So, this conference is all about evidence.
Well, what is that strange extraterrestrial looking figure rising above the horizon of Easter Island?
It's actually an electric discharge formation.
It was pointed out to me by Tony Peratt about 12 years, 12 to 13 years ago when he was one of the most distinguished plasma scientists on the planet.
And when people come to the Thunderbolts channel on YouTube, sometimes they're looking for information on aliens and UFOs and so on and they hit upon symbols of an alien sky and they get something much different.
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All right, so to pose the question, has our sky changed completely in the last few thousand years?
We're addicted to projecting our sky on the past.
But the truth of the matter is that the sky has changed dramatically and these changes had a huge impact on the early cultures.
And this is a testable claim.
Formation seen in the ancient sky can actually be reconstructed by systematic use of a protocol.
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A protocol for extracting reliable conclusions from global witnesses despite the fact that the witnesses, individually and locally, are not reliable.
This has to do with the convergence of global testimony on highly unique details where the convergence would not be possible in the absence of an extraordinary globally witnessed provocation.
So I hope everyone can kind of come to grips with the inherent logic of a historical detective adventure where patterns lead you into an entirely new world of ancient experience.
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It happened just a few thousand years ago when we lived in the presence of the gods.
Planetary powers ruled the celestial theater in the lost age of gods and wonders.
Planets gathered in close congregation, as if alive, engaging each other electrically.
But then the gods grew violent and they went to war.
Driving human witnesses to take shelter in caves and rocky enclosures.
Humans left to remember.
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To remember the powers of the gods.
Formations and cosmic events not to be forgotten.
Well, I have to take you back to the inspiration for life's work that came to me from Immanuel Velikovsky and his book Worlds in Collision, published in 1950. In 1972, I began publishing a series on Velikovsky that culminated in ten issues that achieved a great deal of scientific interest around the world and it was the number one bestseller on more than one college campus.
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And this series on Immanuel Velikovsky reconsidered led directly to a confrontation between Velikovsky and Carl Sagan in 1974, in February, in San Francisco. And this taught me a lot about the power of institutions to frame narratives.
The question that science forgot to ask was never addressed.
And that question is, have planets always moved on their present courses?
Now, Velikovsky, as the centerpiece of his presentation in Worlds in Collision, he said, the planet Venus appeared in the ancient sky to people around the world as an earth-threatening comet.
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What a preposterous idea.
But he didn't pull that out of thin air.
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He based that on global testimony that identified Venus as a comet wearing all of the symbols and hieroglyphs and all of the stories that were attached to comets in the different cultures.
You cannot ignore the power of that kind of convergence.
Well, here's the toughest question, and that's the meaning of myth.
Is there a meaning to myth that is completely obscure, completely forgotten in our time?
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And the answer is, absolutely so.
The myths were born out of a myth-making epoch, human imagination responding to extraordinary natural events.
And that's where archetypes come in because it's the global patterns that actually point you in the direction of an ancient experience around the world.
And we have these different archetypal themes.
The fall from heaven of a celestial power, that's a global idea.
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It has no roots in any experience that we can identify today.
And the idea of a cosmic catastrophe, a deluge, a rain of fire, the doomsday event, giving rise to universal doomsday anxiety.
And why is it what a little whistle of gas comes into view as a comet?
We begin thinking of the end of the world.
That's the power of the archetypal theme on human imagination.
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And the story occurring around the world of a dying god and the story of an ensuing cloud of chaos that overwhelmed the world.
The clouds of chaos, armies of darkness in the sky, throwing the world into confusion.
And then there is this incredible archetypal theme of the mother goddess.
And why would it be a five visible planets?
That goddess is universally identified as Venus. There are patterns, they must have an explanation and the greatest surprise will come when we see that these patterns are inseparably connected to each other.
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And this includes the dark aspect, the terrifying aspect of the mother goddess herself, her terrible aspect.
Now here's a theme that you'll find around the world and it probably involves the most active archetypal figure in all of world mythology, the cosmic warrior.
And why did it happen that astronomers in different lands, when they looked out at the planets, they consistently identified the planet Mars as a great warrior in an ancestral time.
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And of course, the warrior is intimately connected with other themes and that includes the defeat of a dragon, a ludicrous monster said to have attacked the world and threatened to destroy the entire world.
And then we have, very closely connected with the dragon of chaos, we have a serpent figure that is so completely preposterous, there's no conceivable basis for the inspiration of the same features around the world.
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That's a huge mystery, feathered serpent, long-haired serpent, fiery serpent, fire-spitting serpent, these are all ludicrous ideas.
And yet, there is one theme that I don't believe anyone has noticed in the conventional study of cultural themes globally and that is the association of that serpent or dragon with a stairway to heaven.
And this actually is an incredibly inspiring theme and the details can be pieced together through the points of agreement from the ancient cultures.
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And what you will find is a direct convergence with the story that plasma science can give.
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Highest energy plasma discharge, producing the very forms that connect a serpentine upward spiraling form to a stack of toruses.
A stack of toruses being exactly what was anciently identified as the stairway of heaven.
So why a dragon figure, why a serpent figure globally associated with a ladder or steps to the sky?
Now, this is where Tony Peratt's work, which many of you are familiar with, comes directly in to verify the sequence of events that is involved in this.
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In terms of the common human memories, perhaps the most common is the Tower of Heaven, the scaling heaven, that was the Tower of Babel, I suspect most people here know that.
And then the theme that just caught my imagination and caused me to live off of adrenaline for two or three years until I realized that there is possible to reconstruct a completely different story.
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Saturn as the founder of a primeval paradise, for example.
And Saturn, enigmatically, as the primeval Sun. Now, many people here may not even know this, that the name Helios, the Greek Helios, was archaically a name for Saturn. The Latin Sol was archaically a name for Saturn. Well, these acknowledged connections have one thing in common.
And that is that they are all preposterous.
Not one finds an explanation in anything in our natural world, anything occurring in our time.
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And that includes this power, Saturn, founder of the Golden Age, becoming the devourer of its own children.
Now, I just want to acknowledge that my interest in Saturn began with an outline I received of a hypothesis that Immanuel Velikovsky had developed, unpublished, relating to a prior age of the planet Saturn. A very unusual idea and one that he wanted to develop more completely.
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But I grabbed a hold of that and two or three years later I got a contract with Doubleday when it was the largest publisher in the world for my book The Saturn Myth. And there are people who are here today who were very much inspired by the Saturn Myth, so that reconstruction was just a narrow snapshot of a particular configuration and then my explanation for the configuration changed as well.
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And this is the centerpiece that I will draw upon to establish a reference point to go backwards and to go forward in time.
Because this is a complex, dynamic configuration in the sky involving planets very close to the earth and putting this configuration in three-dimensional space is the key to testing the implications of the model.
All of the sizes of the different planets, their colors, their relative motions to each other and most significantly, the appearance of a bright crescent on the great sphere of Saturn. This is a polar configuration.
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Standing at the pole means that the axis of the earth was aligned and in effect ran right through the hearts of those bodies.
Now, you cannot entertain that configuration without including the rotation of that crescent with the cycle of day and night.
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And that is a very profound implication or prediction of the model because the daily cycle, particularly in early cultures and most particularly in Egyptian cultures, was the heart of their sacred rites, celebrating a daily cycle which is supposedly of the sun and here is a model that is saying that that crescent revolved with the cycle of day and night.
There must have been a huge echo of that into Egypt with its daily cycle celebrations.
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The great conjunction of primeval times takes you to the ancient imagery of the sun wheels.
The great conjunction, I've used that phrase a lot, but that principle of conjunction, a line running right through the hearts of the planets, that actually is part of the remembered tradition.
Again, a ludicrous idea.
And what in the motions of planets today that never stand in perfect line, what would have provoked that idea of a perfect conjunction?
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And we have these engravings on stone that only accent the improbability of all of this.
Cultures around the world presenting the same unrecognizable form.
The only response has been to call these drawings of the sun.
But if you actually examine these images globally, you find they have nothing in common with the sun.
And more than that, as I intend to make clear here at this conference, these images involve cultures naming the particular planets, producing the images.
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Now, follow the sun wheel and you'll get to certain stylized images.
These stylized images, if you're going back through cultural history, you'd still be after the rock art carvings.
There's a stylization that occurs in which concepts begin to influence because the apparition itself is no longer present.
But this stylized image of the great wheel of Shamash, the sun god, it's very telling.
We have to ask ourselves, does the sun in our sky look like this?
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This is actually requiring, I think, a brutal honesty and that honesty can be helped along by explicit statements of the astronomical texts.
Shamash is the planet Saturn. The story of mythology is in fact the story of what happened to these bodies.
And there's too much specificity in this to think that you could just toy with different ideas and make something up that would work.
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Make something up and it would be refuted in five minutes.
The players in this configuration are named Saturn as primeval unity, creator, central sun, when heaven was close to the earth, Venus as star of glory, mother goddess, and in the removal, the unraveling of that configuration, becoming the great comet.
And Mars, the universally celebrated warrior hero, warrior king, and the essential identity of the cosmic thunderbolt.
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And what I want to draw attention to always is specificity and utter uniqueness.
There is not an archetypal theme on the planet, to the best of my knowledge, that would ever be expected by anything we ever experienced.
How does it happen that the world presents to us hundreds of archetypes and they are connected inseparably to each other, each archetype being illuminated by the network of archetypes and each helping to illuminate the others.
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We're using then a body of evidence that reaches beyond the historical testimony into perspective from earth.
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Three-dimensional perspective is incredibly demanding.
Physical analogies in the laboratory where exotic configurations are proposed in plasma events between planets and then we discover that those exotic, highly specific forms are in fact available in the laboratory.
And yes, consistency, contradiction is the signature of a mistake.
If there's a mistake, it will show up in the inconsistency between those levels of evidence.
Now, I want to talk about a convergence of myth and science which has already been acknowledged by David Novak and this occurred primarily when, in the 1990s, mid-90s, I had the privilege of meeting Wal Thornhill and he stated to me how electric phenomena would create the forms that I had reconstructed.
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That led, just a few years later, to a convergence in 2000 with Tony Peratt, again a leading plasma scientist in his time and this meeting with Tony Peratt was an astounding juncture for us.
He had identified, is that embedded cone form seen?
I'm not able to see it from this angle.
Are you able to see the green?
Oh dear!
OK, well, what he called the Christmas tree, I identified as the chain of arrows and that set in motion one of the most memorable conversations in my life.
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And he asked me how that configuration evolved and I described a filament up the polar axis that divided into a stack of toruses, first in conic embedded cones form and then flat toruses that were seen as the tower or ladder of the sky.
When Tony returned to Los Alamos, he asked me to send him the rock art and instead of sending him hundreds of rock art images, I just sent him this one.
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Now the reason I sent him just one was, I was certain that that eye mask form, that's what we call it below, it's a global image, I was certain that it was a plasma form and that the ladder of heaven I had identified as toruses and he had said that's the evolution of the Peratt instability in the laboratory, an intimate connection with the chain of arrows or the Christmas tree form.
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So, I was confident that when he saw that, he would recognize it as a plasma form and he even identified the parts there.
And then he sent me this very unique plasma form and that is the eye mask form that I was, I just referred to and the eye mask will be found on virtually every continent.
It has no meaning, no explanation in any conventional terms and yet it is the explanation for the owl-eyed form of the mother goddess and for the owl-eyed or eye mask form carved on stone around the world and enigmatically connected to the stairway to the sky.
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That eye mask beneath those toroidal forms of the Kayenta pictograph is just a variation on this.
And incidentally, there's no up and down in this configuration.
This is actually a phase of wandering, it's not a polar configuration.
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That eye mask form was seen in Easter Island. It had a lot of aquatic elements attached to it because it just rose right up out of the surrounding sea.
So, actually I am coming right to the end of my presentation.
I think it's about a five-second delay.
And I hope that everybody here will have an opportunity to see a more complete, a much more complete presentation in two substantial slide presentations on Sunday. Thank you all very much.
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Thank you.
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