The Dream Dancer's Mask

ARTIFACT DESCRIPTION:
a) Weight – two and one half pounds
b) Composition – electrum – 80% gold
We need to have a thorough analysis of the composition that hopefully will provide clues as to when it was made.
c) Symbology – There are marks behind or near the eye hole(s) that the face fits snuggly into. There are horns at the top and a handle at the bottom. The amorphous shapes on the face of the mask are intentionally made to be seen as different animistic demons or forms which is in line with Bes and the earlier origins of Bes the Egyptian representative deity. Bes and Loki are both tricksters and the horns might speak to Cernunnos or other horned gods that are of the same continuum due to the travels of the Kelts or Olmecs and their Brotherhood. Shamans seek to project visions to the ritual participants in their dances or performances. Often there were mind-altering drugs or ecstatic dances involved. The mutable nature of the face of this mask suggests any viewer might witness their own personal spirit guide or the demon and elemental of their belief system pantheon.
d) Collateral artifacts – The large lipped Negroid features on some lithics that resemble the Guatemalan and La Venta artifacts are instructive and might indicate the mask comes from the same people who were in that part of the world. The Cherokee calendar and Mayan system are similarly instructive. The lions and giraffes or other non-indigenous American fauna would indicate these travelers were in North Africa. This could be the Figuig who came in 500 AD or any number of other migrations long before the likes of Juba and his Ptolemy family arrived once Rome was building an Empire they cared not to participate in. We feel it is likely that our artifacts are far earlier than Empire and we are eager to see the professional work done to establish dates that should be in line with the early dating of Poverty Point in 4000 BCE if not earlier. However we must rule out the Melungeons or pre-Columbians like those who might have left the Bat Creek artifacts. The Tennessee skeletons of pygmies might be connected if we find harmonics is the technology used in making the symbols that are almost microscopic.

The Iowa artifacts and caves of a fellow researcher have been dated to over 11,000 years ago. My book details a move south after smelting was being done in most Old World areas around 4000 BC. The rebounding of the land that still goes on as post-glacial re-adjustment caused the waters of the Great Lakes to flow in many new directions in the fourth millennium BC. One artifact in Iowa is a kaleidoscopic book of minute symbols that change as light hits it from different angles. We believe the same is true with many of our artifacts but more analysis is needed. There is a passage in Exodus that might relate. It is associated with what is called the Ten Commandments. It could relate to poured stone as Davidovits and linguists have shown Pliny describe. Even that would require man making the molds and molds are hard to make in curves such as one would expect a graven image of god to include. Here is the passage: Ex. 20:25 ‘And if thou wilt make Me an altar of stone, thou shalt not build it of hewn stone; for if thou lift up thy tool upon it, thou hast polluted it.’

We covered how the ancients used spalling to get ores from rock in this book. Spalling would likely have lead to smelting due to different metals being present in the ores these people were after. We also know that certain very hard woods produce high heats and when fires are used in caves or cenotes open to prevailing winds it produces a bellows effect. Here is a little about one metal that when present in an ore reduces the melting point of gold to approximately half of its normal melting point of 1064 degrees Celsius. “There is a 22 ct yellow gold solder with a very low melting point. {We know that Greek gold used cadmium to affect the lower melting point.} This has the composition 92.5 % gold - 6.0% germanium -1.5% silicon and is based on the ternary eutectic system. The soldering temperature is 425-450°C and although the joints are initially whitish in colour they can be heat treated for 2 hours at 285°C to give a good colour match to yellow gold.” (13)

REQUIRED ANALYSIS:
1. How were the artifacts made? How were the symbols of minute and microscopic nature put on and into the artifacts?
POSSIBILITIES:
a) Harmonic drills
b) Diamond drills (seems unlikely due to the small size)
c) Shamanic attunement causing lattices of matter to reflect specific designs akin to what one might see in Crop Circle formation.
2. Is there a development of technology over time which is demonstrated?
a) Is this technology mirrored in Iowa and which one is earliest?
b) What other regions of the world might have similar artifacts or designs including the Cretan bull we see. Will there be knowledge on the Luwian script found at 2200 feet below the Gulf of Mexico to tie these things together with the Carolina Bays event in 8350 BCE?
3. What was the purpose of the artisans or shamans? Is the Orisha or Yoruba possession by demons a real thing or is it a sorcerer and his psychic possession that is involved? How many witnesses to a ritual are affected and can one shaman possess many people simultaneously?
a) My personal experiences with exorcisms and possessions as well as the work of Robert Bruce and others who might be asked to attune to the artifacts in ritual.
b) Could the minute symbols include information that can be tapped through harmonics?

ACTION PLAN:
1. Contact and begin the process of informing experts in anthropology, archaeology, chemistry (bonding and lattices or Materials Scientists like Robins and Tiller) psychology and physics about the possibilities these artifacts may portend.
2. Select one institution or expert to make an appraisal of the work done in my book that addresses the ‘who’ and ‘when’ in general terms. Maybe this person or institution will eventually seek to be the dig team managers and owners of the site. Could mining companies and investment firms be interested if the government funded institutions find it ‘too political’?
3. Try to get a ball park on the date of the electrum for purposes of focusing our efforts.
4. Get the archaeological ball park on the lithics if possible. If we are dealing with huge time frames due to the electrum being smelted (uncertain at present) then we will have a lot more research to do on the ‘who’ or what culture(s) were involved.
5. Consider auction houses and the media at junctures which might move the process along.