An
Overview
of the
Symbolic
and Artistic
Implications

1 The Quandary 
3 The Encounter and the Language of Symbols 
2 Artistic Historical Traditions Echoing the Face on Mars 
4
The
Inherent
continuity
of
the
Face

4
The
Inherent
continuity
of
the
Face

"Design theories exist to mirror the will of the society, reflecting that society's intent. Compare our Modern architecture's emphasis on clean planes to simplify with the medieval cathedral builders' efforts at vaulting the spaces to impress on visitors a visceral sense of the presence of the Divine. "The basic idea of the Cydonia complex seems to be based in the celebration of musical and mathematical patterns. "Let us assume, as the evidence seems so strongly to suggest, that the Cydonian City is indeed a product of intelligent design. A detailed examination reveals the designers to have been quite facile at expressing complexity without delving into randomness. They repeatedly chose to let design factors intertwine to engage and influence the design (as opposed to having had all the objects the same shape or size or orientation). "This web of geometric interrelationships among structures betrays deliberate design in many basic ways. By further interpreting this evidence it may eventually be possible to see into the mindset of the creators of these structures, through the degree and quality of complexity of design, and to gain some insight into their sensibilities. "The complexity in the designs and the ability of the designers to transcend simplistic clichés is far greater than that currently being generated by design theory on Earth. " 
What Fiertek is saying is that the Builders of Cydonia  judging strictly from their apparent architectural designs  were part of a highly sophisticated culture. That their geometric layout of the other structures in this Complex (separate from the Face itself) was both "original" and far from "obvious" (no Los Angeles "gridded streets" apparent in the NASA photographs). That they (the Builders) carefully avoided an "amateur," simplistic symmetry in their layout of the larger Complex, preferring instead a definite asymmetry in the placement of the structures  one that subtly reiterated key mathematical relationships.
Now, the Face is obviously the central element embedded (as Hoagland and Torun demonstrated many years ago) in this proposed Cydonia Design. Why then, would we imagine that it would not be consistent with the overall pattern of the rest of this extraordinarily sophisticated Complex? Why would we conclude, based on such architectural sophistication, that the Face itself would suddenly depart into a very linear, symmetrical perspective  when every other feature at Cydonia is asymmetric?
In
fact,
would
it
not
be
far
more
reasonable
to
assume
that
the
underlying
mental
template
used
to
design
the
City
of
Cydonia
would
indeed
be
inherent
in
the
Face
itself?
Those
who
claim
that
the
Face
cannot
now
be
artificial

because,
unlike
"real
faces,"
it
is
obviously
asymmetric

are
simply
using
the
wrong
rulers
of
artistic
"measurement."
Their
case
against
the
Face's
artificiality
simply
falls
apart,
once
you
realize
that
it
would
be
architecturally
and
culturally
inconsistent
for
the
Face
to
be
the
only
thing
symmetric
at
Cydonia
...
surrounded
by
a
supporting
urban
Complex
obviously
designed
to
reinforce
an
asymmetric
"Message!"
Degree
of
Adherence
of
Various
Structures On this chart are compared seven artificial and natural structures based on formative categories as described in detail in the book Precedents in Architecture. Structures are rated on a scale of 02 depending on how well the structures fulfill the description of that category. The tabulated total potentially describes the extent of artificiality of a designed structure. It is of course possible for a totally manmade structure to get a zero if it is designed to look natural. These are the structures rated: Structure
A:
The
Acropolis,
Athens
monumental
complex
of
classical
Greek
structures.
0=
does
not
fulfill
category









1.  Plan to Section 







a. Equal 








b. One to OneHalf 








c. Analogous 








d. Proportional 








e. Inverse 








2.  Unit to Whole  
a. Unit Equals Whole 








b. Units Contained in Whole 








c. Whole Greater than Sum of Units 








d. Units Aggregate to Form Whole  
1. Adjoin 








2. Overlap 








3. Separate 








3.  Repetitive to Unique  
a. Unique Surrounded by Repetitive 








b. Unique by Transformation of Repetitive 








c. Unique in Repetitive Field 








d. Unique Added to Repet. 








e. Unique Defined by Repet. 








4.  Additive & Subtractive  
a. Subtractive 








b. Additive 








5.  Symmetry & Balance  
a. Symmetry 








b. Balance by Configuration 








c. Balance by Geometry 








d. Balance by Positive & Negative 








6.  Geometry  
a. Basic Geometry 








b. Circle and Square 








c. Rectang. Overlap by Circle 








d. Two Squares 








e. Nine Square 








f. Four Square 








g. 1.4 & 1.6 Rectangles 








h. Geometric Derivatives 








i. Rotated, Shifted & Overlap 








j. Pinwheel, Radial & Spiral 








k. Grid 








7.  Configuration Patterns  
a. Linear: Use 








b. Linear: Circulation 








c. Central: Use 








d. Central: Circulation 








e. Double Center 








f. Cluster 








g. Nested 








h. Concentric 








i. BiNuclear 








8.  Progressions  
a. Hierarchy 








b. Transition 








c. Transformation 








d. Mediation 








9.  Reduction  
a. Large Plus Small Reduct. 








b. Part of Whole Reduction 








Low score 








High score 







Again, I must come back to "theme"  to appropriately analyze a Work of Art one must apply the standards of that Art. In the case of the Face on Mars, we not only have the Face itself to deal with, we have compelling evidence of surrounding architectural Design. Cydonia is NOT a case of an isolated "geological anomaly" that happens to resemble something called "a Face" It is a highly sophisticated Complex, consisting of a series of related structures  which maintain a unifying geometric correlation totally consistent with the highest Architecture on this Planet. And the Face is it's crowning, communicative Centerpiece. Thus, we have before us "an enigma in a context"  not only capable of stirring Mankind's deepest memories of "something else" ... but of ultimately shattering the shackles that for too long have imprisoned Humanity's once true vision of itself. The long Night is almost over ...
1 The Quandary 
3 The Encounter and the Language of Symbols 
2 Artistic Historical Traditions Echoing the Face on Mars 
4
The
Inherent
continuity
of
the
Face

About the Author  Kynthia
Return to Planetary Mysteries
Return to Enterprise Mission