by Mike Bara
Later, just before the publication of Dark Mission, another researcher named Steve Troy found a new series of images of the Los Angeles area, and what these images showed was even more compelling. One such image (AS 10-31-4652) revealed layer after layer of obviously geometric glass, reflecting the brilliant light of the rising sun almost directly back toward the approaching spacecraft. One can clearly see multiple layers, floors, and innumerable right angle views of what can only be geometrically-arranged manufactured structures. There are even what appear to be suspended walkways and transportation bridges clearly visible.
“Los Angeles” at night (NASA AS10-31-4652).
There is simply no plausible explanation for these incredibly reflective, geometrically aligned, transparent structures except an artificial one. But beyond “L.A.,” which was bizarre enough, the real prize of 4822 turned out to be what, at first, appeared to be just a small scratch on the negative.
“Los Angeles” at night (NASA AS 10-31-4652) close-up.
“The Castle”
The Castle is another glittering, remarkably intact geometric formation first identified on a leaked version of frame 4822 provided by a highly-placed source at NASA’s Goddard Spaceflight Center in 1992. Bearing a striking resemblance to “Schloss Neuschwanstein,” a castle built by King Ludwig II of Bavaria in 1869, (which served as the model for Cinderella’s Castle in Disneyland) it is, in fact, another Ancient Alien artifact hanging high above the Moon.
The “Castle.”
The Castle’s location on the lunar landscape is as remarkable as its appearance. As judged by the geometry on frame 4822, this highly anomalous object is actually suspended some nine miles above the lunar surface, somewhere between the eighteen-mile diameter crater, Triesnecker and the well-known Hyginus Rille.
Eventually identified on two separate NSSDC versions of 4822, the Castle raised a series of extraordinary puzzles, beginning with the obvious; what is holding it up?
Stereo analysis of these two versions confirmed the Castle’s presence miles above the lunar surface, apparently just hanging out in space. Around it, as previously noted, appeared a collection of much smaller, equally reflective geometric slivers, as if they all were simply fragments of a once much larger, previously intact, somehow suspended structure.
Like the Tower, the Castle too is surrounded by a faint matrix of sparkling geometric, aligned structure. There is also the clear implication of a sagging support cable seen at the very top of this amazing artifact, to which the obviously large and massive structure is physically attached. In other words, the Apollo 10 crew, via 4822, apparently recorded another section (far northeast of the Tower/Shard remains) of this extensive Sinus Medii dome.
Another interesting point about the Castle is that in the original version (above—right), the drooping cable is clearly visible; but in the second version of 4822 (above—left), not only has the cable disappeared with the increased viewing angle, but the entire structure has visibly foreshortened. This is the result of optical parallax, as the Apollo spacecraft moved farther to the west in the few seconds between the two exposures. From this fact alone, there is no doubt that, despite sharing the same frame number, these are two separate views of the same object, present on two distinctly different photographic images. And that fact alone makes it a sure fire bet that it is really there, hanging miles above the surface of Sinus Medii.
Two distinct views of the “Castle” from two different versions of NASA frame AS10-32-4822. Note the wire passing through the tip of the Castle and sagging under its weight.
Close-up view of the “Castle.” Note geometric internal structure and drooping support cable holding the structure up.
One of the biggest problems with this evidence of an Ancient Alien presence on the Moon is that the theorized lunar “dome” is just so hard for people to visualize. When I say dome, I’m not talking about a dome in the traditional sense like the domed stadiums we are so familiar with on Earth. What these structures really look like are tall, layered box-like structures designed to protect the vast cities below (like Los Angeles) from meteor bombardment. Again, this isn’t easy to picture, but back in the 1990’s award winning architect Robert Fiertek attempted to do just that.
Earthrise over Mare Smythii sequence.
Using all the available images that seemed to show evidence of this glass structure (including all the multiple versions of 4822), Fiertek painstakingly mapped and entered all of the visible points of light into a ray tracing program. He was inspired to do this because of a project he had conducted with 16mm footage of an Earthrise over a region of the Moon named Mare Smythii.
In this footage taken from the Apollo 10 mission, the Earth can be seen rising from behind the lunar horizon. But for some reason, the Earth looks distorted, flattened and compressed. This might not seem so unusual, since the Moon looks the same way when viewed from Earth.
Moonrise in the Earth’s atmosphere.
But again, the problem here is that the reason the Moon looks flattened and distorted is that the Earth has an atmosphere that bends the light and compresses the image of the Moon from the viewer’s perspective. But since the Moon has no atmosphere -at least none to speak of – this cannot be the reason that Earth looks so distorted as it rises. Once again, there has to some nearly transparent medium between the camera and the Earth to create this effect.
Final, overexposed frame from Earthrise over Mare Smythii film (left) and from Fiekrtek’s computer simulation of the transparent lunar dome theory (right).
Fiertek quickly realized that he had chance to disprove the entire lunar dome theory, so he set out to reproduce the effect with computer modeling. Plugging in his best guess for what this dome might look like, he was able to reproduce the distortion most effectively.
Theorized structure of the glass dome over Sinus Medii.
Taking this 3D model and tying it back in with the light source data he’d already entered from the Sinus Medii photos, Fiertek was then able to generate a viable computer simulation of the structure of the dome itself. The results were astonishing.
So this dome, as it were, is more like layer upon layer of steel-hard, transparent material, probably glass, protecting vast stretches of city-like infrastructure below. It must have taken eons, truly millions if not billions of years, for this immense and incredible feat of engineering to have eroded to the point it had by the time we went to the Moon and rediscovered it. As you will see, this unbelievable accomplishment is just the tip of the iceberg. There is much more to be found on the Moon, left behind and placed there by who knows who.
I’m not saying it was aliens… But…
What happened to Surveyor 4?
What all of this leads us back to is Surveyor 4. If you remember, that was the robotic mission that disappeared while descending at high speed over Sinus Medii. The Surveyor 6 spacecraft that managed to land in the same region of the Moon safely and take the astounding after sunset lunar dome image from the surface was a replacement for this lost mission. In fact, it wasn’t until after that iconic photograph that NASA suddenly decided that Sinus Medii was suddenly unsuitable for the first lunar landing, even though it had been the first choice all along. What I strongly suspect is that NASA actually figured out what must have happened to Surveyor 4.
In short, it went “splat” like a bug on a windshield.
The evidence to support this contention is strong. First, keep in mind that the spacecraft was descending at several thousands of miles per hour at least, given that it was still over two minutes from its designated touchdown site. At that speed, even a minor scrape with an object like the Tower or the Shard would have destroyed the space vehicle. Second, Surveyor 6, rather than land in the same place and use the same approach vector, took a different approach vector and landed about ½mile from where Surveyor 4 was intended to touch down. Another tell-tale sign is the mysterious way in which the spacecraft simply ceased to exist. One microsecond it was there, the next it wasn’t. As
I pointed out before, if there had been a chemical explosion, as NASA suggests, then the telemetry would have recorded this rather slow moving process as one system after another on the spacecraft was destroyed by the chemical explosion. Instead, the spacecraft simply blinked out of existence. Also, if NASA truly thought there was a malfunction with Surveyor’s descent rockets, wouldn’t they have tested that thesis and made some improvements to the system? In reality, they did not.
This disappearance then can only be explained by one of two possibilities. Either Surveyor 4 was sucked into some sort of hyper-dimensional wormhole created by the Moon’s Ancient Alien defense systems, or it hit something so fast that not even the light-speed radio transmissions from the onboard computer had time to record it. For obvious reasons, I favor the latter scenario.
At first, it may seem implausible. After all, wouldn’t the spacecraft’s sensitive telemetry also record the considerably slower-than-light impact against the towering glass structures we’ve speculated are littering the Sinus Medii region? Theoretically, yes they would. But the cool thing about conventional physics is there are always exceptions to virtually every rule. A case in point; the “scissors effect.”
Put simply, the scissors effect is an example of the fallacious idea that nothing can travel faster than light (see The Choice). It says that if a pair of scissors were suddenly closed at speeds approaching light speed (1.0c), then the theoretical intersection point between the two blades would (and must) exceed the speed of light. So if the 2 end points of the blades were closed at 0.9c, the intersection point (which exists only mathematically) would exceed 1.8c, or 1.8 times the speed of light. Of course, this calculation ignores the fact that if the two blades actually touch at the point of intersection, as they do in real scissors, then theoretically the blade tips can’t get anywhere near the speed of light. But hey, that’s a real-world application, and these are physicists so…
Illustration of the “scissors effect”
Anyway, the point is, stuff can exceed the speed of light under certain circumstances. So if, as an example, Surveyor 4 were descending at thousands of miles per hour and it’s antenna were suddenly deflected by impacting a giant, immovable object (like say a two times stronger than steel lunar tower extending miles high into the sky above the lunar surface), then the signal might very well be lost so quickly that data about the impact might not be recorded or transmitted back to Earth at all.
Hence, splat! As in a faster-than-light splat.
If any further evidence was needed to prove out the thesis that there is an immense, miles-high, lattice-work type transparent structure above large portions of the Moon, it was provided a few years ago. Shortly before going to publication on our book Dark Mission, my co-author Richard C. Hoagland found a new image of the Moon from the Apollo 15 mission that seemed to seal the deal. Apollo 15 photograph AS15-88-12013 was taken by the astronauts from the Apollo 15 command module Endeavour shortly after “Trans Earth Injection,” the firing of Endeavour’s main engine to break lunar orbit and begin the return trip to Earth. Looking back at the Moon and with the sun behind them, the astronauts snapped a photo with one of the hand-held 70mm Hasselblad cameras they took on the mission. What the photo shows is truly astonishing.
Apollo 15 photograph AS15-88-12013.
Under enhancement, the photo shows what appears to be a misty, billowy “air-glow” limb around the Moon, Stretching literally miles-high above the surface. Scattering the light into the blue end of the spectrum – exactly as an atmosphere would—it looks for all the world like the Moon has a dense atmosphere. But a closer examination reveals that is the least likely explanation.
Enhanced Apollo 15 photograph AS15-88-12013.
All planets with dense atmospheres and solid surfaces, like the Earth, have a visible “air-glow limb.” From orbit, it appears as a fairly solid line above the visible horizon, the solid rocky part, of the planet below. The Earth’s is strong and distinct, as the above image from the International Space Station shows. But while the Moon’s “air-glow limb” from AS15-88-12013 is similar, there are dramatic differences.
For one, it is denser in some places than in others. Notice how the light scattering is thicker above the whiter highland areas in the picture above, and thinner in the areas above the darker maria, or lowland areas. If we were really looking at an atmosphere, it couldn’t pick and choose the areas where it decided to be thicker. As the view of the Earth’s air-glow barrier shows us, it is visually uniform in density.
So what we’re seeing in AS15-88-12013 has to be something else.
It has to be, in short, some sort of transparent (like glass) intervening medium that is scattering the light above and around the lunar disk in this photograph. It has to be our miles-high glass dome, caught under the perfect lighting conditions to capture its gauzy, translucent effect. It has to be the same structures we saw in the famous Surveyor 6 photograph, only this time, photographed from lunar orbit (or at least near lunar space).
While all this makes a circumstantial case to reinforce the “miles-high glass dome model” of Ancient alien ruins on the Moon, it doesn’t completely seal it. For that, we need the crucial ground truth. Images and or testimony from the astronauts that were actually there, in situ, as they say, on the surface of the Moon and saw these majestic ruins for themselves. Fortunately, we have it. And in droves.
1 “In Situ Rock Melting Applied to Lunar Base Construction and for Exploration Drilling and Coring on the Moon,” Rowley, J. C. & Neudecker, J. W., Lunar Bases and Space Activities of the 21st Century. Houston, TX, Lunar and Planetary Institute, edited by W. W. Mendell, 1985, p.465, 1985lbsa.conf. 465R
CHAPTER FOUR
TO THE MOON, ALICE!
At this point in the mid-1990s, there had been a significant movement forward in the study of lunar anomalies. Early researchers like Steckling and Leonard had opened the doorway to close examination of the NASA photographic records of the Moon, and Hoagland had blown it wide open with his findings. But what was missing was that critical ground truth we talked about—direct evidence from the lunar surface that these miles high glass dome structures existed.
Most of the time, when someone uses the word “dome,” it implies a watch crystal like, single piece structure over a crater or some other low lying surface feature. Inside such a structure, it would be possible to create an Earth-like environment. But Hoagland’s model, giant multi-layered scaffolding type structures, actually makes more sense. A naked, watch crystal type dome would be vulnerable to the kind of high-velocity impacts that Moon has experienced for most of its 4.5 billion year life. But a multi-layered, reinforced glass dome would act almost like an atmosphere in terms of the protection it would provide over eons of smaller impacts and the inevitable degradation they would cause. I’m not saying there aren’t “watch crystal” type domes over some lunar craters—in fact we’ll study a few later— but they would be the last line of defense for an Ancient Alien civilization on the Moon. The scaffolding would be the first and presumably the most robust. At this point, all that was left was to find some evidence of it—from the ground.
Skyscrapers on the Moon over Sinus Medii and “Los Angeles.”
In early 1995, Hoagland was on a lecture tour in Seattle and met Ken Johnston, a Boeing engineer at the time, and a former test pilot for Grumman Aerospace. After his tour of duty in the Marines, Johnston had gone to work at NASA in the mid-1960s as a Lunar Module test pilot at the Manned Spacecraft Center in Houston. There he and his team subsequently trained all of the Apollo astronauts to fly the Lunar Module, while simultaneously being part of the extensive spacesuit development program (“I was ‘capsule size,’” Johnston would later joke).
Johnston later moved across the center, going to work for Brown-Root Corporation and the Northrop Corporation in MSC’s Lunar Receiving Laboratory (LRL) during Apollo. This consortium had the prime contract for the processing of the actual lunar samples coming back from the Moon, and Ken’s key func
tion was as supervisor of the data and photo control department. This was the section of the LRL that handled all of the critical photographic and written documentation for the Apollo program. After processing elsewhere in the Lab, the films and samples went through Johnston’s office for cataloging and long-term storage.
AS10-32-4862
Having read Hoagland’s first book, The Monuments of Mars, Johnston wrote a letter of introduction and offered at Hoagland a chance to review Ken’s collection of about 1,000 old NASA photos and other memorabilia. But the story of just how Johnston came to possess the photographs is very interesting and worth retelling.
As head of the LRL photo lab, it was Ken’s responsibility to catalog and archive all of the Apollo photographs taken by the astronauts. As part of the archiving process, the LRL eventually developed four complete sets of Apollo orbital and handheld photography, comprising literally tens of thousands of first-generation photographic negatives and prints. Ken also had responsibility for managing the 16mm mission films from the on-board “sequence cameras” (modified military gun cameras), operating from the Command Module and Lunar Modules during various phases of the missions, including lunar orbit and descent/ ascent. One of his duties was to frequently screen these on-orbit films at MSC before members of the various scientific and engineering teams.
Ken Johnston at the Manned Spacecraft Center in Houston.
During his time at NASA, he’d had a couple of strange experiences which had nagged at him over the years. One was during just such a screening of the 16mm films which he recounted on the popular Coast to Coast AM national radio program:
