imageColin Berry tells us, I’ve been misunderstood. I did not claim that the Turin Shroud image was an actual sweat imprint – only that is was made to SEEM like a sweat imprint.

Got it? I thought I had. And I thought most of us had. But:

As the comments on other Shroud sites, to say nothing of editorial content, become increasingly bizarre, it’s time to set out my own stall more carefully to avoid misunderstanding.

In my last posting I made what I consider to be a major new claim  regarding the faint body image on Turin Shroud – one for which I not unnaturally expect credit if it finds general support – and brickbats if not.

Nope, I don’t seek commercial gain, nor media celebrity but do expect academic kudos if as I hope my ideas prove to be the correct ones- and I have reason to believe that the "simulated sweat imprint" idea is not only original, except for one passing mention discovered yesterday in googling.  Let’s not beat about the bush. It’s a  PARADIGM SHIFT , one that will require a major rethink about the TS and how it was able to capture the imagination through engendering assumptions that never got properly questioned, even to this day.

It goes to the heart, not just of science and the scientific method vis-a-vis other methods of enquiry. It has a huge amount to say about the theory of knowledge in general – and the way in which our view of the natural and material world can be coloured by our preconceptions, faulty as often as not).

[ . . . ]

But just because it was intended to be seen that way does NOT mean that the medieval artisan set out to create an image with sweat, or even simulated sweat, or indeed any liquid concoction whatsoever. . . .

Okay, some people misunderstood, maybe.

. . . Why is the scorch hypothesis still in the frame? Answer: because it seems as good a way as any for SIMULATING a sweat imprint, given a contact scorch from a hot template can be as faint and superficial as one wishes – it being a fairly simple and straightforward matter to control image intensity. What’s more, while the medieval artisan would not have known it, the resulting image would centuries later respond to modern technology, starting with photography and light/dark reversed  images ("negatives") on silver-coated emulsions, giving the "haunting" photograph-like positive image revealed by Secondo Pia (1898), and later still the remarkable response to 3D-rendering software etc.

. . . The field is wide open to others to come up with alternative suggestions and test them

Was that a scorch imitating sweat or sweat imitating a scorch?