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    Julio Moraga
    The first drawing (1992) depicts a conceptual diagram for personalized monetary transactions—always routed through a central institution such as a bank or regulatory authority. At the time, Bitcoin as we know it did not yet exist. This sketch reflects early thoughts about digital money flows, drawn with precision and simplicity.
    Around a decade earlier (1982), I had built a sound-generating circuit based on schematics I found in an electronics magazine, thanks to a friend who introduced me to the world of circuits and resistors. I later thought of using it as part of the equipment I took to parties, where I worked as a DJ for a modest fee—about 2,000 pesos, plus snacks, drinks, and taxi fare for the sound system.
    Looking back, both of these drawings reflect not just technical curiosity but the desire to shape tools and systems—even if just on paper—that could alter the rhythm of daily life.
    Julio Moraga
    Over time, I found myself sketching more and more details around the central building of Svenska Bostäder—one of Stockholm's largest housing companies—visible at the center of these drawings.
    At the time, I was working as a kitchen assistant in Svenska Bostäder’s staff restaurant, located on the top floor of the building. It had no signage at street level, and most people didn’t know it was open to the public. I suggested to Tell, the head chef, that we design a menu board. That idea later inspired the oil painting La Manzana.
    One of the employees at SB noticed the menu design and asked if I could draw something as a proposal for the Vällingby center. I started drawing, and as often happens, I kept going beyond the original request. I was later paid 1,600 kronor for a concept suggesting protective structures in the open corridors to block wind and snow in winter, while allowing open space in summer. In the end, the city chose a different idea—a high roof over one section that remains today but doesn’t offer much practical shelter.
    The three drawings show how the scene evolved: buildings were added, structures imagined. The final composition features a futuristic panorama, complete with a bullet train running along the subway path, a central park, and flying vehicles arriving and departing from side terminals. That last drawing eventually became an oil painting.
    Julio Moraga
    In the early 1990s, I spent several years drawing almost daily at an inventors’ workshop called Implementum. It all started when I met K-G Alsthed at a café while seeking technical support. He saw my drawings and invited me to test a drafting table at his workshop. Soon after, I became a regular visitor.
    A few weeks in, K-G asked if I knew how to draw in CAD. The very next day, we went out and purchased a Pentium computer, a 24-inch screen, and the necessary software—plus a flight simulator, since K-G had been both a chemist and a pilot. That marked the beginning of a new phase.
    An Englishman named Steve, who knew CAD well, helped me get started. Over time, I became quick and fluent in 3D modeling. Clients would sit next to me, describe their inventions, and leave with rendered images to present to investors.
    The workshop was supported by the local municipality, but I worked independently. Eventually, I was entrusted with managing the space while K-G was away. I opened, closed, received visitors, and spent my days drawing. I appreciated K-G greatly—he trusted me, and despite our age difference, we spoke the same creative language.
    He had always dreamed of a magnetic train and a water engine. He was surprised to see them fully drawn and animated. Sadly, his health declined, and he couldn’t continue. I helped him during his final months. Afterward, the workshop moved to Danderyd. But that’s another chapter.
    Julio Moraga
    These two drawings, made in the mid-1980s, explore an imagined propulsion system and a fictional event following a crash landing on an unknown planet.
    The upper sketch shows a conceptual flying object propelled by electromagnetic forces. Horizontal movement is controlled from three external points, while a central vertical unit regulates lift. The configuration suggests a coordinated balance of directional control and central stability—a kind of vector-managed flight.
    The lower image depicts the aftermath of an unsuccessful landing: a large craft lies embedded in rugged terrain. Despite the impact, survivors have begun to emerge from the structure, descending to the surface to begin exploration.
    These drawings, created with a Staedtler Mars Matic 700 pen in very thin hatch style, were part of a broader visual inquiry into movement, collapse, and human adaptation in speculative settings.
    Julio Moraga
    I recently found a series of drawings from my youth. I remember drawing a lot, even when I didn’t have a clear reason—just the impulse to shape something, to give form to whatever emerged.
    These two figures reflect that instinct: hybrid forms where anatomy, plant life, and surreal design intersect. The upper figure balances precariously on a pedestal, its elongated limbs and abstract head suggesting both fragility and intent. The lower figure appears rooted in the ground, arms folded in a gesture somewhere between reflection and resistance—its entire structure symmetrical, yet unsettling.
    Drawn in 1984 with a Staedtler Mars Matic 700, using very thin hatch technique, these images were not about explanation—but about imagining forms that didn’t yet exist, and perhaps still don’t.
    Julio Moraga
    This page gathers a set of early drawings—many of them playful, ambiguous, or deliberately unresolved. Some are architectural, others mechanical or organic. Some include handwritten notes, almost poetic or absurd, that still make me smile when I read them.
    I didn’t approach these with a specific plan. I just drew whatever surfaced: an improbable machine, an imagined material, a sarcastic commentary, or a surreal diagram. What links them all is the desire to observe the world through invented systems and symbolic layers.
    Drawn mostly with Staedtler Mars Matic 700 pens in very thin hatch style, these fragments form a kind of visual notebook—part research, part satire, and part subconscious cartography.
    Julio Moraga
    Recientes estudios apoyados por nuevas tecnologías han permitido conocer más sobre las pirámides de Egipto. Entre las más investigadas destaca la gran pirámide de Keops (Khufu), donde resultados sorprendentes llegaron del equipo de Kunihiro Morishima, del laboratorio de física de partículas fundamentales de la Universidad de Nagoya, al detectar, mediante muones, anomalías internas interpretadas como posibles cavidades estructurales researchgate.net+15en.wikipedia.org+15fr.wikipedia.org+15en.wikipedia.org+2arxiv.org+2en.wikipedia.org+2.
    Por otro lado, el arquitecto parisino Jean‑Pierre Houdin ha planteado la existencia de una rampa interna en espiral, dispuesta en ángulos rectos desde la base hasta la cúspide. Las imágenes de resonancia apuntan hacia pasadizos internos, aunque algunos expertos sugieren que podrían tratarse de corredores de descarga más que vías efectivas de construcción .
    Scan Pyramids: nuevos datos y confirmaciones (2015 – 2023)
    El proyecto internacional Scan Pyramids, lanzado en 2015 por la Universidad de El Cairo y el HIP Institute, emplea termografía infrarroja, muografía, radar de penetración terrestre y ultrasonidos sciencealert.com+15en.wikipedia.org+15voanews.com+15. Entre sus hallazgos:
    En 2016 se detectaron cavidades en el flanco noreste y detrás de los chevrons de la cara norte, usando muografía y termografía en.wikipedia.org+7en.wikipedia.org+7en.wikipedia.org+7.
    En 2017 identificaron el ScanPyramids North Face Corridor (SP‑NFC): un corredor hasta ahora oculto, situado entre 17 y 23 m sobre el nivel del suelo, confirmado con muones desde distintos puntos y descrito en Nature Communications en marzo de 2023, incluso con imágenes obtenidas mediante endoscopio smithsonianmag.com+7en.wikipedia.org+7researchgate.net+7.
    En noviembre de 2017 anunciaron el ScanPyramids Big Void, un vacío de al menos 30 m de longitud sobre la Gran Galería. Su existencia fue corroborada por tres equipos que utilizaron tecnologías independientes como placas de emulsión nuclear, hodoscopios de centelleadores y detectores de gas en.wikipedia.org+5en.wikipedia.org+5arxiv.org+5.
    El equipo aún investiga la forma y el posible propósito de estas estructuras, que podrían corresponder a dosificación para distribuir las cargas o canales de construcción. Las campañas continúan, combinando diversos métodos para refinar su caracterización.
    Revisión de la hipótesis de la piedra aglomerada (Davidovits)
    El profesor Joseph Davidovits, pionero de la ciencia de los geopolímeros, sostiene que ciertos bloques de las pirámides fueron construidos utilizando piedra aglomerada: una forma primitiva de concreto, modelado in situ usando materiales naturales, y no tallados a partir de canteras. Sin embargo, él mismo aclara que no toda la pirámide fue erigida con este método; más bien, identifica bloques particulares cuyas características coinciden con materiales reconstituidos geopolymer.org.
    Según Davidovits, estudios de laboratorio –incluyendo análisis de microestructura con SEM– mostraron inclusiones minerales y burbujas de aire típicas de piedra reconstituida, especialmente en muestras de bloques de revestimiento, como los de la pirámide de Snefru en Dahshour geopolymer.org+7geopolymer.org+7en.wikipedia.org+7. También señaló que ensayos prácticos demostraron que un pequeño equipo podría moldear bloques de entre 1,3 y 4,5 toneladas en cuestión de semanas en.wikipedia.org.
    A pesar de estos hallazgos experimentales y un estudio publicado en el Journal of the American Ceramic Society en 2006, la comunidad académica no ha aceptado el método como explicación dominante. Críticos destacan que no aborda por completo los bloques de granito, como los del techo de la Cámara del Rey, y cuestionan la necesidad de invocar un proceso tan sofisticado cuando hay evidencias de cantería heterogénea que podría explicar muchas de las anomalías observadas.
    Conclusión y perspectivas
    La integración de datos recientes del proyecto Scan Pyramids refuerza la existencia de estructuras internas adicionales dentro de la pirámide de Keops, ya sea como espacios de descarga, corredores o vacíos funcionales aún sin determinar. Paralelamente, la hipótesis de Davidovits sigue ofreciendo una explicación alternativa sobre el origen de algunos bloques, sin detallar su alcance real.
    El tema continúa abierto al debate académico. Se requieren estudios interdisciplinarios que combinen muografía, geología, geoquímica y arqueología experimental para comprender mejor cómo se erigieron estas pirámides y en qué punto técnicas tradicionales conviven con posibles innovaciones como los geopolímeros.
    Para más información, puede consultarse el sitio del Geopolymer Institute.
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