La sonda espacial con destino a Saturno pone a prueba la teoría de Einstein
Concepto artístico del experimento de relatividad general.
Un experimento realizado por científicos italianos con datos de la nave espacial Cassini de la NASA, actualmente en camino a Saturno, confirma la teoría de la relatividad general de Einstein con una precisión 50 veces mayor que las mediciones anteriores.
Los resultados aparecen en la edición del 25 de septiembre de la revista Nature. Forman parte de una colaboración científica entre la NASA y la Agencia Espacial Italiana. El experimento tuvo lugar en el verano de 2002, cuando la nave espacial y la Tierra se encontraban en lados opuestos del Sol, separados por una distancia de más de mil millones de kilómetros (aproximadamente 621 millones de millas).
Los investigadores observaron el cambio de frecuencia de las ondas de radio que se transmitían desde y hacia la nave espacial a medida que pasaban cerca del Sol. Midieron con precisión el cambio en el tiempo de ida y vuelta de la señal de radio a medida que viajaba cerca del Sol. El tiempo de ida y vuelta es el tiempo que tarda la señal transmitida desde la estación de la Red del Espacio Profundo en Goldstone, California, hasta la nave espacial en el otro lado del Sol y de regreso viajando a la velocidad de la luz.
"La importancia científica de estos resultados es la confirmación de la teoría de la relatividad general y la concordancia con las formulaciones de Einstein con una precisión experimental sin precedentes", dijo Sami Asmar, director del Radio Science Group, que adquirió los datos para este experimento en el Laboratorio de Propulsión a Chorro de la NASA en Pasadena, California. "La importancia tecnológica del experimento es la capacidad de superar el duro entorno solar mediante enlaces de radio".
Los investigadores midieron en qué medida la gravedad del Sol curvaba un rayo electromagnético, en este caso la señal de radio transmitida por la nave espacial y recibida por las estaciones terrestres.
Según la teoría de la relatividad general, un objeto masivo como el Sol hace que el espacio-tiempo se curve, y un haz de ondas de radio (o luz) que pasa por el Sol tiene que viajar más lejos debido a la curvatura. La distancia adicional que recorren las ondas de radio desde Cassini pasando por el Sol hasta la Tierra retrasa su llegada; la magnitud del retraso proporciona una prueba sensible de las predicciones de la teoría de Einstein. Aunque se esperan desviaciones de la relatividad general en algunos modelos cosmológicos, no se encontró ninguna en este experimento.
Las pruebas de la relatividad general tienen importantes implicaciones cosmológicas. La cuestión no es si la relatividad general es verdadera o falsa, sino a partir de qué nivel de precisión deja de describir la gravedad de forma realista.
Pruebas anteriores de la relatividad general confirmaron la predicción de Einstein con una precisión de una parte por mil. Esta precisión se logró en 1979 utilizando las sondas Viking en Marte. El experimento Cassini la confirmó con una precisión de 20 partes por millón. La clave de esta mejora ha sido la adopción de nuevas tecnologías en las telecomunicaciones espaciales.
El experimento no se hubiera podido realizar con este nivel de precisión en el pasado debido al ruido en el enlace de radio introducido por la corona solar. Con el experimento Cassini, este obstáculo se superó equipando el sistema de comunicación de la nave espacial con múltiples enlaces en diferentes frecuencias. Esta nueva capacidad en la nave espacial Cassini y en la antena de 34 metros (112 pies) de diámetro en Goldstone, permitió a los científicos eliminar los efectos del plasma interplanetario y solar de los datos de radio. Además, el ruido de la atmósfera de la Tierra se redujo considerablemente mediante un equipo especial instalado en el complejo Goldstone. Estos avances tecnológicos desarrollados para la misión Cassini han llevado a precisiones sin precedentes en las mediciones de velocidad, lo que beneficia a futuros experimentos científicos, así como a la navegación en el espacio profundo.
Los experimentos son parte de una serie de experimentos de radiociencia planificados para la fase de crucero de la misión, incluida la búsqueda de ondas gravitacionales de baja frecuencia.
Cassini comenzará a orbitar Saturno el 1 de julio de 2004 y liberará su sonda Huygens unos seis meses después para descender a través de la espesa atmósfera de la luna Titán.
Cassini-Huygens es una misión cooperativa de la NASA, la Agencia Espacial Europea y la Agencia Espacial Italiana. El JPL, una división de Caltech, administra la misión para la Oficina de Ciencias Espaciales de la NASA en Washington, DC. Los autores del artículo de Nature, "Una nueva prueba de la relatividad general con la misión espacial Cassini", son el Dr. Bruno Bertotti de la Universidad de Pavía, Italia; el Dr. Luciano Iess de la Universidad de Roma "La Sapienza", Italia; y el Dr. Paolo Tortora de la Universidad de Bolonia, Italia.
WHEN THE spaceprobe Voyager 1 flew past Saturn in 1980, it not only observed the planet and its moons but also provided scientists with data that confirms Einstein’s general theory of relativity. In 1915, Einstein predicted that light loses energy climbing out of the ‘gravitational well’ of a massive body, such as a planet. The effect is known as the gravitational red shift, because as light loses energy its frequency is reduced, making it appear redder.
Voyager 1 was able to test the red shift effect when it flew past Saturn, using radio signals sent back to Earth by a transmitter locked at a very precise frequency. The spaceprobe was equipped with an ultrastable crystal oscillator, known as the USO. This acted as a very precise standard, varying its frequency by less than 5 parts in 1012. Electronic equipment on board multiplied the frequency of the oscillator by 120 times, to provide the frequency of the spaceprobe’s radio transmitter – 2.3 gigahertz. These signals were then picked up by the radio telescopes of NASA’s Deep Space Network, which was used to track and control both Voyager spaceprobes.
Now, long after the event, Timothy Krisher and his colleagues at the Jet Propulsion Laboratory in Pasadena, California, have examined the record of the signal from Voyager 1. The spaceprobe flew within 180 000 kilometres of Saturn on 12 November 1980. They find that as the spaceprobe moved in and out of the gravitational field of Saturn, its transmitter’s frequency dipped. The dip was no more than a few hertz, but it was within 1 per cent of the prediction of general relativity for a frequency of 2.3 gigahertz. Fluctuations in the frequency of the transmitter – though very small – nevertheless prevented the theory from being tested even more severely (Physical Review Letters, vol 64, p 1322).
Krisher and his colleagues have yet to determine whether data from the transmitter on board Voyager 2 can help them to test general relativity further. It was badly affected by intense radiation as it passed by Jupiter on its way to Saturn and so its data may not be as reliable as the data from its predecessor. The current results may, however, rule out some alternatives to Einstein’s theory.
Illustration on the base of the obelisk, showing how it was raised into place in 1836
Hieroglyphs on the obelisk.
Hieroglyphs on the upper obelisk. The Pharaoh on his throne is portrayed at the top
The centrepiece of the Place de la Concorde is an ancient Egyptian obelisk decorated with hieroglyphics exalting the reign of the pharaoh Ramesses II. It is one of two which the Egyptian government gave to the French in the 19th century. The other one stayed in Egypt, too difficult and heavy to move to France with the technology at that time. On 26 September 1981 President François Mitterrand formally returned the title of the second obelisk to Egypt.[16]
The obelisk once marked the entrance to the Luxor Temple. The wali of Egypt, or hereditary governor, Muhammad Ali Pasha, offered the 3,300-year-old Luxor Obelisk as a diplomatic gift to France in 1829. It arrived in Paris on 21 December 1833. Three years later, it was hoisted into place, on top of the pedestal which originally supported the statue of Louis XV, destroyed during the Revolution. The raising of the column was a major feat of engineering, depicted by illustrations on the base of the monument. King Louis Philippe dedicated the obelisk on 25 October 1836.[17]
The obelisk, a yellow granite column, rises 23 metres (75 ft) high, including the base, and weighs over 250 tonnes (280 short tons). Given the technical limitations of the day, transporting it was no easy feat – on the pedestal are drawn diagrams explaining the machinery that was used for the transportation. The government of France added a gold-leafed pyramidal cap to the top of the obelisk in 1998, replacing the missing original, believed stolen in the 6th century BC.[18]
Da la sensación de que está despegando. Puede verse desde las calles de rodaje próximas a la T3 del aeropuerto de Roissy y también desde una de las rutas de acceso al principal aeropuerto de París, Francia. Se trata de Concorde con los colores de Air France que se instaló sobre unos pilares de forma que su trompa apunta al cielo y parece que esté virando ligeramente a la derecha, dándole una curiosa sensación de movimiento.
A modo de recuerdo de los tiempos supersónicos de Air France en el aeropuerto Charles de Gaulle, entre 1976 y 2003: una pieza de museo, como los 18 Concorde supervivientes que están repartidos entre museos y aeropuertos de Europa y América. ¿Qué ha sido de ellos?
El Concorde "tuvo más nombre que rentabilidad" (AP)
El Concorde tuvo más nombre que rentabilidad, y más fama que éxito comercial. En el programa de avión comercial supersónico franco-británico, originalmente todo apuntaba a que iba a ser el avión del futuro: ocho compañías norteamericanas lo reservaron: TWA, Air Canada, Pan Am, Continental, American Airlines y United se unieron a Eastern y Braniff. También lo encargó la china CAAC, la libanesa MEA, la japonesa JAL y la australiana Qantas.
Air India e Iran Air también firmaron cartas de intenciones para tener al Concorde en sus flotas y en Europa, la alemana Lufthansa, la belga Sabena junto a British Airways y Air France fueron las que se interesaron en el aparato.
El aparato de Air France conservado como monumento en el aeropuerto de Paris-Charles de Gaulle (Javier Ortega Figueiral/La Vanguardia)
La crisis del petróleo junto a las presiones político-comerciales de Estados Unidos, que canceló su programa supersónico propio convirtió al proyecto Concorde en un fracaso comercial. Elegante en las formas, glamoroso en el estilo, pero un fracaso sin paliativos, compensado por lo tecnológico, que fue una de las bases de la creación de Airbus.
Finalmente solo se construyeron 20 unidades, entre prototipos, pre-producción y los que volaron comercialmente.
Museo del Aire y del Espacio de Le Bourget. El prototipo 001 voló de 1969 a 1973. Desde su retirada está expuesto en el museo del Aire y del Espacio de Le Bourget, al noroeste de París. Allí comparte espacio bajo un mismo techo con uno de los que volaron para Air France: el número de serie 213, que se matriculó como F-BTSD y estuvo volando para la compañía 25 años.
Los dos Concordes conservados frente a frente en un hangar de Le Bourget, París (MA LBG/La Vanguardia)
Ambos pueden visitarse gratuitamente, aunque el acceso al interior de los aparatos tiene un costo que justifica el mantenimiento de ambos aviones en el museo.
Fleet Air Museum, Reino Unido. El prototipo 002 voló de 1969 a 1976. Actualmente está en el Fleet Air Museum, en Reino Unido, considerado como el principal centro de Europa dedicado a la aviación naval. No es extraño, pues está instalado junto a una base aeronaval de la Royal Navy donde operan seis escuadrones de helicópteros y varios escuadrones de entrenamiento de aviadores militares.
La singular trompa del prototipo del Concorde en el Fleet Air Museum, rodeado de otros aparatos menores (JOF/La Vanguardia)
Ese Concorde es fácilmente distinguible por su trompa cerrada. Está en un gran hangar, rodeado de otros aparatos militares e históricos. Es frecuente que el espacio bajo las alas del avión se use para eventos y celebraciones por su singularidad.
Museo Imperial de la Guerra de Duxford. El avión 101 fue un Concorde de pre-serie, ensamblado en Reino Unido. Voló hasta 1977 y está actualmente expuesto en el museo Imperial de la Guerra de Duxford al sur de la ciudad de Cambridge y junto a un aeródromo. A su alrededor e incluso colgando del techo, hay una interesantísima colección de aviones civiles, militares y comerciales sobre todo de tiempos de posguerra.
Así se exhibe el avión supersónico en el museo imperial de la guerra de Duxford (IWM/La Vanguardia)
Museé Delta, Francia. El avión 102 de pre-serie voló de 1973 a 1976. Era uno de los aviones de desarrollo francés con la peculiaridad de que por su lado izquierdo lleva los antiguos colores de Air France y por el derecho los de British Airways. Está desde hace varias décadas en el museo Delta, junto al aeropuerto de París-Orly, conservado en el exterior, lo que hace que su estado de conservación no sea el óptimo y que incluso haya sido pintado con grafitis en varias ocasiones.
Vista Aérea del pequeño museo Delta de Orly, al que le tocó en custodia uno de los primeros Concorde (Picasa / Paris Aeropor/La Vanguardia)
El museo que solo abre un par de días por semana, está consagrado al ala delta y ha quedado encajonado dentro de un desarrollo urbanístico al sur de Orly y está por ver si con los escasos recursos que dispone tendrá continuidad. Sin asientos, el interior del avión sirve como sala de exposiciones de fotografía. Por el momento, los otros aviones que exponía junto al Concorde, un Caravelle y un Mercure, fueron retirados del lugar.
Aeroscopia. Dos de los aparatos que ya fueron de producción, los números 201 y 209 están en Aeroscopia , un interesante museo de aire muy moderno, junto a las pistas del aeropuerto de Toulouse Blagnac, consagrado, sobre todo a las aeronaves que se han construido en la zona.
Interior del aeroscopia. Este es uno de los dos Concordes que se conservan en esta instalación de Toulouse (Javier Ortega Figueiral/La Vanguardia)
Uno de los Concorde está guardado bajo techo, pintado con los colores genéricos del fabricante, mientras que el que está en el exterior y recibe a los visitantes lleva los antiguos colores corporativos de Air France y está aparcado junto a un Caravelle de Air Inter y un prototipo del A400M, el avión de transporte militar creado por Airbus.
Museo Brooklands. El Concorde número de serie 202 voló desde 1974 a 1981 con los colores de British Airways y fue cedido al museo Brooklands , situado al oeste de Londres y sur del aeropuerto de Heathrow. Instalado en un gran jardín a la intemperie, el supersónico está rodeado de otras viejas glorias de la aviación británica.
En Brooklands se conserva uno de los antiguos Concordes de British Airways al aire libre (BAM UK/La Vanguardia)
El avión tiene tres zonas diferenciadas: la cabina de vuelo, mantenida en perfecto estado, una parte de la zona de pasaje con los asientos originales y una segunda zona del fuselaje despojada de butacas, que sirve de espacio expositivo sobre la historia del modelo.
Aeropuerto de Manchester. También en Reino Unido, concretamente junto al aeropuerto de Manchester, se mantiene el Concorde 204, que llevó la matricula G-BOAC. El avión llegó en vuelo en 2003, poco después de retirarse del servicio comercial y, posteriormente, se construyo un espacio expositivo específico para acogerlo, junto a un parque que es usado como un atractivo mirador sobre las pistas de vuelo.
Aeropuerto de Londres-Heathrow. Otro de los Concorde de British Airways, el número de serie 208, está en el aeropuerto de Londres-Heathrow. Es uno de los que la aerolínea donó a la instalación que acogió todos sus vuelos supersónicos. Inicialmente tuvo un lugar simular al dedicado en Paris-Charles de Gaulle, aunque para aprovechar ese espacio se acabó moviendo hasta una zona de mantenimiento, en espera de encontrarle una ubicación digna.
Actualmente se puede ver con claridad, aunque no visitar, cuando se aterriza en Heathrow por la pista 27L, pues está aparcado en esa zona.
Museo Nacional del Vuelo de Escocia. Por su lado, el número 206, que voló con base en Londres entre 1975 y 2000 fue cedido al museo Nacional del Vuelo de Escocia, miembro de una red escocesa de espacios museísticos que incluye el de la guerra, el de la vida rural o el de historia escocesa.
En Edimburgo, la experiencia de la visita al Concorde quiere simular un viaje real en el avión (NMF/La Vanguardia)
El Concorde ahora con base en Edimburgo está en perfecto estado de revista, y su visita reproduce todos los pasos que se daban en un vuelo real entre Londres y Nueva York.
Centro aeronáutico de Bristol. El último Concorde que se quedó en territorio británico fue el número de serie 216, con matrícula G-BOAF y está en Bristol, Inglaterra. Es una de las estrellas en el centro aeronáutico de Bristol y hace unos meses se ha instalado en un nuevo edificio, donde luce merecidamente como lo que es: un hito de la tecnología y el diseño en un espacio diáfano que permite admirarlo desde todas las perspectivas posibles y sobre el que se proyectan diferentes mensajes, luces y colores.
El impecable avión que se conserva en Bristol, ya instalado en su nuevo hangar (Adam Gasson/La Vanguardia)
Museo de la Aeronáutica y Astronáutica, Manhattan. Uno de los dos Concordes que acabaron sus días en la costa este de Estados Unidos, se encuentra en Manhattan. Mantiene los colores de British y está junto al río Hudson y en un lugar muy curioso: en el muelle en el que está amarrado en portaaviones Intrepid, actualmente usado como museo de la aeronáutica y astronáutica.
La cola del Concorde de Nueva York asoma tras la popa del portaaviones Intrepid (Javier Ortega Figueiral/La Vanguardia)
Allí se exhibe una interesantísima colección de aviones, helicópteros e incluso uno de los Transbordadores espaciales de la NASA. La visita merece la pena para pasar una mañana entera repasando historia de todo lo que ha volado y tener la poco frecuente ocasión de visitar a la vez un portaaviones convertido en museo flotante.
Museo Smithsonian. El otro aparato era de la flota de Air France y ahora gracias a la cesión de la aerolínea francesa forma parte de la nutrida colección de aeronaves del museo Smithsonian. En este caso no está en el Mall de Washington, donde hay un buen número de aeronaves, sino en una ampliación dedicada a los grandes aparatos junto al aeropuerto de Dulles.
Museo del Vuelo, Seattle. El tercer Concorde que voló a Estados Unidos está en Seattle, en el museo del vuelo, junto al Boeing field. Es un antiguo aparato de British Airways que ha acabado engrosando una interesante colección de aviones en el mismo lugar donde buena parte de los aparatos “made in USA” son ensamblados y realizan sus vuelos de prueba.
Concorde Experience, isla Barbados. El Concorde que acabó en el destino más exótico fue el matriculado como G-BOAE de British y que estuvo en la flota hasta 2003, realizando su último vuelo real hasta la isla de Barbados, en el Caribe. No fue casual, sino una petición del gobierno de este pequeño país, que se convirtió un destino de turismo de alto poder adquisitivo para británicos que volaban hasta Bridgetown con el avión supersónico.
Este es el hangar donde se conserva el Concorde exhibido en Barbados (Gaia/La Vanguardia)
Desde hace casi 15 años, junto a la terminal del aeropuerto Grantley Adams, existe la Concorde Experience, un hangar dedicado en exclusiva al mundo de este avión con una unidad real como mayor atractivo.
Sinsheim Auto & Technik Museum, Alemania. De vuelta a Europa, uno de los museos más interesantes donde se conserva uno de los 18 Concordes que han llegado a 2018 es el Sinsheim Auto & Technik Museum, al norte de la ciudad de Stuttgart, Alemania.
Lo singular de este lugar es que el avión parece exhibido por partida doble, aunque para los conocedores del mundo aeronáutico está claro lo que los responsables del museo han logrado: comparar la apuesta europea y soviética por los vuelos comerciales supersónicos, situando en el mismo lugar al Tupolev 144 y al Aerospatiale/Bac Concorde.
El Tupolev 144 y el Concorde lucen así en la cubierta del museo de Sinsheim (STM/La Vanguardia)
La historia del Concorde se detuvo en 2003, aunque continúa viva en todos los museos y espacios expositivos que rinden homenaje al que probablemente sea el avión comercial más famoso de la historia, con permiso quizá del jumbo y del DC-3.
Los dos aparatos restantes hasta llegar a los 20 tuvieron diferente suerte: uno es el que despegando de París acabó estrellándose cerca del aeropuerto Charles de Gaulle en 2000 y otro, de British, fue aprovechado como fuente de piezas para la flota en vuelo y después desguazado y subastado en piezas.
Sirius, Regulus, Super Bowl, financial crises, earthquakes & August 2015 Lucifer time codes By Goro
August 02, 2015
[Great Sphinx aka "Father of Terror"]
[NOTE: Yes, the global stock market chaos of August 2015 was predicted with precision in this article (posted on Aug 2, 2015) as you'll see below or in the new article When Prediction Comes True.... If you're new here, this is not a fluke as this is what I do on my websites (Etemenanki & STRUG). You may find the approach baffling, but you can't argue with this kind of unambiguous results. Key parts of this information was originally posted all the way back in February on STRUG (members only).]
Terror was the opening music for the year 2015, potentially foreshadowing what may transpire in August...
Our job here is to discern and decode a set of "time codes" lurking just below the surface of reality which in this case is celestially anchored by two stars: Sirius and Regulus.
Sirius is the star of Isis per ancient Egyptian tradition, and Paris ("Par-Isis") is semi-officially a city of Isis-Sirius where we find the Historical Axis (including the world-famous Champs Elysees boulevard) oriented toward the daily rising of Sirius.
The same axis happens to align with the sunset on August 6–8...
…as well as May 4–5 which this year gave us highly meaningful events already:
The Historical Axis also aligns with sunrisearound February 1 (& Nov 9–11). This one coincided with the Super Bowl where Katy Perry did her halftime show in Phoenix this year.
On STRUG ("Super Torch Ritual Underground" members/underground area) I noted back in February that University of Phoenix Stadium (Super Bowl 2015) has some serious Sirius alignments...
...plus the fact that at the latitude of Phoenix (~33.45 N) the heliacal rising of Sirius takes place around August 7th, precisely coinciding with the Paris axis-sunset alignment day.
(The heliacal rising of Sirius is the "rebirth" of the star at dawn right before sunrise after a prolonged period of invisibility in the glare of the Sun; in ancient Egypt this was of great importance as it was for a period of time a signal for the life-giving annual flooding of the Nile, and also due to the general importance of the star and the goddess it represents, Isis.)
On the same day (~August 7, 2015) we'll even see a tight gathering of Jupiter, Mercury and Regulus at the "heart" of the lion (Leo)...
...bringing to mind the fact that Katy Perry spends most of her time at the heart/Regulus position between the paws of the Sphinx (lion/Leo) in her 2014 music video for Dark Horse…
…something evoked during the opening scene of Katy's 2015 Super Bowl halftime show (riding a giant lion).
Regulus is one of the brightest stars in the night sky, which is not only the "heart of the lion" but also "prince" (or "little king") as well as "the King", just as Jupiter is named after the king of the gods. It is highly significant therefore that Regulus and Jupiter will be in "royal" conjunction on ~August 11.
Remarkably ~August 11, 2015 is also pinpointed by a "Mayan financial crisis" time code I started highlighting back in February (STRUG) which is based on the Golden Ratio ("phi") and at least three major dates/events: 1) Transit of Venus (2004), 2) the day the US financial system almost came crashing down (9/14/2008), and 3) the "end" of the Mayan calendar (12/21/2012):
[Transit of Venus - June 8, 2004 & June 6, 2012 - rare phenomenon of Venus passing in front of the Sun]
LINE 1: "The great army which will pass the mountains"
LINE 2: "Saturn in the Arc turning from/of the fish Mars"
Region surrounded by red = 'Field of Mars'
LINE 3:"Poison hidden under the heads of salmon"
LINE 4: "Their head hung with thread of 'polemars'
LINE 1:"The great star will burn for seven days"
LINE 2: "The cloud will make double sun appear"
LINE 3: "The large mastiff will howl all night"
"The mastiff that will howl all night refers to a secret branch of the priesthood in the Catholic Church that no one knows about except a few high priest members. This secret branch of the priesthood is like a private army, and the commander-in-chief is the pope. Their job is to fight for the church if the need should arise, similar to the way the Jesuits used to be the soldiers of Christ."
LINE 4: "When the great pontiff changes his abode"
LINE 1: "The great star will burn for seven days" LINE 2: "The cloud will make double sun appear" LINE 3: "The large mastiff will howl all night"
The "double sun" of Line 2 also correlates with Sirius A and Sirius B orbiting around each other. And the "mastiff" of course relates to Sirius the 'Dog Star'! I mean, this quatrain is screaming "Sirius!".
And II-48... Line 2 is enough to suggests the whole 'Sirius complex' - 'Saturn', 'Arc', and 'Mars'. But the most striking thing about quatrain II-48 is its correlation with Paris - which is of course part of the Sirius complex - and more specifically with the 'Elysian Fields' region of Paris where the Arc de Triomphe stands. (The connection is so striking that I feel this one should be called 'the Paris quatrain'.) This issue was discussed in Chapter 7 of 'The Elysian Fields' but let me go through it here again with some new additional interpretations:
The "great army" is precisely the name of one of the 12 streets that extend from the famous circular road that surrounds the Arc de Triomphe ("Place Charles de Gaulle"), which is called in French, "Grande Armee". 'Grand Armee' is not only one of the 12 streets but it's the direct extension of the main street, 'Champs Elysees' (Elysian Fields). The "mountains" is likely an allusion to the Arc de Triomphe which stands in between 'Champs Elysees' and 'Grande Armee' Here are pictures showing the relevant region of Paris and the relationship of the Grande Armee avenue, Arc de Triomphe, and the Elysian Fields.
· Red region = Arc de Triomphe & Place Charles de Gaulle · Purple street = Grande Armee avenue · Blue street = Elysian Fields
The "Arc" is obviously a reference to the' Arc de Triomphe'. And the notion is strengthened by the word right after "Arc", "turning" - which implies circular movement/shape and nicely corresponds to the famous circular road going around the Arc de Triomphe (see the picture at right). The phrase "Saturn in the Arc" corroborates the Saturn-ark connection we've made.
The latter half, "turning/corner of the fish Mars" can be interpreted in a quite different and symbolic way, and it is necessary to use a map of the relevant region of Paris again:
As you can see, the Elysian Fields, the Arc de Triomphe etc. are placed right beside the Seine River. Interestingly, on the other side of the river, there is a garden called the "Field of Mars" ('Champ de Mars') in which stands Paris' landmark, the Eiffel Tower. This is reinforcing the relevance of Mars. Now, the word 'Seine' (name the river) means "fishing net". That metaphorically makes (the Field of) Mars the "fish" trapped in the net. This would also make the same region where the river is turning 90 degrees the "corner of the 'fish-Mars'" to fit Line 2.
The "fish" also correlates with Sirius because the Dogon tradition tells us that the "Nommos" that supposedly came from the Sirius system were fish-like (and yes, we're now getting into the issue of extraterrestrial intelligence). So the phrase 'fish Mars' again associates Sirius with Mars.
The very first word, "poison", creates an interesting connection with Line 2 because the French word for "fish" is "poisson" which is nearly identical, both in spelling and pronunciation, to the word 'poison' which is also a French word for poison. Thus, combined with the last word of the line "salmon", the notion of 'fish' seems to be emphasized. Interestingly, the original French word used for 'poison' was actually 'Venins' which resembles Venus. It seems relevant, therefore, that Venus goes retrograde (i.e. reversing its apparent movement in the sky) during the key period of August 1999, corresponding to "salmon" (which is known to swim against the current) of the same line and also to the previous line's expression, "turning of the fish".This last line of the quatrain strongly reinforces the concepts put forward by the interpretation of the previous lines. The last word of the line "polemars" is not a real word, most likely it's a made-up word / anagram. Decoding is not that difficult - first we'll divide it into two words, 'pole' and 'Mars'. Continued from previous interpretations, it is not hard to see that the "pole" would refer to the 'Eiffel Tower' that stands in the' Field of Mars'.
To decipher the whole line, we need to take a closer look at the map of the region of the 'Field of Mars':
Notice that the park, the Field of Mars ("Champ de Mars"), seemingly crossesover the river. The Seine River can be viewed as dividing the park and there is a bridge connecting the two parts. Since the park area can be viewed metaphorically as "fish" based on previous interpretations, notice how the park left of the river can be viewed as the "head" of the fish barely 'hanging on' to the body, the Field of Mars, by the bridge or the "thread" from "polemars" / the Field of Mars. Thus it would fit Line 4.
Also, since the French word "fil", which I translated here as "thread", could also mean 'stream', the line could also interpreted like this: "Their head hung by the stream of the Field of Mars". This would still be metaphorically describing how the Seine River is dividing the Field of Mars and its "head".
And that's basically how Quatrain II-48 relates to Paris (and through which to the 'Sirius/ark complex')... but there is one last thing to add to all this. And this is my favorite part :) Well, we've looked at every line of the quatrain, so what's left? Ah, yes we left out the number of the quatrain 2 and 48. Why, of course, those numbers are the coordinates of Paris (Paris: 2.3 deg. E & 48.8 deg. N)!
Now let's shift our focus back to II-41 and do more in-depth study:
Century II - 41 The great star will burn for seven days, The cloud will make double sun appear: The large mastiff will howl all night When the great pontiff changes his abode.
Like earlier pointed out, 'great star', 'burn', and 'seven' relate to Sirius. Now we can associate the "great star" with the Place Charles de Gaulle (Arc de Triomphe + the surrounding circular "square") since it was originally called the Place d'Etoile or 'Square of theStar', further linking the two quatrains II-41 and II-48.
From a slightly different angle, the fragments of Comet SL-9 'burned' Jupiter for about '7 days' in July 1994 and caught the attention of the world. The dates of this 'light show' were July 16~22 which roughly coincides with one of the key 'Sirius dates', July 20, mentioned earlier. Moreover, the dates July 16~22 very closely matches the dates of the historic Apollo 11 mission - first ever manned landing on the Moon - which were July 16~24 (and the landing occurred on the key date, July 20). This is meaningful especially when you consider the fact that Apollo the sun god could be identified with Horus the sun god (the son of Isis, and earlier associated with Sirius and Mars). Recall also that July 20 was associated with the 'flood' (of the Nile) in conjunction with Sirius. In Greco-Roman mythology, the god who causes the Flood to punish mankind is Jupiter - the very planet Comet SL-9 crashed into. And Jupiter was mythologically associated with the 'eagle' - the very name of the spacecraft that landed on the moon on that exact flood/Sirius date, July 20 (1969)!
So, in various ways Line 1 corresponds to the Sirius complex.
Besides the 'double sun' reference to Sirius, this line still continues the allusion to the Jupiter-Comet SL-9 collision - the 'cloud' of the fragmented comet colliding with Jupiter to produce a great light show (becoming the 'second sun'). As previously stated, the "mastiff" alludes to Sirius the 'Dog Star'. But a new interpretation can be derived from this line when combined with the 'hypnotic interpretation' by 'Brenda' of this line presented in Dolores Cannon's 'Conversations With Nostradamus' material:
I must say that this sounds like it may relate to the Knights Templar after whose tradition the Jesuits are structured. This would be very congruent since the Templars are intimately associated with the ark/Grail and so also naturally with Sirius the 'Dog Star'. And the CWN hypnotic interpretation and my own converge nicely.
On another level of interpretation, the "private army" of the pope could be in reference to a military corps known as the Swiss Guard that the Vatican maintains and whose function is to protect the pope and his personal residence. Remarkably, here we again see a Switzerland connection (in the name). Remember that Switzerland has been linked with the Templars and the 'ark' earlier. But it gets even more interesting: it turns out that King Louis XIII of France also had a body of soldiers called Swiss Guards to protect him. But they all died on August 10, 1792 during the French Revolution while defending the royal palace in Paris. So, we meet Paris again. The date August 10 is intriguing too as it is only one day before a total eclipse over Europe (Aug. 11, 1999). And it is said (I haven't really checked) that the 'eclipse zone' passes exactly at Paris in the midday! Paris again... I feel there will be a 'resonance' of the demise of King Louis XIII's Swiss Guards manifested around that time. This likely correlates with the sudden dissolution of the Knights Templar on Oct. 13, 1307, when they were betrayed by the pope at the time. And here comes the last line of the quatrain...
Notice that this line shifts the focus from Sirius to the issue of the Church completely, even though the foregoing interpretations made this transition very smooth. And this line is relatively straightforward. The implication is that we may see the Church in upheaval in the summer/fall of 1999.
Incredibly, if we go back to Line 2, it appears to describe the nature of the upheaval in more detail:
LINE 2: "The cloud will make double sun appear"
This now can be interpreted to be referring to the next pope election. To see the connection, we need to first look at the process of the election. The most common way to elect a pope is by ballot. By lot, the cardinals choose from their group three who collect the ballots of the infirm, three who counts the votes and three reviewers of the results. Two votes are taken every morning and two every afternoon until a two-thirds plus one majority is obtained. The crowd in St. Peter's Square follow the bolloting by watching the smoke that comes from the chimney on the palace roof. The smoke is from burning all the ballots. If the necessary majority is not reached, the ballots are burned in a way that creates black smoke. When the majority is reached, the ballots are burned in a manner that creates white smoke to signal the election.
Now, the word Nostradamus used for "cloud" was 'nuee' which actually implies a big/black cloud rather than a nice/white cloud. Therefore a more fitting translation would be:
"Black cloud will make double sun appear"
Next, the "sun" appearing is symbolic of the successor to Pope John Paul II, because he is the 'pope of the solar eclipse' (JPII was born during a solar eclipse May 18, 1920; and he was given the name "De labore Solis" - 'of the eclipse of the sun' - by St. Malachy, an Irish bishop who visited Rome in 1139 and supposedly had a prophetic vision in which he saw all the popes that would sit in St. Peter's Chair. And he identified the future popes by two-word Latin mottoes which correspond to the most striking events of their reign or by their coat-of-arms. They appear to be surprisingly accurate). I don't think I need to point out its relevance to the solar eclipse of Aug. 11, '99. So, continuing, the 'sun appearing' would metaphorically refer to the pope who follows the 'eclipse pope', John Paul II.
But the line says there would be 'two' suns. When combined with the "black cloud" part (which means unsuccessful vote), it's not that difficult to derive the meaning of the whole line; it would refer to a situation of 'pope vs. antipope' (i.e. one elected or claiming to be pope in opposition to the pope canonically chosen). And the indications are that those two 'popes' will be the last popes. At least there are no more popes after them in Malachy's prophetic list of popes. Perhaps it could be viewed that the dissolution of the Church is to begin in the summer/fall of 1999 with the next election.
Remarkably, it turns out, this Church issue is applicable to the other quatrain, II-48, and especially its second line:
LINE 2: "Saturn in the Arc turning from the fish Mars"
As mentioned earlier, the "Arc" can be applied to the Alps which forms a big nice arc at the northern end of Italy. And "the fish Mars" symbolically allude to the cardinals (from whom a pope is elected), because the cardinals wear a red dress and a red cap, the color of Mars; and St. Peter, the first pope, was a fisherman - and the role of a pope is referred to as a "fisher of men". Now, coincidentally, one of the cardinals considered likely to succeed Pope John Paul II, Cardinal Carlo Martini, is the archbishop of Milan, Italy which happens to be located right inside the Alps' "arc" at the northern edge of Italy. This suggest that Cardinal Milan will be involved in the coming trouble of the papal election
Amazingly, the very same line alludes to another participant in the schism. The key is to interpret the "arc" as the arcs of latitude/longitude (which are indeed 'arcs' drawn on the surface of the planet). And it just happens that the long./lat. "arcs"/ 'coordinates', based on the quatrain # '2-48', corresponds to Paris as explained earlier; and Paris happens to be the location of Cardinal Jean-Marie Lustiger, the archbishop of Paris, who is also regarded as a very strong candidate to succeed John Paul II! Cardinal Lustiger is also a Jew (but believes Jesus was the savior), which is interesting because the prophetic motto St. Malachy gave to the next pope is "Glory of the Olive (Tree)" and the olive tree is a common Roman symbol for Jedea/Palestine. Furthermore, this Christian-Jew mix can be compared to the "fish Mars" from the same line of II-48 because it can be taken to mean 'Pisces Aries' which corresponds to Christianity and Judaism. (Jesus represents the beginning of the Age of Pisces and Moses signified the Age of Aries.)
So, we seem to have found the candidates for the next two popes who will be involved in the destruction of the Church. The reason why "Saturn" ("in the Arc") would correspond to both Cardinal Martini and Cardinal Lustiger since both can be viewed to be "in the Arc" as we've just seen is perhaps because they together bring about the end of an era, or time, just as Saturn represents 'Time the destroyer'.
This concludes the discussion on the Church matter, but let us take another look at II-41 and interpret them on a different level.
First, let me mention that the hypnotic interpretations of the CWN material indicates that II-41 and II-48 relate to a "light display" associated with extraterrestrial intelligence (!). Looking at Line 1~3 of II-41, I can't help but theorize that this "light display" would have to do with Sirius:
Those lines just strike me as collectively describing how Sirius will be 'screaming' in the sky. It correlates strongly with X-72's second line "From the sky will come a great King of terror/appeasing King" (the "appeasing King" => Jason of the Argo/ark => Sirius). Of course there are many ways Sirius can "howl" (metaphorically), but let me present some especially intriguing possibilities.
Consider the following: Sirius was called the 'Arrow star', and the Sanskrit word for 'an arrow, 'ishu', also means 'ray of light', and the Dogon tradition tells us that the ray of Digitaria (i.e. Sirius B) sweeps the Earth once a year. This imagery of an arrow-like ray of light that periodically 'sweeps' the Earth strongly reminds me of one particular type of star - a 'pulsar'. A 'pulsar' is a virtually dead star, a neutron star, that rotates rapidly and causes electromagnetic beams to be emitted like a lighthouse (i.e. rotating light beams). The unique thing about pulsars is that their light emission is focused into 'arrow-like' beams and not omni-directional like most light sources in the sky. Therefore, the visibility of a pulsar depends on the geometry involved between the pulsar and the observer. So it is possible that a pulsar that's been invisible to us for a long time suddenly appears in the sky due to some slow-shifting geometric relationship.
What I'm getting at, is that there may be a pulsar in the Sirius system that's about to be observable for us on Earth. And this would make the "double sun" of Sirius. But will it be Sirius B? I'm not sure. Sirius B is considered to be a 'white dwarf' and 'white dwarfs' are not known to develop into pulsars, so scientifically it's unlikely, but science is always revising itself so I won't rule out the possibility of some unknown mechanism that lets Sirius B become a pulsar.
But there is another possibility I'd like to mention here. It's 'emme ya'/'Sirius C' - claimed by the Dogon to exist but not yet confirmed by scientific observation. According to the Dogon tradition, this star "throws out two pairs of radii (beams)" and it's "the only star which emits these beams which have the quality of solar rays" ('Sirius Mystery', pp44-45). These descriptions remarkably match the characteristics of a pulsar! I mean, what other celestial bodies "throws pairs of... beams" besides pulsars? Furthermore, 'emme ya/Sirius C is called the 'sun of women', 'a little sun', and it is said to be accompanied by a satellite called the 'star of Women'. And this 'star of women' is represented by the sign of a 'cross', which correlates with the astrological 'grand cross' of Aug. 18, '99 (also the date for Cassini-earth 'crossing') and the cross of christianity, the Knights Templar, etc. - all relevant to Sirius.
So it seems possible that the 'light display' refers to the discovery/appearance of another star in the Sirius system (emme ya/Sirius C) which may be a pulsar.
If the Sirius "light display" of this kind and the Church schism are to occur, they will likely coincide with each other timing-wise. And the key period seems to be the summer/fall of 1999. Keep in mind, however, that those two are not the only projected events - for example, we have the Mars/Cydonia/Atlantis issues (still Sirius-related though). Notice that the quatrain # of II-41 we just looked at contains the Cydonia/NYC latitude number '41'.
Also, we're also likely to experience some unexpected events that will fit the quatrains and interpretations nicely - and we'll learn from it.
El origen de la plaza de la Concordia se remonta a 1748, cuando la municipalidad buscaba un lugar para colocar la estatua ecuestre del rey Luis XV, encargada para celebrar la recuperación del rey de una grave enfermedad.
El arquitecto Ange Jacques Gabriel fue el encargado de transformar unos terrenos abandonados en la futura plaza Luis XV.
Ange Jacques Gabriel no sólo diseña la plaza, además, proyecta la construcción de dos imponentes hoteles: el primero, utilizado como guardamuebles de la corona, se convertirá en la sede del ministerio de la Marina. El segundo, el hotel Crillon, uno de los más lujosos del mundo.
Para atravesar el río Sena, se construyó entre 1789 y 1790 el puente de la Concordia. Las piedras que se utilizaron para su construcción, provenían de la antigua prisión de la Bastilla.
La Plaza De La Concordia Durante La Revolución Francesa
En el siglo XVIII, durante la Revolución Francesa, la estatua de Luis XV será derribada y fundida, y la plaza de Luis XV se convierte en la plaza de la Revolución.
La guillotina se instalará varias veces en en el centro de la plaza de la Concordia: en octubre de 1792, el 21 de enero de 1793 para la ejecución de Luis XVI y de mayo de 1793 a junio de 1794.
En total, más de un millar de personas han sido guillotinadas en este sangriento escenario, entre ellas la reina María Antonieta, la duquesa de Barry, Dantón, Robespierre…
El Obelisco De Luxor
En 1830, el virrey de Egipto, Mehemet Ali regaló a Francia los dos obeliscos del templo de Ramsés II en Luxor.
Las autoridades egipcias querían agradecer a los egiptólogos franceses las investigaciones realizadas para descifrar los jeroglíficos.
Jean-François Champollion, primer traductor de jeroglíficos, aconseja al Gobierno que sólo se lleve a París el obelisco de la derecha, de 173 toneladas y 23 metros de altura.
Para transportar semejante monumento se construyó un navío de ocho cascos.
El viaje a París del obelisco dura unos 18 meses a través de Gibraltar, el Havre y finalmente el Sena.
El 25 de octubre de 1836, tras casi dos años de espera debido a las obras en la Plaza de la Concordia, el obelisco estará listo para ser depositado en su soporte.
Para levantar el enorme monolito de piedra se utiliza una máquina de vapor que, ante la falta de potencia, necesitará la ayuda de 400 hombres.
Una proeza técnica que contará con la presencia de 200.000 espectadores, así como de la familia real, encabezada por Luis Felipe de Orleans.
Desde el obelisco tendrás una magnífica perspectiva de la Torre Eiffel, el Petit Palais y el Arco del Triunfo al final de los Campos Elíseos.
25 de octubre de 1836: se instala en la Plaza de la Concordia en París el obelisco de Luxor, regalo del virrey de Egipto, Mehemed Alí, a cambio de un reloj para la mezquita de alabastro (que nunca funcionó).
Tema anterior
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Sep 14, 2008 
This last line of the quatrain strongly reinforces the concepts put forward by the interpretation of the previous lines. The last word of the line "polemars" is not a real word, most likely it's a made-up word / anagram. Decoding is not that difficult - first we'll divide it into two words, 'pole' and 'Mars'. Continued from previous interpretations, it is not hard to see that the "pole" would refer to the 'Eiffel Tower' that stands in the' Field of Mars'.
Notice that the park, the Field of Mars ("Champ de Mars"), seemingly crosses over the river. The Seine River can be viewed as dividing the park and there is a bridge connecting the two parts. Since the park area can be viewed metaphorically as "fish" based on previous interpretations, notice how the park left of the river can be viewed as the "head" of the fish barely 'hanging on' to the body, the Field of Mars, by the bridge or the "thread" from "polemars" / the Field of Mars. Thus it would fit Line 4.
need to first look at the process of the election. The most common way to elect a pope is by ballot. By lot, the cardinals choose from their group three who collect the ballots of the infirm, three who counts the votes and three reviewers of the results. Two votes are taken every morning and two every afternoon until a two-thirds plus one majority is obtained. The crowd in St. Peter's Square follow the bolloting by watching the smoke that comes from the chimney on the palace roof. The smoke is from burning all the ballots. If the necessary majority is not reached, the ballots are burned in a way that creates black smoke. When the majority is reached, the ballots are burned in a manner that creates white smoke to signal the election.
