Michael B-C
The Living Force
A while back I came a cross a website called ‘Comets, Petroglyphs and Supernovae’ (http://www.comets-petroglyphs-and-supernovae.com) set up by Suzan Bradford, a gifted artist and private researcher living in New Mexico.
On her home page she stated:
“The hypothesis of this researcher and this website is eight-pronged and that it may become generally acceptable is perhaps greatly dependent upon our finding a good many more examples in the ancient American Southwest cultural materials which might plausibly support the following propositions:
(a) All the eight historical supernovae were eye-witnessed and artistically recorded and were probably important to the oral traditions of their day.
(b) Most if not all the "Great Comets in History" were watched, day-counted in many cases, and commemorated in rock art and basketry and pottery designs.
(c) Additional ichnographically interesting and distinctive comets of the historical past were also recorded in the ancient American Southwest - and this in a visual symbols language (with constructs and artistic usage of the natural terrain and textures as media) which we are slow to conceptualize and credit.
(d) Comets were understood as independent, migratory entities with, in some cases, repeatable orbits, conceived as straight lines with hair-pin turns at either end, and with configurations which displayed anti-solar, or always-away-from-the-sun, tails, as early as 695 years before this understanding was published in Europe.
(e) Constellations were recorded and commemorated in rock art by the commandeering of cracks, textures, and holes which mirrored and mimicked the constellations and star patterns overhead in their dark night skies - and these constellations are quite apparent when partnered with the historical supernovae symbols - for comets move and supernovae stay put.
(f) Representational visual astronomy recordings were created when comet, supernova, and fireball-flux and meteorite imagery were placed above appropriate natural cracks to provide the local horizon-line and, to some degree, show proper perspective and realistic scale of a transitory
celestial event.
(g) Intriguing tell-tale mythic hosts are often found attending ancient commemorations of new guest stars and stupendous comets: such as pecked and painted Starmaker-Trickster Coyote figures, the glyphists’ apparent selection of Cosmic-Serpent-shaped outcrops for visual panels, and energetic accompanying Flutists and Ritualists.
(h) Ancient Southwest celestial symbologies and signs are found which seem to have been shared with, or similar to Aztec, Mayan, Chinese, and even Celtic cultures’ celestial-events iconography.
Is this writer and independent, avocationalist researcher capable of putting all this into a proper and publishable book format – like a symphony which starts, builds, and then ends accordingly? No, probably not. So, some of this author’s editorial fits and starts and essay-like constructions in the form of PDF files will have to do here, in hopes that other researchers and avocationalists can fill in the chinks - or find this over-all hypothesis compatible to what they have already researched and written: that world-class records of events in the history of visual astronomy are well-recorded in the ancient American Southwest and can contribute to our understanding of those events in largely graphic and visual-art terms - made by the honest eye-witness recorders of their day.”
The website consisted of close to 250 PDFs free to download full of fascinating imagery and pertinent commentary, correlations and supporting references from around the world, with particular attention paid to comets and other events monitored by the indigenous people of the region from what we might call the early Mediaeval period.
She also had posted a wonderful series of files on Greco-Roman coins, which I had never seen before, highly suggestive of clear dating and correlation with a large number of celestial bodies/events dating from approximately 550BC up to circa 500 AD plus further examples throughout the intervening centuries right up until the 1800s. A remarkable collection full of immensely valuable graphic and historical information/suggestion.
I had intended to post on the forum regarding this goldmine site at the time of discovery but other things intervened and to cut no story short, when I went back to the domain at the weekend after six months or more I discovered it has totally vanished! The last reference on the site by Suzan Bradford seems to suggest a cut off point on activity of around 2010-11. I have done an internet search and come up with no trace of its existence or any information of relevance to her current whereabouts or intent. I’ve tried emailing her on the address that used to be on the website (@q.com) but it has bounced back as being no longer in existence.
The thing is I did download all 250 PDFs when I first came across the site. I would like to share these with the forum but I feel that, despite their being freely available in the public domain at the time, this might now be inappropriate as for example I have considered it possible that the author has removed public access to them in preparation for a publication she might have in mind (although in the above statement she seems to suggest this was not in her thinking). There may also be other reasons for their disappearance of a negative kind that I do not wish to speculate on and I also remember her writing that she had experienced considerable opposition to her work from within the geological community etc as well as other unnamed parties.
Does anyone have any thoughts or light to shed on this?
On her home page she stated:
“The hypothesis of this researcher and this website is eight-pronged and that it may become generally acceptable is perhaps greatly dependent upon our finding a good many more examples in the ancient American Southwest cultural materials which might plausibly support the following propositions:
(a) All the eight historical supernovae were eye-witnessed and artistically recorded and were probably important to the oral traditions of their day.
(b) Most if not all the "Great Comets in History" were watched, day-counted in many cases, and commemorated in rock art and basketry and pottery designs.
(c) Additional ichnographically interesting and distinctive comets of the historical past were also recorded in the ancient American Southwest - and this in a visual symbols language (with constructs and artistic usage of the natural terrain and textures as media) which we are slow to conceptualize and credit.
(d) Comets were understood as independent, migratory entities with, in some cases, repeatable orbits, conceived as straight lines with hair-pin turns at either end, and with configurations which displayed anti-solar, or always-away-from-the-sun, tails, as early as 695 years before this understanding was published in Europe.
(e) Constellations were recorded and commemorated in rock art by the commandeering of cracks, textures, and holes which mirrored and mimicked the constellations and star patterns overhead in their dark night skies - and these constellations are quite apparent when partnered with the historical supernovae symbols - for comets move and supernovae stay put.
(f) Representational visual astronomy recordings were created when comet, supernova, and fireball-flux and meteorite imagery were placed above appropriate natural cracks to provide the local horizon-line and, to some degree, show proper perspective and realistic scale of a transitory
celestial event.
(g) Intriguing tell-tale mythic hosts are often found attending ancient commemorations of new guest stars and stupendous comets: such as pecked and painted Starmaker-Trickster Coyote figures, the glyphists’ apparent selection of Cosmic-Serpent-shaped outcrops for visual panels, and energetic accompanying Flutists and Ritualists.
(h) Ancient Southwest celestial symbologies and signs are found which seem to have been shared with, or similar to Aztec, Mayan, Chinese, and even Celtic cultures’ celestial-events iconography.
Is this writer and independent, avocationalist researcher capable of putting all this into a proper and publishable book format – like a symphony which starts, builds, and then ends accordingly? No, probably not. So, some of this author’s editorial fits and starts and essay-like constructions in the form of PDF files will have to do here, in hopes that other researchers and avocationalists can fill in the chinks - or find this over-all hypothesis compatible to what they have already researched and written: that world-class records of events in the history of visual astronomy are well-recorded in the ancient American Southwest and can contribute to our understanding of those events in largely graphic and visual-art terms - made by the honest eye-witness recorders of their day.”
The website consisted of close to 250 PDFs free to download full of fascinating imagery and pertinent commentary, correlations and supporting references from around the world, with particular attention paid to comets and other events monitored by the indigenous people of the region from what we might call the early Mediaeval period.
She also had posted a wonderful series of files on Greco-Roman coins, which I had never seen before, highly suggestive of clear dating and correlation with a large number of celestial bodies/events dating from approximately 550BC up to circa 500 AD plus further examples throughout the intervening centuries right up until the 1800s. A remarkable collection full of immensely valuable graphic and historical information/suggestion.
I had intended to post on the forum regarding this goldmine site at the time of discovery but other things intervened and to cut no story short, when I went back to the domain at the weekend after six months or more I discovered it has totally vanished! The last reference on the site by Suzan Bradford seems to suggest a cut off point on activity of around 2010-11. I have done an internet search and come up with no trace of its existence or any information of relevance to her current whereabouts or intent. I’ve tried emailing her on the address that used to be on the website (@q.com) but it has bounced back as being no longer in existence.
The thing is I did download all 250 PDFs when I first came across the site. I would like to share these with the forum but I feel that, despite their being freely available in the public domain at the time, this might now be inappropriate as for example I have considered it possible that the author has removed public access to them in preparation for a publication she might have in mind (although in the above statement she seems to suggest this was not in her thinking). There may also be other reasons for their disappearance of a negative kind that I do not wish to speculate on and I also remember her writing that she had experienced considerable opposition to her work from within the geological community etc as well as other unnamed parties.
Does anyone have any thoughts or light to shed on this?
