1. For the readers could you give us some background on both of you the authors of the “Cydonia Codex: Reflections from Mars” and “The Martian Codex More Reflections from Mars.” And what exactly lead you all down the path of an interest in Mars?
George: I have a background in art. I’m a sculptor, painter and art instructor. I’m also the former director of the Sculptors’ Association of New Jersey. I had a long held interest in Mesoamerican cultures and I’m currently a member of the Pre-Columbian Societies at the University of Pennsylvania and Washington DC. After reading a book about the Face on Mars by Randolfo Rafael Pozos I started the Mars research group known as The Cydonia Institute in 1991. Over the years, I have been studying NASA photographs of Mars for over 20 years.
William: I graduated from the University of Alberta in Edmonton in 1977 with a Bachelor of Science degree in geomorphology. I went to work in the petroleum industry in Calgary, Alberta in 1978 and currently work as a petroleum geoscience consultant in Calgary. From the first time I saw a picture of The Face on Mars in my local newspaper in 1976, I knew that it had to be an artificial creation. My interest was reignited with the reading of Richard Hoagland’s book “The Monuments of Mars” in 1990 or 1991.
2. In the book The Cydonia Codex: Reflections from Mars you present a case for the interpretation of landforms of Mars as geoglyphs that are similar to glyphs on Earth. Could you go into this more for us?
George: Many ancient cultures produced massive earthworks that were pictographic, such as the Serpent mound in Ohio. So, beginning with the Face on Mars, we were convinced that we were looking at a work of art that was built to be viewed from above. So we quickly associated its construction with geoglyphs on Earth.
William: The precedent for giant pictographs is of course the Nazca images in South America. However, the giant geoglyphs on Mars can be directly correlated to the religious mythology of ancient Mesoamerica portrayed in their art and sculpture. The Olmec and Maya in particular.
3. With your second book The Martian Codex More Reflections from Mars you bring up some more interesting cases. What was your main purpose behind the The Martian Codex follow up?
George: Our second book could was most definitely a sequel to our first. It was a follow up to our first which begins with a short review of the past 30-year history of the Face on Mars beginning with NASA’s 1976 Viking Orbiter right up to the 2007 MRO HiRISE image that highlights the two-faced design of the Face. The book also discusses a select group of geoglyphic formations found within the Cydonia complex that we were unable to include in our first book. Interesting formations such as The Key, The Hollow and the much-debated D&M Pyramid we examined.
The second portion of the book presents a select group of our new findings and expands upon the discoveries of fellow researchers. Throughout the book we document a series of reoccurring design motifs by providing side-by-side comparisons of Martian geoglyphs with their terrestrial counterparts. The results substantiate a commonality shared between two worlds that both depict specific gods and characters that parallel the creation mythology of the Maya, as recorded in their sacred book known as the Popol Vuh.
William: We had accumulated more material that needed to be brought to the public’s attention. Some of it was our findings some of it was findings of others which we expanded upon.
4. Just out of curiosity what is your official stance on life on Mars? I’ve seen so many pictures of people saying structures exist and beings live there etc. But never really see much when I try to look at those particular pictures but I will admit your pictures are definitely amazing and I can see some sort of high strange going on for sure.
George: I’m not sure if some kind of primitive or advanced life form evolved on Mars at some time in the past. I haven’t seen any evidence that convinces me that there is life there now. With that said, the existence of an indigenous life form on Mars is not essential for the existence of these geoglyphs. We have traveled to the moon and back. There is no life on the moon, but we left a lot of artifacts there. It’s the same scenario for what we are finding on Mars. Someone visited Mars and left artifacts. It doesn’t necessarily have to be an indigenous culture.
William: I think there was definitely a civilization on Mars at one time. Whether they lived above ground or below ground, I don’t know. It is written about in Zecharia Sitchin’s translation of ancient Mesopotamian texts. It is unlikely it was an indigenous civilization, more likely as Sitchin states, it was a way station or a staging ground for interplanetary travel by an extraterrestrial culture.
George: As for people seeing structures with people living on Mars, many of these images are the blurry results of over blown enhancements were clusters of pixels appear to form buildings. You can find a lot of this on the internet.
5. What is a particular case of a glyph you could share with us from the Martian Codex that parallels a scenario on Earth that you could share with us.
George: We found a geoglyph on Mars that includes a very human looking face, known as Nate’s Human Face that revealed it self to be almost a carbon copy of a Mayan sculpture depicting a shaman riding a jaguar between a pair of dragon-like serpents. The detail is truly amazing.
William: As George, mentions, Nate’s human face, which we expanded on and determined an almost identical Maya sculpture relating to the harvesting of maize and cocoa.
6. When it comes to NASA and all that jazz do you think there has been some sort of cover up when it comes to Mars images at all? Also has NASA ever presented any of these pictures from your books to the public ever?
George: I don’t think NASA is really involved in any extensive cover-up with these images. I don’t think they spend time photo shopping out structures and hiding faces. Right from the start, besides the original Face on Mars, I don’t think anyone at NASA was aware of any of these geoglyphs, because like most scientists, if they were looking for anything – they were looking for buildings and geometric structures, and we don’t see a lot of that in these pictures. What we are seeing is pictographs of half and two-faced – composite-like images that – at times appear to blend-in with the surrounding surface features. I don’t thing anyone at NASA expected that.
William: I believe there may be a faction behind the scenes at NASA that is aware of our connection to Mars. And no, not to my knowledge has NASA presented any of our images to the public.
7. What are some of the Mayan Connections to Mars that you are seeing glyph wise? I find those fascinating because long ago I had a contactee experiences with beings who were very reptilian or I say serpentine like in nature and have interviewed many who have seen these type beings in the vein of Ufology and Shamanism. And I saw the Mayan drawings of their gods and literally it would give me goosebumps because it reminds me of them so much. What can you tell us about the Mayan connection with Mars?
George: Like William said earlier, all of the geoglyphs we are finding on Mars share a direct artistic correlation with the art and iconography produced in Mesoamerica cultures, such as the Olmec and Maya.
William: There is a wonderful book called “The Cosmic Serpent”, by fellow Canadian Jeremy Narby, which discusses the serpent connection to the myths of ancient cultures in all parts of the world, including Australia. It is also interesting that the Egyptian god Horus and the Maya / Aztec god, Kulkulcan / Quetzalcoatl were both portrayed in the form of bird / serpent combinations. I always interpreted it as the serpent symbolized their ability be on the Earth and the bird symbolized their ability to fly (in aircraft / spacecraft.) However, that is just my opinion.
8. The Phoenix mask is very interesting as are all your parallels between Mars and Earth glyphs. I am just curious is it something psychological happening mixed with the spiritual. Or aliens having fun with us or perhaps the intelligence of the Universe showing us its mysteries? Or all of the above. What are your thoughts on this?
George: It appears that all of these geoglphs that we are finding on Mars are like a pages from an ancient pictographic book – that was left there for us to find. The reason all of these formations have such a strong connection with Mesoamerican art and depict many of their creation mythologies is because – who ever constructed these Martain geoglyphs – had a direct influence on creating us.
William: Personally, I think the creation of structures on Mars was a way of leaving a lasting legacy of the builders’ abilities and their time on Earth. They were supposed to be our creator gods so it was important to have something lasting. Since Mars does not have a climate that would deteriorate the structures, they would last much longer than on Earth.
9. Ok so what is the deal with the Parrot situation because when I first heard it. It sounded a little kooky like when NASA released the image of a Sasquatch on Mars which supposedly was just a rock. I am sure you can convince me otherwise because you most assuredly are more wise about Mars than I am no bones about it. But a parrot on Mars does seem a little weird. Please explain.
William: I will let George, discuss the parrot geoglyph.
George: The parrot geoglyph was discovered by a member of The Cydonia Institute, Wil Faust, back in 2001 and over the past few years NASA has provided us with 3 additional images that all confirm the parrots 17 points of anatomical correctness. Just last year William and I had a science paper published in The Journal of Scientific Exploration describing the parrot, which was supported an independent geologist, an image analysts and three veterinarians, one being an avian specialists. The parrot was also just featured in a front page story in the Wall Street Journal.
10. So what are George J. Haas and William R. Saunders up to next project wise and or book wise? And any departing words?
George: Well, I’m working on a third book that features almost a dozen geoglyphs of birds located in an isolated area of Mars. A working title for the book is “The Avian Codex: A Travelers Guide to the Martian Audubon”. It should go to the publisher sometime next year.
William: I have been working on a video presentation highlighting portions of our two books and hope to have it available for release sometime this fall.
In what can only be described as one of the most important archaeological and sociological discoveries in human history, The Cydonia Codex offers overwhelming evidence of aesthetic and symbolic design on the surface of the planet Mars. The authors’ research encompasses over ten years of study and analysis of NASA photographs of the “Face on Mars” and its surrounding complex. Beginning with the famous 1976 photograph of a mile-long formation found on the surface of Mars that strongly resembles a human face, Haas and Saunders offer side-by-side comparisons of the art and sculpture of pre-Columbian Mesoamerica with a set of corresponding geoglyphic structures found in the Cydonia region of Mars. The implication is staggering–Earth’s history and humankind’s origins could be very different than commonly believed. Includes black and white photos throughout, as well as illustrations.
Published and can be purchased at North Atlantic Books
Jeffery Pritchett is the host of The Church Of Mabus Show bringing you high strange stories from professionals in the carousel of fields surrounding the paranormal.
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