Celestial Cyberglyphs

by Duncan Laurie

This article was sourced from:
The Journal Of Borderland Research Vol. XLVII No. 2 – March-April 1991

Download the full volume HERE
Download the full Journal of Borderland Research Collection HERE

It is a curious artifact of our time that with all the sophisticated scientific probing of space for extra-terrestrial life, the most dramatic evidence currently before us now is not scientific but artistic. I am referring to a recent airing on a television show called “A Current Affair” of the extraordinary hieroglyphics impressed onto wheat fields by some unknown agency, not far from the megalithic ruin, Stonehenge.

The television commentary went on to explain that up to four such sites per week were currently being discovered, and that witnesses reported seeing lights like”ferris wheels” in the sky above them. Scientists were setting up elaborate mobile laboratories in the area in an attempt to isolate the phenomenon.

Remarkably enough, the incidents had evolved from disc indentations in the wheat, gentle enough to not kill the plant, but forceful enough to push it to the ground in a rotated fashion, to elaborate lines of glyphs, geometrically precise curves, bars, circles and crosses that appear to spell out a mysterious message. My immediate impression was of the plain at Nazca, in Peru and of the mounds there, with one important difference. These indentations had no artistic curvature or decay to the image; they were precise, like printed letters or numbers, with hard edges and symmetrical curves all in balanced proportion to one another.

The implication cannot be dismissed that the message conveyed by such a configuration is deeply seductive to the imagination and highly reminiscent of earthwork art and ancient architecture and design. It also bears resemblance to the circuit board design in its more glyph-like manifestations. Such a message seems to totally bypass a rational, political agenda for communication. Whatever is producing these remarkable designs, it is clearly a link from known to unknown, artifact to archetype.

Should one choose to extrapolate from this observation, it is possible to surmise several things. One is that for once UFO contact or whatever it is, has chosen an aesthetic rather than a technological modus operandi. The public imagination is lured back, by proximity to Stonehenge, to prehistorical associations and lore, the power of symbol and stone, to some mysterious origin. By casting its reflection back into time rather than ahead, we the observer are caught by surprise, at one in the same time pleased but in awe, somehow internally gratified that our intruders have taste, subtlety and artistic vision.

Another observation is that this departure from the current horror surrounding the UFO mystery is remarkably playful without compromise to its numerous overtones. This fact brings it much. closer to Jung’s link to the collective unconscious and all his extensive research between consciousness, symbol, archetype and unknown source. As an art object, these glyphs and forms are monumental repudiations of a science that will not or cannot explain their origin, and as such, cast extensive doubt upon our modem religion of rationalism and materialism.

Yet these displays are designed to human scale in the same relative proportions as Stonehenge. A person can walk among the circles and lines and be thoroughly conscious of their scale– not too big to see, not too small to discard. Just right to impress a human mind. And since they read from the air a few thousand feet up, just the correct size for aerial reconnaissance and video photography. One might suspect that information of this type injected into the mass media might act like a virus of sorts, undermining the dogmatic position scientific materialism and Madison Avenue commercialism have worked to erode our sense of the mysterious, the mythic and the pure. For once, something of the unknown seen in the sky and felt on the ground has not been co-opted into some Hollywood horror.

Viewed from another perspective, we are being given an analogue rather than a digital message. For years, historians have poo-pooed glyphs as linguistic vehicles, in their repudiation of the ancient culture’s relative sophistication, as proof of minimal technological expertise. However, today we witness our own culture depending more and more upon glyphs in signage where language presents a barrier to communication. I would imagine the glyph codes of computers function in similar ways. So it is quite possible from a design point of view the glyph can at a certain level or to a particular viewer, become discernible as a coherent message.

To add an additional dimension to this possibility, let me add some fragments of a conversation I had at one time with an electrical engineer trained to understand, construct and detonate a nuclear weapon. His education and security clearance gave him access to very sophisticated weapons technology.

I was asking questions about circuit board construction and the relationship of the design to the way energy was manipulated in the circuit, looking for some clues that would break the language barrier between his field and mine.

We are all familiar with the circuit boards in radios and T.V.’s where little parts, transistors, capacitors, resistors etc. mitigate the flow of current, tuning it and directing it to specific design intentions. What I didn’t know, but was informed about in that conversation, was that at a micro scale, the scale and proportions of the circuit actually substitute for the components that at a bigger scale are soldered in. That means that the lines themselves, by element, thickness, length and interruption serve as the entire circuit. This means (to me) that at a certain finite level, the design itself, the information in the design, is acting as an independent electronic device.

I was further startled to learn that these microscopic devices, which may differ with only one molecule of one element in their function, are often stacked, giving the opportunity for the design to become operational three dimensionally. I could imagine vastly complex, minuscule three dimensional holograms swirling into view as electronic shapes, mimicking life itself with their movement and function.

So is it entirely possible that when one views earth and particularly a hay field in Salisbury plan from the point of view of cosmic scale, with man’s proportions lying nearly exactly half way between the very big and the very small, that a symbol, proportionally relevant to man’s scale imprinted upon the earth, might very well act in some hitherto unknown way, to conduct or transduce information and/or energy?

Perhaps that aside from their impact upon the psyche of man, these symbols, lying so close by one of the world’s most enduring enigmas, Stonehenge, could in fact be moving energy into some as yet undiscovered configuration?

The whole notion of how geometry and proportion conditioned man’s world view in antiquity has been exhaustively pursued by John Michell, in his books, The New View Over Atlantis and Proportions of Paradise. Here, Michell sets forth his thesis that design that was in proportional harmony with natural units of measurement, like the distance from earth to moon, earth to sun etc., played a decisive role in harmonizing man to nature, consciousness to unconsciousness.

As architects pursue Bauhausian minimalistic formulas in their design construction, forever eroding the life enhancing materials, decorative and geometrical potentials available to them in the name of cost effectiveness and utility, it becomes more and more imperative to search for design element that can replenish the natural conductors of life energy afforded by the material and methods of the past.

It is with this in mind that I offer the following observations. Perhaps we are being collectively modified, behaviorally, by these designs in a manner similar to the way a radionic practitioner accesses the energy field of a patient with a design or a numerical rate. Is it all that different than the way a musical scale or melody alters our behavior, or the aesthetic content of a work of fine art? Since we are joining information (the glyph) to energy (the earth) to man (via electronic media) we are obviously impressed in the workings of a circuit of some kind.

What is its purpose? Obviously to look for answers aesthetically, rather than scientifically. Who wants us to look there? A part of ourselves that has been lobotomized by rationalism and materialism.

As artists, if we mimic these glyphs in our work, they become absorbed in us and meaning is gleaned that is not intellectual as much as subliminal. Even to see the image is to absorb it into ourselves. How that design works electronically at a deep level of brain functioning we cannot guess, only we can say it is there once we perceive it. If it is indeed an enzyme or a catalyst to our psyche, our imagination, then perhaps what we do with the information is the only way we can discover what the information really is.

“Nature is an infinite sphere whose center is everywher, whose circumference is nowhere.” – Pascal

“God is an intelligible sphere whose center is everywhere and whose circumference is nowhere” – Corpus Hermeticum ( Third Century)

“We can assert with certainty that the universe is all center, or that the center of the universe is everywhere and its circumference nowhere” – Giordano Bruno

“For I am everywhere the center, the circumference nowhere to be found” – Liber AL