Monday, May 30, 2011

The Flying Saucer from Mars and CDA

Back in the day I thought that this book by “Cedric Allingham” corroborated the Adamski alien contacts and story:


Here are the Adamski-like photos that Allingham purportedly took of a flying saucer that allegedly came fro Mars:



But the story was a hoax, concocted, for some bizarre reason, by respected and credentialed British astronomer, Patrick Moore:


And who was the journalist who unmasked the hoaxer and the exposed the hoax? Our favorite skeptical thinker, Christopher Allen, known here and in the UFO community as CDA.

Click here for the story

CDA has cachet with us and with those who like clear thought, gentlemanly argumentation, and skepticism in its revered and best sense.

So when you read his comments here and elsewhere, take a moment to appreciate his bent of mind and research acumen.

Monday, May 23, 2011

The Robert Taylor 1979 UFO Encounter


On November 9th, 1979, Robert Taylor, a forester in Scotland, had a weird encounter with a strange “craft” in Dechmont Woods near Livingston, Scotland.

The incident is often referred to as the Livingston Incident or the Dechmont Woods Encounter and can be read about at UFO Casebook:

UFO Casebook

Or at Wikipedia:


And here is a link to a YouTube video about the incident:


What interests us, besides the nature of the alleged encounter, is that the described “craft” is highly reminiscent of a Hughes prototype for a lunar or Mars capsule to house astronauts:


And here is a graphic of another UFO sighting in Scotland:


And a representation of a Scotland event in 1964 (around the time of the Lonnie Zamora/Socorro sighting, which we think was a sighting of a Hughes lunar-landing prototype):


A CIA operative, Bosco Nedlelcovic, who communicated with us in the 1970s, told us that the CIA was engaged in staged flying saucer events – The Villas Boas case (as outlined in Nick Redfern’s book, Contactees, Chapter 20) and the infamous Scoriton incident in England (covered here in an earlier blog post).

We conjecture that the Robert Taylor episode was a CIA-staged event, using the Hughes prototypical craft, which was ensconced and tested in the British Isles in the 1960s/1970s time-frame.

Fate magazine’s account in 1980 outlines the event in a way that corroborates, we think, our Hughes/CIA view:


Sunday, May 15, 2011

The Need for Metaphysics and Common Sense (in ufology)

In the preliminary stages of change in the study of UFOs, sparked by Paul Kimball, Nick Redfern, and us (among a few others: Moody, CDA, Gilles Fernandez, et al.) there has to be some quiding principles of and for thought.

Mr. Kimball, at his blog -- The Other Side of Truth -- is addressing some of the issues for the new ufology.

And, for our part, we keep the ball rolling with a paper by James Williams that provides an exegesis of Alfred North Whitehead's thoughts on common sense in Process and Realty.

The paper, for those with intellectual stamina, outlines how metaphysics and life can be enhanced by proper thinking and observation.

Click here for Willams' paper (a PDF)

Ufology, a term we hate and hope to see discarded in future, and the study of UFOs need a cataclysmic paradigm shift.

Kimball, Redfern, and the skeptics, Moody, Christopher Allen, Fernandez, along with our small part are at the forefront, we hope, of a major change in how UFOs are discussed, studied, commented on, and viewed by media, academe, science, and the public.

This posting is a small step in that direction.

Monday, May 9, 2011

The Socorro craft (and other UFOs) "explained"

Click here for a (technical) paper that references the Socorro craft and other UFOs, with an explanation of their propulsion et cetera.

This is a pro-UFO paper for those who desire something scientific and/or technical to bolster their views, about UFOs, including the "mysterious" Socorro craft reportedly seen by Officer Lonnie Zamora in 1964.

Friday, May 6, 2011

The Morpheus/Socorro Lander

This insignia is an evolved symbol, just as the Morpheus Lander is an evolved Lunar Lander, derived from the initial Hughes Aircraft designed lander that accounts for, in our estimation, the Zamora sighting in Socorro in 1964.

Morpehus is on Facebook -- click here

The "official web-site may be found by clicking here

We'll have much more about this upcoming....

Thursday, May 5, 2011

The Socorro Lander/UFO?

Jeff Ritzmann of Paratopia found this image at

It reminded him, and now me, of Zamora's UFO.

Note the insignia on the left, back side....

Wednesday, May 4, 2011

UFOs without culture? Why?


Anthony Lane‘s review of Werner Herzog’s “Cave of Forgotten Dreams” [New Yorker, May 2nd, 2011, Page 88 ff.] abutted, for this writer, a paper, discovered among others, entitled Speculations on the First Contact: Encyclopedia Galactica or the Music of the Spheres? by Guillermo A. Lemarchand of the Instituto Angentino de Radioastronomia [CONICET], Buenos Aires.


The movie review (by Lane) deals with how director Herzog presents his vision of the cave drawings on a wall in the Chauvet-Pont d’Arc, in the Ardèche reagion of France.




The Chauvet-Pont wall of drawings, from about thirty-five to thirty-eight thousand years ago, is more “cinematic” (says Herzog) than those at Lascaux, and should be compared with the shapes found at Swabia, four hundred miles away.





Lemarchand’s account of a Seminar on the Cultural Impact of Extraterrestrial Contact (sponsored by the Foundation for the Future) addressed the hypothesis that an extraterrestrial civilization worthy of contact would be much in advance of Earth, technologically, but that wouldn’t be the best premise for contact.

Lemarchand writes that mankind here has provided an advanced form of culture as represented by the art found in caves, such as Lascaux or Chauvet-Pont, and an alien civilization would have a similar esthetic culture, which any civilization of long-standing would have since they didn’t wipe themselves out with wars or cataclysmic accidents.

Lemarchand also thinks an alien culture/civilization would have a moral or ethical stance, not unlike that of the philosopher Immanuel Kant (but that’s not my point here).


Lemarchand’s paper dismisses the idea that the best way to contact alien civilizations is not by mathematics or technical formulae. Such abstract devices would not be as developed as would art (or music), which would, if the alien culture is extant, have evolved much in the way that Earth’s art (and music) has evolved, from the art of the cave(s) to what it is today. (Although I think that art has devolved from that of the caves, but that’s a matter for another time and discussion.)

Earthlings, writes Lemarchand (from ideas of Carl Sagan), are members of a Technologically Adolescent Society. Thus, communicating with a more advanced alien society would then be problematical, as we’d have a difficult time understanding advanced technological information, whereas understanding an artistic image of an alien culture would not be difficult.

Lemarchand points out that there are several patterns in art and nature that can be considered as universal as mathematics in interstellar communication attempts” (von Hoerner, 1974; Lemarchand and Lomberg, 1996).

And using artistic symbols would be a better mechanism for an interstellar communication than SETI’s mathematical approach, which is what Sagan was striving for with his golden disk attached to the Voyager spacecraft(s).


Lemarchand’s paper is rife with intellectual insights about alien communication, humanity, the arts, and science. (I can’t provide a link as the paper was found among others here, and has no provenance, although I imagine it was printed out from our Sage Publications account a few years ago. Interested parties might seek it out via Google.)

Now let me get to the point from which I have egregiously digressed….

And this point has been made before, earlier at this blog and elsewhere in our internet outings.

Nowhere has art or music been noted on (or from) UFOs.

Yes, there have been symbols or insigniae, as mentioned in the post preceding this one, but those have not been artistic or esthetic, as the drawings on the wall caves, or other human pictorials are.


No UFO or flying saucer reports have identified music as endemic to the sightings. And no art, aside from those militaristic or corporate-like insignia/symbols, has been registered – none like that which Lemarchand thinks would be intrinsic to an advanced extraterrestrial race.

What does this tell us about UFOs? That whatever they are, or whomever “mans” them, are either not advanced in a way that would include moral imperatives (as Lemarchand articulates) nor are they as advanced in even a small way as that of the Neanderthals or early man was, as indicated by the art in the caves of Lascaux and Chauvet-Pont d’Arc.

This means, for us, that UFOs are either created by Earthlings or are artifacts without a cultural or living species origination – a physical manifestation of some kind -- or UFOs belong to a race or races that are without moral imperatives (ethics) and refinements which would ameliorate contact between us and them as (we hate to note) some abduction accounts seem to warn.

I’ve gone far afield here, and have departed from any cogent hypothesis. But I’m hopeful that some readers might comprehend that UFOs present alternatives to thought besides the usual cavil that permeates discussions here and all over the UFO community.

And that a civilized discourse might take us into new directions, away from the classic, banal UFO cases that usurp innovative energies and keep us mired in obsequious back-and-forths which lead nowhere and have for a long time now.

We can hope….

Sunday, May 1, 2011

A Socorro Confusion (that flummoxes researchers)

This symbol is ostensibly the “insignia” that Lonnie Zamora saw and drew (for the public) which was on the UFO craft he reportedly observed in Socorro, New Mexico in 1964:


This is the “actual” symbol seen by Zamora, according to Allen Hynek, Ray Sanford, and Air Force files – it has been duplicated by an observer of a later UFO sighting, as outlined below the image (here):


We’ve added the horizontal lines, to approximate what officer Zamora saw and drew, but which was kept secret, supposedly to prevent hoaxers from using it for mischief.

The symbol/insignia that Zamora provided, and seen in 1973 by Gary Chopic on a triangular UFO, was an insignia used to identify a U.S. military prototype we believe, and confirms, for us, that Zamora’s UFO was a test vehicle of Earth manufacture in 1964.

Keeping Zamora’s original, true drawing sub rosa has prevented UFO researchers from reaching the same conclusion, and has allowed the false assumption by UFO mavens (Jerry Clark, for example) that Socorro is one of the best UFO sightings on record.

This subterfuge is part and parcel of the UFO story: persons and agencies holding back information and details that could clarify and even explain, perhaps, what UFO are.

Why does the government becloud UFO sightings and information? One can guess.

Why do UFO researchers becloud UFO material? To adopt a façade of illuminated secrecy and alchemical-like mystery. But that practice has only made the study of UFOs more daunting and difficult for those who would like to use scientific-like methodology and/or forensics to get at the UFO enigma.

For us this means that older, classic UFO sightings have to be re-examined or scrapped, and new sightings pursued without all the convoluted clutter and devious detritus that has accreted to UFO sightings of the past (by flawed “ufologists”).

We hope you agree….