UFO Conjecture(s)

Friday, March 09, 2012

Aztec: Revealed?

This weekend, the website will go live, anticipating the presses rolling on a book over two decades in research, three years in writing, and now ready for its release: The Aztec Incident: Recovery at Hart Canyon By Scott and Suzanne Ramsey, Frank Thayer, and Frank Warren

Less well known than Roswell (keeping in mind that the Roswell Incident was a one-day story in 1947 and did not become prominent until 1980, Aztec was revealed in 1950 in a best-selling book (how short is public memory), but the story was later dismissed as a hoax and was carried that way until now. The evidence is conclusive: a flying disc with dead "little guys" crash landed on a mesa in the Four Corners area of the Southwest and was recovered by the U.S. military. The book includes verified interviews of those who saw it, walked on it and were hours later "debriefed" by arriving military personnel and sworn to secrecy that they violated only in the last years of their lives.

I have posted an article on my website (www.frankthayer.net) introducing the book.

I know you are primarily interested in the film aspect of UFOs, but here is a proven story about the real thing, suppressed for 60 years. The order website goes live this weekend. Enjoy.

Frank Thayer, Ph.D.
New Mexico State University
Las Cruces, NM 88003

The Symbol for God or UFOs?

Copyright 2012, InterAmerica, Inc.

P.V. Glob’s The Mound People: Danish Bronze-Age Man Preserved [Cornell University Press, Ithaca, NY, 19704] identifies this image (No.74) as “The goddess of Earth meets the god of heaven, Slänge in Bohulän”:


Barry Fell’s America B.C.: Ancient Settlers in the New World [Simon & Schuster, NY, 1978. Page 73] identifies this as a “cross” from a Basque tombstone in the French Pyrenees:


Stuart Piggott’s Ancient Europe from the beginnings of Agriculture to Classical Antiquity [Aldine Publishing Co., Chicago, 1965, Page 143] presents these images (in one panel) as Rock-carvings of chariots or carts, horses and wheels. Late second-early first millennium B.C. at Frännarp, Sweden:



Philip Van Doren Stern’s Prehistoric Europe from Stone Age Man to the Early Greeks [W.W. Norton & Company, Inc., NY, 1969, Page 229] shows this as a Norwegian rock carving of a large boat carrying a sun disk:


We have all seen the cross-within-a-circle image in many cave drawings and primitive artifacts.

(And it is seen as a wheel in many later primitive drawings and paintings.)

In its later incarnations, it is listed as a pagan symbol adopted by Christianity, and shows up in many venues of the British Isles (Ireland, particularly).

But the uppermost drawing here comes from a time period between 3000 B.C. and 600 B.C., well before an articulated Pagan era.

Why the cross in a circle then?

The boat drawing comes from the Neolithic era (about10200-8800 B.C.) and shows the symbol for the sun god, according to Stern – the larger circle on the boat-deck, but what about the two circles above the boat, in the sky?

There are not two suns in the Earthian sky, and the Moon and Sun would not show up congruent to one another as depicted, even in Velikovsky’s therories.

The Basque tombstone carving may be a Christian articulation of a Pagan symbol, but is it just that?

Carl Jung’s mandala symbols, derived from Oriental cultures, are said to be unconscious manifestations of the God archetype – the wholeness of existence as reflected in the ornate symbols revered by holy men and religions indigenous to the Asian sub-continent mostly.

But the earlier “mandalas” depicted, as shown above, primitve as they may be, indicate something else – something otherworldly: divine or ?

Can we extrapolate a reality that impinged upon early man, which caused them to note that reality?

And if so, what was the essence of that reality? Divine interpositions or Extraterrestrial intrusions?

Can we ever know? Does it matter?


Thursday, March 08, 2012

The Roswell Denouement?

So Kevin Randle’s so-called Dream Team “proves” that an extraterrestrial craft crashed near Roswell in 1947 and the United States Army (and government) covered-up the event.

Then what?

Where does the Dream Team and ET ufologists go after the exposé?

Yes, many ufgologists, such as Randle, Rudiak, et al. will crow, “We told you so!” --but then what?

What information does humanity get from a military confession?

Yes, other civilizations, off-Earth, exist.

But do we now have access to that civilization and its societal accoutrements?

After sixty-five years, has the public or military been the recipient of anything useful from the alleged crash remnants or immaterial elements such as information culled from the alleged living entity or entities recovered by the military and squirreled away at a secret facility?

Proving the Roswell ET flying disk crash is an accomplishment, but one without practical benefits for the public at large.

The military admittance takes us nowhere.

Dream Teamers will push for access to what the military hid for sixty-five years and what they determined by research upon the supposed artifacts and bodies, forcing an exhibition of what was recovered and/or discovered.

Then what?

Battelle scientists have already examined the “debris” from Roswell, Anthony Bragalia tells us, and has circumstantial evidence that this is so.

Others have determined that the military has been covert about what was found near Roswell; Rudiak, Randle, and others have circumstantial evidence this is so.


What is opened, for some, is a dialogue about how such a confession by the Air Force, Navy, or military stresses Earth’s political structures, economics, religious organizations, and many other human constructs, philosophies, and even human existence itself.

But such a dialogue is ongoing in some quarters already and has been for some time.

My point is that a “proven” extraterrestrial crash, near Roswell, in 1947, doesn’t take us anywhere but into realms of discourse that have already been happening from time immemorial.

The Air Force coming clean about Roswell doesn’t help us with life. It clears up a mystery; life goes on, and the admittance affects nothing, but sustenances a “told you so” aftermath by the Roswell believers.

The military “confession” is a shoe horn to further foolish ruminations by those who have no existential underpinnings, and use the extraterrestrial scenario to appease their need for something beyond their meager lives and philosophies.


Wednesday, March 07, 2012

The Ancient Astronaut Flaw and it’s not minor!

While I’m rather sympathetic to Ancient Astronaut theories, in their various incarnations, the hypotheses fail in one major regard…

If extraterrestrial travelers landed on Earth, millennia ago, and worked with humankind to create civilization(s) or societies and their cultural artifacts, those extraterrestrial visitors failed miserably.

No human society, alleged to have been intruded upon by galactic beings, has survived to show the competence of the advanced interplanetary “helpers.”

The Neolithics, whose paintings we’ve inserted here, didn’t last as a human outcrop. Sumerian and Egyptian cultures were gone shortly, in the context of the ages of mankind, after they were established.

Incan, Mayan, Olmec cultures are gone and they went rather fast in the scale of civilization measurement.

The Australian aborigines didn’t fare well, nor the Easter Islanders, and the Inuit’s as well.

The Dogons went nowhere, nor did the Celts or the Oriental cultures: India, China, Japan.

So what was the value provided by the Ancient Astronaut horde?

The constructions they supposedly helped with have been demolished or lie in ruins.

The “laws” they instilled – Hammurabi’s code, for example and the Ten Commandments – have been eschewed by most of mankind, in practical application.

And the Hebrews (Jews) have not fared well at all; if Yahweh was a space being who, with his minions, selected them as His chosen, they were abandoned completely.

Just as the Amerindians were deposed, and the Jews, or Dravidians, the Jains, and any other culture you can muster, the Ancient Astronauts brought nothing of permanence to Earth’s creatures, human and otherwise.

Is such failure a sign of an advanced extraterrestrial race?

The AA crowd has got to re-evaluate its criteria for space visitations, just as ufologists have to consider the non-altruistic visitations of modern UFO ETs.

Space visitors, with benefits, are pie-in-the-sky creatures -- literally, it seems….


Tuesday, March 06, 2012

Again, why cave art, and did other-worldly agents bring it about?

Copyright 2012, InterAmerica, Inc.

Secrets of the Ice Age: The World of the Cave Artists by Evan Hadingham [Walker and Company, NY, 1979], pictured above, makes clear that no one knows, for sure, why primitive mankind painted on cave walls or produced stone art.

And some cave art is not representational such as this abstract rendering from Abri Leuillet in the Paris Basin, dating from the Neolithic period:

Page 285

Mr. Hardingham presents the mystery of why art seems to have waned after the Ice Age:

Page 267

The idea that cave art was totemic in nature, or created for magical rituals is wrong, writes Mr. Hadingham.

Of course, there are some totemic drawings, just as there depictions of a sexual nature or hunting scenes.

And the idea that such art stemmed from a leisure, art-for-arts sake has been discounted also.

Why do I persist in presenting the cave art scenarios here?

I think that something happened that encouraged the primitive or aboriginal mind, as was the case on Easter Island; that is, either paranormal, extraterrestrial, or supernatural (an intrusion by divinity) agents instigated or sparked such art, maybe by just being present.

And UFOs or other-worldly beings played a controlling part in this esthetic turn by early mankind, which disappeared for a while to show up at the outset of the Sumerian/Egyptian cultural beginnings.

But if “outside” agents brought on the creativity, why didn’t it continue in an overt form?

Also, there is no and has been no overt esthetic thrusts or evidence of such artistic endeavors by those beings encountered in UFO events of the modern era.

Beings imagined or real, encountered by humans, have been unique in their unesthetic contact.

Was the artistic spark lit long ago and left to geminate on its own?

Did the gods or ET infuse humankind with an artistic DNA factor and then let it fester on its own, and if so, why?

Or is an outside agent needed at all?

What caused early man (and modern man) to draw (or paint)?

Do we need an outside source as an explanation?

Even the Ancient Astronaut theorists are loath to wax enthusiastically about aliens inculcating art among their processes for humanity’s “evolution,” pressing the alleged primitive technological and/or architectural input.

But there’s more here….something not quite right, about early mankind’s sophisticated approach to rendering pictograms when writing and speaking were hardly developed,

And is there a UFO tie-in?


A cautionary tale for ET advocates

Click HERE to read what humans should fear if UFOs really set foot on Earth.

Parallel Images from the Id


Monday, March 05, 2012

Angel Hair and/or Spider Silk powers UFOs?

A science discovery shows that spider silk is as good or better for thermal conductivity than metals and could be developed for electron transfers and other electronic needs.

Chick HERE for the story.

Angel Hair, the once-ubiquitous element of UFO sightings, is not unlike spider silk or webbing.

Click HERE to access the WORLD UFO PHOTOS AND NEWS.ORG web-site for more.

ET is in the Eye of the Beholder

Copyright 2012, InterAmerica, Inc.

Jacquetta Hawkes’ The Atlas of Early Man [St/ Martin’s Press, NY, 1976] presents her views on the Çatal Hüyük peoples (covered in an earlier post here).

Ms. Hawkes, in her splendidly illustrated book, marvels at the beauty of the Çatal Hüyük art, and writes that “…the most memorable manifestations are painted vultures with vast wings, their hooked and feathered beaks pecking at little headless human bodies":


Her book’s art reproductions also included this statue found at Eridu, Mesopotamia from the al-Ubaid period [circa 4000 B.C.]:


What are we to make of the Çatal Hüyük “little people” or the Eridu “alien”?

Do we accept the idea that primitive artists, like their modern counterparts, created imaginary figures and representations which belie the reality that encompassed them?

That is, did primitive peoples visualize, in their minds, what they depicted? And why, considering the vicissitudes of their existence, did they portray the images they did?

Do peoples under stress slip into psychotic-like reveries, which they lay down on walls or as sculpted works?

The Çatal Hüyüks were obsessed with placing murals on their walls; murals that contained images of death, leopards, and vultures eating headless, little people.


And the peoples of Eridu reproducing amongst their realistic art…


a piece (further above) that looks an awful lot like the beings described in UFO encounters.

What causes such transformations – from the real to the “unreal” by Neolithic cultures that had stresses more pertinent that the distained stresses of the modern artist?

There are clues to something in early art – something more than febrility or creative posturings.

But what could that be?

An actual representation of something unearlthly? Perhaps.

Or a neurological glitch that is intrinsic to human kind, and could even be called “Original Sin” should one want to bring Augustine’s views into the topic.


The Children of Roswell

Anthony Bragalia has posted, at his blog, a piece about some key witnesses to the alleged Roswell crash: children of the major players.

He cites what part they played and what happened to them in the aftermath -- it's not a pleasant story.

Click HERE to access Mr. Bragalia's blog

Sunday, March 04, 2012

Ufology converted by John's Book of Revelation?

Copyright 2012, InterAmerica, Inc.

A piece by Adam Gopnik in The New Yorker [March 5th, 2012, The Big Reveal, Page 78 ff.] about Elaine Pagel’s new book, Revelation: Visions, Prophecy, and Politics in the Book of Revelation [Viking], has some quotes that apply to ufology and the UFO community.

I’ve substituted words that pertain to religion and inserted words with a UFO patina to make my point, whatever that point may be. I’ll use [brackets] for the substituted words…

“Apparently, when you have made up your mind to believe that your [UFO] is [ET}, neither death nor disappearances will discourage you. [A UFO] presence is proof; [a UFO] non-presence is proof; and non-presence can be conjured into presence by wishing it to be so.” [Page 79]

“Allegorical pictures of [UFO events] have a way of weaving in and out between the symbolic and the semi-psychotic.” [ibid]

“But [UFO] people like the violent otherworldly stuff, and give it a lot of non-allegorical license to do its thing.” [ibid]

“Don’t squishy doctrines of transformation through personal illumination always get marginalized in mass movements?” [Page 80]

“…the open-minded, non-authoritarian side of [ufology]…quickly succumbed to the theocratic side, gasping under the weight of those heavy [early UFO tomes]. [ibid]

“The truth is that punitive, hysterical [ufology] thrives, while soft, mystical ones must hide their [conjectures] somewhere in the hot sand. [ibid]

That’s it.

The Gopnik piece is a must-read that applies to hermeneutics rather than ufological internecinity, but I see a direct correlation.

“Let them with eyes see, and those without wither.”


UFOs and Çatalhöyük

Copyright 2012, InterAmerica, Inc.

A review in The Atlantic [March, 2012, Page 74 ff.], lauding Ian Hodder’s new book (pictured above), published by Thames and Hudson, tells of a Neolithic settlement extant 9400 years ago:

The settlement of about 8000 people, who built and lived in mud-brick houses, was odd for an umber of reasons….

The inhabitants built their houses so close together that entry had to be through the roofs. The propinquity didn’t allow for streets or walking paths.

The houses also acted as cemeteries; the dead buried beneath the floors or in the hearths.

“The inhabitants decorated their interior walls with plaster reliefs and with elaborate murals depicting wild animals…and such cheery scenes as vultures swooping down on headless people.

They regularly – annually or even monthly – replastered their walls and floors, covering these bizarre and beautiful murals…creating a blank canvas for new pictures.”

This compulsive, obsessive behavior was not extrinsic to the Çatalhöyük society, but endemic.

The people didn’t create their settlement near arable land but chose, rather, a site that was an insect-infested marshland that had a proximity to the dense clays they needed to make the plaster for their murals and drawings.

The whole purpose of the Çatalhöyük life-style and existence was the ongoing creation of those murals – nothing else, Hodder conjectures, mattered more to them.

As with the Tassili and other cave-wall paintings we’ve inserted at this blog, one wonders what possessed these primitive peoples to place “art” about anything else in their lives.

To use the Çatalhöyük model, can we conjecture that those who pilot or inhabit UFOs also are obsessed with something – not art, but the archeological wonders that Earth presents and which is unknown in their environments.

The intimations of extraterrestrial intrusions that Ancient Astronaut theorists see in cave paintings may indicate an obsession by galactic or dimensional visitors not unlike that of the Çatalhöyük people.

That is, beings, alien or Earthian, have obsessions that make little sense to “normal” people, which keeps archeologists and “ufologists” flummoxed.

Can we ever really know what primitive man was thinking, or what possible extraterrestrial visitors have as a raison d’être?