Grid of the Gods (48 page)

Again, one must understand that this means no merely megalithic culture could have sculpted such a diagram without having access to refined and sophisticated scientific knowledge, knowledge that required for its very basis access to technologies commensurate with those possessed today.

Before proceeding further, a look at Brophy’s sketches of Complex Structure A is in order.

Brophy’s Diagram of the Subterranean Complex Structure A, Looking West
²⁷

Brophy’s Diagram of the Subterranean Complex Structure A, Looking
North; the “Cosmological Lens” is Clearly in Evidence
²⁸

As is apparent from this diagram, with which we shall be concerned throughout the remainder of this chapter, Complex Structure A is, indeed, “complex,” for it exists in three distinctive layers. When the bottom layer — the Milky Way sculpture itself — is considered, the result, again, is even more damaging to the idea that this site is the product of a primitive Megalithic culture:

Astonishing as it may be, the bedrock sculpture underneath “Complex Structure A” at Nabta PLaya appears to be an accurate depiction of our Milky Way Galaxy, as it was oriented astronomically at a specific time: vernal equinox heliacal rising of the Galactic Center in 17,700 BC.
²⁹

Whoever built this structure, in other words, knew not only about the only recently discovered satellite dwarf galaxy to the Milky Way, but had accurate enough astronomical knowledge of the Milky Way’s galactic center.

Brophy, however, was by no means finished with his list of amazing discoveries in the structure, and it is here that we start to approach the most paradoxical and anachronistic part of the Nabta Playa mystery. As he investigated the Complex Structures, Brophy discovered something else: that in addition to the
levels and layers
within the
physical
structures, there were also
more than one layer or level of scales employed
in the analogies between the structure and the celestial space it was encoding. There were, in fact,
three
scaling laws:

17.0 AU(astronomical units)/m (meter) for planets and companion stars; 0.799 LY (light years)/m for stars; and 17,600 LY/m for galaxies. The designers of the map needed to employ different scales to fit the different types of objects together on the map. Each type of object (planet, star, galaxy) is placed on the map according to the scale for that type. Different scales for different types of objects are called “scaling laws.” Continuing with our astrophysical reverse engineering, to search for more information in the map at other scales, it is logical to look for a pattern in the scaling laws. If there is such a pattern, one might expect it to be a
natural, nondimensional pattern. (Nondimensional meaning not depending on the use of an artificial measure like meters or feet.)

    Nondimensionalizing the three scales (by expressing each in terms of meters on the ground to meters in the sky, thus eliminating the ‘meters”) and then taking the natural logarithm, yields a sequence of whole numbers: (29, 37, 47). These are prime numbers. And the numbers appear to fit a pattern given by selecting the next largest prime number in a log-linear sequence. In such a sequence, the next scale in the map is given by 59.

    This next scaling law gives a new scale of one meter on the ground at Nabta equals 2.87 billion light-years in the sky.
³⁰

To put it differently, the complexity of the structures and the scaling laws involved mean, once again, that whoever constructed the site, they were doing so on the basis of knowledge and techniques handed down to them, for the ability to
observe
some of the objects depicted in the Nabta Playa map implied a technology sophisticated enough to do so.

We are looking, in other words, at a site constructed by the
legacy
of a Very High Civilization in High Antiquity, and therefore, once again, we are looking at a site whose very construction was probably done at the instigation of some surviving elite of that civilization.

This brings us to the megalith within the Complex Structure that can only be called “the cosmological sculpture” and the extraordinary astronomical and astrophysical information encoded within it, information that once again clearly points to a degree of physics sophistication commensurate with that of our own contemporary era.

Noting first that conventional archaeology persists in applying meaningless categories to the structure with little regard to its encoded mathematics, and speculating that it is “a ritual depiction of a cow,”
³¹
Brophy notes the odd mathematical correspondences, and it is worth citing them at length:

The distance from the Sun to the outer spherical edge of the sculpture, according to the scaling law, is about 6 billion light-years. This is highly suggestive that the sculpted stone is a representation of the cosmological “Big Bang” of creation. Possibly it represents
the age of the universe at the time of the origin of our solar system (which is roughly 5 billion years old). Or possibly the designers of the map meant for the diameter of curvature of the sculpture, rather than its radius of curvature, to represent the current age of the universe — 12 billion years. Or a third possibility is that it represents a current universe age of 6 billion years which would mean that our astrophysical models are in error by a factor of about 2.

    …

    More corroboration of the cosmological significance of this sculpture is found in its shape, size, and orientation. Except for the angular protrusion on one corner, the four curved, angled cornered sides of the stone may match a shape defined by two lines of declination on the sides, and on the top and bottom by two lines of right ascension. This is shown (on the diagrams on p. 267 of the current book) which is a drawing of such a declination window for the Galactic Center as viewed from Nabta Playa looking roughly east and up. Thus the shape of the sculpture, as it was placed facing outward from the sun location on the Milky Way Galaxy Sculpture, forms a “declination window” for the Galactic Center. The sculpture appears to have been carefully oriented such that this declination window subtends the full range of motion of the declinations of the Galactic Center.
³²

But the Nabta Playa “Complex Structures” held one final surprise, and it was the most breathtaking one of all.

B. The Biggest Problem for the Standard Model:
The Analogues of the Constants of Quantum Mechanics at Nabta Playa

Dr. Brophy discovered, in addition to all the other encoded mathematics, codes that actually embodied within the Complex Structure the actual coefficients of the constants of quantum mechanics,
millennia
before their (re-) discovery in the early 20th century! It is best to allow Dr. Brophy to describe the process once again in his own words:

Finally, if we apply the scaling law sequence once more, the inverse natural log of the prime number 79 would give a scale that could
only represent objects much larger than the known universe. However, if we now reverse the scale from macro to microcosm, the scaling law sequence yields a scale that could represent extremely small things: 0.505 meters at Nabta equals one Plank Length.

    The Planck Length is considered the fundamental length in physics. It is a fundamental constant of nature, and is the natural length that derives from three other fundamental constants of nature: Planck’s constant, the Universal Gravitation constant, and the speed of light. At an almost unimaginably tiny 1.6 x 10–35 meters, the Planck Length is the size smaller than which all known physics breaks down. At this scale, the Cow Sculpture (Cosmological Sculpture) is close to one Planck Length thick. So the Cosmological Sculpture may double as a Planck Scale Sculpture.
³³

Note carefully what is actually being said here: the Cosmological Sculpture is a monument not only of the physics of the very large, but also of the physics of the very small, and this suggests that whoever constructed the site held or possessed the holy grail of modern physics, a physics that was
unified
and able to explain macro-and micro-physical mechanics all from the same set of conceptions and equations.

What is present at Nabta Playa, in other words, is strongly suggestive of an
engineered
physics construction suggesting an
engineered
, rather than a theoretical, physics unification, an idea I first broached in my
Giza Death Star.
³⁴
There I observed a similar phenomenon as Dr. Brophy: the Great Pyramid appeared to encode the numerical coefficients of various constants of quantum mechanics in dimensional measures
also
encoding large scale physics analogues.

All this led Dr. Brophy to the most sensational discovery of them all: the Complex Structure was, in fact, an analogue of a
hyper-dimensional physics:

… (The) angular protrusion on the Cosmological Sculpture is defined by two planes that are in a sense
orthogonal
³⁵
to all of space-time.
In the galactic portion of the map, when an orthogonal plane was introduced it represented an entirely new coordinate system. Similarly the angular shape and/or size of the orthogonal plane protrusion on the Cosmological Sculpture may represent information
about physical dimensions orthogonal to space-time. Specifically it would be a natural way to represent aspects of multidimensional Planck scale physics such as how many physically meaningful hyperdimensions there are, eleven perhaps.
³⁶

In other words, the engineers of Nabta Playa were constructing an
analogue
to hyper-dimensional objects and physics itself. Indeed, this is extraordinarily significant, for
any
attempt to unify the physics of the very large and the very small
has
to be hyper-dimensional in nature.

Again, the extraordinary nature of these discoveries cannot be overlooked and must be stated explicitly for their full significance to sink in: whoever built Nabta Playa in general and the Complex Structure A in particular, by definition, had to be in possession of physics and mathematical techniques
at least as sophisticated as those that began to emerge in our own times in the 19th and 20th centuries.
We are most definitely
not
looking at “ritual cows” and all the other nonsense that conventional archaeology claims for these structures. We are looking at a
legacy
structure of something that must of necessity be from High Antiquity and from an extraordinarily sophisticated scientific culture for Stone Age man most definitely did not possess knowledge of the constants of quantum mechanics.

C. Summary

What we are confronted with at Nabta Playa, when all is said and done, is an alchemical architecture in stone, an alchemical lithographical embodiment of sophisticated and only recently discovered constants — and therefore,
principles
— of quantum mechanics and astrophysical celestial mechanics. This suggests that whoever
built
this amazing structure so long ago did so not only from the basis of a survival of knowledge, a survival of knowledge that could only have been the provenance of an informed elite, but that this knowledge in turn viewed the physics of the very large and the very small as somehow deeply interconnected in a way that modern physics has yet to decipher. They might, indeed, have been in possession of the Holy Grail of physics: a unified theory that explained and unified all physical forces.