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Einstein's Formula: Mass Confusion Einstein's Formula: A Special Case Einstein's Formula and Variations of Redundancies
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Presentation The writing of Charles William Johnson In the Earth/matriX series of essays, I explore the mathematics and geometry behind the ancient artwork. In October of 1992, I discovered images that were encoded into the ancient artwork. This discovery led me to research the mathematical basis of those geometrical designs. Since then, I have posted numerous essays on the logic of numbers and the ancient reckoning systems of time from around the world. Historically significant numbers apparently chosen out of randomness, in fact, reflect methods of computation that suggest the idea of a single system for reckoning time. Obvious similarities reveal an inner logic to the numbers, such as both the ancient Meso-Americans and the ancient Egyptians employed a 360 day-count calendar with additional five days. The scholarship of the past has been changing dramatically. Old fears of past intelligence are being set aside as new insights into ancient history surface. The idea that the ancients were either mystical wizards or primitive savages seems to be fading away with every new discovery. Even in the face of such monumental structures as the ancient pyramids and the extensive artwork existing throughout many ancient cultures, some scholars have been hard-pressed to deny the profound mental capacity of the ancients. The ancients are usually conceived of as having been excellent artisans, but poor thinkers. For example, the commonly-held idea that the Great Pyramid of Giza was built out of some primitive concept of stone-building holds little ground. The theoretically, abstracted design of the Great Pyramid, as well as many other pyramidal sites around the world, now enjoys serious attention from scholars. Not only are the Great Pyramid and other pyramids considered to represent technological feats of skill, but they are also becoming recognized as being the product of extremely cognizant minds. Such recognition shall surely cause us to appreciate our past much more. The established idea that the ancient civilizations have little to do with our own technological societies is vanishing with every newly discovered idea behind the designs. We are here today because of the ancient past; we cannot continue to ignore this fact. It is time to recognize this by granting value to the ancient past and its legacy of knowledge. For that, the popular idea that the ancients knew little or nothing about anything must be discarded. It must be first recognized that we can learn from them. We are studying their works and from them we shall derive our knowledge. Many scholars purport to tell us what the past means. They dig deep holes in the Earth's crust, and then find a piece of pottery and with that, pretend to tell us the meaning of that particular piece of pottery. Or, they study a symbol within the ancient artwork, or within the ancient glyphs, and then specifically state that such-and-such is the meaning of that item. The study of the past requires a distinct manner from that which is generally practiced by many scholars. We must realize that the past artwork is speaking to us; hence much of it having been created in stone and not in perishable wood for example. And, we must become good listeners and we must view their artwork with keen attention. Instead of expecting to affirm the meaning of a particular artifact, over which many heated arguments ensue, we must simply look and listen. But, for that, we must open our minds a little more. We must expect the artwork to speak to us, and lay aside for a while the intention of telling others what the artwork means. Let the ancients tell us what it means. For that we need to study the math and geometry behind their designs. Much of the literature on ancient artwork presents unbending arguments in favor of a particular interpretation of the meaning. Yet, the majority of the writing ends by stating that the meaning is really not known. And, that is the nature of humanly assigned meanings to things. We may discover the image of an owl, but then to go from there and state that that particular owl meant such-and-such is a giant leap of faith, when dealing with things past, things that are not known firsthand. We do not know how the ancients built the Great Pyramid of Giza. We do not know how they transported or raised the heavy stones to the heights achieved. We do not know who built the Great Pyramid. We know not why they built it; nor do we know why any one of the numerous pyramids throughout the world was built. We do not know whether it still has meaning; whether it may be some kind of receptor or transmitting device. We do not know exactly when it was built. There are so many things that we do not know, that this alone should tell us to be more humble in our search for meanings of the past. And, this state of ignorance repeats itself with so many other aspects of the ancient sites around the world. Scholarship, at times, is designed from the outset to prove a point, to select a thesis and then supposedly prove it. Often enough we do not know exactly what the point might be. This situation has led to the proliferation of theses about the meaning of the ancient artwork, whereby just about any and every interpretative idea has been forwarded. The interesting aspect is that each author wants to be right, correct, expecting all other theses to be wrong, incorrect. It is difficult to accept the possibility that maybe all or most of the theses forwarded might be correct. In other words, just as with everything that exists, a single item may enjoy multiple meanings, depending upon a particular aspect to be considered. One particular thesis in vogue at the present, concerns the interpretation that the Giza Complex reflects or mirrors part of the Orion constellation. That may be; but, then that would be only one level. It would appear that the ancients were not bound by one level, rather all of their work reflects infinite relationships. One particular dot or line in a sculpture or pyramidal design seems to reflect multiple meanings, again depending upon the chosen aspect to be considered. Similarly, the central human-like figure of the Aztec Calendar may represent the Sun as generally stated, but it make also represent the Earth and the Venus; even Venus. It depends upon the perspective of the mathematics and geometry in the analysis. Contemporary scholarship seeks to find the singular meaning of a particular item or artifact, and then argue in favor of that specific meaning, disregarding all other possible meanings. The ancients seem to have worked in a different manner, comprehending that a particular event may have an infinite number of meanings. Some meanings are inherent to the design while other meanings may be assigned by the artist or by the viewer, by humankind. Therefore, we have the level of the constants related to general mathematics, geometry, trigonometry, astronomy, physics, chemistry, and so on. Then, there are the assigned meanings related as of the artwork and design. Impressed upon and intermingling with these two levels, one also finds the mythology reflected in the artworks. Until now, in my own studies, I have illustrated the math and geometry underlying the designs. Now, it is time to illustrate some of the images that are based upon those mathematical and geometrical considerations. I have already presented some images within the ancient artwork, such as the Aztec Hummingbird, Pakal's Cosmic Principle of Creation, and distinct analytical views of the Aztec calendar. There are many, many more images encoded into the ancient artwork. I now wish to begin making these images public. From my research, I find that it were as though the ancient artwork were designed like a computer microchip, with an infinite amount of stored data. And, based upon the mathematics and the geometry that I have now explored in greater detail, it is now possible to illustrate how the ancient images were designed. These findings offer the possibility of listening to the ancients, as though a dialogue were being set up between the ancients and us. The ancient stones are talking, and we must listen. The encoded images speak and form pictures in our minds. The ancient past is ready to open up to us, and we are ready to sit down and read its thoughts. The ancient past has been silent, but not because the ancients have been silent. Rather, it is a case that we have not known how to read their artwork. Many scholars have tried, and are still attempting to read the ancient works. But, the math and the geometry have been lacking. The conceptual outlook has not been there. The ancients are good writers; we have been poor readers, poor listeners. The essential elements of mathematics and geometry cause the field of analysis to change. I do not expect to tell the readers what the ancient artwork actually means. Again, I emphasize the near impossibility of such a feat. But, I am able to show where a certain mathematical formula or geometrical formula lies within a particular sculpture or artwork and thus illustrate the image that such a formula produces. Many other scholars are reviewing the numbers and images of the past in different ways. But, many of those attempts at reading the past have not explored the numbers as of the ancient reckoning systems, but as of theoretically, abstracted grid systems, or the images have been generated as of spontaneous searches based on the mythological imagery of the past. By examining the historically significant numbers, and researching the mathematics and geometry of these numbers, against the backdrop of ancient artwork, it is now possible to view the images encoded into the ancient artwork. No longer are we talking about the coincidence of numbers and myths, but rather the prediction of images encoded as of the numbers and geometrical designs. The approach is diametrically opposed to established practices. I do not pretend to teach you anything, but rather to learn from what I myself have seen. The ancients are talking, and we must listen. We must approach the subject, then, as a student; knowing that we are going to learn from them. We must put aside for now any pretension of telling others what the ancients meant by their artwork. Even after all of the images viewed, I myself am not fully certain as to what they mean or represent. To arrive at this recognition shall surely require more time and study. Let us look at the ancient past with an open heart, a learning mind. We are all students in the face of the past. And, anything we learn from them, we can only pass on to future generations, as they have done with us. There are obvious limits to what we can learn and know about the past. Fortunately, a great number of the works of the ancient past remain, and from that we can discern some possible meanings. These possible meanings may have profound meaning for us. But, we must be able to focus upon them in the same manner in which they were created. Our perception must be based upon their own terms. We know that the works of the ancient past are there for a reason (for many reasons, in fact), and one of those reasons is to learn. The first thing we must learn is about ourselves, about how we approach the past. Before reading anything about the past, we must analyze our own mental approach, how we view the past, because that is the first thing that is going to be questioned. When we view things past, one of our first reactions is "no way!". There is "no way" they could have done that. Yet, the ancients did do that, they did build a great pyramid beyond all imagination of what human capability is able to achieve. That is our first step to finding a way for learning about the past. That way, I believe, is viewing the past as it is, as sacred, our heritage. Irrespective of the reality of each individual today, each of us shares the ancient past. This lesson shall contribute in helping us comprehend that we also share the present and the future. The study of the ancient artwork has led me to animate different pieces of artwork from various cultures. I call these paleoanimations. Paleoanimation presents animations of ancient artwork according to my findings in math and geometry developed in the project Earth/matriX, Science in Ancient Artwork. The paleoanimations are derived from the artwork of ancient Mesoamerica, China, Peru and Egypt. The artwork of the Maya and the Aztecs of Mexico represents the more numerous examples of ancient animation. In my view the ancients designed their artwork precisely with the purpose of animating it. The concepts of movement and animation are encoded into the math and geometry of the ancient artwork from around the world. I have initiated the presentation of paleoanimations with a preview of an animation of the Aztec Calendar and of Pakal of the Maya. Other paleoanimations from cultures around the world are to follow. I now have a score of flipbooks with analytical text regarding the paleoanimations ready to be published. Charles William Johnson
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