The analytical work of Carl P. Munck, The Code, covering several volumes now, reflects the numbers of the ancient reckoning system in relation to a pyramidal matrix of the ancient sites around the world. The mathematical procedure followed by Mr. Munck represents a method for computing the pyramidal structures in relation to one another, whereby the coordinates of one site determine and relate to the other sites on the matrix. The implications of Mr. Munck's work are far reaching. If the numerous pyramidal sites around the globe are relational to one another through a mathematical and geometrical matrix, then a conclusion might be forth-coming that the distinct structures of many different cultures are in fact related through conscious design. Such a conscious design would imply a more profound and unified origin for the different structures than has usually been suggested by academia.

Undoubtedly, many theories exist as to the origin of the numerous ancient societies and cultures; theories that suggest uniquely distinctive origins, and theories that suggest a common origin for many of the cultures. But, to discover a direct and exact mathematico-geometrical relationship among all or most of the pyramidal-like structures around the globe defies the idea of chance. It is difficult to believe that each and every one of the smallest/largest pyramidal-like structures are of the same grid system. Somewhere, someone must have built a structure that lies outside the scope of the all-encompassing design. And yet, the very fact that so many ancient societies came up with the exact same idea, of simply building pramid-like structures, in itself seems to contradict the idea of coincidence. Why should almost all of the ancient societies have come up with the same or similar idea of building pyramids and pyramidal-like structures out of stone. The building material, stone, seems to be a reasonable choice, given its very presence. But, the conceptual design idea of high-rise pyramids, somehow baffles the mind into comprehending why so many distinct ancients happened upon that same/similar idea.

Now, with the work of Carl. P. Munck, not only may we observe seemingly dissimilar pyramidal-like structures as being related through the number of elements conceived and expressed in their shapes, stairways, cornerstones, etc., but we may observe how the placement of the structures appears to obey strict mathematico-geometrical posits. Furthermore, these specific posits may be expressed in concrete numbers; numbers, which in some cases even reflect those of the ancient reckoning system of time. Therefore, we are observing, as we have attempted to point out in previous essays, how the ancients handled the relationship between space and time. The ancient reckoning system and its mathematico-geometrical expression appears to have been expressed quantitatively, in numbers, and qualitatively, in artistic design.

In our recent work, we have been presenting analyses around the possibility of the ancients having employed relations of equivalency based on the cubic expression of the numbers relating to perfect right triangles (Cfr., Perfect Right Triangles and the Maya Long Count, Earth/matriX, Extract No.14). In another analytical piece, we showed how the numbers of the perfect right triangles and their series of multiples, may have served as the basis for the basic design of the pyramidal sites at Giza and Teotihuacan (Cfr., Giza and Teotihuacan: 5-12-13, Earth/matriX, Extract No.11). These same number series appear to reflect the numbers discovered in The Code by Mr. Munck. Consider a letter Mr. Munck wrote to this author recently:

Obviously, not all of the numbers that we have been examining in the ancient reckoning system and their possible computations have been related to the numbers encountered by Carl P. Munck in The Code. Ever since we first read the work of Carl P. Munck a few years ago, we were certain that the numbers expounded upon in The Code would certainly have a direct relationship to the numbers of the ancient reckoning system. Not all of the relationships have been found. The Code produces numbers that definitely appear to have no particular relationship at times. An error would be to wish to concede status to one set of numbers and deny validity to the other set. Our inability to discern the relationship between the distinct sets of numbers does not mean that the numbers have or had no meaning; we simply have not understood their possible meaning and relationship as yet.

Knowing that the maya long count (fractal series, 36, 72, 144, 288, 576, 1152, 2304) reflects the doubling/halving of specific numbers assists me in understanding the logic behind the numbers encountered by Mr. Munck as illustrated above in his letter, whereby one observes immediately a direct relationship of the doubling/halving of the 4050 number series as of the placement of coordinates of specific pyramidal and monumental structures on a global matrix.

Certainly, common logic at first sight would suggest that the number series for the latitude should be a particular set and the number series for the longitude should be another set. One would not expect to have the same doubling/halving of a particular number series to be shared by both latitudinal and longitudinal coordinates as shown in the previous figures of Mr. Munck's letter. Yet, the very fact that the numbers chosen reflect numbers that lie on a series, which in turn correspond perfectly to the multiples of relations of equivalency for perfect right triangles to the power of three, somehow raises more questions than it answers.

The very fact that the pyramids reflect a very precise and exact execution of design suggests immediately a more profound knowledge underlying their immediate beauty and artistic expression. Innumerable tracts have been written regarding the possible significance behind the obvious geometrical designs of ancient artwork. Often, however, we employ more historically recent theoretical concepts coming out of mathematics and geometry as a straight jacket aound the ancient artwork. We observe an abstracted triangle in the ancient artwork and we immediately situate that triangle within the confines of what we have come to know about triangles. We have difficulty in considering the idea that possibly the ancients also saw a triangle, but that they conceived it in a manner distinct from our own.

One of the essential contributions of the analytical endeavours of Carl P. Munck is that he attempts to visualize the ancient artwork from a view that may have been employed by the ancients, unlike the kind of reasoning that modern-day concepts continue to impose upon the past. The reasoning of the past, most undoubtedly was distinct from the reasoning of the present. The very fact that the ancients chose numbers that relate as of a series of multiples should be the object of discussion. We must examine the theoretical posits behind the very concept of a series of doubling/halving numbers. A series implies direction, the concept of time, embracing smaller/larger chunks of space; movement is suggested, etc.; so many ideas immediately come to mind when we consider the idea of a series of numbers. The very concept of process is therein implied; continuity; infinity; etc. Too many concepts come to mind to even begin to explore them in this brief extract. But, without a doubt, the series of numbers is telling us that there is a conscious design and a very conscious theoretical conception thereof.

The Earth itself was the laboratory of the ancients. The pyramidal structures stretching across the worldly grid represent an enormous effort and purpose displayed by the ancients. The very vastness of this artistic expression, which implies a scientific basis of knowledge in its placement on the grid, implies a profound meaning suspected by all, but still beyond our theoretical reach. The original work of Carl P. Munck (like the seminal work of other authors such as that of Hugh Harleston, Jr.) is definitely pointing us in a specific direction. We may not comprehend the complete meaning of the numbers as yet, but that does not mean that the numbers have no meaning. Quite the opposite, the very presence of the numbers reflected in definite relationships of mathematics and geometry, suggest at least one obvious meaning: a purpose of communication. As Mr. Munck has so pointedly said, the ancients are attempting to tell us something, and they went to a lot of trouble to communicate with us. We must become good listeners. For those who are listening, the work of Carl P. Munck represents one of the foremost efforts at translating that ancient communication into our own language.

Earth/matriX
Science in Ancient Artwork
Extract Nº.16
The Work of Carl P. Munck:The Code
1 July 1997
©1997-2012 Copyrighted by Charles William Johnson. All Rights Reserved