1 Script of “A Merlin’s Plate” YouTube Video

Script of “A Merlin’s Plate” 

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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 1. Titled: A Merlin’s Plate. I have been using the British museum as a kind of research laboratory, temple and sensitivity workshop as part of my ongoing journey for over 30 years. This particular video is looking at what some people might call the esoteric or the occult has actually been a part of the human story across many cultures for thousands of year and may be just as relevant today as it was then. It is important to stress that this is an experimental exploration into the medium of video for this kind of work, and I would appreciate your comments and feedback. I hope that your find the following of interest...

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There are lots of stories from folklore that have characters like Merlin. If these stories have any foundation there would need to be an in-depth understanding of how the natural laws work that they could to draw on to become the people that they did.

This particular plate (in the Early European section of the British Museum) is interesting in that it seems to show knowledge of how the daily living of a life can, over a lifetime refine the whole of the experience of a life to what could be called the essence qualities of what that life had done. This plate was put into a grave in southern Germany in about 700 BC. Looking at the overall design on the outer rim it does look like a five pointed star or a pentagram.

We have five fingers on our hands and five toes on our feet and as Leonardo Da Vinci's famous drawing of a man showed, our four limbs and the head also forms up as a pentagram. Could the idea of us humans as a pentagramic structure go back the early cave paintings?

If we highlight the outer rim by extending the major lines to a point then it becomes clear that there are two pentagrams a red one inside a black one. Could this be showing two processes at work an internal and external? If we trace the finer lines we can see that some of these lines radiate out from the black pentagram to form a delicate net or web surrounding the outside while the lines from the red pentagram radiate inside to form a delicate web internally and the space between the black and red pentagrams do not intersect but show a radiation between each other. As we live we generate energies and depending on what it is we are doing the quality of that energy changes, think of the difference between being depressed and feeling inspired. Could this plate be saying that the energies we create affect us internally and radiate externally? And could the external radiation attract energies or power of a similar quality to what is being generated? Thus adding extra to all that we do or think? A healer by being a healer attracts the qualities of healing. A leader leading attracts the qualities of leadership.

However at the death of the physical body this pentagramic powering of life stops. Perhaps this is why the ends of the pentagrams are cut off. To show that no more energy can be generated. Looking at the central region of the plate there is still a section of the design that is intact, not cut off. Is this indicating that something has survived the death of the physical body? Let’s go back a bit to all this processing that was going on whilst the person was alive.

In all natural processes energy usage can be split into 3 parts that which is expended, that which is used in maintaining what has been built already and a small, more refined amount that can be kept. For example Madame Curie had to process tons of pitchblende just to get a teaspoon full of radium. Radium whist in the pitchblende is too dispersed to be effective but when pitchblende is refined into a concentrate of Radium it becomes one of the most powerful substances on the planet.

Marie and Pierre Curie were investigating pitchblende because it could create a conductive atmosphere 300 times stronger than pure Uranium.

Maybe we can read the outer triangles of the central part of the plate as the various concentrates of all the process that went on in the life.

This could be indicating another level whereby the results of a life become such a strong concentrate that it crystallises? Could the seven red triangles be taking about the crystallisation of a person’s self decided life and the seven black triangles the crystallisation of what was attracted to the person because of how they lived their life? Could these crystallized resultants interact to form a unique web upon which a person’s consciousness could anchor thus creating another form that could survive the death of the physical body.

Whist we are alive we constantly have a choice as to what we let into ourselves. At the point of death this changes to where other things now have the choice of whether our configuration can enter their worlds. In esoteric studies this kind of concept is often attached to the number eight. So maybe this is why that at the very centre there are eight black triangles?

Looking at the plate as whole could it be telling us that the culture that this plate came out of understood that life after death was possible and more significantly that each life has a unique journey of discovery to find the purpose of their own life. Because if like our fingerprints the eight triangles at the heart of the plate are unique to each life then ultimately it is down to each person to find and follow their own destiny.

Clearly there is much that can be learnt from the endeavours of others but as this plate indicates the decision and actions will always be your choice.


Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours

2 Script for "Indian Or China?" YouTube Viedo

Indian Or China?
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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 2. Titled: India or China? You may be wondering how we can use the British Museum as a sensitivity workshop. A general indication as to the nature of what is going on in the museum on any particular day is to observe people’s behaviour and then apply the simple skills of detection. However there are places in the museum that are well suited to practice more advanced sensitivity techniques, one of these is a Power of the Mind exercise that works well in The Hall of Oriental Antiquities. Once you have the way of it this technique it can be used in many circumstances. I hope that your find the following of interest...

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There has never been a day the same as any other day. Each day is unique, and some days a person can feel themselves being carried along by the day, whilst on other days, it feels like one big struggle and it’s a wise person that can know the nature of the day, for then they would be able to tailor their actions according to what might be possible that day.

Just as the nature of the day affects people so the worlds of force and emanations are strengthened, weakened, outward or inward according to the nature of the day. This is partly why it is not possible to say which gallery or object in the British Museum is the most powerful or the most Religious or the most interesting it changes according to a whole set of reasons. In the hall of Oriental Antiquities one half is to do with China and the other is to do with India and south east Asia and if a person wants a pre-sense of which half might be the most useful to explore that day here is a small technique they might find useful. Firstly take a short time to sense how you feel. In your thinking, in the various parts of your body, in your energy levels and what you are drawn to or catches you. Then stand behind the marble circle in the middle of the hall facing out into the Chinese half and imagine a small blue silver ball about the size of a pea coming out from the right side of the Temple and going down the right ally, right down to the other end across and back down the left ally and back into the left temple.

By sending out the small blue silver ball it gathers the experience on its journey and when it comes back it deposits those experiences into your head which then translates it into a feeling or sense or state and because you have monitored yourself before you started, by monitoring yourself now you will get a sense of what is in the gallery that day.

Then go round the other side of the circle on the way around there is a statue with really big hands and it’s often caused many to wonder about why the hands are so big. Anyway back to the exercise. Standing behind the marble circle again but this time looking out into India, send a small silver blue ball out of the right temple, down the right aisle all the way down to the end and back up the left hand and into the left side of the temple and having done so again measure or monitor yourself.

India seems to add strength to the whole body, whilst China seams cause a focus more on the mind. Interestingly the statues marking the beginning of each gallery have a sense of this difference.

With India there is grace and movement, theatre, music, with a sexual undercurrents and it is important not to be shocked nor seduced by this. If it does turn up try not to suppress it, but keep focused on the fact that it is the meaning of it that you are searching for and once you knows this it will not be a surprise to discover that generally people are more amorous in this gallery then any of the other galleries in the British Museum. China on the other hand shows stature poise refinement stillness and a strange sense of abiding.

Yellow is the force that comes out of the continent of Asia. In comparing India and China it shows the different expressions of yellow as it plays itself out in the different cultures.

Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours

3 Script of "Creation and the Human" YouTube Video

Script of Creation and the Human
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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 3. Titled: Creation and the Human.

A fundamental premise that runs through this set of videos is that over the thousands of years the Sun has risen in the East and set in the West. This is a simple way of saying that the same natural laws apply and throughout the many generations our experience of living has been the same. Therefore if we want to check our understanding of the natural laws we can look back to see if those laws were understood then. The beauty of this kind of research is that as well as providing logistical evidence it can shed more light into our appreciation of the natural laws. The next two videos is an example of this kind of research.

I hope that your find the following of interest...

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At first glance this Mycenae bull about 1,300BC just looks like an over decorated bit of pottery but upon closer consideration of the various elements of the design it seems to be saying something quite vast.

On the forehead there is a kind of cross with two little crosses in attendance. Then there is an arrow pointing down into what seems like a spiral and rising up on the outside of the spiral are two snakes that seem to be whispering something to the bulls ear. This vessel was probably used for pouring out wine and could have been used in some kind of ceremony. Even to-day at the heart of Christian ceremony there is the communion with the bread and the wine.

Going back to the forehead to consider this in a bit more detail. Often with this kind of cross, on each arm there would be a picture or symbol of the four seasons or four phases of the moon and sometimes when medieval crosses are looked at from the back there is a winged bull , winged Lion ,winged eagle and winged Human . This motif turns up with pictures of Jesus The Christ. In the earlier versions just the influence was shown but in the Renascence the gospel writers and the influence are shown as separate entities.

One of the ideas a cross might indicate is that in anything there are four parts or elements. If we take a Year as an example it is made up of four elements Spring, Summer, Autumn, Winter and if in a bad Year there is too little or too much of one of the seasons then crop yields are badly affected. So in anything that is made up of four elements it needs the right amount of each of the elements.

This turns out to be true even at the genetic level of life. By using the four elements Adenine, Cytosine, Thymine and Guanine the DNA strands are able to make all the substances for controlling how a cell behaves in union with all the other cells that go to make up a living organism. This incredible feat of bio-engineering is done creating specific ordering of these elements along the spine of the DNA.

Looking at the two attending crosses, could this be a feature of perspective where the big cross looks bigger because it is nearest to us? If we colour in the crosses and let them orbit the apparent circle it highlights the idea that each of the three crosses takes centre stage at different times. So if we consider the three crosses to be one unit when one third is active the other two thirds are less active or in support. This could help us understand the concept that at Universal level (or with triadic structures) there is a natural division of one third, two thirds.

Maybe we can read the crosses as stars with the three at the centre representing a god-head of some sort.

In Egyptian thinking Hathor was the goddess of the universe and she was often represented as a cow.

Going down below the 3 stars there is an arrow or Chevron (while in this section note perhaps the early heraldry)

This arrow is pointing into a spiral so it seems to indicate that the influence of the three stars is getting sucked or pushed into the spiral.

The moon goes around the planet as the planet goes around the sun as the sun goes around the Dog Star or Sirius.

Looking at the planet from the sun we would see the moon spinning around the Earth.

Looking at the sun from Sirius we would see Earth spinning around the sun.

So could we read the design as universal influence coming into our solar system?

Then if we look at the outside of the spiral there appears to be two snakes rising up with their mouths around each ear of the Bull. Keeping to the universal thyme the snake is often shown as being a part of the universe.

So putting this altogether, is this design saying that something of a universal nature is sent down into our solar system gets acted upon and makes a return journey back to the stars? If so it would be the reverse of our game of snakes and ladders. On one side it say yes the universe in mechanistic and yes the universe does change or evolutes with part of this change being triggered from below.

Counting the crosses throws up some interesting numerology. All together there are thirteen crosses. Going back to the idea of a god-head it is one splitting into three 1 3 thirteen. Then there two lower grouping of five stars, or two pentagrams could this be saying something about gender? Do the two genders need to have equal status for this system to work properly? And what has 5 got to do with this anyway?

Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours
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4 Script of "Energy levels and the Human" YouTube Video

Script of Energy levels and the Human
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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 4. Titled: Energy levels and the Human.

In the last video we looked at the number three and the number four this video will focus on the number 5 but still looking at the Mycenae Bull. Whilst we will be initially looking at induction in terms of electricity and magnetism it will be to introduce the concept of induction. Induction as a process goes much further that it strict scientific definition and it is important not to be fixed within such definitions. It has been said that if you want to understand the universe, study the human and if you want to understand the human, study the universe this is one of the major themes of this next piece I hope that your find the following of interest...

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Let’s have another look at the spiral going down the mussel of the Bull.

In the Ninetieth Century it was discovered that if a magnet was spun around inside a coiled wire it would induce electricity to flow in the wire. This is the fundamental principle of dynamos and it helped create a whole industry because the reverse is also true. If electrical current is passed through coiled wire that has a magnet in the centre it will cause the magnet to spin around this is the fundamental principle of electrical motors.

So if a power station has a big dynamo at its heart it can power lots of electrical motors inside things like vacuum cleaners, fans, etc.

This is an example of the law of five. A spinning action can induct power or force or influence. And power can cause spinning. The rotating of a propeller can cause a plan or ship to go forward. And the wind can cause a wind mills blades to rotate.

Symbolically the number 4 is show as a cross, so to show a spinning cross sometimes lines are added to shown direction as in this Persia swastika made about 3,000 BC or a straightforward circle or spiral all of these can be used to symbolically represent the law of 5 and of course the pentagram is also an symbolic expression of the law of 5.

There is a nice little phase of 5 powers 4 and 4 gives meaning to 5.

It’s not that 4 things make the law of four it is more to do with that fact that things are made up of elemental compositions and when they interact with each other i.e. spin they draw in a force for them to be able to do more than the sum of their parts and become enlivened. And equally if there is nothing for 5 to enliven or enlighten what would be the point of 5.

Looking at the planet from the sun we would see the moon spinning around the Earth.

The Moon's elemental composition could be described as Full, Waning, New and Waxing and because the four elements are spinning they bring in by vortex induction fresh force or influence from the Planet. This brings in play the number 5. However because the moon is not yet very developed it can only suck in low grade emotions like sentimentally. I have found noting my energy levels at different phase of the Moon very interesting. The spring Moon and the Harvest Moon can be very draining.

Looking at the sun from Sirius we would see Earth spinning around the sun.

One of the elemental composition groupings of the planet could be described as Spring, Sumer, Autumn, Winter. And again by vortex action it can draw in new influences from the Sun again this gives the number 5. Planet Earth is much more develop then the moon and therefore what it can take from the sun is much greater and finer.

The elements of the moon are described in terms of the four Phases, the elements of the Earth are described as the 4 seasons and with the sun they are described as the 4 Tribes, Bull Lion Eagle Snake. With this understanding noting which of these Tribes turn up in sculptures or paintings or folklore can give clues as to which tribe of the Sun a particular Civilisation was most influenced by. Also statues of beings with a Sun disc over their heads would be saying that they are carrying a Sun level or higher influence. Just as sculptures or images of humans with halo around there heads would be saying this person has a sun level process going on in their heads. Of course whether it would be true or not is another question but that would be the implication of a halo.

This can help us understand that fineness of energies can be put against levels f the universe and the Human design

Star Level Very Very high Human equivalent Spirit

Sun Level Very High Human equivalent Mind

Planet Level High rich and full Human equivalent soul

Moon level moody Human equivalent body

This bull could also be looked at against the human design where if the three starts on the forehead represent the brain then the spiral could be the spine with the two snakes representing the two blood systems arterial and venal going back to the brain. In the last video we looked at this bull in universal terms and suggested that a return journey was possible. However looking at it from the human design it does bring up an important consideration. Just as the brain is protected by a membrane to stop toxins from lower processes in the body getting into the brain would the universe also protect itself from lower levels of energy getting back up into itself so maybe we should look at the snake as a kind of filter system?

This could a one reason for embarking on a journey of personal development. When looking at these statues it is useful to have in the background the question “what quality or art or skill were these people trying to cultivate?”

Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours

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5 Script of "Scottish Stones" YouTube Video

Script of Scottish Stones
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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 5. Titled: Scottish Stones.

You cannot meet someone from the past you can only meet them in the Now. This says a lot about how we need to deal with each other and it also offers a way to get nearer to cultures in the past. Whenever they lived, for them it was their Now. So when we are looking at sometime from the past with the appreciation that it was their Now and we are in our Now then it can provide a bridge where to two Now’s can meet. This short video is an attempt to demonstrate how these two Nows can meet. I hope that your find the following of interest...

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There are something’s in this Museum that cannot really be explained these Scottish carved Stones are a good example of this. Very little is known about them. About 400 hundred have been found and they are about 4,000 to 5,000 years old and seem to have turned up individually in North East Scotland. They show a very high level of craftsmanship and seem to be designed to fit in the palm of the hand perhaps like an Orb the monarch holds on their coronation. Two of them seem to be based on the number six. In two dimensions only north east south and west are needed to locate a point but with three dimensions north east south  west with up and down would to needed for location. So perhaps they are to do with the arts of building, not necessary the construction of but in the fundamental ideas that underpinned construction in those times.

With any form of mastery, skill and learning are not enough one has to find a way of living in the bigger picture where the human is part of the picture but not the whole picture. In such a state, for a master stonemason there would be no difference them and the stone, and there would be no difference between them the stone and the laws that govern all things. In this state a craftsman could put something of those laws into the worked stone so that anybody looking at the stone could get a sense of one of the many facets to do with the flow of the living laws though life and all things. A contemporary example of this is can be found still in Japanese flower arranging.

For a person intent upon mastership they will either discover the way of it themselves or they would need to be shown the balances in themselves. Maybe they would be initiated into the mysteries. If initiation is to have any real meaning it would be in showing a person the place in themselves where, if they chose to, they could spend the rest of their lives growing into. So that in time they would become a master.

There is a sense that these stones, particularly the top one, have the ability to pass on the state of Finding Oneself In The Bigger Picture. If you wish to try it, replay this video with the sound off and imagine you are holding in one of the balls in the palm of your hand. It may take a few attempts and you might find it interesting. But please remember it’s not the stone, it’s what is connected to the stone and once you have got the connection you don’t need the stone.

Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours



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6 Script of "Assyrian Guardian" YouTube Video

Script of Assyrian Guardian
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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 6. Titled: Assyrian Guardian.

The Two videos Creation and the Human And Energy Levels and the human are companion pieces to this video. Then I showed this video to my friends they said it was too advanced so the other two were done to help explain concepts that are mentioned in this video. But also this video helps explain the other two so it might not matter what order they are seen in. This was originally titled went 4 plus 2 equal’s 5 and it is amazing how this annoyed peoples training. At school we were only taught that 1 plus 1 equals 2 but if you think about it 1 plus 1 can also equal 11 or 1 positive plus one negative could equal zero or one male plus one female could equal 2 , or 3 or 4 etc. And so it with 4 plus 2 the alternation of the two ways of 4 equals 5. Anyway I hope that your find the following of interest...

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When 2+4=5, This Assyrian Guardian often cause a ripple of interest when the legs are counted because it adds up to 5, 2 legs in the fount 4 legs length ways. Thus setting up a whole sequence of number connections 2 to 4 ; 1 to 2 and holding the universal property of 1/3 2/3. Whilst at the same time keeping the focus on 5. Looking at the beard, if the hair curls at the ends then there are 4 lengths of bread hair, then if the actual hair on the head is included then it comes to 5, the belt around the girth shows a series of numbers in which 5 is strongly featured so it does prompt the question “What did the Assyrians have in mind when they incorporated the number 5 into this guardian?” The legs add up to 5 using 2 + 4, the hair adds up to 5 using 1 + 4, the clue seems to be in the number 4, 4 has a cyclic nature cold wet warm dry, spring summer winter autumn, Tides, waves and dawn day dusk night 4 is also connected with the basic building blocks, earth air fire water, carbon oxygen hydrogen nitrogen & bull lion eagle snake.

DNA has only recently been discovered yet even this turns out to be built of just 4 blocks, these can arrange themselves in any order along the spiral but when they form up to make the steps of the ladder A connects only with T , T to A, G only connects with C and C to G. But 4 was always considered to be the number of the basic building blocks long before DNA was discovered. Note the arrangement is also 2 +4, 4 is stable but will not go any further, it needs to be able to draw in the new, it does this by repetition and in the reception inducts the new, the quintessence and this is the number 5 other words that go with 5 are learning, experience, growth, teaching, intelligence, eminence and evolutionary.

We know from our experience that practice makes a person good at something and then they can have a life about that that skill. It’s what turns a person from someone practicing to play a musical instrument into a musician and the musician will keep practicing to maintain the skill so 4 and 5 are reliant and dependent upon each other.

4 is often shown as a cross and 5 as a spinning cross as in shells , repetitive cyclic patterns , the much misused swastika 5 petal flowers and cones. Going back to the question “When 2 +4 =5" , could it be that there are two spines, clockwise and anitclock wise, one drawing in, one drawing out so when 2+4 = 5 are the principles of dynamism or dynamos and motors close to hand. Science has discovered that the spin of the electron around its axis determines the magnetic properties of materials. Is it just a coincidence that the paired guardians form a horse shoe magnet but loadstone as a natural physical had not yet been discovered it would be a long time before the Vikings would set sail with a compass so the question arises “How could the they have discovered the principles of magnetism as a force of life?” or may-be the question needs to be turned on it head and asked “how come today’s science has blinked itself as to what is possible with magnets as a force by using physical magnets as their foundational criteria?”

To end this spend a short time looking at this guardian with the thought what manner of skill, knowledge, intention and devotion enabled this machine to be built that has lasted for so long.

Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours

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7 Script of "Hunt the Alien" YouTube Video

Script of Hunt the Alien
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Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 7. Titled: Hunt the Alien.

When you look at a series of prehistoric objects there are invariably stone objects that over time evolve to more specialised and finer tools. Then, all of a sudden there is a copper tool, usually associated with the appearance of a new culture. Often the legends of this culture tell of how a God or super human gave that civilisation knowledge of metals, writing etc. If there were Aliens that have affected our history they would have had a big impact on the locals and paintings or statues would have recorded that fact. So the question is, can we see traces of them in the British Museum? I hope that your find the following of interest...

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From the neck down this fired clay figurine about 4,500 to 4,000 BC from Vince in Serbia looks human. It appears to be sitting on a chair and the chair is decorated with zigzag patterns. Looking at the body the figure is wearing a coat of some sort that leaves his or her torso exposed, perhaps showing someone with a very narrow trunk.

From the neck up the figure is definitely not human, seen from the front, the head is clearly triangular with a long pronounced nose.

If we now compare this bone figure in the “Early Egyptian” from Matmar in Egypt about 4,000 to 3,600 BC we can see the same triangular face and thin waist, and in the same display there are bone markings similar to the markings from our possible interplanetary traveller’s markings.

Could both of these figures be representations of the same visitor?

In the same Egyptian cabinet are carvings of slim female figures; up until then most females were shown as very large, showing the kind of thighs that woman often get after giving birth to many children. Could the interplanetary visitors have introduced a different set of values, seeing the lady as a holder of qualities, as can be seen in the posture.

Looking sideways at the Head, the face is designed to point upwards. The profile is gently curved.

In the South American galleries there are carvings of people that look like their heads have been taken off and put back with their faces pointing upwards. While we are here it is worth wondering about the various weapons and communication devices some of the “Gods” have got. What kind of technology could that be indicating? The locals seemed to think that blood and fire were in some way involved, could this have induced a warp in the development of future civilisation in South America with its passion for human sacrifice.

In the Greek Cycladic Room you can see the same curvature of the face and extended nose as our friend from Serbia. There is not much in this room, but these figures were buried with the Cycladians. Grave goods can be informative for they sometimes give indications of where the deceased wanted to go in their next life so could the Cycaladians have wanted to live their next live on the home planet of the Serbian visitors?

These examples from Europe, the Mediterranean, Egypt and South America are spread over a large area and with primitive transport these would have been cut off from each other. But, if you were an interplanetary traveller, then these distances would not have been a problem.

There is one problem with the Serbian figure; it does not have much of a brain. If we are looking for interplanetary visitors then it would be reasonable to expect them to be more evolved. The next logical evolutionary step for species development on the line of intelligence would be a bigger brain and therefore a bigger head. However, looking at the back of the head we can see three holes where an extended head could have been attached, but over the last 6,000 year that part is now lost. So we cannot be too quick to discount this example on the grounds of it having a small head.

Going to the Mesopotamia 6,000 – 1,500 BC there are clay figures with faces on the tops of their heads, slim bodies, extended heads, odd looking eyes that can be seen in burial pots around the world, with babies that also show extended heads very similar to a figure from the South American galleries. This is important because, whilst the Immortal Sages of Ancient China do show advanced head development, they were not able to establish this development as a heredic feature for the human race. So, if there is a figure of a child with a head development, it could not be human so its mother probably was not human either.

Taking another track, looking in the Gallery of the Living and the Dying; there are masks showing strong Egyptian features, note the eye shadow connecting the eyes to the temple and the similarity with the White Crown of Egypt. No one knows how old these images are, they could be many thousands of years old, kept alive by having ceremonies extended over 15 year cycles.

Egypt and Papua New Guinea are almost on opposite sides of the world and Papua New Guinea has been isolated for most of its history, so how and why are there similarities in their artwork?

This is not meant to prove anything, but it does show you cannot dismiss the possibility either. And in looking at world history there are three major strands to consider:

1 The natural development of human growth

2. Extra permission to perceive as in the style of the video on Creation and the human.

3. What was added by interplanetary visitors.

When considering the third strand there is the question of experimentation that sources like the bible hint at in Genesis chapter 6. From time to time there are races that explode onto the scene; like the Vikings; could they have had their Genes altered slightly? Then there is the question how truly human are we? And what would that mean should a person decide that they wanted to behave in a true Human way?

If different visitors came here could they have different motives? Just suppose that at the time of King Arthur, Stonehenge was being used as a landing site for interplanetary slavers, and King Arthur went on a quest to find the Holy Grail and stop those slavers. Then it makes it very interesting that a burial pot showing Bug-eyes was found in Bedfordshire dated about 500AD because this puts in Arthurs times.

So the third strand of world history – interplanetary interference – does make understanding world history more complicated but it cannot be ignored if we want to come to a fuller understanding of how we ended up being the kind of people we are to-day.

Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours