Down the rabbit hole
DOWN THE RABBIT HOLE
Looking back over the crop circle years I realise that what has depressed me most (even more than the hollow claims of the man-made fundamentalists) is the way so many approach a circle with their minds switched off, their tongues ready to wag and – above all – their eyes closed.
The Alton Barnes Rabbit of 14th July 2015 [1] proves my point. This unique little formation showed a stylised, almost cartoon-like, bunny rabbit placed within a circular frame.
1. Alton Barnes rabbit, 14th July 2015. Note: the image has been inverted to better relate to the diagrams.
From the start it was evident to me that this was a brilliant and economically constructed design [2] that delighted in its own graphic skill. The rabbit’s body was another simple ring, smaller than the frame. The two rings, the frame and the body, were delicately connected by both the elegantly drawn ear and the small circle of the tail. The head was simply and evocatively drawn with two arcs (about which more later) with an eye that appeared more human, maybe even Egyptian, than rabbit.
2. Diagram of rabbit.
An initial mystery was the emphasis given to the tramline by the flattening of the crop within it. The placement of formations over pre-existing landscape features has been discussed elsewhere but there is an obvious curiosity here. The tramline is positioned eccentrically by inches. This line, which is clearly significant within the scheme, marginally avoids being central to the formation. A tiny shift could have caused it to run through the exact centres of both rings. Why was this avoided?
THE RESPONSE
I have often witnessed our group reactions to new circles but the overwhelming clamour of ignorant disapproval produced by this innocent little bunny rabbit is unique in my experience.
“It’s too simple” or “It’s too obvious” or “It’s too childlike” were among the scholarly comments. And then came the clincher! A farmer had seen Matt Williams, the man who puts sociopaths everywhere to shame, exiting the field “with wet trousers”. Obviously, there could be no question! With such a wealth of conclusive forensic insight on display it is a mystery that the crop circle issue was not resolved years ago.
ECONOMICAL CURVES
It was clear that this image was a skilfully devised design. Apart from the tramline/path already mentioned there were no straight lines. The image was formed entirely of the two rings and several sections of curved arc. This is neither unusual nor original but there was an assurance and confidence here that was intriguing.
3. Large and small rings.
I drew the larger ring in red and the smaller in blue [3] and applied their curvatures to the diagram [4]. The rabbit’s head, so convincingly drawn, was quickly shown to rely on these two prime curvatures. The upper part is an arc of the smaller, blue, ring while the lower is an exact arc of the red.
4. Diagram showing arcs of curvature.
The front edge of the graceful ear is the larger red curve. The rear edge of the ear is actually an “s” form of two arcs. They are both components of the smaller blue ring.
In every case, the radius of curvature was a precise fit. Who would spend so much effort to synchronise these curves?
THE PATHWAY AND THE HEXAGRAM
Which brings me to the tramline with its flattened central area [5]. It occurred to me that the tramline might be hinting at a pathway or a direction of movement and I added the red arrow to emphasise this.
5. Diagram indicating direction of movement.
Figure [6] shows how the blue ring can be moved along the pathway to a central position within the red ring. If a hexagram (a six pointed star) is constructed over the red ring, its arm-crossing points will precisely size and position the outer edge of the ring. The hexagon (the six surfaced form at the centre) will with equal precision size and contain the inner surface of the blue ring.
6. Hexagram coordinates both rings.
THE BUNNY’S TAIL
The comprehensive brilliance of the organisation of this scheme made it impossible for me to abandon without resolving the Bunny’s Tail question.
If a heptagram (a seven pointed star) is placed over the blue ring [7] the heptagon (the seven surfaced form at its centre) will size and position the tail.
7. Heptagram sizes and positions tail.
A FINAL THOUGHT
I imagine these notes will dismiss the idea that this formation has any conceivable connection with our wet-trousered thug or indeed any other loutish claimant. The lack of respect we continue to show for these ingenious gifts is heartbreaking. Can I suggest that, when visiting crop circles in the future, we open our hearts, open our eyes and firmly close our mouths.
Acknowledgements and thanks
Photography: Eva-Marie Brekkesto.
Diagrams and graphics: Michael Glickman, Ofmil Haynes Jr.
Conversation and advice: Karen Alexander, Gary King, Albert Lamb.
Dear Michael,
THANK YOU so very much for your invariably incisive and lucid comments. I’ve been a big fan of yours for many many years. I wonder if you’d care to publicly speculate on the direction (increasing size and complexity) the artists are going, and where you think it is all leading, especially given the Chilbolton (2001) and Crabwood (2002) formations, which clearly represent a hierarchy of directed communications beyond the more typical geometric information.
All the very best, Michael – and may all us Earthlings weather the huge coming changes in love and wisdom!
Dyson
I love you, Michael
Thank you for the open minded approach to seeing clearly.
Circle makers are artists. Can we therefore try harder to understand their imagery (hence, them) in terms of esthetics, a discipline that can reveal psychological as well as mathematical insight? For example, the incremental movement of the straight line to the right in the tondo gives the bunny a twitch more room to breathe at left. The location of the line in the field may simply be an effort to coordinate the installation with physical conditions, much as in a gallery. The bunny is facing left. Could the artist’s sense of energy-in-movement flow from right to left, the reverse in the west as we read from left to right. We may do a rabbit in a rectangle because the shape of our paper is such or we may want to hang the image on a rectangular wall. The circle makers may just prefer circles. In conclusion, probably nobody asked Durer what he meant by his watercolor of ‘a Young Hare.’ It’s just a beautiful little rabbit!
Michael this formation is messaging us the knowledge that soon the vertical tilt in earth’s axis will shift becoming 90 degrees perpendicular to the horizontal. The monopolar function of earth’s magnetic field will then come into play. Global warming are effects of this….the cause is not a polar shift or anything we have done.
The magnetic field at center is recalibration energy to matter ratios and will correct the bipolar dysfunction. So from that center all will be equidistant to every point on the periphery….
Thank You Michael!
Your thoughts and experiences of formations are always more interesting to me than most. They expose a quality of respect, awe, and openness. I hope that we will get many of these thoughtful ideas in the future too.
By the way, I also admire your comments in the movie “What on earth?” by Suzanne Taylor!
All the best,
Helena Calemark, Sweden
Always more than one side to a story. Thanks for telling this one.
Thank you for the explanation, it is very clever. So good to see that there is a sense of humor too in the designs. I am happy that people with wisdom keep the effort to explain the beautiful geometry. Let people with less knowledge and respect keep their mouth shut indeed.
Having recently watched the crop circle documentary “What On Earth?”, and having had a constantly returning interest on the subject for many years, I have always pondered – like many others, on the reason ‘why’ of crop circle and crop pictogram appearances.
Of course, many are man-made, for whatever reason, some people want to spoil the sense of awe and wonder that others feel? Perhaps, they witness the reactions and response of some people and are embarrassed by what they see?
Nevertheless, it only takes one circle or pictogram to be proven beyond doubt that it could not have been man-made, and that would cast away the cloak of doubt enveloping the subject.
One question I kept asking myself was…how are we to respond to the circle and the pictogram and glyph that seemingly appear overnight indelibly imprinted upon a field whose crop is a source of our food? It seems, after all these years of them appearing and being researched, we still do not know how to give a reply.
A lot of the circles and pictographs bear a remarkable resemblance to images of tonal frequencies, and maybe that is where the Rosetta Stone is, therein may lie the cypher and translation to what they are saying?
Is it possible for us to deduce the tonal frequencies that the circles and pictographs produce in a similar way as that depicted in the link I’ll give at the end, and transpose the uncovered frequencies into a language by which we can respond, by producing the correct and expected circle and pictograph we make ourselves in a field as reply?
Although the images have evolved and become more complex over the years, what if the agency that is creating the images in our fields is waiting for us to make a circle or pictograph as a reply? Even though a number of people have made circles and pictographs, none have provided the correct response by which it would move communication on and deeper.
Take a look at the link. Supposing we could create the same image on the plate as depicted by one of the circles, and note the tone and harmonic it produces, and do the same for all the other circles and pictographs. Are we being provided a means to write a sonic and harmonic alphabet by which communication could occur?
Here’s the link…https://www.youtube.com/watch?v=wvJAgrUBF4w
Outstanding