The Flickr Totemic Image Generatr

Musée National Des Beaux Arts du Québec [MNBAQ]

Musée National Des Beaux Arts du Québec [MNBAQ]

Musée National Des Beaux Arts du Québec [MNBAQ]

If you compare micro images like this one that I pulled from a stone in 2016 (35x's magnification); you can see that it took me three years of studying these micro images to finally begin to accept that what I was actually seeing within these image fields were actually constructed images following a specific narrative on a micro level. Even in 2016 I was not in any position to understand or interpret what it was that I was seeing, however I had at least learned how to focus on these micro images and at a minimum record them. It has basically taken 10 years and taking over 60,000 micro images that finally has allowed me to to see and analyze some of the primary images within these early micro image fields.
The first thing that we can focus on in this image field is the perfect isosceles triangle; however it is not just a single isosceles triangle, but also an echo of another triangles, including the larger one next to the primary triangle on the left. The various polygons including the isosceles triangle on this ancient mound site indicate references to celestial portals, and this diagram appears to follow this celestial portal pattern reference.
If you carefully study the smaller primary triangle, it is actually attached to the elongated totemic pillar Janus-like symmetrical figure with complex micro imagery facing two directions. This figure appears to have shoulders, a waist, hips, and only partial legs. The triangle appears to be attached to the shoulder ( no visible arms) with a ring, and a smaller triangle within the ring had by a small nymph-like figure within the shoulder region of the larger figure.
None of the figures in this diagram really adhere to distinct human physical characteristics, so perhaps this is why it was so difficult to analyze.
This central figure is facing a smaller figure in the upper left quadrant wearing an isosceles triangle on its head, along with a small circle ring on top of the triangle; just like the triangle attached to the center Janus-like figure. This smaller figure in the upper left quadrant is also holding a small figure in its hands, perhaps the figure of man???
Even at 35x's magnification it is clear that there appears to be a minimum of at least four/five layers of micro figural pigment applications, serving as a individual pigment layering underneath the larger primary figures (luminescent, golden, gray, blue, and black).
The age of these stones based on the variations of celestial figures within this complex diagram system indicates a time frame that was most likely pre-flood (antediluvian) because of the complex technologies required to complete these stones; in addition to the variation of hybrid images that do not follow the Native American Indigenous Peoples physical characteristics. Nothing about this image follows the historical framework taught by modern history; so it is up to the viewer of this image to decide for themselves the true origin of this pigment application on stone since it was found on the peak of an ancient Energy Grid Mound in North America.

Even though these two photos were taken just under 10 years ago; I somehow failed to understand the content of these photos that came from the same stone and images taken roughly 10 minutes apart from each other in August 2013. The 10 minute separation from these two photos is important in the fact that the background pigment application on these two micro photos is near identical and relevant since these two photos were taken roughly 10 years ago and I failed to understand or review them at time.
The center pillar-like symbol in the center of this spherical micro diagram appears represent a mapping system establishing the relevance of mounds systems and the energy fields that may exist surrounding these mounds and possibly attached to the entirety of Energy Grid mounds across our globe that may connect with larger celestial entities across our galaxy and/or beyond marked by the arched celestial sepia-toned symbol highlighted in the previous photo. Celestial Diagrams of individual Mound Structures (micro and macro) perhaps suggest a pillar-like portal structure associated with specific mounds. These pillar-like celestial structures are not visible to the naked eye, however these celestial energy filled structures may exist on functioning mounds still maintained across the globe. The three-dimensional pillar-like structure recently discovered on Skinwalker Ranch may be an example of one of these pillar-like entities not visible to the naked eye, yet recent experimentation has proven most likely exists.
Studying this micro diagram carefully explains a totemic pillar-like structure surrounded within a spherical energy realm; this pillar-like structure figure ascends to the totemic peak marked with a stellar parallax marker opening into a spherical structure of celestial entities; perhaps representing celestial systems within the arch of stars in our night sky known as the Milky Way Galaxy???
I believe that this recent pair of spherical arched celestial diagrams in this series represent the opposite sides of a specific celestial portal system based on the associated content of these two markers. I will work to better clarify this belief over time serving as a "Work in Progress".
North America

The whitened quartz-based totemic figure in the lower quadrant of this image field appears to represent the Janus-like (gateway) entity figure with the ability to rise into the higher celestial realm. The ochre and blue figures at the base of this stone appears to represent the Terra Firma with the whited quartz totemic figure as the gateway edifice to a higher celestial realm most likely existing on ancient Energy Grid mounds across the globe.
My goal is to show as many of these mosaic-styled mound dioramas in an attempt to find repeating patterns to better understand the messaging within these complex micro image fields.
North America

There is a tremendous amount of energy in the Dark Matter today. Take this photo and compare it with the next one to see just how much energy is within this ancient mound today.
The full standing figure on the bottom of this stone appears to represent the physical energy-filled edifice (not visible to the naked eye) that rises into celestial realm on ancient Energy Grid Mounds. This petroglyph image appears to be standing on the precipice of the of the mound looking up at a pair of figures, perhaps representing a kind of portal entity with two distinctly unique celestial systems paired with this celestial entity (portal?).
Above this portal (?) entity/structure is a progressive line of celestial systems perhaps establishing a specific celestial navigation pathway yet to be understood; however it is nevertheless recognizable and now familiar in structure.
Numerical : 1, 2, 5, and 2 celestial systems yet to be understood.
The more I can find of these celestial navigation routes, perhaps we can begin to see repeating patterns that would ordinarily go unnoticed.
The light echo in the Dark Matter (upper right) appears to be the repeating celestial individual with a bowed head and paired with a triad of orbs; gold, white, and blue.

An updated photo of this image reveals a lot more going on within the headdress of this celestial individual. With close inspection of this image at approximately 35x's magnification there is an infinite complexity in these micro images that simply cannot be described, only shown. The question I have is whether this quartz application if it is really an inlay, or is it an application process involving an intricate process of layering, however these micro images almost appear as if they were cut with a sharpened blade in contrast to an application with a painter's brush or the tip of a pen or pencil. These quartz based images are highly complex; utilizing every single micro surface in a layering process merging images upon merging images; perhaps similar in style to Pacific Northwestern "totemic" art, but far more complex.

The origin of totemic art came from the Pacific Northwest Region of the North American Continent; however the art displayed within these complex micro images extend far over and above simple Totemic art of the Pacific Northwest.
When you study the surface of this particular stone within our modern world's visual scale; the surface of this stone appears to hold no visual evidence of pigment application, however at 35x's magnification it is clear that the entire surface of this stone is filled with infinite micro images far deeper in scale than a mere 35x's magnification.
The more one studies the micro images embedded within the surfaces of these ancient mound stones; the more one comes to realize that these stones were not left on these ancient grid sites intentionally for our modern world to ultimately come across, discover, and learn. These stones were most likely left on this ancient energy grid mound to mark this site; and perhaps all other energy grid mounds site across the globe hold similar stones for the simple purpose and intention of marking their claimed territory across deep time, and telling their story to others of their own kind who follow within their path across deep time.
The sheer volume of stones on this ancient site indicates a great number of individuals once participated in an immense effort to complete the task of building these energy grid mounds across the globe; and certainly not just North America or a single continent.
Once one ultimately realizes exactly what these ancient energy grid mounds represent across the globe; perhaps it becomes more of an awakening just how small and inconsequential our modern world really is in comparison to what was necessary to establish and build these ancient energy grid mounds across our globe across deep time; whenever that time really was?
It now appears that there is something very large that is missing from the written history of our modern world that we have not yet discovered or learned. Just a thought.
The outer shape of this celestial individual's headdress now appears to follow the pattern of a Moorish styled Dome; however this domed headdress is far more complex than a simple dome, because it actually appears to contain layers and perhaps celestial identity information as shown in the previous macro photo that that our modern world has yet to decipher or learn of.
The main headdress of this individual may appear as a Moorish styled dome; however notice the small image at the base of this figure with a Cossack styled headdress. As you study the entirety of this single image it appears as if images of all kinds of celestial individuals fall within the umbrella and cloud of this primary figure with the Moorish-styled domed headdress.

When you study the common elements on the surface of this stone, one begins to understand that the people who participated in creating the stones and artifacts on this site were one of many; just as there are over 400 Billion Celestial entities within our Galaxy, there was a huge virtually infinite number of individuals involved with participating in providing the stones and artifacts found on and within this ancient mound site; most likely these individuals came from all over our galaxy based on the infinite number of stones existing on this ancient site. The first declaration coming from the Smithsonian Institution after its creation in 1846 was involved with quietly skewing the true origin of the Ancient mounds existing across North America serving as a virtual attempt to compromise the true origin of humanity across globe in the name of developing this continent and ultimately erasing the ancestors of our Native American Indigenous Peoples in the name of " Global Progress".
When you compare the medieval Art existing on the metallic Roman Styled helmet of armor in this series; the complexity of early medieval Roman Art served as a metaphorical bridge between the stones on this site and the plethora of art that came forward as our modern world was developing in the BC Era onto our present modern era.
This stone is a galaxy stone found on this ancient North American site outlining three primary sections of our Galaxy's structure; Section I (far left), Section II (Middle), and Section III (far right). In Greek Mythology our world is divided into three primary Worlds: The Heavens were where the 12 Gods and Goddesses existed on Mt. Olympus, the Earth was and is where all humans resided and reside, and the Netherworld was and is where the dead resided and reside.
This stone has three primary pictograph sections: The section on the far left of this stone is slightly out of focus, however this particular stone indicates a pyramidal triad core of life that collectively shared all the the great transit pathways of our galaxy to create all life, races and religions of man on Earth.
It is interesting how all elements within our modern world appear to have come from this ancient widely diverse celestial culture of men found on the stones from this ancient North American site. The serpentine trumpet-like symbol in the center of this stone and image field is most likely a pictograph explaining that a vast collection of great diversity and numbers traveled through a vast portal across the celestial galaxy to finally arrive on Earth. The serpentine trumpet styled symbol most likely represents a portal from a different dimension in the galaxy, and the crescent arch of symbols below this symbolic trumpet descending to the lower edge of this stone is most likely the crescent arch of celestial lights representing our Milky Way that we see in our night sky. The true location of Earth in this pictograph is barely visible; the middle point of the lower hypotenuse line within the pyramidal core of our Milky Way Galaxy is Earth's location within the pyramidal energy core of our galaxy.
The elongated totemic dagger-shaped symbol on the far right is most likely explaining the origin of man and the associated cultures responsible for this region and embedded within the micro images of this elongated totemic astrolabe pointer symbol located on the lower tier of far-right edge of our galaxy; this symbol representing the origin of cultures that came from this portion of our galaxy. The lower far left region of Section I of our our galaxy brought us our great pyramids and ancient cultures responsible for Egyptian, Mayan, and similar Sumerian Cultures. The cultures that came from the far right region most likely brought us our Classical Arts, the Roman/Venetian Dome, and most modern elements of society that provided us Art, Laws, Architecture, and Music; including the trumpet found in the pictograph symbolism found within the portal symbol in the center of this stone; these elements were also shared with classical art and theory found in Greek Mythology. Just something to think about when attempting to calculate where and how the elements found on these ancient stones fit in with elements of form within our modern world.

This particular cement based totemic figure of varying images hold shared characteristics of North and South American Ancient Cultures: the totemic artistry of the Western North American Ancient Cultures and the Pukao shaped headdresses of the Moai Warriors found on Easter Island in the Pacific both exist within this relief image.
The totemic Pattern of Imagery in this Cement Based Application also seems to follow the cosmology concept of life throughout time represented by by one tortoise on top of another into infinity. Any way you look at this image, different images of different individuals appear to come to life; micro to macro. Perhaps some of the greatest subtle high technologies existing on this site are the infinite variations of quartz based cements known and widely used by this ancient culture; perhaps this single cement based technology helps show the wide variety of different individuals that must have collectively participated in creating the stones and artifacts to make up this ancient North American mound site???

Artist: Michael Pavlovsky. A large totemic circular bronze that features a light-green patina. Japanese Botanical Garden, Fort Worth, TX.

Artist: Michael Pavlovsky. A large totemic circular bronze that features a light-green patina. Japanese Botanical Garden, Fort Worth, TX.

Sharpham Ashsprington South Hams Devon.

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