A geological oddity? An alien city recently discovered? A crop circle of sand? These strange cones and holes in the ground seem to be a curious phenomenon esoteric appeared in the arid desert of Egypt.
The official explanation is very simple, but some suspect that there's more.
The official explanation is very simple, but some suspect that there's more.
What are these mysterious cones arranged in a spiral on a surface of 10,000 square meters, located in the Sahara Desert east, on the border between the Red Sea and Egypt?
Who is behind this mysterious formation? When was it built? And what it is, or what was the purpose of the enigmatic spiral configuration of these 89 cones?
Although the mind run immediately identifying some explanation esoteric and mysterious, fughiamo immediately any concerns by explaining that the configuration known as "Desert Breath" (Breath of the Desert) is an art installation! Yes, a work of art.
The author of this enigmatic work is the Greek artist Danae Stratou that he and his team have created artistic DAST Desert Breath in the mid-90s, employing several years to bring the project to completion. Although the work was completed in 1997, after almost 17 years, Desert Breath still exists. The idea of its creator, the work must suffer the slow disintegration by weathering, so that it becomes a tool to remind the inexorable passing of time.
The construction of Desert Breath has required the displacement of almost 8 thousand cubic meters of sand, so that precise volumes tapered positive and negative. The cones form two interlocking spirals which move outwards from a common center, with a phase difference of 180 degrees in the same direction of rotation. At the center there is a large tank with a diameter of 30 meters, which is normally filled with water up to the edge.
But why?
Some bloggers have questioned why a waste of energy and resources for an art project decidedly disproportionate to its purpose and quite inaccessible to the contemplation of visitors, as it requires venturing into the Sahara desert. In fact, I can not even understand who was to finance the immense work of art.
According to the authors write on the official website of the group, the desert is the place for artists where I experience the infinite. In the mystical traditions of the Semitic religions (Judaism, Christianity and Islam), the desert is the place of encounter with the deity: the desert is the place of 'theophany', the manifestation of God.
Also, it is interesting to know that there was a god in Egyptian mythology named Sekhmet, originally considered as the warrior goddess of Upper Egypt. It was depicted as a lioness or as a woman with a lion's head (as the Sphinx of Giza), and from the XVIII dynasty also acquired the divine symbols such as the sun disk and uraeus, a decoration in the shape of snake post, originally on either side of the solar disk, and then on the headgear of Egyptian kings.
Daughter of Ra, Sekhmet was a member of the triad as the wife of Ptah and mother of Nefertum, taking also the epithet of "the great, beloved by Ptah". It was the terrible goddess of war that impersonating the deadly heat rays from the sun embodied the destructive power of the star but also the hot air of the desert whose winds were his fiery breath and with which punished the enemies who rebelled at divine will. It also represented the instrument of revenge against the insurgency Ra men by imposing the world order.
He carried death to humanity but it was also the patron goddess of doctors as cite medical papyrus Ebers and Edwin Smith and his priests, very powerful were often called to treat bone diseases, such as fractures. More than five hundred statues of the goddess were found in the temple of Karnak, erected by Amenhotep III not to antagonize the cruel goddess. He was feared even in the afterlife where the evil Seth and the snake Apophis were defeated by the goddess embracing with its coils of fire Ra in his night journey.
Traditions say that Sekhmet had created the desert by his breath, hence the name of Desert Breath. The installation may have been made as a memory of the distant past, when humanity lived in the company of the gods? That is, those that according to the Ancient Astronaut theorists were not terrestrial travelers who have influenced the normal evolution of man?
The Sacred Spiral
Some time ago, the Wiltshire Crop Circle Study Group published an article in which he analyzed the structure in a spiral shape, comparing it with two Crop Circles appeared respectively in 1994 in West Stowell (Galaxy formation), and in 1996 on Windmill Hill (Fractal formation).
Again, the emphasis is on the sacredness of the symbols placed in the artwork. In particular, attention is turning to the meaning of the spiral, one of the oldest symbols of the human race we have known.
What they have in common a galaxy, the organic growth of some animal species, the spacing between the leaves along a stem and arrangement of petals and sunflower seeds? All these schemes are related to that of the golden section and the "logarithmic spiral" also called "golden spiral".
In a previous article, we reported how since ancient times, has always aroused a great wonder the existence of the "Golden Section", or also known as the "Divine Proportion", a term coined by Fra Luca Pacioli, the friar and mathematician of the fifteenth century , with which he expresses a proportional relationship existing in nature and which seem to be modeled all things.
And if God is a mathematician?
The gods of our ancestors were ancient astronauts?
The megaliths of Stonehenge, the surfaces of the two concentric circles of stones are in the ratio of 1.6; the Egyptian pyramid of Cheops has a base of 230 meters and a height of 145: ratio height / width corresponds to 1.58 very close to 1.6; Also in the design of the Cathedral of Notre Dame in Paris and the UN building in New York we have used the proportions of the golden rectangle.
Many researchers believe that the spiral is the ancient symbol representing the civilization of Atlantis. It 'possible that the creators of the work have taken into account these proportions' divine' when they wanted to create the work?
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