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| A Paraquin Selenite |
In the book,
PARADIMENSIONAL SPACE ART, co-authors and anomalists Bret Colin Sheppard and Karen Christine Patrick introduce the discovery by Bret Sheppard of holographic embedded imagery of strange beings and scenes found in Lunar Orbiter photographs taken circa 1966-67 when NASA was looking for landing spots for future missions. Bret Colin Sheppard and Karen Christine Patrick are administrators of the group LARS, the Lunar Anomaly Research Society, a group on facebook dedicated to researching anomalies found on the moon.
A paranormal turn of the story is that Sheppard finds these images in 2012-2014, and continues to find them, however he has seen them before in a slide show of art images shown to him in 1982. As a prodigy artist of 15 years of age, he and another student are shown these images after art class in school by a mysterious woman from the Stanford Research Institute, SRI. Bret had a strong sense of deja' vu at the time, but there was no follow-up with Bret as to what this was all about.
Years later, Bret Sheppard feels strongly compelled to find anomalies in NASA images and creates the facebook group, the "Lunar Anomaly Research Society LARS." A member of that group shows him an image that unlocks Bret's observation and he starts finding the embedded imagery in the black and white photos found in databases online. Sheppard colorizes the imagery so others can begin to see what he is seeing and he posts them on the LARS group. At this writing, Sheppard has a significant collection of space art work that includes hundreds of images with thematic elements from the photorealistic to the surrealistic. Karen Patrick suggests that it's possible that Bret was shown his own work in 1982 from the future, an assessment Bret Sheppard agrees with due to the detailed work he has done illustrating the imagery. The strange time anomaly tale and a portion of the collection he has illustrated is depicted in the
PARADIMENSIONAL SPACE ART book, available on Gumroad.com.
The working theory of Sheppard and Patrick is that the imagery is holographic communication by intelligent beings, either extraterrestrial or extradimensional, that are trying to communicate with us on earth through the equipment sent to the moon. It's not easy from our earth-based culture to comprehend what can be seen. Calling these beings for short, "Moonlings" just as we humans are "Earthlings", the anomalist team of Sheppard and Patrick have been coming up with various theories as to what the nature of the imagery might be. The term "Paraquin Selenites" is a more formal descriptive term being used by them, for now, described in this article.
In 1982, when Bret sees a slide show of the work he does in the years 2012-2014, the word "Paraquin" pops into his mind. A few times over the years, Bret does photorealistic sketches of them, these works are now in private collections. The word "Paraquin" seems to be a portmanteau of the word parts "para" meaning "beyond" and "harlequin" meaning "a clown". The etymology of the word "Selenite" comes from the name "Selene" which is the name of ancient goddess of the moon. Selenites are beings that come from the moon, often depicted in fiction. They are often shown as being ant-like underground workers, with an advanced technological society.
In the
H.G. Wells story, First men On The Moon, Selenites were an advanced race of inteligent ant-like people from the moon. They were depicted by
Ray Harryhausen who tried to stay close to HG Well's description of Selenites closely.
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Selenite Worker in suspended animation
in the movie "First Men on the Moon"
by Ray Harryhausen | |
Bret Sheppard found an image of a Selenite Worker embedded in a NASA image that very closely resembles Well's moon resident:
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Selenite Worker image from the book
"PARADIMENSIONAL SPACE ART"
by Sheppard and Patrick |
The "Selenite" concept of the ant-like beings are seen in the embedded imagery, but also clown-like beings, the "Paraquin Selenites" type. This article, the imagery in the book, and the analysis presented is not mean at all for humor or mockery, so we are asking the reader to suspend judgement and just observe, to not let cultural archetypal conditioning blind the mind.
Karen Patrick writes:
"There is, quite possibly, historical and cultural precedent for the idea of the Selenites in human culture, going back to Roman and Greek, times. What is the origin of the archetypal costuming and masquerade found repeatedly in older human culture and folklore? A strong visitation of this cultural style, with ruffled collars and white face paint was popular in European court culture in Elizabethan times, in the Italian Commedia del'arte, and in the french royal court haute couture. It has come down to us from formal wear of the royals, preserved in the theatrical arts of the circus, and in the imagery of the carnival of many other countries. So strong is this imagery buried into the deep recesses of human lore that there may be a cultural memory of such beings visiting Earth in the past.
That we find this imagery so strangely sourced as in space images is very startling. We are just in the early stages of uncovering these images and trying to make sense of them as a team, holding an open source intention for what we are seeing, welcoming others to soberly consider this startling discovery with us."
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| Original Lunar Orbiter photograph |
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| Paraquin Selenite colorized by Bret Colin Sheppard |
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Illustration Sketch for visualization
by Bret Colin Sheppard |
Of the process used by NASA to capture the base images used, Bret Sheppard writes:
I suppose I should explain some of these images I see within the black and white lunar images. These images were taken in space by Lunar Orbiter with a Hasselblad camera designed to take a base image of the surface of the moon. In our group, we have found many structures and anomalies in the image. Studying the image further I have found embedded layers of images and photo-realistic scenes like one might see in a movie poster, also iconic images from earth are coming through. The film from the Hasselblad camera was developed in space and, presumably, transmitted back to Earth. It is a mystery how this imagery got in there. NASA has no explaination for this other than to call it pareidolia, a psychological trick of the mind. I believe this is deliberate graphic ET or ED communication straight from our space family, the Parequine Selenites aka (Moonlings). This type of graphic communication is digitally subtle and is far too complex for NASA or any other agency to have inserted in as a part of a psychological experiment, which was one of my theories at first, and many of the images are completely embarrassing to them which is why, I think, they asked a 15-year-old kid what they are.
Here is what I found out about the Lunar Orbiter imaging system:
http://en.wikipedia.org/wiki/Lunar_Orbiter_program
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| Haselblad |
The Lunar Orbiters, had an ingenious imaging system, which consisted of a dual-lens camera, a film processing unit, a readout scanner, and a film handling apparatus. Both lenses, a 610 mm (24 in) narrow angle high resolution (HR) lens and an 80 mm (3.1 in) wide angle medium resolution (MR) lens, placed their frame exposures on a single roll of 70 mm film. The axes of the two cameras were coincident so the area imaged in the HR frames were centered within the MR frame areas. The film was moved during exposure to compensate for the spacecraft velocity, which was estimated by an electro-optical sensor. The film was then processed, scanned, and the images transmitted back to Earth. The photographic system was provided by Eastman Kodak and derived from a system, provided by the National Reconnaissance Office, designed for the U-2 and SR-71 reconnaissance aircraft.[3] The camera used two lenses to simultaneously expose a wide-angle and a high-resolution image on the same film. The wide-angle, medium resolution mode used an 80 mm F 2.8 Xenotar lens manufactured by Schneider Kreuznach, Germany. The high-resolution mode used a 610 mm F 5.6 Panoramic lens manufactured by the Pacific Optical Company. The film was developed on-orbit, and then scanned by a photomultiplier for transmission to Earth.
http://en.wikipedia.org/wiki/Photomultiplier
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| photomultiplier |
Photomultiplier tubes (photomultipliers or PMTs for short), members of the class of vacuum tubes, and more specifically vacuum phototubes, are extremely sensitive detectors of light in the ultraviolet, visible, and near-infrared ranges of the electromagnetic spectrum. These detectors multiply the current produced by incident light by as much as 100 million times (i.e., 160 dB), in multiple dynode stages, enabling (for example) individual photons to be detected when the incident flux of light is very low. Unlike most vacuum tubes, they are not obsolete.
Bret Sheppard continues
The quote "The film was developed on-orbit, and then scanned by a photomultiplier for transmission to Earth." is instructive here which means the film was developed in space. That is important to know because that means that it's possible that "dreamlight" or light information was picked up from sensitive equipment like a photo multiplier and were transmissions by some form of advanced holography or telepathic communication.
What really gets my brain itching is that I am not seeing any of these for the first time which suggests that I could have been seeing my own work in 1982 from today. Anything could have been picked up from space light info or dream lights by these multipliers.
Get the Book PARADIMENSIONAL SPACE ART
by Bret Colin Sheppard and Karen Christine Patrick
