English - Logo Sight Alien Bodies English - Logo Sight
1 Page Chapters
0 Introduction
1 Alien Bodies
2 Alien Skulls
3 Crystal Skulls
4 Artefacts
5 Ancient Knowledge
1 Pages 49 Time
1 Mitchell-Hedges skull
2 British Museum skull
3 Paris skull
4 Smithsonian Skull
3 Ancient Maps
4 Mayan Calendar
5 Sumerian Tablets & Wall Art
1 Alien Bodies
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Gigantopithicus
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Standing next to the femur of a foot giant
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Sizes of Giants from the bones
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Gaints skeleton
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Giant bones


The monoliths of Baalbek and the Giants

Stones lengthy 20 meters and one thousand tonnes heavy: who managed in the past to raise these megaliths? Perhaps a race of giants coming from space?

Stonehenge, Ollantaytambo, Palenque, Easter Island: we of Sator ws often talked about ancient megalithic structures in the world. Places like the mysterious cyclopean stones of the pyramids of Giza in Egypt, the gigantic walls in France, Japan, Peru, Mexico and so on. Facilities also all architecturally similar, though far from their thousands of km… Most likely these enormous monuments were erected by one race that lived on Earth in ancient ages, even before the ancient peoples that we know were living there. But what this race could be so technologically advanced and capable of building colossal monuments structured blocks of stone from the weight of hundreds of tons? We are now in mind the possibility of the Giants where all the ancient cultures of the world speak, but also in the Bible and known as Nefilim. These were described as a gigantic creatures falls from the sky and coupled with the women of Palestine, giving rise to a hybrid race

(Above) The colossal temple of Venus in Baalbek, even the greatest of all: the Romany built on an existing megalithic site of colossal proportions..

Among the drugs most colossal temples of the world's Heliopolis at Baalbek in Lebanon. What immediately strikes of this great and ancient complex is the size. Looking at the main temple of Jupiter one realizes that falls outside the scope human, especially in the basement of where you can see the bigger boulders, each of which measure more than 21 m in length for almost 5 of width and with a weight of about 1000 tonnes. According to the archeology official site attributed to the Canaanites dates to the Bronze Age, around 2900-2300 BCE and it is dedicated to the triad Adad-Ishtar-Shamash. Even the famous Russian researcher Zecharia Sitchin speaks, in his opinion the site was built by an alien race, the Anunnaki from planet Nibiru in 10,500 BCE During the domination of the Greek Ptolemies the city was renamed Heliopolis, dedicated to the sun god Helios and the Greek Egyptian Ra. Later, during the Roman domino, the triad of God was transformed into that of Jupiter-Venus-Mercury, then during Neronian Age were built the temple of Jupiter in 60 CE, while at the same time the altar was built tower next to the building. In later times, under various emperors, Trajan, Antonio Pio and Caracalla, were built the Temple of Bacchus and the Temple of Venus. Finally there was the Arabic Philip born in Damascus that built the hexagonal courtyard . But it is clear that the foundations of the huge site is far more ancient and are neither Greek nor Roman origin, since the use of blocks that are the megalithic temples, custom certainly not typical of these two great cultures. Certainly seeing the size of the blocks first thing that comes to mind are once again the similarities with other most famous monuments of the world as the rocks of the pyramid of Cheops, cyclopean walls of Cuzco in Peru, the menhir of Stonehenge or many other megalithic monuments found as we have already mentioned in various places in the world.

(Left top) The temple of Jupiter shows only a few columns, but the dimensions are colossal, exceeding 40 meters. But what impresses is the base (right): the stones that make it are tens of meters long and as thick. How could move with the technology of antiquity boulders weighing more than a thousand tons? (On the left below) monolith is stuck in the ground a few steps from temples weighs 1,150 tons, is one of the heavier stones never sculpted. Only human beings of gigantic proportions could think of buildings of similar size.

For years archaeologists make assumptions on how were built these cyclopean monuments. Our theory is that this is exactly beings literally giants, the same as in a antidiluvian age lived on the Earth. It was most likely a single world culture that built the monument below the Roman temples of Baalbek, the pyramids of Giza, the strongholds of Peru and Moai on Easter Island, and so on. These Nefilim, or as they called them the sumeric Anunnaki, according to the theory of Zecharia Sitchin who translated the sumeric tablets, arrived from the planet Nibiru to extract gold from the quarries land, created by a genetic experiment human beings in order to use them as slaves to work in the mines. The old triad of Gods comprised Adad (or Sin), ancient kings Enlil divine son of sumeric God wind and rain, Ishtar goddess of love and Shamash, solar deity depicted on a winged disc, perhaps the commander of these remote astronauts. Presumably these ancient archaeological monuments were used as bases for launching and landing of their ships. Whether it is true or not, perhaps the only explanation is that they were really gigantic size to have built these giants, then, when everything was then swept away by Flood, civilizations settled in these places already there and found the monuments left by their predecessors. Even today there are many assumptions such as was built the great pyramid of Cheope; certainly not the Egyptians or slaves farmers with tools copper, neither belonged to Pharaoh Cheops, if he ever existed. And certainly those who went later, that is the same Egyptians, they found, right there, the three pyramids and the Sphinx and remodelled strokes of the huge statue. But probably these giants here who built the pyramids were called Shemsu-Hor, namely, divine beings followers of the god Horus who reigned in Egypt of the Pharaohs before humans. The same thing happened in Peru, where we can see clearly Machu Picchu as the Cyclopean boulders are fitted between them perfectly without cement, while in a later construction of the Incas arrived later were placed on top of them. These are made of brick much smaller and with a thatched roof, typical buildings of peoples farmers who have nothing to do with the technology of previous now destroyed from the immense cataclysm.

(Above left) Megalithic architecture of the Temple of Valley of the Sphinx at Giza in Egypt. (The center) The same temple shows boulders as polished like in Peru. Note the size of the blocks. (Right) The Great Pyramid was built with limestone blocks weighing ranging from 50 to 200 tonnes, with boulders megalithic Room in the King reaching the 500. (Below left) Another impossible object : the obelisk of Luxor, high 40 m, heavy 1100 tonnes remained in his quarry. (The center) The Sphinx of Giza ahead with the megalithic Temple of Valley. (Right) Our Antonella sent to Sacsayhuaman, Peru, in front of several carved faces monolith top 5 meters and heavy 400 tonnes

In addition to stories about Nefilim or Anunnaki other cultures and traditions of ancient narrate Giants, among them include the Edda, an epic poem of the Viking tradition. In the text is written that at the beginning there were only two kingdoms: north Niflheim desert and frozen, while south Muspellheim, a heated kingdom inhabited by demons headed by a giant named Sutr the Black. From the two kingdoms, from the liquefied ice by the heat gave to life a giant called Ymir. The same character is associated with Yama in Indian mythology. They described such giants as a being endowed with enormous physical strength and great knowledge. Greek mythology speaks of giant beings born from the union of heaven and earth, such as Cyclops or even the Titans. These stories, however, do not seem to be only mythology, but many are so far the archaeological evidence found almost everywhere in the world of giant beings.
In 1936, during the italian fascist era, it said in the "Notiziario" (newspaper of the fascist regime) find in the State of Chihuahua in Mexico skeletons of giant high by 3 to 3.60 m in height. The archaeologists said at the time that it was certainly an unknown race and lived in antidiluvian age; remains of people who died as a result of cataclysm in which sunk their continent. It is clear that they referred to the legendary continent of Atlantis. Among other discoveries are the skeletons of men high 3.60 m inside a cave in Mexico along with objects of various kinds. But the most disturbing among the findings was certainly one of Hernan Cortes, that during the conquest of Mexico seized of human bones of enormous dimensions, including a femur of 180 cm. The natives said that they belonged to an extinct race, it is exposed today at Mt. Blanco Fossil Museum in the United States.

Another amazing femur high as a man, was found nell'800 in Mesopotamia, today's Iraq, in 1577 to Weillisau in Switzerland was found a human skeleton top 5.80 m, today exposed in a rebuiling of the local museum. Then again in 1870 the Indians found a burial Omaha, eight giants whose skulls measured 60 cm. The Omaha knew their origin through the traditions and they called them Mu-A-Luska, saying that they were from the Pacific probably were just originating in the lost continent of Mu that was in that ocean. In 1925 a Glozel in France were found bones of giants dating a1 7000 BCE, accompanied by handicrafts also giants. In 1924 in Texas were even found cave paintings that showed a tyrannosaurus, while in the same state were even human footsteps of giants with those of dinosaurs; these were considered reliable by scientists. In 1943 in the Aleutian Islands soldiers found some bones of giants really huge, about 7 m. Even in Italy can be observed human bones stored in huge nuragic necropolis in Sardinia and yet many others are still around the world. According to a scientist named Horbiger, in the past the Earth would have had more moons influencing the Earth's magnetic field and grow a disproportionate living beings. Then after one of these moons came into collision with our planet causing a huge cataclysm that dramatically changed and sunk lands and continents, and with them these beings. Perhaps some of them still live today, maybe fled, testified as some Amazzonic Indians at the beginning of the twentieth century, the legendary underground Kingdom of Agharti.

(Sopra) Gigantic femur exposed at Mount Blanco Fossil Museum in the United States.

These indigenous people said to be entered in these caves and coming into contact with their high population of three to five meters, as we have already discussed in this article. As both ended really do not know yet, but one thing is certain: the existence of these Giants is a reality and perhaps today, thanks to these findings there is a bit clearer history and origin of our megalithic monuments.

Traces of Giants. From here on the left clockwise: the skeleton of a man found high 3.6 m in Mammouth Cave in Kentucky, a man was found in his garden a femur of 1.5 m; ancient Patagonians (here depicted in a print d 'age) were more than 3 m high; human skull in comparison with that of a gigantopitecus; picture of a man of a Peruvian Andean race originally found by Pizarro; nineteenth century's photos of the discovery of a Giant skeleton.

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Possible Annunaki
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Giant skeleton
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Gaint bones
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Artefacts
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Alien Figurines

 

 

The Baghdad Battery, sometimes referred to as the Parthian Battery, is the common name for a number of artifacts created in Mesopotamia, possibly during the Parthian or Sassanid period (the early centuries AD). These jars were probably discovered in 1936 in the village of Khuyut Rabbou'a, near Baghdad, Iraq. These artifacts came to wider attention in 1938 when Wilhelm König, the German director of the National Museum of Iraq, found the objects in the museum's collections. In 1940, König published a paper speculating that they may have been galvanic cells, perhaps used for electroplating gold onto silver objects. This interpretation continues to be considered as at least a hypothetical possibility. If correct, the artifacts would predate Alessandro Volta's 1800 invention of the electrochemical cell by more than a millennium.
Description and dating
The artifacts consist of terracotta jars approximately 130 mm (5 in) tall (with a one and a half inch mouth) containing a copper cylinder made of a rolled-up copper sheet, which houses a single iron rod. At the top, the iron rod is isolated from the copper by bitumen plugs or stoppers, and both rod and cylinder fit snugly inside the opening of the jar, which bulges outward towards the middle. The copper cylinder is not watertight, so if the jar was filled with a liquid containing citric acid, this would surround the iron rod as well. The artifact had been exposed to the weather and had suffered corrosion, although mild given the presence of an electrochemical couple. This has led some scholars[who?] to believe lemon juice, grape juice, or vinegar was used[citation needed] as an acidic electrolyte solution to generate an electric current from the difference between the electrochemical potentials of the copper and iron electrodes.

König thought the objects might date to the Parthian period (between 250 BC and AD 224). However, according to Dr St John Simpson of the Near Eastern department of the British Museum, their original excavation and context were not well recorded (see stratigraphy), so evidence for this date range is very weak. Furthermore, the style of the pottery (see typology) is Sassanid (224-640).

Most of the components of the objects are not particularly amenable to advanced dating methods. The ceramic pots could be analysed by thermoluminescence dating, but this has apparently not yet been done; in any case, it would only date the firing of the pots, which is not necessarily the same as when the complete artifact was assembled. Another possibility would be ion diffusion analysis, which could indicate how long the objects were buried.

Speculations on function

Electrical

Copper and iron form an electrochemical couple, so that in the presence of any electrolyte, an electric potential (voltage) will be produced. König had observed a number of very fine silver objects from ancient Iraq which were plated with very thin layers of gold, and speculated that they were electroplated using batteries with these being the cells. After the Second World War, Willard Gray demonstrated current production by a reconstruction of the inferred battery design when filled with grape juice. W. Jansen experimented with benzoquinone (some beetles produce quinones) and vinegar in a cell and got satisfactory performance.

However, even among those who believe the artifacts were electrical devices, electroplating as a use is not well regarded today. Paul Craddock of the British Museum said "The examples we see from this region and era are conventional gold plating and mercury gilding. There’s never been any untouchable evidence to support the electroplating theory." The gilded objects which König thought might be electroplated are now believed to have been fire-gilded (with mercury). Reproduction experiments of electroplating by Dr Arne Eggebrecht consumed "many" reproduction cells to achieve a plated layer just one micrometre thick. Other scientists noted that Dr Eggebrecht used a more efficient, modern electrolyte; using only vinegar, the battery is very feeble.

An alternative, but still electrical explanation was offered by Paul Keyser. It was suggested that a priest or healer, using an iron spatula to compound a vinegar based potion in a copper vessel, may have felt an electrical tingle, and used the phenomenon either for electro-acupuncture, or to amaze supplicants by electrifying a metal statue. However, this is dubious, since a "tingle" requires a far higher voltage than can be generated by an iron/copper cell.

Non-electrical

Skeptical archaeologists see the electrical experiments as embodying a key problem with experimental archaeology; such experiments can only show that something was physically possible, they say nothing about whether it actually occurred. Further, there are many difficulties with the interpretation of these artifacts as galvanic cells:

  • the bitumen completely covers the copper cylinder, electrically insulating it, so no current can be drawn without modifying the design;
  • there are not any wires or conductors with them;
  • no widely accepted electrical equipment is associated with them. (Controversial stone reliefs depicting arc lights have been suggested, however the voltages obtained are orders of magnitude below what would be needed to produce arc lighting);
  • a bitumen seal, being thermoplastic, is excellent for forming a hermetic seal for long term storage. It would be extremely inconvenient however for a galvanic cell, which would require frequent topping up of the electrolyte (if they were intended for extended use).

The artifacts strongly resemble another type of object with a known purpose—namely, storage vessels for sacred scrolls from nearby Seleucia on the Tigris. Those vessels do not have the outermost clay jar, but are otherwise almost identical. Since it is claimed these vessels were exposed to the elements, it would not be at all surprising if any papyrus or parchment inside had completely rotted away, perhaps leaving a trace of slightly acidic organic residue.

In the media

The idea that the battery could have produced usable levels of electricity has been put to the test at least twice.

On the 1980 British Television series Arthur C. Clarke's Mysterious World, Egyptologist Dr Arne Eggebrecht used a recreation of the battery, filled with grape juice, to produce half a volt of electricity, demonstrating for the programme that the battery could electroplate a silver statuette in two hours, using a gold cyanide solution. Dr Eggebrecht speculated that museums could contain many items mislabelled as gold when they are merely electroplated. However, doubt has recently been cast on the validity of these experiments.

In 1999, the Disney Channel original TV series So Weird featured the battery in the opening portion of the show.

The Discovery Channel program MythBusters determined that it was indeed plausible for ancient people to have used the Baghdad Battery for electroplating or electrostimulation. On MythBusters' 29th episode (which aired on March 23, 2005), ten hand-made terracotta jars were fitted to act as batteries. Lemon juice was chosen as the electrolyte to activate the electrochemical reaction between the copper and iron. (Oddly enough, it was discovered that a single lemon produced more voltage than one of the batteries when using copper and zinc.) However, the batteries which they reproduced did not produce a substantial amount of energy and had to be connected in series in order to achieve a 4 V potential drop and test the theories.

The show's research staff proposed three possible uses: electroplating, medical pain relief (through acupuncture), and religious experience. It was discovered that when linked in series the cells indeed had sufficient power to electroplate a small token. For acupuncture, the batteries produced a "random" pulse that could be felt through the needles; however, it began to produce a painful burning sensation when the batteries were grounded to two needles at once. For the religious experience aspect of the batteries, a replica of the Ark of the Covenant was constructed, complete with two cherubim. Instead of linking the cherubim's golden wings to the low power batteries, an electric fence generator was connected. When touched, the wings produced a strong feeling of tightness in the chest. Although the batteries themselves had not been used, it was surmised that, due to the apparent lack of knowledge of electricity, any form of electrical sensation from them could equate to the divine presence in the eyes of ancient people. In the end, the Baghdad battery myth was found plausible on all three accounts.

The History Channel 2008 documentary Ancient Aliens uses the battery as evidence of alien involvement in ancient civilizations, suggesting that Ancient Egyptians could have lighted the pyramids with electric lights.

The comic strip Get Fuzzy referenced the Baghdad Battery on April 24, 2009.

The Baghdad Batteries were a punk band (2006-2009) in Chico, Ca. During their short existence they played numerous shows in and around Chico, recorded two albums and were awarded the title of "best" punk band by the Chico News and Review at the 2009 yearly Cammie awards.

 
Ancient Computer

 

2 Alien Skulls
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Giant alien skull with human skull superimposed
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Giant alien skull
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Gigantopithicus & Human skull

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Starchild skull

The Starchild skull is an abnormal human skull which was found in Mexico. It is primarily known through paranormal researchers' claims that it represents evidence of extraterrestrial contact. DNA recovered from the skull establishes that it is human.

Discovery - The starchild skull came into the possession of Ray and Melanie Young of El Paso, Texas, who entrusted it to Lloyd Pye, a writer and lecturer in what he calls the field of alternative knowledge, in February 1999. According to Pye, the skull was found around 1930 in a mine tunnel about 100 miles (160 km) southwest of Chihuahua, Chihuahua, buried alongside a normal human skeleton that was exposed and lying supine on the surface of the tunnel.
Hutchison-Gilford progeria, a disease which has no known treatment, produces similar skull deformations to hydrocephaly. In progeria patients, the cell nucleus has dramatically aberrant morphology (bottom, right) rather than the uniform shape typically found in healthy individuals (top, right)
Analysis - The skull is abnormal in several respects. A dentist determined, based on examination of the upper right maxilla found with the skull, that it was a child's skull, 4.5 to 5 years in age. However, the volume of the interior of the starchild skull is 1,600 cubic centimeters, which is 200 cm³ larger than the average adult's brain, and 400 cm³ larger than an adult of the same approximate size. The orbits are oval and shallow, with the optic nerve canal situated at the bottom of the orbit instead of at the back. There are no frontal sinuses. The back of the skull is flattened, but not by artificial means. The skull consists of calcium hydroxyapatite, the normal material of mammalian bone.
Dating - Carbon 14 dating was performed twice, the first on the normal human skull at the University of California at Riverside in 1999, and on the Starchild skull in 2004 at Beta Analytic in Miami, the largest radiocarbon dating laboratory in the world. Both independent tests gave a result of 900 years ± 40 years since death.
DNA testing - DNA testing in 1999 at BOLD, a forensic DNA lab in Vancouver, British Columbia found standard X and Y chromosomes in two samples taken from the skull, "conclusive evidence that the child was not only human (and male), but both of his parents must have been human as well, for each must have contributed one of the human sex chromosomes".[1] Further DNA testing at Trace Genetics, which unlike BOLD specializes in extracting DNA from ancient samples, in 2003 recovered mitochondrial DNA from both skulls. The child belongs to haplogroup C, while the adult female belongs to haplogroup A. Both haplotypes are characteristic Native American haplogroups, but the different haplogroup for each skull indicates that the adult female was not the child's mother. Trace Genetics was not able to recover useful lengths of nuclear DNA or Y-chromosomal DNA for further testing.
Explanations - Explanations for the skull's unusual features include the use of cradle boarding on a hydrocephalic child, brachycephaly, Crouzon syndrome, congenital hydrocephalus, and progeria.
Paranormal interest - The skull has garnered great interest with those interested in UFOs and alien visitation. Some contend that it is the skull of an alien, or a human/alien hybrid, based on the shape of the skull bearing similarities to the common representation of aliens as "Greys". Proponents of a paranormal explanation for the skull's origin reject hypothesis involving non-paranormal causes such as cradle boarding or hydrocephaly, and contend that it has many other abnormalities such as the thickness, density, and strength of the bone that argue against the skull being human.
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The Starchild
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The Starchild Alien skull and human skull

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Giant alien skulls with human skull superimposed
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Giant alien skulls

3 Crystal Skulls

The crystal skulls are a number of human skull hardstone carvings made from clear or milky quartz rock, known in art history as "rock crystal", claimed to be pre-Columbian Mesoamerican artifacts by their alleged finders. However, none of the specimens made available for scientific study were authenticated as pre-Columbian in origin. The results of these studies demonstrated that those examined were manufactured in the mid-19th century or later, almost certainly in Europe. Despite some claims presented in an assortment of popularizing literature, legends of crystal skulls with mystical powers do not figure in genuine Mesoamerican or other Native American mythologies and spiritual accounts.

The skulls are often claimed to exhibit paranormal phenomena by some members of the New Age movement, and have often been portrayed as such in fiction. Perhaps the most widely known of such portrayals occurs in the 2008 film Indiana Jones and the Kingdom of the Crystal Skull. Crystal skulls have been a popular subject appearing in numerous sci-fi television series, novels, and video games.

Crystal skull collections

A distinction has been made by some modern researchers between the smaller bead-sized crystal skulls, which first appear in the mid-19th century, and the larger (approximately life-sized) skulls that appear toward the end of that century. The larger crystal skulls have attracted nearly all the popular attention in recent times, and researchers believe that all of these have been manufactured as forgeries in Europe.

Trade in fake pre-Columbian artifacts developed during the late 19th century to the extent that in 1886 Smithsonian archaeologist William Henry Holmes wrote an article called "'The Trade in Spurious Mexican Antiquities"' for Science. Although museums acquired skulls earlier, it was Eugène Boban, an antiquities dealer who opened his shop in Paris in 1870, who is most associated with 19th-century museum collections of crystal skulls. Most of Boban's collection, including three crystal skulls, was sold to the ethnographer Alphonse Pinart, who donated the collection to the Trocadéro Museum, which later became the Musée de l'Homme.

Research into crystal skull origins

Many crystal skulls are claimed to be pre-Columbian, usually attributed to the Aztec or Maya civilizations. Mesoamerican art has numerous representations of skulls, but none of the skulls in museum collections come from documented excavations. Research carried out on several crystal skulls at the British Museum in 1967, 1996 and again in 2004 has shown that the indented lines marking the teeth (for these skulls had no separate jawbone, unlike the Mitchell-Hedges skull) were carved using jeweler's equipment (rotary tools) developed in the 19th century, making a supposed pre-Columbian origin problematic. The type of crystal was determined by examination of chlorite inclusions, and is only to be found in Madagascar and Brazil, and thus unobtainable or unknown within pre-Columbian Mesoamerica. The study concluded that the skulls were crafted in the 19th century in Germany, quite likely at workshops in the town of Idar-Oberstein renowned for crafting objects made from imported Brazilian quartz at this period in the late 19th century.

It has been established that both the British Museum and Paris's Musée de l'Homme crystal skulls were originally sold by the French antiquities dealer Eugène Boban, who was operating in Mexico City between 1860 and 1880. The British Museum crystal skull transited through New York's Tiffany's, whilst the Musée de l'Homme's crystal skull was donated by Alphonse Pinart, an ethnographer who had bought it from Boban.

An investigation carried out by the Smithsonian Institution in 1992 on a crystal skull provided by an anonymous source who claimed to have purchased it in Mexico City in 1960 and that it was of Aztec origin concluded that it, too, was made in recent years. According to the Smithsonian, Boban acquired the crystal skulls he sold from sources in Germany – findings that are in keeping with those of the British Museum.

A detailed study of the British Museum and Smithsonian crystal skulls was accepted for publication by the Journal of Archaeological Science in May 2008. ] Using electron microscopy and X-ray crystallography, a team of British and American researchers found that the British Museum skull was worked with a harsh abrasive substance such as corundum or diamond, and shaped using a rotary disc tool made from some suitable metal. The Smithsonian specimen had been worked with a different abrasive, namely the silicon-carbon compound carborundum which is a synthetic substance manufactured using modern industrial techniques. Since the synthesis of carborundum dates only to the 1890s and its wider availability to the 20th century, the researchers concluded "[t]he suggestion is that it was made in the 1950s or later".

Speculations on smaller skulls
None of the skulls in museums come from documented excavations. A parallel example is provided by obsidian mirrors, ritual objects widely depicted in Aztec art. Although a few surviving obsidian mirrors come from archaeological excavations, none of the Aztec-style obsidian mirrors are so documented. Yet most authorities on Aztec material culture consider the Aztec-style obsidian mirrors as authentic pre-Columbian objects. Archaeologist Michael E. Smith reports a non peer-reviewed find of a small crystal skull at an Aztec site in the Valley of Mexico. Crystal skulls have been described as "A fascinating example of artifacts that have made their way into museums with no scientific evidence to prove their rumored pre-Columbian origins. Until any crystal skulls are reported in peer-reviewed papers describing their excavation, Occam's Razor suggests that all of them are fabrications."

Individual skulls

Mitchell-Hedges skull

Perhaps the most famous and enigmatic skull was allegedly discovered in 1924 by Anna Le Guillon Mitchell-Hedges, adopted daughter of British adventurer and popularist author F.A. Mitchell-Hedges. It is the subject of a video documentary made in 1990, Crystal Skull of Labaantun. It has been noted upon examination by Smithsonian researchers to be "very nearly a replica of the British Museum skull--almost exactly the same shape, but with more detailed modeling of the eyes and the teeth."

Anna Hedges claimed that she found the skull buried under a collapsed altar inside a temple in Lubaantun, in British Honduras, now Belize. As far as can be ascertained, F.A. Mitchell-Hedges himself made no mention of the alleged discovery in any of his writings on Lubaantun. Also, others present at the time of the excavation have not been documented as noting either the skull's discovery or Anna's presence at the dig.

In a 1970 letter, Anna also stated that she was "told by the few remaining Maya, that the skull was used by the high priest to will death". The artifact is sometimes referred to as "The Skull of Doom" as Mitchell-Hedges claimed it could be used to will death (see below). An alternative explanation is a play on 'Skull of Dunn' (Dunn being an associate of Mitchell-Hedges) . Anna Mitchell-Hedges toured with the skull from 1967 exhibiting it on a pay-per-view basis, and she continued to give interviews about the artifact until her death in 2007.

The skull is made from a block of clear quartz about the size of a small human cranium, measuring some 5 inches (13 cm) high, 7 inches (18 cm) long and 5 inches wide. The lower jaw is detached. In the early 1970s it came under the temporary care of freelance art restorer Frank Dorland, who claimed upon inspecting it that it had been "carved" with total disregard to the natural crystal axes without the use of metal tools. Dorland reported being unable to find any tell-tale scratch marks, except for traces of mechanical grinding on the teeth, and he speculated that it was first chiseled into rough form, probably using diamonds, and the finer shaping, grinding and polishing was achieved through the use of sand over a period of 150 to 300 years. He said it could be up to 12,000 years old. Although various claims have been made over the years regarding the skull's physical properties, such as an allegedly constant temperature of 70°F (21°C), Dorland reported that there was no difference in properties between it and other natural quartz crystals.

While in Dorland's care the skull came to the attention of writer Richard Garvin, at the time working at an advertising agency where he supervised Hewlett-Packard's advertising account. Garvin made arrangements for the skull to be examined at HP's crystal labs at Santa Clara, where it was subjected to several tests. The labs determined only that it was not a composite (as Dorland had supposed), but that it was fashioned from a single crystal of quartz. The lab test also established that the lower jaw had been fashioned from the same left-handed growing crystal as the rest of the skull. No investigation was made by HP as to its method of manufacture or dating.

As well as the traces of mechanical grinding on the teeth noted by Dorland, Mayanist archaeologist Norman Hammond reported that the holes (presumed to be intended for support pegs) showed signs of being made by drilling with metal. Anna Mitchell-Hedges refused subsequent requests to submit the skull for further scientific testing.

F. A. Mitchell-Hedges mentioned the skull only briefly in the first edition of his autobiography, Danger My Ally (1954), without specifying where or by whom it was found. He merely claimed that "it is at least 3,600 years old and according to legend it was used by the High Priest of the Maya when he was performing esoteric rites. It is said that when he willed death with the help of the skull, death invariably followed". All subsequent editions of Danger My Ally omitted mention of the skull entirely.

Eugène Boban, main French dealer in pre-Columbian artifacts during the second half of the 19th century and probable source of many famous skulls

The earliest published reference to the skull is the July 1936 issue of the British anthropological journal Man, where it is described as being in the possession of Mr. Sydney Burney, a London art dealer who is said to have owned it since 1933. No mention was made of Mitchell-Hedges. There is documentary evidence that Mitchell-Hedges bought it from Burney in 1944. The skull was in the custody of Anna Mitchell-Hedges, the adopted daughter of Frederick. She steadfastly refused to let it be examined by experts (making very doubtful the claim that it was reported on by R. Stansmore Nutting in 1962). Somewhere between 1988–1990 Anna Mitchell-Hedges toured with the skull.

In her last eight years, Anna Mitchell-Hedges lived in Chesterton, Indiana, with Bill Homann, whom she married in 2002. She died on April 11, 2007. Since that time the Mitchell-Hedges Skull has been in the custody of Bill Homann. In April 2009, Five, a television channel, took the story and revealed that the Mitchell-Hedges Skull, recently tested under a special microscope in the Smithsonian Institution, had been manufactured with tools that Aztecs and Mayans simply did not have. Like the other skulls, this one is a fabrication dating from the second half of the 19th century. Bill Homann however continues to believe in its mystical properties.

British Museum skull

The crystal skull of the British Museum first appeared in 1881, in the shop of the Paris antiquarian, Eugène Boban. Its origin was not stated in his catalog of the time. He is said to have tried to sell it to Mexico's national museum as an Aztec artifact, but was unsuccessful. Boban later moved his business to New York City, where the skull was sold to George H. Sisson. It was exhibited at the meeting of the American Association for the Advancement of Science in New York City in 1887 by George F. Kunz. It was sold at auction, and bought by Tiffany and Co., who later sold it at cost to the British Museum in 1897. This skull is very similar to the Mitchell-Hedges skull, although it is less detailed and does not have a movable lower jaw.

The British Museum catalogs the skull's provenance as "probably European, 19th century AD" and describes it as "not an authentic pre-Columbian artefact". It has been established that this skull was made with modern tools, and that it is not authentic.

Paris skull

The largest of the three skulls sold by Eugène Boban to Alphonse Pinart (sometimes called the Paris Skull), about 10 cm (4 in) high, has a hole drilled vertically through its center. It is part of a collection held at the Musée du Quai Branly, and was subjected to scientific tests carried out in 2007–08 by France's national Centre de recherche et de restauration des musées de France (Centre for Research and Restoration of the Museums in France, or C2RMF). After a series of analyses carried out over three months, C2RMF engineers concluded that it was "certainly not pre-Columbian, it shows traces of polishing and abrasion by modern tools." Particle accelerator tests also revealed occluded traces of water that were dated to the 19th century, and the Quai Branly released a statement that the tests "seem to indicate that it was made late in the 19th century."

In 2009 the C2RMF researchers published results of further investigations to establish when the Paris skull had been carved. Scanning electron microscopy (SEM) analysis indicated the use of lapidary machine tools in its carving. The results of a new dating technique known as quartz hydration dating (QHD) demonstrated that the Paris skull had been carved later than a reference quartz specimen artefact, known to have been cut in 1740. The researchers conclude that the SEM and QHD results combined with the skull's known provenance indicate it was carved in the 18th or 19th century.

Smithsonian Skull
The Smithsonian skull was mailed to the Smithsonian anonymously in 1992, and was claimed to be an Aztec object by its donor and was purportedly from the collection of Porfirio Diaz. It is the largest of the skulls, weighing 31 pounds and is 15 inches high. It was carved using carborundum, a modern abrasive. It has been displayed as a fake at the National Museum of Natural History.
Paranormal claims and spiritual associations
Some believers in the paranormal claim that crystal skulls can produce a variety of miracles. Ann Mitchell-Hedges claimed that the skull she allegedly discovered could cause visions, cure cancer, that she once used its magical properties to kill a man, and that in another instance, she saw in it a premonition of the John F. Kennedy assassination.[48] In the 1931 play The Satin Slipper, by Paul Claudel, King Philip II of Spain uses "a death's head made from a single piece of rock crystal," lit by "a ray of the setting sun," to see the defeat of his Armada in its attack on England (day 4, scene 4, pp. 243-44).

Claims of the healing and supernatural powers of crystal skulls have no support in the scientific community, which has found no evidence of any unusual phenomena associated with the skulls nor any reason for further investigation, other than the confirmation of their provenance and method of manufacture.

Another novel and historically unfounded speculation ties in the legend of the crystal skulls with the completion of the current Maya calendar b'ak'tun-cycle on December 21, 2012, claiming the re-uniting of the thirteen mystical skulls will forestall a catastrophe allegedly predicted or implied by the ending of this calendar. An airing of this claim appeared (among an assortment of others made) in The Mystery of the Crystal Skulls, a 2008 program produced for the Sci Fi Channel in May and shown on Discovery Channel Canada in June. Interviewees included Richard Hoagland, who attempted to link the skulls and the Maya to life on Mars, and David Hatcher Childress, proponent of lost Atlantean civilizations and anti-gravity claims.

Crystal skulls are also referenced by author Drunvalo Melchizedek in his book Serpent of Light. He writes that he came across indigenous Mayan descendants in possession of crystal skulls at ceremonies at temples in the Yucatan, which he writes contained souls of ancient Mayans who had entered the skulls to await the time when their ancient knowledge would once again be required. The book is a log of the authors experiences, which are related in a manner requiring suspension of judgment.

The alleged associations and origins of crystal skull mythology in Native American spiritual lore, as advanced by neoshamanic writers such as Jamie Sams, are similarly discounted.[53] Instead, as Philip Jenkins notes, crystal skull mythology may be traced back to the "baroque legends" initially spread by F.A. Mitchell-Hedges, and then afterwards taken up:

By the 1970s, the crystal skulls [had] entered New Age mythology as potent relics of ancient Atlantis, and they even acquired a canonical number: there were exactly thirteen skulls.
None of this would have anything to do with North American Indian matters, if the skulls had not attracted the attention of some of the most active New Age writers.

CRYSTA~1
4 Artefacts
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Sumerian plane toysplane7_jpg
Sumerian toy planes
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Sumerian plane toy
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Sumerian plane toy
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Airplane toys
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Sumerian plane toy
Inca
Incan flying saucer clay plates
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Sumerian plane toy

 

5 Ancient Knowledge
Dogon Tribe & Sirius

Certain researchers investigating the Dogon have reported that they seem to possess advanced astronomical knowledge, the nature and source of which has subsequently become embroiled in controversy. From 1931 to 1956 the French anthropologist Marcel Griaule studied the Dogon. This included field missions ranging from several days to two months in 1931, 1935, 1937 and 1938 and then annually from 1946 until 1956. In late 1946 Griaule spent a consecutive thirty-three days in conversations with the Dogon wiseman Ogotemmêli, the source of much of Griaule and Dieterlen's future publications. They reported that the Dogon believe that the brightest star in the sky, Sirius (sigi tolo or 'star of the Sigui', has two companion stars, pō tolo (the Digitaria star), and ęmmę ya tolo, (the female Sorghum star), respectively the first and second companions of Sirius A. Sirius, in the Dogon system, formed one of the foci for the orbit of a tiny star, the companionate Digitaria star. When Digitaria is closest to Sirius, that star brightens: when it is farthest from Sirius, it gives off a twinkling effect that suggests to the observer several stars. The orbit cycle takes 60 years. They also claimed that the Dogon appeared to know of the rings of Saturn, and the moons of Jupiter.

Griaule and Dieterlen were puzzled by this Sudanese star system, and prefaced their analysis with the following remark:-

The problem of knowing how, with no instruments at their disposal, men could know the movements and certain characteristics of virtually invisible stars has not been settled, nor even posed.

In 1976 Robert K. G. Temple wrote a book arguing that the Dogon's system reveals precise knowledge of cosmological facts only known by the development of modern astronomy, since they appear to know, from Griaule and Dieterlen's account, that Sirius was part of a binary star system, whose second star, Sirius B, a white dwarf, was however completely invisible to the human eye,(just as Digitaria is the smallest grain known to the Dogon), and that it took 50 years to complete its orbit. The existence of Sirius B had only been inferred to exist through mathematical calculations undertaken by Friedrich Bessel in 1844. Temple then argued that the Dogon's information, if traced back to ancient Egyptian sources and myth, indicated an extraterrestrial transmission of knowledge of the stars. Neither Griaule nor Dieterlen had ever made such bold claims about a putative esoteric source for the Dogon's knowledge.

More recently, doubts have been raised about the validity of Griaule and Dieterlein's work. In a 1991 article in Current Anthropology anthropologist Walter van Beek concluded after his research among the Dogon that,

"Though they do speak about sigu tolo [which is what Griaule claimed the Dogon called Sirius] they disagree completely with each other as to which star is meant; for some it is an invisible star that should rise to announce the sigu [festival], for another it is Venus that, through a different position, appears as sigu tolo. All agree, however, that they learned about the star from Griaule"

Griaule's daughter Genevieve Calame-Griaule responded in a latter issue suggesting that van Beek may have been "sent by the political and administrative authorities to test the Dogon's Muslim orthodoxy" and argues that van Beek did not go "through the appropriate steps for acquiring knowledge."

Robert Todd Carroll states that a more likely source of the knowledge of the Sirius star system is from contemporary, terrestrial sources who provided information to interested members of the tribes, or confabulation of new myths by credulous and biased Afrocentric scholars. James Oberg also criticizes the idea that the Dogon tribes drew their knowledge from extraterrestrials, citing instead their extensive contacts with Western explorers, travelers and missionaries as well as members of the French Army, with whom some members of the Dogon served during World War I. James Clifford however notes that Griaule sought informants best qualified to speak of traditional lore, and deeply mistrusted converts to Christianity, Islam, or people with too much contact with whites. Oberg also points out the number of errors contained in the Dogon myths, including the number of moons possessed by Jupiter, that Saturn was the furthest planet from the sun, and the only planet with rings.

 
3rd eye
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ird eye stick on on Hindi girl
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Bacchaus holding his pinecone staffbachus
Bacchus and his pinecone staffvatican peacock
Egyptian Peacock next to Pinecone at Vatican
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Egyptian writting under lion at the Vatican vatican005
Egyptians lion at the Vatican
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Bacus and his pine cone
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Pinecone on the Pope's staff
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Annunaki in Sumerian art and Pineal gland
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Sumerian Annunaki with pinecone
Pineal Gland
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Krishna and the pinecone headpinean
Pineal gland in ancient Sumerian artstaff of osiris
Pineal gland in ancient Sumerian art
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Hindu Third eye stick onspinean002
Egyptian and the third eyebuddha
Buddha and the pinecone headvatican002
Pinecone at the Vatican
bachus002Summerian king with his pinecone

 

Sumerian Tablets & Wall Art
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Sumerian tablets

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The Sumerian flood story Babylonia 18th C BC
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Cuniaform tabletsawr_mesotree
Sumerian kings on ancient artcuniaformtablet2_jpg
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Hammurabi Law Code Babylonia 1750 BC
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Chinese stone tablet found in Mexico
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Ancient Summer and Akkadia and Egypt
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Location of Ur
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Cuniaform tabletcunieform_gif
Cuniaform symbals
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Cuniaform symbals
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Sumerian tablet
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Sumerian art of winged Annunaki
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Cuniaform tablet
Zecharia Sitchin

Zecharia Sitchin (born 1922) is an author of books promoting an explanation for human origins involving ancient astronauts, amidst other aspects of pseudoscience.

Sitchin attributes the creation of the ancient Sumerian culture to the "Anunnaki", a race of aliens from a planet he calls Nibiru, which he believes to be in an elongated, elliptical orbit in the Earth's own Solar System and asserts that Sumerian mythology reflects this view.

His speculations are entirely discounted by professional scientists, historians, and archaeologists, who note many problems with his translations of ancient texts and with his understanding of physics.

Life
Sitchin was born in Baku, Azerbaijan, and was raised in Palestine. He acquired some knowledge of modern and ancient Hebrew, other Semitic and European languages, the Torah, and the history and archeology of the Near East. Sitchin graduated from the London School of Economics, University of London, majoring in economic history. A journalist and editor in Israel for many years, he now lives and writes in New York City. His books have been widely translated, converted to braille for the blind, and featured on radio and television.
Ideas
According to Sitchin's interpretation of Sumerian cosmology, there is an undiscovered planet which follows a long, elliptical orbit, reaching the inner solar system roughly every 3,600 years. This planet is called Nibiru (the planet associated with the god Marduk in Babylonian cosmology). According to Sitchin, Nibiru collided catastrophically with Tiamat, another supposed planet located by Sitchin between Mars and Jupiter. This collision supposedly formed the planet Earth, the asteroid belt, and the comets. Tiamat, as outlined in the Enûma Elish, is a goddess. According to Sitchin, however, Tiamat was what is now known as Earth. When struck by one of planet Nibiru's moons, Tiamat split in two. On a second pass Nibiru itself struck the broken fragments and one half of Tiamat became the asteroid belt. The second half, struck again by one of Nibiru's moons, was pushed into a new orbit and became today's planet Earth.

According to Sitchin, Nibiru was the home of a technologically advanced human-like extraterrestrial race called the Anunnaki in Sumerian myth, who Sitchin states are called the Nephilim in Genesis. He claims they first arrived on Earth probably 450,000 years ago, looking for minerals, especially gold, which they found and mined in Africa. These "gods" were the rank and file workers of the colonial expedition to Earth from planet Nibiru. Sitchin believes the Anunnaki genetically engineered Homo sapiens as slave creatures to work their gold mines by crossing extraterrestrial genes with those of Homo erectus. Sitchin claims ancient inscriptions report that human civilization in Sumer of Mesopotamia was set up under the guidance of these "gods", and human kingship was inaugurated to provide intermediaries between mankind and the Anunnaki. Sitchin believes that fallout from nuclear weapons, used during a war between factions of the extraterrestrials, is the "evil wind" that destroyed Ur around 2000 BC. Sitchin claims the exact year is 2024 BC. This event is described in the Lament for Ur. Sitchin claims that his research coincides with many biblical texts, and that biblical texts come originally from Sumerian writings.

Criticisms
When Sitchin wrote his books, only specialists could read the Sumerian language, but now anyone can check his translations by utilizing the 2006 book Sumerian Lexicon. Sitchin's translations of both individual words and of larger portions of ancient texts are generally found to be incorrect.

Sitchin's "planetary collision" view does superficially resemble a theory which is seriously entertained by modern astronomers — the giant impact theory of the Moon's formation about 4.5 billion years ago by a body impacting with the newly-formed Earth. However, Sitchin's proposed series of rogue planetary collisions differ in both details and timing. As with Immanuel Velikovsky's earlier Worlds in Collision thesis, Sitchin claims to have found evidence of ancient human knowledge of rogue celestial motions in a variety of mythological accounts. In Velikovsky's case, these interplanetary collisions were supposed to have taken place within the span of human existence, whereas for Sitchin these occurred during the early stages of planetary formation, but entered the mythological account passed down via the alien race which purportedly evolved on Nibiru after these encounters.

Sitchin's scenario for the creation of the Solar System is hard to reconcile with the Earth's current small orbital eccentricity of only 0.0167. Sitchin's supporters maintain that it would explain Earth's peculiar early geography due to cleaving from the celestial collision, i.e., solid continents on one side and a giant ocean on the other.

The scenario outlined by Sitchin, with Nibiru returning to the inner solar system regularly every 3,600 years, implies an orbit with a semi-major axis of 235 Astronomical Units, extending from the asteroid belt to twelve times farther beyond the sun than Pluto. "Elementary perturbation theory indicates that, under the most favorable circumstances of avoiding close encounters with other planets, no body with such an eccentric orbit would keep the same period for two consecutive passages. Within twelve orbits the object would be either ejected or converted to a short period object. Thus, the failed search for a trans-Plutonian planet by T.C. Van Flandern, then with the U.S. Naval Observatory, which Sitchin uses to bolster his thesis, is no support at all."

Sitchin claims that "from an equal start, the Nefilim evolved on Nibiru 45 million years ahead of comparable development on Earth with its decidedly more favorable environment." Such an outcome is unlikely, to say the least, since Nibiru would spend over 99% of its time beyond Pluto. Sitchin's explanation that heat from radioactive decay and a thick atmosphere keep Nibiru warm is absurd and does not address the problem of darkness in deep space. Also unexplained is how the Nefilim, who evolved long after Nibiru arrived, knew what happened when Nibiru first entered the solar system.

Sitchin bases his arguments on his personal interpretations of Pre-Nubian and Sumerian texts, and the seal VA 243. Sitchin claims these ancient civilizations knew of a 12th planet, when in fact they only knew five. Hundreds of Sumerian astronomical seals and calendars have been decoded and recorded, and the total count of planets on each seal has been five. Seal VA 243 has 12 dots that Sitchin identifies as planets. When translated, seal VA 243 reads "You're his Servant" which is now thought to be a message from a nobleman to a servant. According to semitologist Michael S. Heiser, the so-called sun on Seal VA 243 is not the Sumerian symbol for the sun but is a star, and the dots are also stars. The symbol on seal VA 243 has no resemblance to the hundreds of documented Sumerian sun symbols.

Peter James has criticised him both for ignoring the world outside of Mesopotamia and more specifically for misunderstanding Babylonian literature:

He uses the Epic of Creation Enuma Elish as the foundation for his cosmogony, identifying the young god Marduk, who overthrows the older regime of gods and creates the Earth, as the unknown "Twelfth Planet". In order to do as he interprets the Babylonian theogony as a factual account of the birth of the other "eleven" planets. The Babylonian names for the planets are established beyond a shadow of a doubt--Ishtar was the deity of Venus, Nergal of Mars, and Marduk of Jupiter -- and confirmed by hundreds of astronomical/astrological tables and treatises on clay tablets and papyri from the Hellenistic period. Sitchin merrily ignores all this and assigns unwarranted planetary identities to the gods mentioned in the theogony. For example, Apsu, attested as god of the primeval waters becomes, of all things, the Sun! Ea, as it suits Sitchin, is sometimes planet Neptune and sometimes a spaceman. And the identity of Ishtar as the planet Venus, a central feature of Mesopotamian religion, is nowhere mentioned in the book--instead Sitchin arbitrarily assigns to Venus another deity from Enuma Elish, and reserves Ishtar for a role as a female astronaut.

Similar ideas have been advanced by authors such as Immanuel Velikovsky, Erich von Däniken, Alan F. Alford and Laurence Gardner. Alford later recanted his views and became a critic of Sitchin's interpretation of myth.

Sitchin in “the case of Adam’s alien genes” claims that 223 unique genes found by the Human Genome Sequencing Consortium are without the required predecessors on the genomic evolutionary tree. Later researchers have argued that the conclusion from the Human Genome Sequencing Consortium can not be drawn due to a lack of a comprehensive gene database for comparison. An analysis by Salzberg identified 40 potential genes laterally transferred into the genome from prokaryotic organisms. Salzberg also argues that gene loss combined with sample size effects and evolutionary rate variation provide an alternative, more biologically plausible explanation.

William Irwin Thompson comments on what he calls Sitchin's 'literalism':

What Sitchin sees is what he needs for his theory. So figure 15 on page 42 is radiation therapy, and figure 71 on page 136 is a god inside a rocket-shaped chamber. If these are gods, why are they stuck with our cheap B movie technology of rockets, microphones, space-suits, and radiation therapy? If they are gods, then why can't they have some really divine technology such as intradimensional worm-hole travel, antigravity, starlight propulsion, or black hole bounce rematerializations? Sitchin has constructed what appears to be a convincing argument, but when he gets close to single images on ancient tablets, he falls back into the literalism of "Here is an image of the gods in rockets." Suddenly, ancient Sumer is made to look like the movie set for Destination Moon. Erich Von Däniken's potboiler Chariots of the Gods has the same problem. The plain of Nazca in Peru is turned into a World War II landing strip. The gods can cross galactic distances, but by the time they get to Peru, their spaceships are imagined as World War II prop jobs that need an enormous landing strip. This literalization of the imagination doesn't make any sense, but every time it doesn't, you hear Sitchin say "There can be no doubt, but..."

Influence
Raëlism, the UFO religion founded by Claude Vorilhon, appropriated some of its beliefs from Sitchin's work, as does the Nuwaubian religion founded by Dwight York.[citation needed] Zetatalk, the internet cult founded by self-proclaimed contactee Nancy Leider, describes "Planet X", a large object they claim is about to hit Earth, as "Nibiru" in reference to Sitchin's claims. David Icke also draws on Sitchin's work in his conspiracy theories. The 1994 movie Stargate, directed by Roland Emmerich, drew some conceptual inspiration from Sitchin's ideas.