Category Archives: Research

Greenland is Coming!

I’m nearly there with preparation. This weekend I ordered my supplies and some new photography/film equipment I’m excited to use. I bought a 28” suitcase in hopes that everything will fit. I also plan on buying a small backpack. I started on the script/outline for the movie and an itinerary on how I’ll spend my time. I booked my hotel and car rental for my 30 hr layout in Iceland on the way home. I booked a hiking activity in Greenland to experience more of the landscape. I finalized my budget, itemized it and developed a plan on how to pay for it. I submitted my press releases and contacted the right people for blogging. Other things I’m probably forgetting.

I do plan on doing a test drive of the drone if I have the time before the trip around here as well as some tests with the new camera and developing process.

New Equipment

  • Canon Camera with video capability
  • Drone
  • Stablizer
  • Canon Microscope Adapter
  • Tripod

Traditional supplies

  • RTV Silicone Putty (for impressions)
  • Developing Trays
  • Vitamin C
  • Instant Coffee
  • Developing Paper
  • Regular Paper
  • Ink for printmaking
  • Fast drying clay
  • Herbarium
  • Washing Soda
  • 2×3 photo paper for mobile printer
  • Sketchbook
  • Colored Pencils
  • Travel Watercolors

Current Equipment

  • Laptop
  • Kirlian Device
  • Microscope
  • Mobile printer
  • Vlog Camera – Samsung NX Mini

Progress on Research Trip

If you haven’t noticed, I’ve been working hard on my research trip for Greenland this May. I’ve already gotten a schedule down, the campaign and fundraising launched as well as an idea of what imaging techniques to do. 

It’s funny because sometimes I think of something and in that moment when I go work on it, it may not have any substance and stash the idea/project away. Then months later when I am involved in something else I think of, ‘hey, I did that thing months ago that I can use again now!’ I usually love when I am able to recycle projects because it usually turns into something else that’s more sustainable.

This time it’s my topography project. I did the first run months ago when the idea came to me, but didn’t see it go anywhere because it didn’t produce a result that I was expecting but didn’t hate the result either, just didn’t know what to do with it. Yet after some thought of image-making I went back and thought that the result can be used in graphic design and realized the value of this result.

This came about after talking with the eco-technology company – The Ocean Cleanup. I had been working on the campaign for the research trip and been following people who are aligned with the arctic circle in some way. One connection was the ocean within the arctic circle since the campaign focused on the ice element. I started following smaller businesses who may not mind collaborating on something and reached out to them. Through some thought and soul-searching, I proposed to them to create some sort of image technique – unique – to their company to help raise awareness of their work. Unfortunately, they didn’t not have the Human Resources to help carry this out. But it gave me another use for my topography project. 

I think I am going to keep and eye out for waste-damage in Greenland and see if I can make a topographic impression of it – or several and then use this to create a series of prints. 

WTA – Ferrofluid Cells

(above image is a result however it’s very faint and shows up better in video)

I have been working on my ferrofluid visualization technique in my MagKnotic project. I had been studying the video that I am using to replicate the process and just had a ‘d’oh’ moment. I was seeing the process as an imaging technique. But, yes it is a technique, however, it’s technically a DISPLAY. The image that appears is merely an effect of the DISPLAY. As such the liquid between the hele-shaw cell needs to remain relatively clear for it to display any sort of image. I bet that this is how most displays were originally made and maybe even made today. 

Maybe instead of focusing on creating an IMAGE I could focus on techniques to display an image. The image is a result of a successful display. 

News: Greenland Research Trip

I am excited to announce that I will be going to Greenland next spring! I will officially be launching my ‘around the zone‘ project and will be investigating precipitation (water) in organic materials in the tundra climate zone under different imaging techniques. Since I have to stop in Iceland on the way over, I may include Iceland as a tourist but we’ll see how planning goes. More details to come as it gets closer.

WTA – Burdock

I spent a good amount of time in my studio this past weekend and it felt quite freshing, as I’m starting to see my workflow again. I walked the boarder of the property of my apartment and took some photos of the plants I found ‘in the wild’. Immediately I found Red Clover, Queen Anne’s Lace, Pokeweed and Burdock. I began a few pages in my sketchbook of an herbarium. I have a smaller herbarium for the specimens used in my electrography work but I like to sometimes keep an herbarium of the plants and flowers of the locale environment. I have a field guide that I use to help me identify some of plants and use a Facebook group for difficult ones. One particular plant that stuck out to me was burdock and upon looking it up further I was pleasantly surprised that it is connected to the Turkish culture. In Turkish Anatolia, the burdock plant was believed to ward off the evil eye, and as such is often woven into kilims for protection. With its many flowers, the plant also symbolizes abundance.

The meanings expressed in kilims derive both from the individual motifs used, and by their pattern and arrangement in the rug as a whole. A few symbols are widespread across Anatolia as well as other regions including Persia and the Caucasus; others are confined to Anatolia.

An especially widely used motif is the Elibelinde, a stylized female figure, symbolizing motherhood and fertility. Other motifs express the tribal weavers’ desires for protection of their families’ flocks from wolves with the wolf’s mouth or the wolf’s foot motif (Turkish: Kurt Aǧzi, Kurt İzi), or for safety from the sting of the scorpion (Turkish: Akrep).Several protective motifs, such as those for the dragon (Turkish: Ejder), scorpion, and spider (sometimes called the crab or tortoise by carpet specialists) share the same basic diamond shape with a hooked or stepped boundary, often making them very difficult to distinguish.

All the motifs can vary considerably in appearance according to the weaver. Colours, sizes and shapes can all be chosen according to taste and the tradition in a given village or tribe; further, motifs are often combined. To give some idea of this variability, a few alternative forms are shown in the table.

Kilim motifs and their meanings

Name Turkish Motif Purpose Object Notes
Hands-on-hips motif Elibelinde 240px-Elibelinde2.jpg Motherhood,

fertility

Marriage Female principle (4 examples)[1]
Cross motif Haç 160px-Cross_Kilim_Motif.jpg Protection Evil eye to divide the evil eye into four

(2 examples)[1]

Hook motif Çengel 60px-Hook_Kilim_Motif.jpg Protection Evil eye to destroy the evil eye[1]
Eye motif Göz 240px-Eye_Kilim_Motif.jpg Protection Evil eye to ward off the evil eye

(3 examples)[1]

Comb motif Tarak 160px-Comb_Kilim_Motif.jpg Protection Birth,

marriage

May also symbolise rain, water of life

(2 examples)[1]

Running water motif Su Yolu 160px-Running_Water_Kilim_Motif.jpg Fresh water Life very important in tribal life

(3 examples)[1]

Fertility motif Bereket 240px-Fertility_Kilim_Motif.jpg Fertility Marriage Combines female principle (hands-on-hips), male principle (ram’s horn)

(2 examples)[1]

Ram’s horn motif Koçboynuzu 240px-Ram's_Horn_Kilim_Motif.jpg Fertility,

Power,

Masculinity

Marriage Male principle (2 examples)[1]
Star motif Yıldız 160px-Star_Kilim_Motif.jpg Fertility,

happiness

Marriage Solomon’s seal, a white starlike flower[1]
Love and Unison motif Aşk ve Birleşim 120px-Love_and_Unison_Kilim_Motif.jpg Love and harmony Marriage Derived from oriental

Yin/Yang motif 32px-Taijitu_-_Small_(CW).svg.png[1]

Amulet motif Muska 240px-Amulet_Kilim_Motif.jpg Protection

Luck

Evil eye Amulets worn on the person contained a verse of scripture

sewn into a square of cloth folded into a triangle. (3 examples)[1]

Bird motif Kuş 240px-Bird_Kilim_Motif,_for_luck_and_happiness,_etc.jpg Luck,

Happiness,

strength

Life Owl and raven signify bad luck;

pigeon and nightingale, good luck.

Also souls of the dead; expectation of news.

(2 examples)[1][11]

Fetter motif Bukaǧı 100px-Fetter_Kilim_Motif.jpg Union Marriage To tie family or lovers together.

The fetter tied front and hind legs of a goat.[1]

Trousseau chest motif Sandıklı 160px-Trousseau_Chest_Kilim_Motif.jpg Marriage,

children

Marriage Unmarried women prepared dowry in a chest.[1]
Earring motif Küpe 160px-Earring_Kilim_Motif.jpg Marriage A common wedding present[1]
Wolf’s Mouth motif

Wolf’s Track motif

Kurt Aǧzi,

Kurt İzi

240px-Wolf's_Mouth_Kilim_Motif.jpg Protection of the flocks Wolves (2 examples)[1]
Scorpion motif Akrep 240px-Scorpion_kilim_motif.jpg Protection Scorpions (2 examples).[1] Similar motifs are used for other

animals such as Spider, Crab and Dragon.[4][7]

Dragon motif Ejder 240px-Dragon_Kilim_Motif.jpg Protection? Dragon is “master of air and water”,[1]

cause of lunar eclipse, guard of treasure.

(4 examples)[1]

Tree of life motif Hayat Aǧacı 100px-Tree_of_Life_Kilim_Motif.jpg Immortality Many different plants may be represented,

e.g., beech, cypress, fig, oak,

olive, palm, pomegranate, vine[1]

Burdock motif Pitrak 240px-Burdock_Kilim_Motifs.jpg Protection,

abundance

Evil eye Plant is used to ward off evil eye.

With many flowers, it symbolizes abundance.[1]

Around the world…? no zone…

I’ve been working on a large scale project that involves taking my artistic practice to countries based on the climate zone. One of the challenges of working with organic materials is that you cannot take organic materials across the boarder so the easiest way is to take your practice/research with you while you travel. I have just recently finished the limited edition release of Valley Moments, volume 1, Moments of Creative Exploration  and had a bit of a realization of how to plan the other editions. The next one will be based on the theme, ‘(scientific) Inquiry’ so.. ‘Moments of (scientific) Inquiry’ which got me thinking about this large scale project as it involves traveling also.

The project involves taking my practice/research to a different country in a different climate zone, and my electrography process to photograph organic material within different climate zones. My goal is to see similarities (or continuities?) in each climate zone of maybe similar materials. It has made me pay attention to the destination even more so. For example, Greenland is on my list because it’s climate is within the Tundra zone, however that doesn’t necessarily mean there isn’t vegetation. There could be very little vegetation – however it will still be significant to my work. Additionally, the vegetation in the Tundra zones of the world may lie really in the oceans – so scuba diving might be a possibility to collect samples. From observation during my residency in Italy, the voltage and frequency of electricity used within a specific country can also impact results on paper. As observed, the effect on paper was much harsher in Italy since there was a greater use (220 volts vs 110 volts in USA). In Greenland it’s even higher (220 – 240 volts).

Perhaps from a data perspective, my goal is to hope to visualize climate change in a stronger way. To maybe see effects of using organic materials overtime within a specific climate zone. The voltage used within a country shouldn’t change that much, but since the effect on paper is related to water presence in organic materials, we might be able to see things become drier or more moist over time.

WTA – Tracks in a Hydrogen Bubble Chamber

Type: From Physics Research

Title: Tracks in a hydrogen bubble chamber

Description:These tracks (high-res version) were made by charged particles in a bubble chamber (a technology used in the 1970s).  A magnetic field perpendicular to the image produces a force that curves the orbits of charged particles. See Tracks in a hydrogen bubble chamber for information about this image, and to find out more, visit CERN’s Introduction to the BC Site.Image:image © CERN; image source

Image URL:https://www.compadre.org/Informal/images/features/CERNtracks7-25-07large.jpg

Featured:August 1, 2007 – August 16, 2007

CL – Inertia: the force that holds the universe together

Inertia: The Force That Holds the Universe Together

Inertia is the force that holds the universe together. Literally. Without it, things would fall apart. It’s also what keeps us locked in destructive habits, and resistant to change.

***

“If it were possible to flick a switch and turn off inertia, the universe would collapse in an instant to a clump of matter,” write Peter and Neal Garneau in In the Grip of the Distant Universe: The Science of Inertia.

“…death is the destination we all share. No one has ever escaped it. And that is as it should be, because death is very likely the single best invention of life. It’s life’s change agent; it clears out the old to make way for the new … Your time is limited, so don’t waste it living someone else’s life.”

— Steve Jobs

Inertia is the force that holds the universe together. Literally. Without it, matter would lack the electric forces necessary to form its current arrangement. Inertia is counteracted by the heat and kinetic energy produced by moving particles. Subtract it and everything cools to -459.67 degrees Fahrenheit (absolute zero temperature). Yet we know so little about inertia and how to leverage it in our daily lives.

Inertia: The Force That Holds the Universe Together

The Basics

The German astronomer Johannes Kepler (1571–1630) coined the word “inertia.” The etymology of the term is telling. Kepler obtained it from the Latin for “unskillfulness, ignorance; inactivity or idleness.” True to its origin, inertia keeps us in bed on a lazy Sunday morning (we need to apply activation energy to overcome this state).

Inertia refers to resistance to change — in particular, resistance to changes in motion. Inertia may manifest in physical objects or in the minds of people.

We learn the principle of inertia early on in life. We all know that it takes a force to get something moving, to change its direction, or to stop it.

Our intuitive sense of how inertia works enables us to exercise a degree of control over the world around us. Learning to drive offers further lessons. Without external physical forces, a car would keep moving in a straight line in the same direction. It takes a force (energy) to get a car moving and overcome the inertia that kept it still in a parking space. Changing direction to round a corner or make a U-turn requires further energy. Inertia is why a car does not stop the moment the brakes are applied.

The heavier a vehicle is, the harder it is to overcome inertia and make it stop. A light bicycle stops with ease, while an eight-carriage passenger train needs a good mile to halt. Similarly, the faster we run, the longer it takes to stop. Running in a straight line is much easier than twisting through a crowded sidewalk, changing direction to dodge people.

Any object that can be rotated, such as a wheel, has rotational inertia. This tells us how hard it is to change the object’s speed around the axis. Rotational inertia depends on the mass of the object and its distribution relative to the axis.

Inertia is Newton’s first law of motion, a fundamental principle of physics. Newton summarized it this way: “The vis insita, or innate force of matter, is a power of resisting by which every body, as much as in it lies, endeavors to preserve its present state, whether it be of rest or of moving uniformly forward in a straight line.”

When developing his first law, Newton drew upon the work of Galileo Galilei. In a 1624 letter to Francesco Ingoli, Galileo outlined the principle of inertia:

I tell you that if natural bodies have it from Nature to be moved by any movement, this can only be a circular motion, nor is it possible that Nature has given to any of its integral bodies a propensity to be moved by straight motion. I have many confirmations of this proposition, but for the present one alone suffices, which is this.

I suppose the parts of the universe to be in the best arrangement so that none is out of its place, which is to say that Nature and God have perfectly arranged their structure… Therefore, if the parts of the world are well ordered, the straight motion is superfluous and not natural, and they can only have it when some body is forcibly removed from its natural place, to which it would then return to a straight line.

In 1786, Immanuel Kant elaborated further: “All change of matter has an external cause. (Every body remains in its state of rest or motion in the same direction and with the same velocity, if not compelled by an external cause to forsake this state.) … This mechanical law can only be called the law of inertia (lex inertiæ)….”

Now that we understand the principle, let’s look at some of the ways we can understand it better and apply it to our advantage.

Decision Making and Cognitive Inertia

We all experience cognitive inertia: the tendency to stick to existing ideas, beliefs, and habits even when they no longer serve us well. Few people are truly able to revise their opinions in light of disconfirmatory information. Instead, we succumb to confirmation bias and seek out verification of existing beliefs. It’s much easier to keep thinking what we’ve always been thinking than to reflect on the chance that we might be wrong and update our views. It takes work to overcome cognitive dissonance, just as it takes effort to stop a car or change its direction.

When the environment changes, clinging to old beliefs can be harmful or even fatal. Whether we fail to perceive the changes or fail to respond to them, the result is the same. Even when it’s obvious to others that we must change, it’s not obvious to us. It’s much easier to see something when you’re not directly involved. If I ask you how fast you’re moving right now, you’d likely say zero, but you’re moving 18,000 miles an hour around the sun. Perspective is everything, and the perspective that matters is the one that most closely lines up with reality.

“Sometimes you make up your mind about something without knowing why, and your decision persists by the power of inertia. Every year it gets harder to change.”

— Milan Kundera, The Unbearable Lightness of Being

Cognitive inertia is the reason that changing our habits can be difficult. The default is always the path of least resistance, which is easy to accept and harder to question. Consider your bank, for example. Perhaps you know that there are better options at other banks. Or you have had issues with your bank that took ages to get sorted. Yet very few people actually change their banks, and many of us stick with the account we first opened. After all, moving away from the status quo would require a lot of effort: researching alternatives, transferring balances, closing accounts, etc. And what if something goes wrong? Sounds risky. The switching costs are high, so we stick to the status quo.

Sometimes inertia helps us. After all, questioning everything would be exhausting. But in many cases, it is worthwhile to overcome inertia and set something in motion, or change direction, or halt it.

The important thing about inertia is that it is only the initial push that is difficult. After that, progress tends to be smoother. Ernest Hemingway had a trick for overcoming inertia in his writing. Knowing that getting started was always the hardest part, he chose to finish work each day at a point where he had momentum (rather than when he ran out of ideas). The next day, he could pick up from there. In A Moveable Feast, Hemingway explains:

I always worked until I had something done and I always stopped when I knew what was going to happen next. That way I could be sure of going on the next day.

Later on in the book, he describes another method, which was to write just one sentence:

Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know. So, finally I would write one true sentence and go on from there. It was easy then because there was always one true sentence that I knew or had seen or had heard someone say. If I started to write elaborately, or like someone introducing or presenting something, I found that I could cut that scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written.

We can learn a lot from Hemingway’s approach to tackling inertia and apply it in areas beyond writing. As with physics, the momentum from getting started can carry us a long way. We just need to muster the required activation energy and get going.

Status Quo Bias: “When in Doubt, Do Nothing”

Cognitive inertia also manifests in the form of status quo bias. When making decisions, we are rarely rational. Faced with competing options and information, we often opt for the default because it’s easy. Doing something other than what we’re already doing requires mental energy that we would rather preserve. In many areas, this helps us avoid decision fatigue.

Many of us eat the same meals most of the time, wear similar outfits, and follow routines. This tendency usually serves us well. But the status quo is not necessarily the optimum solution. Indeed, it may be outright harmful or at least unhelpful if something has changed in the environment or we want to optimize our use of time.

“The great enemy of any attempt to change men’s habits is inertia. Civilization is limited by inertia.”

— Edward L. Bernays, Propaganda

In a paper entitled “If you like it, does it matter if it’s real?” Felipe De Brigard[1] offers a powerful illustration of status quo bias. One of the best-known thought experiments concerns Robert Nozick’s “experience machine.” Nozick asked us to imagine that scientists have created a virtual reality machine capable of simulating any pleasurable experience. We are offered the opportunity to plug ourselves in and live out the rest of our lives in permanent, but fake enjoyment. The experience machine would later inspire the Matrix film series. Presented with the thought experiment, most people balk and claim they would prefer reality. But what if we flip the narrative? De Brigard believed that we are opposed to the experience machine because it contradicts the status quo, the life we are accustomed to.

In an experiment, he asked participants to imagine themselves woken by the doorbell on a Saturday morning. A man in black, introducing himself as Mr. Smith, is at the door. He claims to have vital information. Mr. Smith explains that there has been an error and you are in fact connected to an experience machine. Everything you have lived through so far has been a simulation. He offers a choice: stay plugged in, or return to an unknown real life. Unsurprisingly, far fewer people wished to return to reality in the latter situation than wished to remain in it in the former. The aversive element is not the experience machine itself, but the departure from the status quo it represents.

Conclusion

Inertia is a pervasive, problematic force. It’s the pull that keeps us clinging to old ways and prevents us from trying new things. But as we have seen, it is also a necessary one. Without it, the universe would collapse. Inertia is what enables us to maintain patterns of functioning, maintain relationships, and get through the day without questioning everything. We can overcome inertia much like Hemingway did — by recognizing its influence and taking the necessary steps to create that all-important initial momentum.

***

Prime Members can discuss this on the Learning Community Forum.

End Notes

[1] https://www.tandfonline.com/doi/abs/10.1080/09515080903532290

Experiments: WTA – Ferrofluid Attempts #1

Thoughts:

  • I used too much, or didn’t dilute it enough – a little goes a long way
  • Didn’t realize my LED strip needed an adapter to plugin into the wall so no light source at the moment
  • Fun playing around with the fluid dynamics of ferrofluid
  • The circular pieces of glass I bought weren’t clear at all so I am not able to use them
  • Fun playing around with something I’ve read so much about

Project: WTA – Ferrofluid #1
Year: 2018

First attempts with ferrofluid. Nothing special just fluid dynamics doing its thing.

WTA – WereWool

One of my advisors is currently working on a project at the Fashion Institute of Technology for the BioDesign Challenge in creating fibre from proteins the project is called – WereWool.  I am posting this here to save for future reference for my Weaving and Textile Arts research interest.

WHAT IS WEREWOOL?

A 2018 Bio Design Challenge project that is trying to create a new class of fibers by synthesizing proteins that are genetically altered to bond together, using an enzyme called Transglutaminase to create a new platform for fiber innovation.

The growing consumer demand for fast fashion and it’s environmental and ethical impact has led companies to seek more sustainable sources of fiber.

We are creating a new type of biomaterial. The fiber formation system we are creating has the potential to create an easily accessible platform for sustainable material development; integrating synthetic biology into the design phase of the product lifecycle.

Werewool is trying to address the impact of the wool industry and it’s current market alternatives.

Our fiber is produced by harnessing the tools of synthetic biology, our own bodies proteins, and the power of an enzyme glue.

We can provide a fiber source that requires minimal inputs, is completely biodegradable, is environmentally friendly and cruelty free!

Hunab Ku

The Origin of the “Hunab Ku” Symbol

“The Origin of the ‘Hunab Ku’ Symbol”

Sept. 24, 2006

http://www.diagnosis2012.co.uk/new10.htm#hunab

Hunab Ku

The “Hunab Ku” symbol, is widely presumed to be a Maya representation of a major Maya deity and the centre of our Milky Way galaxy. You can find a representation of it at the centre of the Dire Gnosis logo on the index page of this website.  Anthropologist John Hoopes recently asked the Year 2012 discussion group if anyone could pinpoint any Maya sculpture, ceramic vessel, or other Precolumbian Maya source where it is shown.

The discussion brought out some interesting facts, summarised as follows:

The symbol became widely known when Jose Arguelles published The Mayan Factor in 1987, where it appears in circular form on the cover of the book, and as part of many illustrations. On p. 32, a rectangular version is labelled “Hunab Ku”, and on p.52, the rectangular version is shown and labelled as “Hunab Ku: One Giver of Movement and Measure”. On p. 30-32, Arguelles explains that in 1968, he visited a little town called Teotitlan del Valle near the Zapotec site of Monte Alban in the mountains of Oaxaca, in central Mexico, and he was shown two rugs with this pattern on them in a textile shop. He bought one in blue and orange.

The connection between the title of Hunab Ku and the design is not explained by Arguelles, but seems to have come via the modern Maya day-keeper, Hunbatz Men. Arguelles says on p.40 that he met Hunbatz Men in 1985, and admits that he was heavily influenced by him. The following year, in 1986, Hunbatz Men published a book in Spanish called Religion Ciencia Maya, (published in 1990 in English as Secrets of Maya Science/Religion), he says that the Mexicas (Aztecs) worshipped Hunab Ku, and they (as well as the Mixtecs), also worshipped the Milky Way, as represented in the “G symbol” (p.40-41). Men calls Hunab Ku “The Only Giver of Movement and Measure”, and at the bottom of p.34 he says that “in order to understand the sacred Hunab Ku…one must venerate the origin of zero, the Milky Way…”.

According to the official Mayanists, such as Sharer, Hunab Ku means “one god” in Yucatec Mayan language, and was the creator of the universe and equivalent to Itzamna, but “Hunab Ku seems to have figured little in the life of the ancient Maya and no representations of Hunab Ku have been identified in the codices or elsewhere.”

In John Major Jenkins’ 1998 book, Maya Cosmogenesis 2012, he shows the rectangular symbol, (p.329) and says it originates in the Nuttall Codex (a pre-conquest Mixtec document named after Zelia Nuttall who identified and published it), but after failing to find it in the the Nuttall codex, Hoopes contacted John Major Jenkins, who said he had seen the symbol as a frontispiece House of the Dawn – in a romance novel by Ryan, published in 1914, and also in an academic work by Zelia Nuttall, but he’d rechecked and it was not in the Nuttall Codex.

Next,  I located the symbol in its rectangular form in a 1922 edition of Herbert J. Spinden’s Ancient Civilizations of Mexico and Central America (p.220), with the caption, “Mexican blanket with the design representing sand and water”.

John Major Jenkins finally settled the matter, when he found the rectangular design in the Codex Magliabecchiano, published in 1903, with a commentary by Zelia Nuttall, which is an Aztec document and dates from some time before 601. Hoopes went on to find that the codex shows variations of the rectangular design, and says they are “mantas” – mantles or ritual cloaks that were used in festivals – in particular, the festival of  lip plugs. The word for lip plug was originally mistranslated as spider water, which is given in the caption.

So, in summary, the “Hunab Ku” symbol was originally a rectangular symbol used by the Aztecs as a ritual cloak design, known as the Mantle of Lip Plugs (or, arguably, mantle of spider water). The symbol survives as a rug design being sold in central Mexico, but was associated with the Milky Way and the god Hunab Ku by Jose Arguelles in 1987, who changed the symbol to a circular one. This is how the symbol appeared in the 16th century Codex Magliabecchiano: