crowns that lay at its feet. His modern-day engineering expertise provides a unique view into the sophisticated technology used to create these famous monuments in prehis- toric times. Using computer-aided design software and metrology instruments, he ex- poses the extreme precision of these monu- ments and the type of advanced manufac- turing expertise necessary to produce them. His examination of the mysterious under- ground tunnels of the Serapeum illuminates the finest examples of precision engineering on the planet.
To list just one example, according to Dunn, “The Ramses challenge was issued in ancient Egypt again and again, from Mem- phis and Cairo to Luxor and Abu Simbel. Exact replicas of Ramses’ image were crafted in limestone, sandstone, quartzite, granite, and
diorite....Some pieces weigh more than 1,000
tons....The statues are massive--a sig- nificant challenge to move and, because they are intricately carved, an even more signifi- cant challenge to sculpt. What distinguishes the Ramses statues is the iconic imagery of the perfect face. It seems that no matter which of the Ramses statues we look at, the same smiling face gazes through you, into infinity.”
In order to accomplish this effect, Dunn explains, the ancient sculptors worked to a uniform system of measurement and a de- sign scheme. Just as today we replicate de- signs using uniform measures and consistent
methods of manufacturing, in ancient Egypt there was a system of design, measurement, and manufacture used to create the Ramses statues. We can then ask the question: What was the fundamental scheme that the an- cient Egyptians used to create and re-create this iconic image in stone?
In 1986 Dunn visited Memphis, near Saq- qara, and gazed down at the statue of Ramses in the open-air museum. Looking down the length of the statue, it struck him as peculiar that the left and right nostrils were identical mirror images of each other. It is common knowledge that no adult walking the earth has nostrils that are identically shaped. He thought it was noteworthy, but did not follow up and research it further as his focus at the time was on engineering, not art. He was there to study the pyramids and had not planned to visit any temples during his visit. He didn’t realize at the time, though, how important his observation would become to his future research.
And in his book and this DVD, Dunn follow up in depth. Even though we’ve re- viewed previous DVDs of Dunn’s analysis of the Egyptian pyramids, as well as the ruins in South America, make no mistake—this is new material. Actually, it’s based on his latest book, Lost Technologies Of Ancient Egypt: Advanced Engineering in the Temples of the Pharaohs (2010), which is well illus- trated with much of the same material, but there are a few things in the DVD you won’t
want to miss that aren’t in the book—and, of course, his charming presentation will be a delight to all Dunn fans. DVD - 70 min. $19.95
1-800-228-8381
KIRLIAN PHOTOGRAPHY: Fact and Fiction
John Iovine
This new DVD by Images Scientific In- struments, Inc., explores and explains the world of Kirlian photography. Producer John Iovine says that he has been shooting Kirlian photographs as well as writing books and ar- ticles on the technique for 20 years. “The ex- perience I gathered in that time I distilled into the tutorial portion of the DVD, which explains how to shoot Kirlian photographs.” Images SI Inc. has been manufacturing Kir- lian photography devices and accessories for over 10 years. Edmund Scientific is their largest distributor in the United States. Kirlian photography is a high voltage, contact print photography. The process is simple. Sheet film is placed on top of a metal plate, called the discharge or film plate. The object to be photographed is placed on top of the film. If the object is inanimate, such as a coin or leaf, an earth ground is connected to the object. High voltage is applied to the plate momentarily to make an exposure. The corona discharge between the object and dis- charge plate passes through and is recorded
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Number 85 • ATLANTIS RISING 53
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