Broschiertes Buch

Written in Stone and Space: The Invisible Language of Ancient Architecture

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This original and insightful anthology will appeal to those already familiar with conventional approaches to the study of the pyramids, tombs, and sacred sites of the ancient world. Written In Stone and Space reveals aspects of design that are invisible to the uneducated eye, yet present in the lines, angles, and dimensions of ancient architecture. The format of the text invites readers to follow, step by step, the authors' process of deciphering this hidden but readable information. Active participation with the process promises the reader an experience of discovery, and quite possibly a glim...

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Bernard I. Pietsch, archaeo-metrologist and independent researcher, has spent over six decades exploring the geometry and dimensions of the world's greatest stone monuments. Prior to his foray into ancient art, Pietsch had been studying how changes in the Earth's magnetic field effected the behavior of living organisms. He observed pendulums and gyroscopes, studied earthquakes, tornadoes, earth magnetism, and astronomy. In the living sciences, he surveyed everything from the vagaries of mass migrations to microscopic changes in blood sedimentation rates. From this wide perspective, he began to focus on how data from various scientific domains were cataloged and graphed. "After surveying many fields," he recalls, "I could see that events occurring in Nature defied prediction. Why doesn't Nature perform as we might expect? I wanted to know what gives rise to so many so-called anomalies. Clearly an unaccounted factor was at work. I began to ask if perhaps there was another kind of framework or time-sense that would more clearly resonate with Nature's time--a single, reconciling dynamic to which all was responding. "By the spring of 1971, I had drafted some promising explanations for these questions and was able to formulate an innovative, general statement about frequency expressing a natural law. About that time, and quite accidentally, my attention was captured by a book on the Great Pyramid--a diversion that was to last for decades. By the fall of that year, l was deep into the geometry and measurements of the Pyramid. I realized that it confirmed, supported, and upgraded my derived concepts. It seemed as if all my research into astronomical cycles and biological rhythms had prepared me to "read" what I came to call the "book" of the Pyramid. I discovered in its architecture a geometric idiom that expressed insights I had gleaned from mathematics, psychology, epistemology, and Nature--it was a cosmological model." Nearing the century mark at the time of this writing, Pietsch is no stranger to the boundaries of convention. His willingness to challenge, if not violate the rules of practical mathematics has enabled him to use the functions of number as an artist would--in complete freedom. As a result, the novel insights and "coincident correspondences" documented in his work are not random or serendipitous. They are evidence of an order implicitly revealed through the plasticity of number. Pietsch doesn't claim to have discovered anything, only that he has recovered the language of ancient artists who expressed in their work, a level of harmony we moderns do not yet enjoy. "I just read well," he says. "If a work is allowed to penetrate and inform our sensibilities, we may be fortunate enough to contact within ourselves, an experience of understanding modeled by the work." Pietsch has tapped into those models and left signposts for the rest of us to follow.