UFO Conjectures

Friday, May 27, 2016

Birds as ETs?

A new book by Jennifer Ackerman, The Genius of Birds [Penguin Press, 2016], reviewed in The New Yorker [5/30/2016, Page 77] notes “that many bird species … exhibit ‘technical, social, musical, spatial, inventive, adaptive’ intelligence.”

The reviewer writes “In addition to providing  engaging descriptions of bird behavior, Ackerman addresses scientific debates, such as whether birds’ ability to solve puzzles necessarily indicates insight and grasp of cause and effect.”

So, can we add to the possible litany of UFO visitors, evolutionarily advanced birds from another planet, our future, another dimension, or parallel universe that is a cosmic aviary?

Advanced birds, visiting Earth (from somewhere) could be seen as angels, Mothmen, or other diverse entities found in UFO lore.

RR

Neanderthals replicated flying saucers?

https://anthropology.net/2016/05/27/neanderthal-the-interior-cave-decorator/

Ancient Astronaut theorists might suggest that Neanderthals created circular areas in their cave domiciles as a nod to alien space ships that visited them, and that is a possibility, unlikely but possible.

Yet, what has been the fascination with circular structures around the globe?

https://wufengengineering.com/2014/08/05/importance-of-the-circle/

If the circle was considered a magical or sacred element to primitive mankind, and ubiquitous, why did it take so long for humans to invent the wheel?

RR

Do UFO-like elements in art works impinge the memory of UFO observers?

Here are some examples of art works that allegedly have flying saucer or UFO images in them?
Would such art impact the memory and supposed sighting of a UFO by a person who had seen such a painting or art work?

The idea is ludicrous on the face of it.

Firstly, the “thing” purported to be a UFO inserted into the work by the artist is often so minute that it needs to be pointed out by someone who catches the “detail” which has little or nothing to with the subject matter of the painting or represents a symbol related to the painting’s theme, as has been explained by art aficionados:


Secondly, the hoi polloi  (common folk) who typically report UFO sightings have rarely, if ever, seen or looked at classic works of art, as those shown above.

Thirdly, Daniel L. Schacter in Searching for Memory: The Brain, The Mind, and The Past [BasicBooks/HarperCollins, NY, 1996] details how implicit memory requires an emotional commitment on the part of the person viewing an art work, which I doubt the great unwashed (or anyone) has while visiting an art museum.

(Also, a painter would not be invested in adding his or her spotting of a strange thing in the sky to a painting that is not representational of a real scene but is a rendering of a religious or mythical meme.)

So, I think we can assume, rightfully that imagery in classic art works, resembling the common idea (today) of what a UFO looks like, comes into play to account for a memory insertion by a UFO witness.

However, comic book imagery, movies, TV shows, and UFO illustrations in magazines or newspapers, and advertising may account for the representations that often are added to UFO reports, stemming from a memory flux combining the observation of an odd thing in the sky with a memory of a UFO (flying disk) image encountered in such media.

RR