The Mitchell Hedges Crystal Skull

Hewlet Packard






Shpoongle


http://www.youtube.com/watch?v=IFjvOb2JjTM




The Secret of the Thirteen Crystal Skulls Shpoongle

http://www.youtube.com/watch?v=xbAy5jPTf1c



The Ark

Wireless electricity Technology

This will be the technology of the near future and the Crystal Skull will be the source...somehow

The Skull of Love

Find more videos like this on Children of the Sun


I shot this video in Sedona Arizona when I interviewed Bill Homann who the custodian of the Crystal Skull today. Bill has renamed this fabulous artifact (or better put Art fact), "The Skull of Love".

Sci Fi Channel..Crystal Skulls.. Bill Homann and the Mitchell Hedges Crystal Skull

(Part One)




Dorland..Houghland..Hewlett Pacjard labs..NASA..(Part Two)



Mayan civilization..Bill and Belize..Lubantuun..photo imaging..(Part Three)




(Part four)



(Partfive)




(Part Six)



(Page seven) Sedona grids..



(Part Eight)




Anna Hedges

Is evidence of the Lost continent of Atlantis off the coast of Cuba?

Explorers View 'Lost City' Ruins Under Caribbean

December 6, 2001 - Reuters

Explorers using a miniature submarine to probe the sea floor off the coast of Cuba said on Thursday they had confirmed the discovery of stone structures deep below the ocean surface that may have been built by an unknown human civilization thousands of years ago.

Researchers with a Canadian exploration company said they filmed over the summer ruins of a possible submerged ``lost city'' off the Guanahacabibes Peninsula on the Caribbean island's western tip. The researchers cautioned that they did not fully understand the nature of their find and planned to return in January for further analysis, the expedition leader said on Thursday.

The explorers said they believed the mysterious structures, discovered at the astounding depth of around 2,100 feet and laid out like an urban area, could have been built at least 6,000 years ago. That would be about 1,500 years earlier than the great Giza pyramids of Egypt.

``It's a really wonderful structure which looks like it could have been a large urban center,'' said Soviet-born Canadian ocean engineer Paulina Zelitsky, from British Columbia-based Advanced Digital Communications (ADC).

Zelitsky said the structures may have been built by unknown people when the current sea-floor actually was above the surface. She said volcanic activity may explain how the site ended up at great depths below the Caribbean Sea.

In July 2000, ADC researchers using sophisticated side-scan sonar equipment identified a large underwater plateau with clear images of symmetrically organized stone structures that looked like an urban development partly covered by sand. From above, the shapes resembled pyramids, roads and buildings, they said.

This past July, ADC researchers, along with the firm's Cuban partner and experts from the Cuban Academy of Sciences, returned to the site in their ship ``Ulises.'' They said they sent a miniature, unmanned submarine called a Remotely Operated Vehicle (ROV) down to film parts of the 7.7-square-mile area.

Those images confirmed the presence of huge, smooth, cut granite-like blocks in perpendicular and circular formations, some in pyramid shapes, the researchers said. Most of the blocks, measuring between about 6.5 and 16 feet in length, were exposed, some stacked one on another, the researchers said.

Others were covered in sediment and the fine, white sand that characterizes the area, the researchers said.

The intriguing discovery provided evidence that Cuba at one time was joined to mainland Latin America via a strip of land from the Yucatan Peninsula, the researchers said.

``There are many new hypotheses about land movement and colonialization, and what we are seeing here should provide very interesting new information,'' Zelitsky said.

ADC's deep-water equipment includes a satellite-integrated ocean bottom positioning system, high-precision side-scan double-frequency sonar, and the ROV. The company currently is commissioning what it calls the world's first custom-designed ocean excavator for marine archeology to begin work both at the Guanahacabibes site and at ship wrecks.

ADC is the deepest operator among four foreign firms working in joint venture with President Fidel Castro (news - web sites)'s government to explore Cuban waters containing hundreds of treasure-laden ships from the colonial era.

The Canadian company already has discovered several historic sunken Spanish ships.

In an earlier high-profile find, ADC was testing equipment in late 2000 off Havana Bay when it spotted the century-old wreck of the American battleship USS Maine. The ship had not been located since it blew up mysteriously in 1898, killing 260 American sailors and igniting the Spanish-American War.

The rush of interest in Cuba's seas in recent years is due in part to the Castro government's recognition that it does not have the money or technology to carry out systematic exploration by itself, although it does have excellent divers.

Demian Hirst and the most valuable art ever created..

Damien Hirst: Beyond Belief

3 Jun—7 Jul 2007
Hoxton Square and Mason's Yard

This major solo exhibition of new work by
Damien Hirst took place at both White Cube
Hoxton Square and White Cube Mason’s Yard,
Beyond Belief was the most significant and
ambitious exhibition of new work by the artist
at that time.

In this exhibition, Hirst continued to explore
the fundamental themes of human existence
– life, death, truth, love, immortality and art itself.


Several works address the complex relations between
art, science and religion. Arguably more than any
artist of his generation, Hirst is preoccupied by the
Western tradition of Christian iconography.
Saint Sebastian, Exquisite Pain savagely decants the
Saint’s martyrdom into a single tank containing a
black calf, its body pierced by dozens of arrows and
cable-tied to a steel post. In God Alone Knows, a
triptych featuring three flayed and crucified sheep
in three tanks, Hirst re-presents the visceral brutality
of Christ’s death, and yet there is an unexpectedly
quiet beauty in the way the forlorn and tragic figures
appear to float against their mirrored grounds, as if
resurrected. Hirst reconstructs the final phase of the
Nativity in The Adoration.

Recently Hirst organized and auction of his own works at Southeby's and made an
astronomical amount of money, thereby bypassing the traditional gallery position as middleman.


Pre Auction..




Auction..

With global stock markets plummeting, leaving millions worldwide to fret over their jobs and financial futures, news out of a London auction house this week proved there are a choice few who are still financially flush enough to spend outlandishly.

The global financial crisis apparently did nothing to dampen the enthusiasm for British artist's Damien Hirst's latest collection. In a record-breaking two-day event at Sotheby's in London, Hirst convinced buyers to buck the economic times -- to the tune of nearly $200 million.

His show, titled "Beautiful Inside My Head Forever," included an outlandish collection of quirky animals soaked and displayed in formaldehyde -- a natural progression for a man who previously made millions on the sale of a life-size cast of a human skull in platinum and covered in diamonds

The costliest art creation ever..

First we had this announcement...

"Hirst's diamond creation is art's costliest work ever"

• Sean O'Hagan
• The Observer,
• Sunday May 21 2006
• Article history

Compared with the epic works that have made his name - the shark in formaldehyde, the bisected cow. Damien Hirst's work in progress is a small, delicate object:
a life-size human skull. Not just any skull, mind, but one cast in platinum and encased entirely in diamonds - some 8,500 in all. It will be the most expensive work
of art ever created, costing between £8m and £10m.

Unveiling his latest work exclusively to The Observer,Hirst said: 'We have been buying diamonds slowly and have worked out that it will take about eight and half thousand to completely cover the surface of the skull. Hirst, who is in London for meetings with his latest collaborators, Bond Street jewellers, Bentley & Skinner,added: 'The biggest expense will be the 50-carat beauty that will sit on the forehead. That one alone will cost in the region of £3m to £5m. It is certainly the biggest single undertaking by a jeweller since the Crown jewels'. Hirst, 40, who was recently ranked as the most powerful individual in the contemporary art world by Art Review magazine, is reputedly worth in the region of £100m. Creating the world's most expensive work of art, he says, 'will be a lot less stressful than putting a bloody great shark in a tank of formaldehyde'.

Nevertheless, even by his ambitious standards, the diamond-encrusted skull, entitled 'For the Love of God' is a risky undertaking. The cost of making it will inevitably be reflected in the selling price, which could be up to £50m. Then there will be the small problem of security. 'For the Love of God' will be the centrepiece of a forthcoming Hirst show, "Beyond Belief", which will inaugurate Jay Jopling's new gallery, White Cube 3, in London's West End in June 2007. 'The demands of the insurance company will dictate the level of security', said Hirst's business adviser, Frank Dunphy. 'But with a unique project like this you're talking about the kind of security more synonymous with an international airport than an art gallery.' 'I just want to celebrate life by saying to hell with death,' said the artist, 'What better way of saying that than by taking the ultimate symbol of death and covering it in the ultimate symbol of luxury, desire and decadence? The only part of the original skull that will remain wi be the teeth. You need that grotesque element for it to work as a piece of art. God is in the details and all that

'Why, though, is he doing it? 'I've always adhered to the principle that the simplest ideas are the best, and this will be the ultimate two fingers up to death. I want people to see it and be astounded. I want them to gasp. ' But what if it turns out to be more bling than breathtaking? 'If it's vulgar, I'll put it on a chain and hang it round my neck- or I'll stick it on the mantelpiece.'