The subject of ancient reckoning of time and space can only be inferred from the logic of numbers, with very few exceptions of data in the historical record. Many historically significant numbers exist in the historical record of different ancient cultures. But, the method for computing those numerical results remains a theme of speculation. Many of the ancient Babylonian clay tablets that exist reflect specific mathematical and geometrical problems, much like a school textbook of today. However, notebooks of the scientists who computed the astronomical meandering of the bodies in our solar system have yet to be found.

In the book Pakal, the Ancient Astronaut, we explore the design elements of the Pakal sculpture found at Palenque, Mexico. The theme of the sculpture has intrigued scholars ever since its discovery over forty years ago. The present day interpretation, that the figure of Pakal is falling into the jaws of a fleshless monster somehow does not satisfy this author's visual perception. The position of Pakal would appear to be communicating ascension; not a fall. He appears to be leaning forward over a control panel as many authors have also perceived before.

Based upon that perception, we have analyzed and illustrated the design elements of the Pakal sculpture from the perspective of simple mechanics. We have given movement to the elements within the sculpture's image and in that manner see appear something that resembles a space craft. Obviously, such a rendering of the sculpture may be viewed critically, since from our knowledge about history, there is nothing in the historical record about the existence of spacecraft; at least, nothing specifically identified as such. Many contemporary authors do read the existence of spacecraft into some of the historical documents. Those readings are rejected generally by the academic community. However, in the visual rendering of Pakal's vehicle, a geometrical analysis seems to offer more of a solution to the enigma, than a semantic rendering of ancient texts.

We also analyze the visual images encoded into the Pakal sculpture. It would appear that the Pakal sculpture represents a virtual map of the Cosmos. Furthermore, it would appear that the Pakal sculpture reflects images that form part of the ancient folklore. Hence, the images of the cosmic principle of the creation of the Universe, whereby Pakal is seen to be flying towards the center of the Universe, and not falling down into the jaws of some monster. The former interpretation is up-lifting; the latter freezes Pakal in eternal condemnation. We prefer to interpret the Pakal sculpture as that of optimism and eternal ascension, which would seem to reflect the intention of the sculptor.

Any one who falls in free flight does not have their arms clenched close to their body, but have them outstretched in horror, trying to grab on to something to save them from the fall. Pakal in no way appears to be falling, but rather to be in total control and concentration on his journey towards the center of the Universe.