Alla Belokon suggests that the Nazca lines represent our Solar system planets as crystal
                    structure nodes, and were built by a flow of directed energy of unknown nature from
                    the air.

The new book: Alla Belokon "The Nazca desert. The Markings of a Different Wisdom ". 2007 �. (Russian)

I look for the proposal to publish my book in English and in German.

I would not like to decrease the significance and the admiration of Ancient Peru culture. But I am radiophysicist and therefore I see the remarkable technicism of Nazca drawings.
I consider that only careful and serious research of peculiarities of this phenomenon may be to discover a new information about of Mankind history and to decipher the Nazca lines scheme.

Alla Belokon,
radiophysicist,
the member of UFO-association
E-mail: alla-belokon@narod.ru

Guestbook

A peculiar art gallery on the Nazca desert plateau in Peru is one of the most startling sights on our planet. My imagination had been stroked by this phenomenon owing to an unusual harmony of the giant spider�s outline and remarkable technicism of the oscillating lines surrounded a monkey. Their perfection and the exact mathematical logic served a sort of starting impulse for my long-standing research work. Now I have discovered the Nazca composite structure that is similar the crystal. To my opinion, it is the aim of the Unknown Wisdom's work who left the "markings" on the Nazca plateau.
 
 

This is the crystal structure (about 21x8 km) that I have discovered from the Nazca plain. It is formed by the fundamental lines and the centers. The centers have the mutual connections each others and its positions are determined by geometrical rules. The opposite sides pairs of geometrical figures are parallel. The red centers are situated on the "coordinated lines" therefore this leads to the possibility to number this centers. The third center is located in the focus of whole structure and it is common for rectangle and hexagon.

Who can understand this crystal structure contents?
 
 

The Nazca desert square is about 500 km². Its soil surface is covered all over with a network of peculiar gravings in the form of figures which are shallow but large in size. These figures cannot be viewed either from the ground or from the surrounding low hills. They number nearly 13,000 lines, 100 spirals, more than 700 geometric areas (the geoglyphs) in the form of triangles and trapezia. At first the each investigator attention is attracted the drawings of animals (a monkey, a dog, a whale, some fishes and a number of birds). There are a flower and tree also. The meaningful drawings number about thirty. Therefor this type drawings make only 0.2% of the total number of figures. The rest of figures (98.8%) are the geometrical figures (called geoglyphs). Its are: the lines that run rectilinearly for the distance of up to 10 km and the triangles, rectangles, and, more often, trapezoidal geoglyphs with rectilinear stone-formed edges (The biggest rectangles has the side sizes about 80x780 m). Innumerable zigzags and sinusoids forming the so-called �decoration�, can be encountered among these figures. Also there are more then ten lines centers on the desert. Its have represented as the points from which a few lines are outcoming to different directions.

At first view the all geoglyphs are looked as the chaos and the drawings are worthy to our attention only. However as the drawings so the geoglyphs fascinate us. What reason is for that?
Any creation by Unknown Wisdom comprises certain intellectual capabilities indicating the level of its development and technological means available!
During more than twenty years I was forced to prove that it is impossible to create the drawings by hand and don't to damage the desert surface. Besides, the desert of Nazca is only one element of the phenomenon. Ground drawings similar in style are encountered in the middle part of the Andes all along the Pacific Ocean coast in South America (1500 km). Thus they should in no way be attributed to one local Indian culture such as the Nazca culture. According to my estimates, made on the basis of the measures obtained by G. Hawkins�s expedition, more than 100, 000 man-years would have been required to construct by hand the figures on the desert of Nazca.

 

To my opinion, the Nazca ground drawings may have been built under the action of a flow of directed energy unknown nature from the air. This flow may be prove to throw the stones and dent the sand subsoil. It can change the chemical composition of the stone surface layer. This hypothesis allow to explain why the way the lines and geoglyphs are located, as a matter of fact, has a great resemblance to the paths of rays in optical diagrams. It allow also to explain that the geoglyph contours remain visible even if there are four or five layers superimposed.
 
 

Some peculiarities of the Nazca drawings are:

• The sight of the geoglyphs might be associated with rays since they are very elongated triangles and trapezia with apex angles less than 17 degrees. The geoglyphs length limitation isn't but the width limitation is obvious.
• The striking rectilinearity of the lines and edges of the geoglyphs (i. e. angular deflection less than 9 minutes) was mentioned by various investigators. The lines are made with a much greater precision than it can be verified with the help of modern aerial photography facilities.
• The meaningful drawings appear to be made with one continuous line which never returns to its start point or crosses itself.
• All the drawings are interrelated with the geoglyphs: a contour line begins and ends at its area.

The images of animals sock us in consequence of its outline unusual harmony. This drawings differ from the Indian culture drawings because they are the symbols deprived of any emotional painting. The harmony of the drawings might be explained by the fact discovered by Maria Reiche: all the curves are ideally conjugate both with each other and straight lines, that is they are subject to the strict mathematical laws. This is the reason the drawings� general similarity to computer graphics. However the drawings are characterized by a distinctive feature such as asymmetry which bears a strong resemblance to distortions obtained when projecting at an angle to the surface. My attempt to take away the spider asymmetry with computer was unsuccessful. Therefor the drawing have tree-dimensional distortion which can't be the result of the extension from the sketch to the desert surface. The drawings' asymmetry bears a strong resemblance to distortions obtained when projecting at an angle to the surface. This confirms my hypothesis too.

Fascinating impression is left by the lines and bands which are rectilinear like rays (irrespective of the relief and nature of the soil), either intercrossing or parallel to each other, and sometimes outcoming from one point named by P. Kosok  �a center�. There are triangles running in a chain over the hill peaks. From the air the outline of the geoglyph settled dawn the relief terrain have the correct configuration but from the earth this form have been distorted. That is the result of the "miss" of incident radiation and the convincing proof of my hypothesis about the energetic nature of the Nazca geoglyphs.
 

The Nazca markings (the P. Kosok's term ) peculiarities analysis have showed the likeness between the hypothetical energy created the Nazca geoglyphs and UFO energy or the so-called "anomal light" from UFO. The crop circles' witnesses tell about similar drawing rays also. The radiant energy nature is likeness to the hypothetical radiation of gravity for these phenomenons. And the strict mathematical logic is the base of  all three phenomenon forming also.

If we have good reason to assume the possibility of certain activities on the part of some Unknown Wisdom, the following question immediately arises: Hasn't some coded information been left on Nazca desert?
The gigantic drawings of animals are concentrated in a sufficiently limited region along the slope to the valley of Ingenio. They attract our attention first of all to this very section of the figures� layout. Here we can distinguish several parallel lines as if marked with broadening, and we can notice a certain harmony in their disposition. On correlating the measured distances between these lines (I call them �coordinates�), to my great surprise I found out that they make a strict arithmetical proportion  5 : 6 : 7 : 8. This led to the possibility to number the centers located on the coordinate lines. Moreover the third coordinate line have existed on the general layout of the main lines. So the total proportion of the Nazca coordinate lines is

• The fifth coordinate line (if the starting point is taken to be zero) seems to be made a little unparalleled to the others.
• The coordinate lines cross the long line pointing in solstice direction that confirms the astronomical contents of the Nazca lines situations.
• The third center is located not far from the figure of �the owl-man�.

There are the logical chain between the drawings of animal, the coordinate lines system and the numbered centers system on the Nazca plateau. This chain moves our  attention about one object to other. Then for what aim have the rest of lines and centers been formed on the desert surface?

It is proved that all centers are connected by the lines each with other. I am sure that the Nazca information is represented in the space situations among twelve centers and their connections each with other.

I have connected the centers with lines where its are not enough and the five pairs of parallel lines have been discovered. They have formed two geometric figures: rectangle and hexagon surrounding the third center. The longest diagonal length of rectangle (almost rhomb) is about 21 km. There is the unique drawing similar the man figure (owl-man) near the third center  (Earth) settled down in the focus of whole layout.
 
 

According my hypothesis, the Solar system planets have been represented as the volume crystal structure nodes. This structure is looked of the curved cuboid embedded with the romb pyramid. They have the common summit - the Earth. The fifth center (the hypothetical Phaeton) is situated at the point where the crystal's ribs and boundaries are crossing.

Who and Why?

To my opinion we can tell something about the Nazca phenomenon creators.
They had the possibility to move in air and their space orientation was irreproachable. I suppose the Nazca geoglyphs creators possessed with the source of the energy that have left the markings on the Nazca ground. The Nazca creators had the mind, the eyesight. They had the knowledge about the Earth animals. At last their motions had been submitted to the strict mathematical logic. This someone had coded own information using the giant geoglyphs formed with the greatest accuracy.
The Nazca phenomenon had nothing to indicate the human majesty in this drawings whereas all human historic monuments have this aim.

G. Hawkins have compared his impression about Nazca plateau: "The life in the hell of the frozen mathematics".

"The way indexes for those who are wandering" have been called the Nazca lines in the Spanish chronicle at 1548.

Who are Nazca creators?

Who want to continue the acquainting with the Nazca mystery that have charmed everyone?

I would not like to decrease the significance and the admiration of Ancient Peru culture. But I see the remarkable technicism of Nazca drawings. I consider that only careful and serious research of peculiarities of this phenomenon may be to discover a new information about of Mankind history and to decipher the Nazca lines scheme.

• Maria Reiche is "Guardian Angel" of the Nazca plateau
• The "spider" and "monkey" drawings
• The coordinate lines system
• The peculiarities of the Nazca geoplyphs
• The lines and roads are rectilinear like rays
• The ground drawings or the drawing ray markings?
• The Nazca geoglyphs and UFO
• The centers interconnection on the lines general layout
• The unique Nazca drawing of the "owl-man"

The paper: WHOSE "TRACES" HAVE BEEN LEFT ON NAZCA PLATEAU?