megalithic-scraps.eu

neither materials nor eventually decorative specials seem to be made by hard work, but by high precision excellent interventions with beyond-tools, using resonances, frequencies or vibes interlocked by several dimensions to form, smoothen & fit elements & let them flow closest to each other in organized & well prepared structures, .. on many sites different procedures can even be found side by side, some of them used simultaneously ..? glancing & perfectly orientated walls & curved ceilings at the barabar caves may simply suggest that material was activated for modeling & soft like a toadskin, glibbery & liquidlike transparent .. before fixing its shining & reflecting surface in accurate measures ..?! murmurs are around that evolutionalized nuclear masterworks are undeniable, as well as gameproducers seem to love all combinations of weapons & battlefields for their virtual sceneries, inspired by cosmic impressions & visions of vitrifications ..?

acoustics show various ways of affecting our environment & our souls, moods, body chemistry, but do we believe that horns & trombones, pipes or digeridoos move huge megaliths like baalbek, yangshan, gornayashoria or enourmous numbers of heavy stones like the pyramids ..? .. it´s bound to be a different division of technology & understanding of relations ..?! .. our available toolkit will only present an orchestra of cat jam to let our heads bang in desperation ..? if we consider an extended arrangement of dimensions which lets our perceptible world be the canvas or screen for the performances beyond our tangible environment, acoustics maybe the forecourt of the box office to approach the energetic sources & webs beyond ..?

follow the marks & options below … where a variety of almost two dozens of possible appearances of higher technology are listed .. just as a beginning ..

the mountains created so huge & massive .. an unbelievably extreme amount of material conjured up .. & later use needed primitive expansion by inferior technological skills … we witness a lost management of producing …?!

let´s start with the one we find so often and called protusions, knobs, taps ..

whatever you may tend to believe, are they results of intended creation when forming the stones or just a tolerated result of the method of machining ..? results differ in precision & intensity of their thoroughness, … people mention that some of them might serve as handles for constructing, as connectors between elements for secure interlocking, as decorative ornaments or as accesspoints for shpaing the stone in plastic-status .. follow the idea that they are the leftover artifacts of an engineering tool, which was used to model the stone, to form its shape, to keep it soft & daughy as long as it was suitable to match the surface to neighboring stoneskin, then pulled back out of its interior & pulling the adherent material with it ..? in the short process or moment of finishing a stone in the row or wall it was a neccessary step to get the machine out of its workpiece, some of them leaving inverted /negative curvature ..? .. & of course there are many deliberately formed outstanding parts of workpieces around .. left due to irrelevance, decoration or in a few cases for function ..

second, often called scoopmarks, .. we look at the formations or deformations with unknown technology, giving us the impressions as if work was done with huge fingers, spoons, scoops .. lasers phasers plasmabundles .. we can´t see it sharper, but its effectivity was used in breathtaking landscapes, where no ladders or scuffolders plus equipment had been maneuvered into position before doing the jobs .. compare the surfaces of the unfinished obelisk at aswan, the dolmens de soto, the megaliths at sacsayhuaman and its surrounding formations, .. and we come to the third spectacular or overseen surface-model, which is merely flat, but often leveled in huge altitudes and at positions where you cannot go or stay so easily .. moundtainsides, cliffs .. or walls in caves …

third to be mentioned .. leveled plain surfaces, small or outraging widely, inclined into rocks or playfully covering remotedly shining rockwalls in vertical orientation .. the horizontal to be found containing waterbasins or birdbaths .., the vertical like socalled quarries in japan (mount noco gyama, nokogiriyama, longyou caves china) showing wide surfaces of perfectly parallel incisions, these scraps used allover the globe to erase stone fast & effectively where needed, to shape pillars, walls, ceilings & objects of unknown function …

four to follow, .. in many scraps to find close to the flat plains, many types of cuts, undercuts, partial separations up to curved depositions .. as well as perfectly rectangular workpieces like in puma punku or teotihuacan .., the way we think is not that it was worked by rotating tools as known to contemporary craftsmen .., inner edges & separations & lines seem to be cut by knife-like pikes & divorcing cutting sides, angles are found to be 90° up to perfect precision or guidelines more or less lead by a tolerated variance & inaccuracy …

five .. and this can really loosen us up .. reduced arrangements, winding gutters, too deep to be comfortable footpaths, narrow & exact drainage-like lanes .., but no joke at some places judged to be donkey´s trails or mulies´treads, so the shepherd could hold on to the the brave & unirritable four-legged friends .. those to be found up on mountainsides or castles like the regenstein, the underground caves of malta or the klusfelsen, where these paths are said to origin in heavy longtime use by visitors & trailors … but will their steps wear down even harder material up to granit ..? no fairytale forest can be convincing without fabulous animals & talking trees & stones .. & doubters, who form with dough & silvermoon hair ..! very special results require extraordinary forces, temperatures & diligent paws, so its well prepared before eternalizing processes like petrificaton, pouring or imping … deniers be embraced ..!

six .. stairs or stairways to where or nowhere .. to a ramp or object that´s not here anymore ..? step-paths up the rocks, far too steep to be useful to climb up that vertical ways …? missing blocks that seem removed out of remaining rightangular boxes …

seven .. scores and notches, deepenings & widenings in shades as if it was done with hot knives, daggers or fingertips ..?! .. stitched into hot surfaces or boiling liquid skins ..? stones´ surface corroded by acids ..?

eight .. flatened & smoothened surfaces like on the giza plateau: stones set for the coating of the pyramids were first positioned & had a bumblelike form, then flatened into the plain of the exact surface of the triangular flanks … just visit the sites that anyone can have a look at … after putting the raw material into place, the flees were oriented & mastered into their perfect lineup, then the superfluous matter was wiped off …

nine … composed objects with clear symmetries like the dolmen of portino, showing a construction goal & patience to form the parts …

ten … imprints on megalithic objects like the worm on a central pillar in sacsayhuaman, looking like a provocing gimmick, or the burns of a lense or an unknown method of melting the material on the unfinished obelisk at aswan …

eleven … curved corners or perfectly rightangular angles in edges .. an additional feature often seen in egypt, peru /sacsayhuaman .., smoothed & polished by which geometric forces …?

twelwe … obviously huge complex objects as multi-tons-blocks, cotaining stairways, seats, inlaid boxes, shelters, vehicles like on fairs, .. these clearly not natural conglomerations again can be found in even larger scales as dumps or misunderstood as quarries, where its unclear if the form extracted was removed for use somewhere else or the remaining box was the wanted result of efforts …

thirteen .. the number of the moon´s cycles .. waves & pattern like drawn with a comb or imprinted with resonant shocks, covered on mostly walls & laterally ornamented on vertical stones in tunnels or channels .. partly mixtures of what seems to be pictures pictograms or messages …

fourteen … cup marks or cupules of various numbers, depths, wides & patterns .. not necessarily formed for dishes or cooking hobs, as they are also on the vertical surfaces & in variing angles set on the sides of walls …

fifteen … giant jars of different size & shape, big symmetric vessels, some of them having heavy lids nearby .. made from granit or limestone, showing an industrial way of production like pottery, while variing in obviously all parameters from diameter of corpse, open clyster, bottom sizes, horizontal rings … some of them indluding a seperating bar in their central inner container, .. most of them to be found in asia, laos, indonesia, india ..

sixteen .. many single rocks, marker stones or whatever megalithic blocks show round peels, relatively flat impressions where a bowl could find rest, .. these little troughs often in groups of a couple up to a dozen, while showing relatively similar size & depth .. partly showing signs of pressure or smooth forms like made with fingertips into dough …

seventeen … recesses, niches for clambs of similar styles connection stones of basements or walls, made of metal or unknown combinations of materials …

eighteen .. & often hard to distinguish from natural outpourings or effusions, .. monstrous amounts of rock, different compositions of material from limestone to granit, but broken in enourmous rightangular blocks, .. where is the line next to erosive decay, to see clearly the signs of creation listed above (as the rocks of yangshan)- & close or fading into fields, yards, planes of waiting volumes that dont show the treacherous marks of modulation .. waiting as a huge stock for later cut, transport & use .. (as so many landscapes, f.e. in the indian reservations) .. ?

nineteen .. thousands or millions of wild or partly parallel scratches that look like proofs for the annoying use of hammers & chisels, but if observed in a wider perspective we can detect repetions & structures like in the longyou caves that urge the hunch of enourmously advanced machinery … that might have been available in a light pocket edition vor smaller caves & huts …? we try to imagine the patterns of these as remnants of a targeted removal of material by the method of acupuncturally stimulating a resonating zone of material in order to effect an adorable detachment of the outer layers of the found older rocks that were no way to be modeled like the freshly produced geopolymers …? even when hammering with chisels there is always a best way to demolish by using the perfect arrangement of heavy hits, the angle of pushing forward & the number of repetitions until the material breaks off .. but understanding a much faster & elegant way to proceed in necessary controlled demolition, the art of working with the material, not against it, will result in stimulating the fixed nanostructures to vibrtate & dance & reaarange by giving the outer layers a drop-off …?

.. this site is in composition & far under construction ..