gas/plasma or crystalline luminary would be used.

The electrical and optical characteristics in sapphire and ruby should also be noted with the quartz; the combination of a regenerative charge and the resonance of the crystal combined with the other signal modulating materials make a very clean system.

The spherical tonal system components, through the compression of the quartz, was expected to provide coherent signals transport, as does a piezo microphone on a crystal radio [or a polymer-electric "microphone" as an rfid].

Adding into it, more advanced and higher dimensional field modulators and translation systems, especially the matched atomic crystal structures of these and a few other stackable materials, you end up with a very clean and easily managed and constructed system of communication with multiple modes and mediums of signal transport.

Ironically, unchecked logic indicates that one could transport a visual representation of an environment using a simple polarizing filter (quartz), photo electric media (copper), electrical mechanisms (quartz), electrical signals transport (quartz), frequency transposition (copper), and crystal resonance to transmit bidirectionally a photo image by means of a string between two cups. [cups not needed?]

Add to that, more advanced signals management, you can transport 3d+ field characteristics between environments on all mediums with cross-checked signal integrity and project a 3d+ visualization of the environment into an optical display using only very simple crystal structures.

Time to pull out the tin-foil animals and add them to the highly advanced n-d spherical differential computational system described in their math, and see what the crystal ball shows. [cross-hairs?]

pelodic@gmail.com

Spatial Differential of Asteric Optical Qualities for Measurement Standards

The numbers are in...

The measurement standard used for 3d mathematical measures is quite simple.

A spherical reference with exact measures, such as an Asterism or Corundum typical to quartz and saphire [ star sapphire, black star, diopside ] provides both the spatial differential required for accurate 3d measurements at depth as well as the intrinsic measure itself.

The base-6 multiplier is derived from the observational angle of the crystal, whereas the crystal's star is relative to its crystal alignment. As one's vector of view changes, the star responds accordingly, providing accurate and very refined measures at any scale. (assuming visibility)

A 3d sphere of 6 point star material will easily facilitate both measures as well as accurate calibration; moreso, it's electrical resonance in any of the primary materials is symmetrical and multiplicative, providing intrinsic spread spectrum field characteristics.

We are looking for a specific optical simulation for these crystal materials, especially the depth differential for the materials of various densities.

A certain material is bound to have the exact visual qualities that correspond to the angular multipliers on a base-6 sphere. I'll have to play with one to determine viable angles and spatial characteristics, however all I have physically available are the 4-point black stars at this time.

Ruby Star Corundum or Asteric




Asterims, black star

chatoyancy is the optical characteristic on a single crystal boundary

Modern "Scientific" Incompetencies

Well, the solution is quite simple. Everything from the scales of the metric and imperial systems to the PSS-78 salinity models are blatantly useless in the real world.

The equation of speed of earth's rotation = speed of sound in medium in various matched mediums including harmonics in air and whatnot, is quite simple.

The saturation of salt in water is 1 unit of salt per 3 units of pure water. (pss-78 uses 32...g/kg)

At threshold boiling point with full saturation, the speed of sound in supersaturated salt water is the same as the speed of earth rotation.

At the slushpoint (prior freezing or immediately after melting) of pure h2o, the speed of sound in pure cold water is also the same as the speed of earth rotation.

A factor of the human body surface temperature, pressure, and humidity most ideal for a human environment is a direct harmonic of these values and is easily generated with managed steam density and temperature.

The wavelength associated is a pure factor of the the size of the planet and is matched with an equal time slice of earth rotation.

The numbers prefer a 1/3 ratio with exponents, however also handle higher dimensional values in the same base.

Of the many locations where these characteristics appear naturally, the majority is aligned with the same measures and fractions/exponents as the base measurement value.

There are threshold ice/steam/volcanic/salt/freshh2o/etc combinations in many places, all of which are naturally suitable to this standard.

The velocity of wave propagation in molten lava, magma, quartz crystal, obsidian glass, etc, are also standard harmonics of these values.

Using the normalized standard mediums, it is easily understood that an introduced vibration would effectively be transposed to the scientific standard using the resonance normal from each medium exposed.

I predict that the tonal resonance of natural leather in normal conditions may be matched with this value from the artificial environment to air.

It is understood from the documents that enclosed environments at the foundry used these mediums for all aspects of management, including the more obvious need for a steam/condensation capability in the event of gas or flash heat emissions from the foundry. Not only did the mediums serve scientific standards, they also served engineering and physics requirements for casting, forge, and controlled cooling, and kept the humans involved alive and comfortable with a standard environment that helped to normalize the conditions.

Someone had a clue, very very early on, in the "evolution" of human society.

Volcanic Casting and Forge

Going over the video and extrapolated 3d models again, some of the technical designs are quite simple.

The primary reference (sphere, etc) use a very simple fabrication method:

Cast a sphere of obsidian or other material, confirm its structural integrity under pressure (or cast as vacuum or cast as high pressure air, etc) then drop it into a tone-locked vertical pipe with a hot plug (similar to how one would tune a barometer) and let it find its normal pressure where it matches the environmental resonance of the system and solidify with normal cooling.

The result, is a cute little pressurized ball that makes a perfect tone to any matched medium at a perfect harmonic of the control resonance frequency. It's natural selection of buoyancy based on the frequency of its natural resonance when matched with the environment tone gives a perfectly matched resonator with a glass plug. I'm sure you could do this with a cork or wax/pitch/tar on a wood diaphragm as well.

Location of Ancient Volcanic Culture, Modeling of Scientific Instruments

Location of Ancient Volcanic Culture, Modeling of Scientific Instruments
[This call for insight was censored aggressively by the Smithsonian and their grunts.]


We have been introduced to a huge collection of very old scrolls,
artifacts, and glass works (volcanic, crystal) with the request to
help identify the originating location of this highly advanced culture
which appears to date prior 2500 years ago.

The primary information to review comes from a highly accurate and
well preserved archive of scrolls and technical records that explain a
very advanced volcanic glass and crystal forge and an excessively
advanced scientific and mathematical system to facilitate
standardization of instruments and measures for what may be any
accessible volcanic location.

The data is extrapolated from recently digitized video from a 1970s
era video camera on a simple surveyor robot, likely dormant since then
until its recent reactivation, which was injected into the host
location with air-tight seals. Unfortinately, the camera is low
resolution and monochrome, notably antiquated, and the data source may
not be publicly known. [the lense is not of conventional shape, and it
keeps its wires out of the video, we have not yet found a reflection
of it in the glass, so the device is not yet identified nor is scale
in the environment known] Our background is the use of modern simple
robotics and imaging systems catered to highly economic and
educational pursuits, typically k-12 and collegiate programmes which
facilitate mapping of historical venues and related locations as a
non-invasive classroom or field research project. The party has
contacted us and has made clear that this huge archive is not commonly
known, their control over the device is limited by their access to its
wire, and it is definitely not the region of the artifacts' origin and
the last prior inquiry known was made in the 1700s as per their
analysis of items left therein.

The documents reference a location, as do some intricate (apparently
nautical navigation aids) crystal pieces and highly refined scientific
instruments of volcanic glass (forge origin), and provide this
specific information to facilitate creation of highly accurate
scientific measures to calibrate additional equipment:

The majority of the specifics are derived from the understanding that
the earth's rotation speed, speed of sound in various mediums,
temperature, pressures and material densities, wavelength and
harmonics of vibration both in air/water mediums as well as other
materials that include electrical crystal resonance (radio range
vibration), and a complex method of feedback matching that facilitated
what appears to be both a communication or (nautical sonar) technique
as well as highly refined tooling of volcanic forge using the
vibration to control crystal physics in cooling and solidification.

In short:

The speed of the earth's rotation, at altitude, is equal to the speed
of sound in {air, sea water, pure water} and harmonics thereof, when
at a certain pressure and/or altitude and environment where these are
normalized, the wavelength of reflection is a multiple of a standard
linear length which is equal to a base value of the earth's diameter
or circumference. Continuing, it defines a set of cast spheres which
facilitate the accurate generation of said tone from a pressurized
vessel which assists both in the tuning of measures (we only have the
length/wavelength/density section as of yet) to that wavelength and
harmonics, along with other methods of confirming and correcting the
value to extreme accuracy based on (barometer style floats)
comparisons with the reference devices. The specifics are exact, it
indicates that you should find a volcanic environment where both pure
fresh water, sea water, and clean silica volcanics are present, has
indications for specific material qualities which likely correspond to
presence of minerals and is different for volcanic chemistry, and
demonstrates a very coherent language and mathematical model that
combines both the scientific instruments and their creation, musical
notation and a religious style presentation, written language, and
other reference structures like the measures of the human body
proportionate.

My first analysis was that of active volcanic vents in proximity to
water sources and with characteristics of environment that would be
conducent to a natural balance that would facilitate the generation of
these standards. Unfortinately for the research, there are both far
too many places where this occurs naturally, and none which accurately
correspond. Moreso, using pressurized steam and the instructions
included, you can create an environment ideal to both human
requirements as well as the scientific standards. An assumption was
made that the crystal and glass would cast more effectively at the
equator, given extremely high accuracy aligned crystal structures at
all scales, however with the introduction of controlled vibration and
sound (especially directional), these concerns are mitigated to their
standard.

My hope is that the research in volcanic systems has led to either an
awareness of who and where this culture may have been, or may provide
insight as to the specific sciences that are described therein.

Obviously, the numbers are quite simple to solve, I ask for your
assistance in this analysis, but when the information they provide
seems to indicate that the vibration propagation in molten lava and
sea water are correlated and can be translated to a normal in human
audible range in air, appears to use an exponential base-6? 3d
computational structure for some factors and the intrinsic vibrations
of the tools / references to generate mechanical measurements
(including time) translated to complex vibrations, my hope is that you
have encountered such a thing previously or have accurate methods of
modeling these systems sufficient to establish a standard to further
model their technologies.

The most distinct and impressive tooling/devices observed in the
reference documents appears to be a pumice/glass boat design that uses
the vibration of the audible system and its harmonics to both sound
depth, act as a highly advanced propulsion source which used the
vibration of the system in whole for (gyroscope style) steering and
navigation and an ingenuitive "tail" that translated the relative
position on the directional spheres (map?) into a vector of travel.
There is indication the dominant reference was based on water velocity
(conventional latitude from equator) and spin within a nested
pendulum, and this system directly managed the complex vibrations that
influenced the rest of the system.

Given the scope of the information, its use of highly intricate 3d+
math, and the apparent intent to generate glass works that serve both
religious and technical purpose that DO appear quite similar to a
strong majority of ancient religions, combined with what could easily
serve as a method of standardizing 3rd party measurements for trade
and a excessively advanced awareness of nautical navigation, I assume
it may be a small multi-cultural group who had attempted to further
their travels and had assimilated knowledge from a vast spectrum of
cultures.

Unfortunately I am left at a loss for specifics or any historical
record of this group, and most definitely will wait patiently for the
next batch of raw video, but my hope is that in the mean time a
scientific model can be created that can further refine our
understanding of the mathematical and physical characteristics of
vibration and harmonics in volcanic environments which would
facilitate accurate understanding and modeling of the technologies
documented in the archive.

Please pass this call to any others who may have insight on the issue,
we have exhausted the majority of public information, and I would
appreciate any help on the specifics of modeling long-wave vibration
propagation between volcanic surface structures at the immense scale
plausible.

I thank you in advance for your advisories on how to approach this
topic, and any hints or information available on plausible entities
who may already exist in modern historical record.

use someone else's volcano maps ;)

Of course, google tells you something exists only after you gave up searching and created it yourself.

This volcano map has more features than mine ;)

http://geocodezip.com/v2_activeVolcanos.asp

ओवेर्विएव दिस्कुस्सिओंस

from an email 12/5


Thank you much for your responses, the primary interest is the
viability of the obvious selection and natural use of a volcanic
region as a forge for both glass and light metals. I appologise for
the verbose and slow response.

These scrolls and engineering diagrams, of unknown age and origin,
explicitly reference a number of highly accurate mathematical and
physical qualities which are used to "tune" the symmetrical audio,
language, and engineering/architecture designs, including excessively
accurate measures of crystalline atomic resonance, etc...

The primary function that is solved, uses a system to determine the
temperature and pressure ranges where the (effectively speed of sound)
are matched harmonics within air, water, and sea water. It indicates
that the natural resonance vibration frequency of what appears similar
to "sacred geometry" of the human and other proportionate organic
bodies are matched, which is another obvious when you use a measuring
tape, and that the human audio generating and listening frequency
ranges are also within this range. It is matched to a weighted unit of
time that is based on the solar rotation and the 14-15hz normalized
frequency.

The various systems go on to describe (and tutor) drawing methods that
are now majoratively lost and were last fully implemented in the
old-persian arts, even though greek, etc all used some techniques and
components through to the modern era.

The drawing techniques are simple once understood, they are basic
deformations or derivative vectors, apparently based on a mechanical
measuring process, but used to represent complex (extremely complex)
3d shapes in sculpture in various materials.

The first obvious design looks like a very intricate diety character
which would be fundamental to both the buddhist and hindu, however it
is NOT the modern drowned-blue or multi armed characters. The most
distinct part is what appears to be the god's hand or foot extending
to touch the surface of a pool of water, intricate ornimentation
surrounding, and uses what likely became the "locus flower" symbol
used today. (the method uses complex spiral and arc translations in
3d, which when half-drawn and not refined, looks like said flower)

What is most striking, and i hope for your views and ideas, is that it
indicates the majority of materials are natural to a volcanic area, as
all of the required tones of glass, resonate frequencies of material,
etc are symetrical and harmonic when cast and prepared at a certain
altitude and pressure/temp ratio.

The logical would indicate a volcanic foundry used for this process.

However, when the artistic styling of the representations was lost
after the old persian era (around alexander great) and the older
sculptures across india (specifically [SIC: aseoph's][the flag of india sculpture] lion dedicated to
buddhist teacher) use the same standard forms however also lack the
finishing processes of visual representation, I become confused.

The specifications indicate that it is viable to tune wood and other
more common materials for these instruments, however the preference to
optimized and ideal volcanic processes which are pressure cast for
perfect resonance qualities and some specific iron and lighter metal
works that further the scientific standards is surprising in any era.

There is resemblance to tibettan "singing bowls" both of ceramics and
metal, but these systems handle the entire construction of temple
complexes and excessively accurate measurements using a single seed
mechanism.

I will appreciate your response and insight, the "rudra veena"
(instrument) was the first positive hit, the second, is the origins of
the fallic petting stone, the shiva-lingam which was, according to
these documents, originally the artist's spherical stool in a highly
optimized studio which handles the creation of these highly accurate
tools and 2d visual works.

Let's rule out "atlantis" for now, and assume it is a 1700s attempt to
model a consolidated (reversed) art technique based on a wide range of
history beyond what we have images from on the surface of the
stockpile.

I look forward to your response and suggestions

Identification of Ancient Musical Notation

We have been provided the first set of what may be thousands of highly scientific musical notation scrolls, these include both a script language as well as the musical which appears to be played on a LARGE Rudra-Veena in conjunction with the creation of 3d art presentations and engineering guides, uses a structured 4+3 (as 2,4,1) primary and secondary string arrangement, is broken in both base 60 and base 12 values, and uses a spherical dual and multi bulb arrangement in one design, but also has a second more optimized design that uses a bean-shaped bulb and multiple 3d string layouts. The notation is extremely scientific, but is designed for both the musical aspect as well as the derived application to engineering drawing for stonework or otherwise. There is indication that the bulbs in a layout similar to your veenas may have been made out of silica quartz similar to the resonator bowls used in central asia. There is a diagram, or at least the proportions to make such, that shows the complete arrangement from the musical instrument, its projection structure (as it is played in a closed chamber) to the forum, a set of toolings used to both play it as well as engage intricate calligraphic and script artwork/language, a 45 deg slanged panel that is larger than the farthest reaches of the artist, a set of reference guides and lighting sources (one set of which is the crystalline spheres of the rudra veena), and a human relative structure that serves as the seating, standing, and other posture position reference optimal for the artistic and musical purpose which is composed of a sphere which is in a guide structure similar to a shiva lingam well before the time of shiva.

The available information is extremely accurate and comprehensive, includes guide generation SCRIPT/MUSIC/STRUCTURE to create the reference projections needed for highly intricate sculpture, and appears to reference a religious sect dating back to well before the modern indian/budhist influences. There appears to be an attempt in the 1700s to follow these instructions, however they lacked a thorough comprehension of the design and were unable to implement it without an understanding of 3d perspective. (The individuals also appear to have been too small for the measured designs (and did not review the proportional guides) and were unable to comprehend the system which was based on a 180 (cm) tall human from eye to floor.)

I have begun construction of some of these structures while waiting for advanced imaging hardware to be transported to the location, and have drawn a number of the more distinct language/music systems in an effort to understand the basis of its intent so that appropriate computational simulations can be developed. The ideal materials appear to be a silica quartz furnace facility with volcanic ash and volcanite stone (crystal) which are both used in these structures. The ash from coal furnace appears to be the primary finished product artwork medium, bone and animal organ based writing utensils, a thick gloss ink from crushed volcan stone, the white silica quartz for both optical projection and tonal qualities, and a variety of ricepaper style paper/fiber panels which were created in conjunction with the glass flats.

There are a number of images of some of the hand-drawn recreations, I would appreciate any and all insight as to what and where this came from, and will continue to attempt to model the system indicated therein.

A good set of the characters are at

http://BigEye.us/scribe/

series C and G, c0002 and c0003 are decent representations of a right-left top-down sequence used, as well as g0005, g0006, g0007, g0008, and the result 2d representation of 3d is currently called "yeouch"

I will be transitioning this data to a more appropriate website, the images mentioned are:
http://bigeye.us/scribe/c0002-VertGuideH-TopRight-SQ2.jpg
http://bigeye.us/scribe/c0003-VertGuideH-BottomRight-SQ2.jpg
http://bigeye.us/scribe/g0005-LargeVert-2-withHeader.jpg
http://bigeye.us/scribe/g0006-LargeVert-3-IntricateAccents.jpg
http://bigeye.us/scribe/g0007-LargeVert-4-MeasuredGuide-1.jpg
http://bigeye.us/scribe/g0008-LargeVert-4-MeasuredGuide-2.jpg
http://bigeye.us/scribe/y0001-yeouch-3d-WireGuides.jpg

Please contact me as soon as possible with any hints or insight as to where this came from and what it represents, and please pass this message on to anyone/everyone who may have additional ideas.

Pelodic@Gmail.com

I am still waiting for imaging hardware to arrive where these items are, however there is additional recreations (following the guides included with the art primers) at http://BigEye.us/scribe/

of high interest is this set, this first image instructs the drawing of a 2d representation of a 3d physical guide structure, likely of woven materials, to facilitate the creation of an arm/foot of this character as shown. The technique is quite interesting, but one should note the complete lack of perspective (lense/depth) which would be more suitable for linear projection on or across a stonework or similar.



There are many more included, see the various images, I am attempting to extrapolate the TECHNIQUE so that the analytic system we are customizing for this purpose can patch holes in the digital representations... this should be a very quick process, given close to 100% of the lines are based on a spherical or (bean) shaped physical guide.

I still have no idea or insight as to where these originally came from, and would appreciate all suggestions.

I have been introduced to a highly advanced composite language, its structure is extremely mathematical and highly capable of artistic structure, however between the horribly bad medium of transport and its intrinsic high complexity, I have been able only to recreate the main characteristics from various examples. There are thousands more from this source, however I have not yet identified any specific language or cultural group that is dominant. The language families range the entire asian continent but are all pre-modern arabic influences and prior the transitions to current chinese and indian structure (pre-colonial). The latest confirmed date is in the 1700s ad for the data set, earliest explicit reference is in the 600s AD.

Please see these sets, especially the g00** images, which is following the scientific guides of a 12/6/5/4/3/2 partitioned space that were extrapolated from the sources and also have been correlated to studies of sculpture and artistic representation both with and without explicit language characters.

http://bigeye.us/scribe/






I would appreciate insight as to what groups or type of language(s) this is, there is high affinity to hugely widespread religious groups, but the structure of all of the source data is explicitly inclusive of multiple language structures that are somewhat or totally incompatible with eachother, their layout appears to be intended for symetrical translation....

Please contact me via email PELODIC@gmail.com with any and all hints/clues asap, I will be creating a digitization system to attempt to model this structure, but it would help to at least know what it might be. Also advisories on software that can do correlations and image recognition. There is a "Bean" character that is only infrequently used in arabic, that is prominent in the vertical scripts, along with some structures that are very close to old mongolian script (vertical) ... the majority of characters and script is vertical, typically structured right-left, and has multiple characteristics that include a majority of linguistic structures from across the asian and pacific regions.

Especially interesting and distinctive is this (copied from the originals)