Once I was firmly convinced that only the hard sciences based on quantitative objective methods had any value in describing 'reality'. Nowadays experience has taught me that subject (me) and objects interrelate. My perception is determined not only by myself but also by the experiences. I believe the right way to describe 'reality' is to 'chew on it', only by prolonged efforts are results forthcoming.

What still is surprising, though, is how 'synchronous' reality (be)comes as a result of prolonged chewing.

The idea that reality is ruled by me is absurd, yet when subject and objects walk hand in hand the impression of harmony is unavoidable.

The 'discoveries' embedded in the rongorongo texts may be there 'objectively seen', but it is not hard science.

If I by a slow and cumbersome process have tuned in to the rongorongo texts that is equivalent to how the microscope is adjusted according to the light conditions and the distance to the objects to be studied. My mind is like that microscope and it would be preposterous to believe that somebody else could observe the same picture.

Yet in the hard sciences microscopes are manufactured to give exactly the same results.

Truth, in the rongorongo translation, cannot be expected to appear by way of the same experiences by different people. Only by repeated observations done by the same 'instrument' can reliable results be gained.

The numbers 43 and 61, for example, may be just coincidences or they may be 'reliable results'. To find out which, only further studies can unravel the truth.

The tapamea and hokohuki we recognize from the day calendar. The meaning here seems to be similar: a way to account for how the 'red cloth' from the sun behaves at crucial moments. Only Aa1-34 of the reversed glyphs has an odd number of 'feathers':

Like 43 and 61 number 5 appears to be a sign of 'finito'. In Aa8-28 and Aa8-29 there are 7 'feathers', presumably because the glyphs are located in the moon 'year'. We can see the harmony between the glyphs and their ordinal numbers in the line: 28 is the last sun-lit-moon night of the month and 29 is the dark new moon night.

In Aa2-5 there are no 'feathers' at all. In water there is no fire. A flip around of the watery world makes no difference.

Earlier we have 'determined' that the reading should start on side b (as Metoro indicated). Beyond the end viri at Aa8-26 and the start viri Ab1-1 there are 61 glyphs (counted long). We can guess that the extra 1 beyond the solar 60 double-month days represents the kernel of the new beginning.

The 'currency' for the number of glyphs in Tahua seems to be 2 glyphs per day (1,334 / 314 = 4 + 78/314). 60 glyphs 'in the dark' therefore corresponds to a month.

Aa8-78 looks similar to Aa8-27 and their distance (counted long the short way) is 52 glyphs (26 nights). The sky is once again uplighted, it seems. Metoro's kahi may have something to to with the hidden tuna fish (kahi piko):

In Aa8-77 a moa nui at left maybe generates the new sun bird. He is stretching out a limb which ends with a little flame. Counted long from the end viri the distance is 52.

There is a vero glyph with only the right side of the moon sickle visible, presumably meaning that moon is arriving:

Earlier we have established that the season is midsummer:

We have to count, of course:

If we consider Aa8-27 and Aa8-78 to be outside the regular calendar it is not strange to find them outside the structure governed by 29.

Shouldn't there be any vero glyph on side b? If we measure 435 beyond Aa6-29 we arrive at Ab3-43:

However, I have counted in normal fashion - not short and not long. Rewarding, though, is the sign of another flip-around in Ab3-43 and Ab3-47. The hônu-feet in Ab3-43 resemble those in Aa6-29.

The viri are determined by 10, 16, 20 and 26 multiples of 29. If we now have multiples of 29 which are 15 and 31, these numbers could have been determined as 10+5 respectively as 26+5. Are there vero glyphs at distances determined by 16+5 = 21 respectively by 20+5 = 25 multiples of 29? 5 presumably signifies 'finito', quite suitable for vero.

The words viri and vero may be related by way of wordplay. Conceptually there is no long distance between a clew (viri) and a reversal (vero).

We ought to have a new look at those 16 + 6 = 22 possible vero glyphs. Surprisingly, they are distributed half on side a and half on side b:

Aa6-51 is close to Aa6-29 (distance 22 glyphs counted in normal fashion) and looks promising:

Aa6-44	Aa6-45	Aa6-46	Aa6-47	Aa6-48	Aa6-49	Aa6-50
Aa6-51	Aa6-52	Aa6-53	Aa6-54	Aa6-55	Aa6-56	Aa6-57

The moon sickle is here at left (meaning past tense). Maybe it is a description of how things are going to be in the future? In the future what is now will be past. 3 feathers at right presumably indicate the 3 solar double-months between midwinter and midsummer (i.e. what lies in the future even in the future).

The moon sickle is at left in Aa6-56 too, while Aa6-55 is a glyph we have discussed earlier:

The distance 15 * 29 presumably signifies that the 'full moon' phase of the sun's voyage around the year lies at Aa6-29. Possibly the whole line a6 is devoted to midsummer. Aa2-4 consequently must lie in midwinter, the watery domain.