 within the boundaries of human existence and as far back as the memories of the most ancient earthlings will stretch. Catastrophic space phenomena in the form of plasmic energy discharges occurring in the skies of our planet were documented by the inhabitants of the earth taking shelter from the phenomena in the most remote locations imaginable. Sometimes these plasmic events were a thing of beauty as David Talbot of the Thunderbolts project points out and sometimes they cause scenes of unimaginable terror. In the form of petroglyphs the prehistoric inhabitants of this planet carve their documentation of the plasma events which is now being deciphered and it shows undoubtedly that the ancient civilization witnessed something that was so outrageous that they sought to document it for all time. Their message has reached us through the ages and thanks to years of painstaking research by Anthony Peratt it now appears to overwhelmingly show a worldwide documentation of petroglyphs patterns that were actually happening in space and visible here on earth. Not only that it also rained down onto our planet affecting life drastically forcing people to take shelter in caves the only natural shelter capable of withstanding the onslaught happening outside. Now what if we were to tell you that the petroglyphs and documentation seen around the world of the so-called squatter man has been recreated in laboratory conditions? What if we were to tell you that these ancient petroglyphs match up to plasma discharges recreated in a lab with astounding accuracy. Known in the lab as zenith pinch, Z pinch and this was also seen in deep prehistory in the sky of our planet for around a thousand years an intense inflow of plasma creating an immense aurora that was then shaped by its own magnetic field a Z pinch and these petroglyphs are showing exactly what was happening. Petroglyphs have mystified the most curious of our kind for millennia found on every continent with striking similarities and widely regarded as the oldest surviving markings on this planet. They could be thousands or even millions of years old but definitely dating to prehistory that is upward of seven thousand years ago in a very reserved scale of the sense of time with campfire remnants found close to petroglyphs in Santa Fe dating to four thousand years before Christ after carbon-14 dating. Thousands and perhaps tens of thousands of years ago there was electrical activity in the sky as plasma discharge sequences moved through discrete phases. The explosion of culture documentation seems to have roots directly relating to this and the misinterpretation of these cultural roots all over the world can now be corrected. They were documenting what they were seeing in the sky. Together with the YouTube channel Kronos we intend to help you understand a past that they would rather you wouldn't believe to be real in this type of plasma discharge occurring in space and as visible from the viewpoint of the observer here on earth thousands of years ago and also recreating in laboratory conditions by the legendary physicist Anthony Peratt. This shows the edges of the upper disc may appear to point forming arms and those of the lower torso of the apparent humanoid known as a torus may appear to point down forming legs. The underlying hourglass style pattern with many subtle variations not only occurs around the world it is among the most fundamental forms appearing in highest energy electric discharge in the laboratory. Recorded by ancient man this representation of the prehistoric petroglyphs found all over the world in countries including Italy in a region known as Volca Monica one of the largest valleys in eastern Italy. We are again confronted with the squatter man type design which is also seen 3,600 miles away in the United Arab Emirates and this is repeated on Hawaii 8,800 miles away from the UAE and also appears to be immortalized in the undeciphered rongo rongo inscriptions of Easter Island the most remote location on the planet and this is continually repeated in Venezuela Spain New Mexico Armenia Arizona and even in Ghana but to name just a few other locations that appears to show a worldwide phenomenon taking place in the sky and which appears to have an intense inflow of plasma creating this immense aurora system pinched by its own magnetic field and recorded by the ancients of prehistory as a humanoid figure in the squatting position with arms directed upward. Take for example the Arizona petroglyphs abstract designs to the would-be observer but according to Anthony Peratt these are in fact very accurate representations of what was seen in the ancient sky in prehistory as he has shown by comparing radiograph imagery to squatter man images repeated across the world by the million count and upward and always located in mountain regions where these ancient earthlings must have sought shelter in the view of the unstable plasma aurora. The conception from Anthony's radiograph matches with shocking accuracy to these worldwide petroglyphic phenomena all recorded the same way and sometimes with the two dots at either side representing the Z pinch gravitational influence of the sequence as recorded in the lab the effects of which are possibly being generated by solar system planets soon to be discussed in this series by the Lost History Channel. Now what if we were to tell you that all these petroglyphs around the world are oriented in the direction of magnetic south all of them as shown at the Arizona site and now realized at all other worldwide locations the artist of all the petroglyphs are in a vantage viewpoint of the magnetic south pole from these locations all across the entire planet what was happening was the center of the plasma column in space was coming in right at the south magnetic pole generating secretron radiation which was extraordinarily bright and all the petroglyphs around the world seem to have a blinder of some sort that was shielding the observer from the center of the bright radiation and this allowed the documentation in rock art of these instabilities it seems these people emerged from the caves they were sheltering in during quiet periods to etch this documentation it's all oriented magnetic south and this is vital for understanding the direction the aura was coming from and what may have been causing the intense phenomena the stunning fact is that these artistic designs are only found at locations where the observer can have a clear view of the magnetic south direction but with some kind of blinder protecting the observer from the exposure interestingly they are not found in areas where the south pole is obscured by mountains they just don't exist unless this vantage is clear and this is a stunning and compelling clue that almost overwhelmingly spells out what was happening the largest petroglyph site in Europe at italy's valcamunica site in the alpine region also shows that they are in the direction orientation of the magnetic south and they too are putting their rock art in locations that seem to have a limited exposure to the extreme aurora event the intense cicrotron radiation light if exposed to it which would have disastrous effects if exposed for any length of time and this is again repeated as far away as australia at the site at arcaroo rock art cave depictions again orientated to the south pole with limited exposure in the protection of the mountains but with a clear sight view of the sky the babelonians were apparently the first to develop systematic observation of the planets and they recorded the celestial emotions with considerable skill but in the laying of the foundation of later astronomy they also preserved a critical link with the past again and again they asserted a claim that could only appear preposterous to the modern translator they declared that the distant planets were the gods of former times what exactly does it mean the gods of former times is it a literal term for these plasmatic aurora events from which the samaritan and all other civilizations emerged we are again confronted by the squatter man figure a literal depiction of events in the heavens in the form of plasmatic aurora and what would later be referred to as the gods of former times by the ancient samarians samaritan myths say that the rights and standards of kingship descended from the central luminary on founder of the golden age and in babelonian myth the samaritan on appears as anu first in the line of gods and kings and according to the best authorities on babelonian astronomy the god anu was mysteriously linked to the planet Saturn the gods of Egypt messengers through time dominates of a past culture who sought to express their representations in a meaningful way but could some of these ancient gods be manifestations of ancient electrical activity in the sky the snake god Nehepcal for example could be a literal representation of the immense plasmatic aurora event in prehistory could ancient earth inhabitants be using the snake to represent the unbelievable event and why wouldn't they link a snake aurora wavering in the sky to the closest lightness available for them to describe here on earth such a dramatic event in the sky would obviously inspire the ancient beings of the earth to depict such an event and that is exactly what they have done with the petroglyphs of the squatter man linked all over the world and may even be inspiring the depictions of a god in this manner and throughout the ages a religion absolves around the creation of a deity that was perhaps the representation of the greatest sky event within the past million years or so as witnessed all across the world the motivation behind the depiction of snakes in ancient Egypt is unclear and this leads us into mythology where it is stated from the earliest records of civilization in Egypt that it is clear that the snake played a significant cultural role as enigmatic creator with supernatural powers alternatively seen as a benevolent creator and protector of wisdom and eternal life or perpetrator of evil and agent of death serpents are associated with the origin of the world and creation with veneration of ancestors bestowal of wisdom and power and symbol of mother earth and eternity in ancient Egypt the serpent was believed to be the first offspring of primeval earth identified with the gods Seth and Apophis and in constant warfare against the sun god Ra what if this representations are exact details of sky events and deep prehistory Nehep cow is the primordial nether who is present at both the birth and death of our perception of a physical reality in this position he clearly represents the supposed 13th constellation in the zodiac Apheuchus as shown with two snakes heads and holding two snakes in either hand with eerie echoes of the squatter man phenomena the Egyptians believe this god was one of the original gods from the beginning of time swimming around in the primordial waters before creation the aurora then bound to the sun god Ra when time began he was a god of protection who protected the pharaoh and all Egyptians both in life and in the afterlife and his name means that he is the one that brings together the car the double of a person an animal a plant a body of water or even a stone and unites the double with the physical body that the car would reside in be it inanimate or inanimate objects such as depicting an immense aurora event on a rock for example and this perhaps relates to these events as spiritual because of the explosion of earth activity that would then follow before remembering the event as a deity in this manner if the snake deity is in battle with the sun god Ra it would then stand to reason that during the day and throughout the night before the sun arose again and also visible in daylight that the deity Nehep cow is a representation of the aurora event transformed through the ages into the character of the snake and still in remembrance in oral storytelling as the understanding of the prehistoric event molded into cultural and religious beliefs of godlike events in the sky the Egyptians believe that he swallowed seven a magical number cobras using them for his magical power it was thought that he was one of the gods who announced the new pharaoh to the gods at the beginning of his rule he was at one point a rather fierce and aggressive deity and the god at him had to press his nail into Nehep cow spine so he could control the snake god and perhaps this describes the fear felt at the beginning of such an intense sky event that lasted ages before the apparent god intervened and calm the event down to the eye of the beholder remember sometimes the aurora inspired fear and terror and sometimes it was a thing of beauty as the thunderbolts project points out Nehep cow was the snake god of protection who was called on when the people needed him one of the original gods of Egypt only turned from chaos by the sun god he was a benevolent god a god of magic who bound the call with the physical form and who judged him in the afterlife although he did not have a cult following of his own he was a god who they invoked in magical spells the book of the dead mentions Nehep cow as present in the daybark with raw thus leading his powers to the maintenance of cosmic order and is also among the deities cited in the so-called negative confession of the book of the dead spell 125 translated as the denial delivered to him as oh uniter of attributes who came forth from the city I have not made distinctions of others from myself perhaps with a decree of speculative excess in the book of the dead spell 17 the deceased says I fly as a hawk I have cackled as a goose I destroy eternity like Nehep cow the first part of the formula involving the hawk and the goose is familiar from a variety of context perhaps relating to the extreme sky events while the reference to destroying eternity perhaps means that identifying with Nehep cow grants the deceased a power of persistence and renewal more durable than eternity itself or perhaps that the great aurora event in prehistory lasted a very long time which destroyed the previous wave of existence before the reemergence Nehep cow's occurrence in amulets and magical spells indicates that he was assumed to exercise a protective function for the living the effects of the prehistoric aurora event in the minds of the earthlings who witnessed it led to a symbolic cultural uprising from which the original meanings became forgotten in our time what if the plasmatic event in prehistory can be linked from everything from the scarab symbol in Egypt to the Stonehenge monument in Britain and even down to the headdress of the Native American population the Native American headdress is just another representation of the immense charge particles of prehistory interacting with our planet's magnetic field of course these particles in the aurora borealis are incredibly tame compared to what happened in the past as the Birkeland curtain develops into a spiral much like water going down the drain it begins to pinch off as the gravitational influence takes hold and this creates a series of very bright plasmatic spheroids generating lightning the entire length of the structure developing further into a doughnut shaped column through hundreds of years of generating visible and intense ultraviolet light and x-rays and other electromagnetic radiation that would have devastated any established society at the time as the structure violently merges and it becomes over energized eventually it will release a violent shockwave of catastrophic proportions as this interacts with earth's atmosphere it generates visions to the earthlings of seemingly dancing squatter men people and the appearance of goat horns as the shadow wave display become evident to the observer from lab research and studying the evidence left by ancient observers it appears that as the energy increases the high energy plasma column in the polar cusp passes through various consistent phases since electric currents are prone to pulsing the appearance of the display would therefore fluctuate back and forth from one energy phase to another the upper terminus or outer rim of the aurora's column is usually represented in rock art as a very large round bright disc plasma is mainly concentrated in the outer surface of the funnel with a central often red colored axis sometimes it is drawn with the aurora's column below it and depicted as a series of concentric rings oscillating with spikes emanating outward from the outer circle this is often misidentified as an image of the sun which is actually never seen as anything other than a usually yellow disc except rarely during a solar eclipse surrounding the funnel are plasma bundles or rays starting from 56 they reduce a number to four as the energy increase through time there are represented in the petroglyph rock art record as pinwheels sailing ships spiky disc bull horns or what even resembles a fancy crown or full-fledged native american headdress bill petry writes that when water goes down the drain you notice that the flow is funnel shaped and hollow at the top and that as the funnel develops the flow slows down as well this is kind of like what happens as the outer rim of the polar cusp here the plasma flows around the axis leaving a low pressure pool in the top valley of the polar cusp when plasma gets trapped here it gives rise to what is called the aurora beginning its life as a wisp and often quite prominent in many petroglyphs the feature is often pictured birdlike and so could be seen as the proverbial phoenix rising from the fire they are portrayed at all stages of the high energy aurora with many different forms having been recorded in ancient rock art several distinct forms would be noticeable for example eye and nose mask are the result of small side eye circles above an oval shaped nose in the area where the eyes would be between the spherical isophyts a distinct x pattern would often develop as well as more complex hour glass patterns the final stage of the silky column would be when the developing torus inside shine through giving rise to what appear to be faces with goggles or large eyes they are known as face masks with increasing energy input the celerity spheroids begin to flatten under the pressure of the inflowing plasma with the shimmering bright white outer envelope has mostly dissipated leaving a stack of distinctly donut shaped toroids the speeding electrons now flowing in circular paths around the axis generate secretron radiation giving the stack a brilliant bright white appearance and even at this stage you would readily notice the perspective changes from an on edge at the bottom to oblique at the top of the stack in an actual column the central axis would most likely be red in color you would be able to see through the forming toroids and they would appear as two bright circles side by side just like when you cut a donut in half as the flow of the electric current increases the toroids flatten and begin to warp and fold at the top and bottom the top toroid will deform and cup upward a feature or head has also developed inside the rim at the outer end of the axis which may be entered or to one side the bottom toroid will also warp and the base appears to look like a bell or christmas tree stand depending on the perspective of the viewer the column of toruses can take on a branched configuration resembling segmented animals or even plants images depicting this stage are often referred to as ladders or caterpillars the incoming plasma has two components energy intensity and flow increasing the flow of the incoming plasma puts enormous pressure on the toroids causing them to take on a decidedly melting appearance the stack would be relatively stable in number but the shape is in flux as the intensity of the current continues to rise the column is further deformed losing the base and most of the flattened toroidal shapes the intense pressure forces the remaining toroids to merge and give rise to a wide range of box like geometric shapes known as pipettes a pipette is a long hollow glass tube which is used as a graduated dropper for liquids these forms are generated by fluctuating forces acting on the decreasing number of toruses the experience of witnessing such an event must have been quite moving as the toruses would flip back and forth violently from one shape to another we are now approaching the greater energy levels observed for the high energy aurora the remaining toroids have wrapped and produce well-defined vortex curls at their edges what's left is a solitary torus and the remnants of two others giving a bowl shape at the top and a bell shaped below the remaining central toroid is often depicted as tubular flat or spherical dial in shape and sometimes the drawings resemble folded petals or mushrooms occasionally the ends of the warped toroids branch and resemble fingers toes or lightning this gives the zomorphic frog and lizard or the anthropomorphic squatter man or interpretations for the figures remember the auroral column is a three-dimensional radically symmetrical structure looking up into the column from here on earth the shape will resemble less the squatter man and more like two bells stuck in to end with a donut between them and that's because you are looking through more column material there is a wide range of representations and hence interpretations of the highest energy phases of the diminishing number of toruses in the stacks the remains of the top and bottom toruses forms what appear to be arms and legs which can be pointed either up or down the head of the figure may be absent when it is present it occasionally resembles a bird or other animal sometimes the bottom of the figures is split into three parts and the remnant of the original central axis extending below the legs has often been identified as a tail which has been taken to indicate a male spirit however if the axis end is larger and oval in shape it has been interpreted as a vulva or even the image of childbirth we often see faces in leaves on a tree or in other features in everyday life but there's nobody there it seems that we see what we want to and what follows are groups of similar images of the squatter man phases from the multiple toruses to the single torus form since the electric current flow isn't constant there will be fluctuations in both the number of toruses that can be seen at any given time or their prominence as well the earth's magnetic pole doesn't stay put it has a habit of wandering around an oblique view would occur when the magnetic pole was on the opposite side of the earth and you look up into the column and view the image at an angle from below an oblique view of the column at this stage depicting a prominent single torus would be reminiscent of someone playing with a hula hoop currently the magnetic axis is on our side of the pole so should it recur in the near future you would be looking up into the column as the energy intensifies the plasma image brightens appreciatively the stickman then become a squatting figure with what appears to be a face with two eyes the bright stack looks overexposed and the eyes prominent and ghostly the accompanying figures show the single torus central axis and bell shaped top and bottom two eyes are visible in the shape between the torus and the axis as the intensity of the event reaches maximum the eyes are just about the only feature discernible but many more traits of the prehistoric aurora event have been assimilated into the modern times without the original meaning no matter where you look in the world for petroglyphs we are always confronted with the humanoid figure with raised arms and in the squatting position as ancient earthlings tried so hard to reach through the ages to deliver a message of a worldwide event in the sky and in the form of the squatter man this is the representation of the greatest energy levels observed for the high energy aurora event in prehistory in norway we are confronted by this again at a petroglyph site known as the big b man we see this aurora phenomenon in the apparent humanoid form because of course our brain is telling us that this is nothing but an abstract etching of an ancient earthling doing the hula hoop this is until we link an ancient catastrophe like an immense plasmatic aurora event with laboratory evidence that overwhelmingly shows us that this is in fact the representation of an event in the sky and one in which ancient earthlings all across the world went to great links to document they left this message for us to find in a language that would be realized and of course only now are we making the connection from the abstract to the reality viewed in cross section the so-called big b man is now visible to the observer as two dots or circles and literally looks like a person hula hooping with the bottom squatter man showing the apparent hula hoop now as two dots in a different stage of development to the observer the bright plasma column the amount of plasma viewed in an edge on view will be the brightest portion and will appear to be emanating from two circles when the squatter man arms in the upward position prominent and takes on the appearance of rings or horns this upper circular structure could be the result of a prominent outer rim of the polar cusp the norway tourism board suggests these petroglyphs were created just after the last ice age around 12 000 years ago but the current knowledge of such estimates does in fact need serious reconsideration as our timeline of past events is all over the place norway is not in any way as aware of its prehistoric monuments stone circles and other ancient sites for example in the uk there is great interest for sites such as stone hinge and the standing stones of stennis in scotland both locally and internationally with thousands of tourists visiting every year not even realizing what they are looking at but being drawn there anyway but very few travel to explore the hunn felt or big be felt and similar sites in norway even parts of the local population remain in the dark about their region's hidden treasures and of course the world is in the dark about what these are really representing time to light that up and the truth of what they are being more spectacular than any stick figure abstract explanation anyway and this has been constantly regurgitated for ages officially described as ships sunwheels and animals as well as cupular descriptions carved into the rock these are a great representation of a sky event as witnessed by the observers directly and then carved onto the rock with the observer again having a clear view of the magnetic south pole where the event was emanating secretron radiation and x-rays in a thunderous column of plasmatic aurora that would have been clearly visible for millennia and responsible for these efforts all across the world to document what was happening the knowledge was lost but thanks to research of anthony perat we are starting to reawaken to what we once knew to be true in norway rock art has been found at more than 1100 sites with many motifs occur regularly across the region and the design and composition of even the most common motifs vary hugely in different parts of the country according to both the era and function of the particular site their view of the sky and the exact time in history the etchings were carved if we can track down what caused the event then perhaps we can trace this all the way back to the date when these petroglyphs may have been made what is millions of years ago or right around the last ice age as the norwegian tourist board suggests the big bee petroglyphs were painted red so that the modern visitors are able to see and enjoy them the paint only highlights them however even though the stone carvings are visible it does not mean their meanings and symbolic value is equally clear and the local tour guides will tell you as much rather than trying to set about with a glorious narrative they simply say that the carvings depict different variations of ships human squatter men wagons and symbols although some of the carvings are easier to make out for example the ships it is not clear what stories they try to tell and the many symbols of different character or even more mysterious as their meaning is still unknown though some believe them to be linked to the sun and fertility worship because of this the petroglyphs have been important in trying to figure out the myths and ceremonies connected to agriculture harvesting and fertility in ancient norway and the original meaning that seems lost to history another mystery surrounding the carvings is how they were made archaeologists have not yet been able to discover what types of tools were used by the ancient inhabitants of ost fold to create this magnificent stone art in norway what the tourism board describes as ships with people on board are actually pretty common in the petroglyph record and of course we refer to norway as home of the vikings and the pattern of the ship carved into the rock art becomes apparent but in the petroglyph record they are actually known as rakes rakes are the series of vertical lines either straight or wavy and they are usually interpreted as rain however what they probably represent is what we normally see as berkland curtains of aurora in the ancient prehistoric skies of our planet and occasionally they are attached to other features which give valuable clues to their valuable meaning which evolved into the modern times keeping an attachment to the ancient meaning with the lost references to the actual event the images are often combined to form scenes and expressive compositions of the ancient aurora event of prehistory these rock carvings are an art treasure and an invaluable part of europe's prehistorical cultural heritage the squatter man phenomena around the world must be the representation of an immense aurora discharge phenomena influenced by its own magnetic field as shown in the petroglyphs throughout the world when an intense coronal mass ejection occurs for example near the center of the solar disc and its magnetic field is strong and oriented southward the power of the solar wind magnetosphere generator may exceed known expectations for observable patterns simultaneously the magnetic field produced by the aurora discharge current produces an intense geomagnetic storm ultimately heating earth's upper atmosphere and when oxygen atoms collide with heated atoms the atoms emit a dark red light seen high in the aurora curtain the aurora curtain is greenish white in color and emitted from atomic oxygen subjected to electrons one of the basic forms of the aurora is a curtain-like structure that is generally referred to as an aurora arc when they appear in multiples each arc consists of several arc elements which have curtain-like structure this curtain-like form of the aurora exhibits deformations known as curls folds and spirals spirals that occur when the berkland current peaks are 31 miles in size have a lifetime of around 10 minutes and have a clockwise rotational sense this emits aurora morphologies are a consequence of this instability the appearance of the aurora borealis and australis are obviously mirrored from the same solar events but the electrodynamic of the earth's magnetic sphere ionosphere thermosphere system and the relationship between this phenomenon and the reaction taking place are simply not that well understood at all so the meteorological science of the upper atmosphere over the arctic and Antarctic is a topic of ongoing study when wind blows over water here on the earth we see the phenomena known as the kelvin-helmholz instability this instability is not only restricted to a water surface as clouds but is evident through other natural phenomena as the ocean Saturn's bands Jupiter's red spot and the sun's corona and also in this immense aurora events in space and in earth's upper atmosphere in which vortices develop through a fluid when a critical velocity in the flow is exceeded with a large increase in the resistance to flow this generates a circular observation as immortalized all around the world by the same observers who documented the zenith pinch squatter man the circular pattern represents the berkland currents as many as 56 and as little four with four being the minimum number of berkland currents possible after a cycle and 56 the apparent maximum as observed in modern times these are electric currents in earth's ionosphere as recorded in prehistory by ancient earth inhabitants wait till you hear this the petroglyphs found in abundance at the columbia river region in north america are simply sensational because they appear to show aurora plasma phenomena at this location with a very similar representation found over 5000 miles away in the form of a vase recovered at nasca in peru nasca of course very famous for the so-called nasca lines known as geoglyphs which is an ancient greek word meaning earth ground engraved not always literal when considering the effort to cross mountains and other rugged terrains to keep the glyphs straight especially at nasca according to anthony perat within the region containing the lines there is a high ground blinder gap with elevations rising to the south and the range defining the gap rises abruptly at the western most boundary of the lines while the eastern most lines in where the planet meet east west hills and a mountain range to the south if they were documenting the aurora event then they had the same blinders the petroglyph observers had and they were sheltering in this region the famous landing strips are representations of the current like berkline currents as viewed in prehistory highly focused sharp edge synchrotron light from the relativistic mega atmosphere electrons would have produced white light images of the filaments on the ground visible even in daylight vertical striped petroglyphs or vertical white striped petrographs are found worldwide for example white striped petrographs are common to australia from the northern territory to the flinders range one of the better known pictographs occurring often in mythology are the striped lightning brothers which can be replicated by looking nearly straight into the plasma columns with the berkland currents incoming towards antarctica making up the torsos of the figures the dark stripe running vertically in the figures toward the nose is the dense central region of the plasma column ancient earthlings in deep prehistory did witness and record the effects and images from an intense solar outburst lasting millennia and this can be deduced by the records that have endured the ages for the most part very little changed but over the millennia these representations have completely lost their meaning however thanks to lifelong research by the anthony parats of the world these anomalies are beginning to be corrected and the work will prevail for centuries to come explained by anthony is the fact that when you have a thin plasma column it filaments into 56 individual columns respectfully known as the 56 berkland currents regardless of size and as they develop into vortexes forming a cylinder they get larger each time with the 56 currents ending up as four at the end of the cycle as proven by supercomputer simulations 56 at its thinnest at the beginning of the peak of the cycle four at its fattest at the end of the cycle but why is this important and what does it mean for us well if you look at petroglyphs or geoglyphs around the world for that matter you come up with astounding results formed by ancient earthlings as documented at these locations are the events they witnessed in the sky recreated in modern times by supercomputer simulations and now realized to have actually occurred all around the world with a vantage observation of the magnetic south pole are the representations in locations like the navajo reservation in arizona where the seal of the navajo nation also confirms the 56 filaments and this is repeated 8800 miles away from arizona in australia at the location of the one jenna gorge where we again see no fewer than 56 rays of filaments radiating outward as seen in the ancient electric skies of our planet the exact precision at these distances cannot be ignored any longer they match up at opposite ends of our planet and this means they all saw the same thing in the sky now what if we were to tell you the famous four o'clock rapids petroglyph on the columbia river matches up shocking accuracy to the john day bar glyphs in oregon it matches the australian glyphs and the arizona navajo nation glyphs match up with the connection of the seemingly random 56 rays radiating the now realized 56 berkland filaments and this is repeatedly matching up all across the world including in kazakhstan where again the 56 rays are depicted 56 remember no fewer no less is that just a coincidence because in china the axis mundi also shows 56 rays and these anomalies are matching up to places like the stunning canela village in brazil where they actually built 56 houses at the end of the 56 rays the strange thing about these significant anomalies and their relationship to the immense plasma event of prehistory is the fact that they were capable of constructing megalithic monuments that represent the 56 filaments in the curtain berkland current and this is now being realized in the most famous monument in the northern hemisphere stone hinge stone hinge was always there the Celtics tell us that they were there when they arrived and the modern day britains are descended from these people so when the first people of the modern era arrived on the british isles it was already there and in a ruined state the age of the structure is unknown but at this location a connection to southern and northern america and also australia and middle eastern countries including kazakhstan can now be realized compensating for the reconstruction of stone hinge and the moving of the ancient placements to modern positions but with an open mind regarding these connections across the planet if you take the pattern of the navajo petroglyph and overlay it at stone hinge something very sensational becomes apparent the matching up of the outer stones of the stone hinge arrangement all the way to the inner circle is jaw dropping never before has an explanation of what the ancient monument was as it appeared like this is stone hinge in fact another representation on our planet of the dramatic aurora event as witnessed in prehistory are the ancient earthlings warning us of the cycle of this event at this location and can we predict when it might happen again with these megalithic wonders matching petroglyphs across the planet it took 1 000 years for the 56 radiating filaments to reduce to just four comparing the four o'clock rapids to stone hinge shockingly shows the change the filaments began to go through in its life cycle as this began to reduce over the vast period of time as shown by anthony perat in laboratory conditions it's astonishing what does the creation of humanity represent that is what event if any did we perceive in a jump starting of consciousness imagination in the process of beginning to understand the bigger picture of existence our struggle to understand our existence has awakened our hidden nature of curiosity and enlightenment and to what effect exactly did the prehistoric aurora event have on our ancestors ability to conceive our presence here on the earth prehistory is unknown to us because it no longer exists the remnants of a past that is completely lost to us is only existing in stone and in the form of petroglyphs geoglyphs and other strange patterns left down for all time by a past presence of intelligence who documented the events they were actively witnessing in the sky as the etching of stone material took place by beings who were considered primitive and we only consider this primitive people because of the passage of time and the recycling of their existence the shocking revelation of petroglyph patterns not being of the abstract mind and in fact being literal representations of intense plasmatic events happening in space and raining down onto our planet through the protective atmospheric bubble could only have been realized now that is within the past 100 years because we could simply not fathom these petroglyphs until we had the technological know-how to experiment in laboratory conditions replicating the squatter man as a zenith pinch auroral phenomena and further exploring the different stages of such forces as laid out in no uncertain terms and the now vital clues of the petroglyph record echoed all across the earth by dozens of separated cultures in a dramatic undertaking of documentation that is now the subject of constant study and understanding not only the past event but also what it might mean for our future existence the profound events that shaped every culture in the world and their belief systems begins in space planet earth was once a strangely different place to what we recognize today and the ancient earthlings have reached across time and space to leave us the clues as to what was going on only by understanding these clues can we truly begin to awaken the birth of civilization happened after these events and catalyzed our understanding of gods and religion dance and believe prayer and communication and these facts are not in dispute could the planets have been visible to earth observers a very long time ago that is as visible as the sun or the moon is today in this sense we would literally be living in the presence of the gods as david talbot asserts in his book the Saturn myth could planetary powers have once ruled the celestial theater in the lost age of the gods if the planets engage with each other electrically when the orbits were set off differently than what they are today then of course this would have inspired dramatic events to take place in the sky this was documented by earth observers over a very long time until that is the planet seemed to go to war with one another creating shocking and sudden sways in the intense sky events here on the earth and this would have decremented the presence of any civilization forcing survivors to shelter within earth cave systems as the intensity unfolded the petroglyphs and geoglyphs that have confounded our understanding our representations of these events never to be forgotten and documented for all time much to our discovery and recent times described by david talbot as an event as the most intense and chaotic time in human history and the misrepresentation is that these observers somehow were inspired by events that could still occur today this is the modern phenomena of ignorance but the stable fact maintains that every single culture on this modern plane of existence are re-enacting in their belief one way or another a critical juncture that is the intense aurora event of prehistory when the planets were the gods these electrical events have evoked the entire symbolic contents of human existence today from the serpent to the deluge and the stairway to heaven the provoking of humanity by the apparent gods of old the dramatic discharges in the sky being exchanged by the planets according to a long established school of thought man's consciousness of a supreme being emerged slowly from a primitive fascination with petty spirits and demons apparently inspired by the need for food and eventually into the global traditions of today if we were to take this as fact without question then we would believe that before the Hebrews Greeks and Hindus developed their ideas of a supreme god they must have possessed beliefs and customs similar to those of modern day tribes of africa australia or Polynesia for that matter the same processes are considered evident for developed cultures and modern times simply because it is considered that these tribes are somehow stuck in a state primitive state but what if this was false based on these conclusions and only by slow development could a race rise above the ludicrous magic totems and fetishes of the savage brute but a surprising awakening to this thought occurs when you consider the fact that the advocates of the various evolutionary theories and their fascination with present-day primitive culture almost never concerns themselves with the oldest religious texts and symbols which have come down to us from prehistoric practices the sacred hymns and eulogies of ancient Egypt and Mesopotamia reveal a tradition of a great god reaching back into prehistoric times a comparison of early and later sources rather than suggesting a development actually indicates the disintegration of a once unified idea into magic astrology and other elements with which the evolutionists associated the first stages of religion as attested by the thunderbolts project there are grounds for speaking of an archaic monotheism astral in nature existing long before the idea of god received its spiritual and philosophical elevation in Hebrews and Greek thought to the ancients themselves the entire question was simply a matter of concrete history the present world is a fragmented copy of an earlier age in which the supreme light god stood alone in a primeval sea occupying the cosmic center ancient Egyptian texts repeatedly invoke a singular figure worshiped as the greatest and highest light of the primeval age according to the pyramid text perhaps the world's oldest religious hymns atum a god born in the abyss before the sky existed before the earth existed but the text of all periods look back to the same primordial time when atum shown forth alone i came into being of myself in the midst of the primeval waters states the god in the book of the dead more than once the coffin texts recall the time when atum was alone before he had repeated himself he was alone in the primeval waters they say i was the spirit in the primeval waters he who had no companion when my name came into existence each locality in Egypt appears to have possessed its own special representative of the father god to some he was Horos the god who came first into being when no other god had yet come into existence when no name of anything had yet been proclaimed other traditions knew him as raw the god one who came into being in the beginning of time oh thou who didst give thyself birth oh one mighty one of myriad forms and aspects king of the world the followers of amen proclaimed their god the ancient of heaven father of the gods pita was the splendid god who existed alone in the beginning the different local names of the primeval deity though adding complexity to Egyptian religion as a whole did not cloud the underlying idea he is the god one the only one the father of beginnings the supreme lord the singular god except whom at the beginning none other existed Egyptian priests had a particular obsession with the past and their vivid portrait of the great god in his first appearance those who look for an unseen creator in early Egyptian religion will be disappointed he is a visible and concrete power the lord of terror the memory of this solitary light god and creator was old as the most ancient Egyptian ritual his appearance and eventual departure shaped every aspect of the Egyptian world view so also in Mesopotamia about which Stefan Landon raises the question of archaic monotheism after a prolonged study of Semitic and Sumerian sources Stefan Landon concluded that veneration of spirits and demons had nothing to do with the origins of Mesopotamian religion rather both in Sumerian and Semitic religions monotheism proceeded polytheism and belief in good and evil spirits he further notes that on the pictographic tablets of the prehistoric period the picture of a star repeatedly appears the sign he claims is virtually the only religious symbol in the primitive period and in the early Sumerian language this star symbol is the itogram for writing god high heaven and bright it is also the ideogram of on the oldest and loftiest of the Sumerian gods Anu was the father of the gods and the central light at the universe summit a god of terrifying splendor who governed heaven from his throne in the cosmic sea of Apsu but the Sumerial Babylonian Pantheon filled with competing figures of the primordial creator here as in Egypt the god of archaic monotheism is not a transcendent spirit or invisible power but a central light a Sumerian epic proclaims Anu is the midst of heaven gave him fearful splendor according to the text is like Anu and cast a shadow of glory over the land Egyptian and Mesopotamian traditions of the solitary creator find many parallels in the later Hebrew Greek Persian Hindu and Chinese mysticism and philosophy but it is the earliest imagery which illuminates the later and however unorthodox the idea may seem the oldest records treat the great god's birth in the deep and his acts of creation as events experienced by the ancestors hearts were pervaded with fear hearts were pervaded with terror when I was born in the abyss proclaims the god in the pyramid text the tradition has nothing to do with the origins of our planet or the universe and the subject of the original creation legend is the formation of the greatest god's visible dwelling above the legend records that when the creator rose from the cosmic sea a great band of revolving islands congealed around the god as his home the band appeared as well defined organized and geometrically unified dwelling a celestial abode fashioned by the great father all space outside this enclosure belongs to unorganized chaos the words which in the ancient language denotes this enclosure receives various translations as heaven cosmos world land earth netherland these are the terms which take on vastly different meanings and modern usage in their original sense the words signified one and the same thing a band of light which appears to set apart the sacred ground of the great god from the rest of space what is most compelling about the portrait of actum raw is that numerous egyptian divinities duplicate the image and the very traits of the great god are endlessly repeated in the figures of osiris pita and horos of whom appears as the solitary god in the fiery sea the god one who brought forth the company of gods as his own limbs the god of the reverberating speech the unmoving god producing the celestial revolutions and the final source of water and the impregnating seed of the cosmos if we were to inquire of an egyptian priest how he arrived at this notion of the supreme god the priest would tell us that he did not arrive at the idea at all the great god was a historical divinity who ruled heaven for a time then departed amid great upheavals the hymns and ritual texts simply record the incarnation of the god in the primordial era and recount the massive cataclysms which accompanied the collapse of that era as documented in the forms of petroglyphs all over the world the dramatic events as witnessed all over the planet in prehistory would send civilization back to the primitive state for 6000 years that is if you consider this event having taken place right around the time of the last ice age and perhaps the aurora was responsible for ending the ice age cycle shifting earth's settled pattern of behavior why does the easter island rungu rungu inscriptions show characteristics of the petroglyphs found all over the planet are the nasca lines a massive manifestation of the aurora immortalized in the geoglyphs and the nasca spider is definitely showing a design of what the ancient earthlings were seeing it seems they tried to make sense of what they were seeing in the sky by comparing the phenomena to shapes of animals that were of the earth these shapes of characteristics are matching up with astounding accuracy all over the place and it seems these civilizations who created them were stuck at these locations for sheltering as the immense discharge of plasmatic activity unfolded before their very eyes conservatively between 15 thousand to 11 thousand years ago the planet earth experienced a series of climatic fluctuations it is widely thought through study of the geological layer that extreme coal made in very harsh in some regions of our world that is habitable today with continental glaciers extending much further than they do today but the climate started to warm and temperatures suddenly reverted back and this triggered a cold spell known as the younger dryads period based on greenland ice core data the younger dryads began and ended very abruptly with the start dates to 10900 bc and is ending the final warming beginning around 9700 bc and may have occurred within an incredibly short period of time almost overnight and this confounds researchers because it is unclear how our planet was habitable during the previous couple of million years settled period but we do know there were golden elements during this so-called ice age the civilizations who flourished in the apparent ice even tell us as much they don't tell us that it was frozen they tell us it was golden the golden age the hindu's and the egyptians tell us this was before the current wave of existence that is before 5000 years ago and that puts it past the younger dryads also because of the dark age that followed the younger dryads before the reemergence around 5000 years ago but how do we explain this pattern of abrupt climatic shifts perhaps a comet was responsible as robert shock and many other leading researchers have pointed out a comet hitting the land or a shallow ocean or exploding above the land's surface scattering dust and debris into the atmosphere could cause global cooling but what about the warming events of 10 000 bc in years past robert shock had speculated that comets hitting deep oceans were responsible a comet might break the thin oceanic crust releasing heat from the hot magma beneath this would trigger vaporized and displace water to rain down on earth releasing tsunamis that would wash across coastal areas warming the earth but even with a comet or a series of comets bombarding the oceans could the warm happen as quickly as the greenland ice cores indicate the mind blowing similarities found in the petroglyph and pictographic records that relate to geoglyphs and even the undiscipered rongo rongo inscriptions of easter island may prove to be the biggest uplifting of answers ever formed in the minds of earthlings separated by thousands of years from the minds of other earthlings reaching across time and reality and delivering a message that could hold answers to our very existence on the planet we call home but first before the realization let's do the homework let's sort the facts from the fiction and establish something missing from the existence of every earthling alive today the truth about our existence we have to consider the concept of the fourth state of matter plasma plasma consists of electrically charged particles and these phenomena are no strangers to stargazers anywhere and everywhere with familiar plasma phenomena including lightning and the aurora borealis and australis as also the sprite phenomena in the past much more powerful plasma events sometimes took place due to solar outburst and coronal mass ejections from the sun but the sun has not always been alone in the sky display if the petroglyph records matching up all over the world are to be believed then solar emissions from other celestial objects are not a possibility but a historical fact powerful plasma phenomena could cause strong electrical discharges to hit earth from electrical plasmatic exchanges between planets in the solar system burning and incinerating materials on our planet's surface as dr anthony l paratt has asserted and established that petroglyph found worldwide record an intense plasma event in prehistoric earth anthony has determined that powerful plasma phenomena observed in the sky would take on characteristic shapes resembling humanoid figures humans with bird heads sets of rings or donut shapes and snake shapes reflected in countless ancient petroglyphs and seemingly assimilating into the worship of gods leading to the birth of religion in egypt mesopotamia and above all other influence also on easter island the most remote location on the planet the easter island rongo rongo inscriptions remain a great deluder of observable hope recorded on antique wood tablet stands a great testament of the aurora event characterized on these symbols are the same shapes as found on all other worldwide petroglyphs the unmistakable similarities are a shocking tribute that is only being realized in the 21st century robert shock has concluded based on anthony paratt's groundbreaking observations that the easter island rongo rongo tablets record a major plasma event in the sky of prehistoric earth thousands and thousands of years ago this was the event that brought a final close to the last ice age plasma hitting the surface of earth could heat and fuse rock incinerate flammable material melt ice caps vaporize shallow bodies of water creating an extended deluge of rain and send the climate into a warming spell the release of pressure that follows the melting of thousands of meter thick ice sheets can induce earthquakes and even cause hot rock under pressure to melt and erupt to the surface as volcanoes the world was in chaos and this is the event recorded by petroglyphs and the rongo rongo texts how the easter island residents constructed the great moai is unclear but the fact that akivi moai axis of the platform was oriented from north to south getting the face of the moai looks exactly at the point where the sun sets during the equinox of the astral spring september 21st and their backs face the sun of the dawn during the autumn equinox march 21st among the oddities of easter island are the low lying solid thick wall stone buildings with narrow entrances that look like bunkers or fallout shelters and the strange stone houses of easter island are similar to the structures formed by the walls and pillars of gobekli tepe could they in both cases have been protection from some type of phenomena emanating from the skies maybe this is the same for durin key you maybe the ancients built bunkers to shelter from the plasma strikes and what world did they leave behind you have to wonder according to standard chronologies easter island was not inhabited until a mere millennium and a half ago but do we really know when easter island was first colonized and even if surviving easter island antiquities and structures are from a relatively late period they may reflect much more earlier traditions and styles perhaps brought by settlers from elsewhere that date back to a time of intense plasmatic aurora discharging and the rongo rongo tablets may carefully preserve ancient texts that were copied over and over reflecting patterns in the prehistoric sky of our planet the easter island rongo rongo script it could be argued records plasma events in the ancient sky so too might certain carved motifs found at gobekli tepe the connection between bird man petroglyphs and plasma phenomena around the world on easter island we find bird man petroglyphs as well as bird men and bird symbols among the rongo rongo hyroglyphs and even a great tradition of the bird man remembrance and a gobekli tepe a very similar bird form was carved into the pillars dr. porat records many plasma phenomena that can be interpreted as having the appearance of snakes and numerous snakes are found on the pillars of gobekli tepe slithering vertically up and down the ends of some of the columns could these represent huge thunderbolts of plasma plasma hitting the surface of earth could heat and fuse rock incinerate flammable material melt ice caps vaporize shallow bodies of water creating an extended day luge of rain and send the climate into a warming spell the release of pressure that follows the melting of thousands of meter thick ice sheets can induce earthquakes and even cause hot rock under pressure to melt and erupt to the surface as volcanoes the world was in chaos and this is the event recorded by petroglyphs geoglyphs and the rongo rongo text the plasma event eradicated advanced civilizations and high cultures of the time fusing large sways of built up areas to verified states and the radiation emanating from the plasma may have affected mental and physical abilities this could be the basis for the nearly universal myth of a golden age a time when beings on earth had mental abilities far surpassing those of later times plasma and electrical discharges hitting the surface of earth may have been responsible for the vitrification of ancient stone structures seen in some parts of the world such as various hill forts in scotland people cowered for their lives at the prospect of being turned to vitrified glass by supercell discharges radiating like intense thunderbolts onto our planet the ancient civilization migrated away from an event they could not escape and as it intensified they sought shelter in caves under cliffs and dwellings built of thick stone or carved into mountain sides perhaps gobekli tepe was intentionally buried in an attempt to protect it from an ongoing plasma events in an effort by the priest of old to send this information through the ages perhaps these places were meant to be recovered in the aftermath of an event that lasted longer than they had anticipated so long in fact that they became forgotten about the documentation of these events are the petroglyphs and other inscriptions now being recovered into a better understanding of the past one that makes more sense today than the concept of time itself only being in a primitive age and bewildering our state of being earth is located in the habitable zone of our solar system our sun is a yellow dwarf star and all the planets have seamlessly orbited the sun since we were captured into its orbit billions and billions of years ago on a spiral arm of the milky way galaxy it seems nothing has changed in our neighborhood in a very long time or has it for us to become conscious and then look out at the solar system from the earth and begin to identify our location in the universe doesn't appear to be a coincidence we are the remnants of stardust after all just like every other object of matter in existence and perhaps it is ingrained into our very being to recapture a godlike understanding of everything here on earth in the past few hundred years we have rediscovered the planets through telescope observation but ancient earth observers also knew about the planets of the solar system before the separation and further loss of understanding took hold they tell us something different about our position in space so different in fact to what we accept to be true that it is almost beyond comprehension the petroglyphs pictographs geoglyphs and the rongo rongo inscription document an intense aurora in the sky as visible from our planet incredible displays of plasma raining down onto the earth that were documented in the form of petroglyphs cut into stone and the only thing that could survive what was going on this eventually assimilated into religion and worship all over the world but what caused such an event what happened in the solar system in prehistory that would upset the planetary cycles so drastically ancient earthlings of prehistory eventually reformed civilization in the aftermath of this event and when they did so they began a worship of the gods in the sky and these gods weren't physical beings they were the planets ancient astronomer priest of mesopotamia insisted the planets determine the fate of the world in their prayers to the planets they summoned memories of a heaven shattered catastrophe a catastrophe that was still in the minds of earthlings at the time of Plato when he insist 2300 years ago that the movement of the planets had once changed the ancients were absolutely obsessed with the planetary gods who they perceived as giants in the sky fighting with one another wielding weapons of thunder fire and plasma their wars not only disturbed the heavens but threatened to destroy the earth ancient observers driven by fear all across the world from Mesopotamia to the Americas honored the planets in an almighty obsessive global cultural response that assimilated from the memory of the events of prehistory the evidence overwhelmingly points to a lost fact of history seemingly so obvious having followed the research of Anthony Peratt and David Talbot that only a few thousand years ago planets moved very close to the earth producing an intense electrical aurora event so intense that it destroyed the planet as we knew it in the epoch of the golden age ancient earthlings observed these events from sheltered locations documenting what they could living how they could in hope of change they began to try to communicate through prayer and we can now connect cultures at either ends of the planet as having spawned the same great miss symbols and ritual practices of antiquity this was the effort to remember to make sense of what is going on in a place that was out of reach they had no control over the planets and a costly misunderstanding of planetary history must now be corrected scientific researchers consider gravity to be the controlling force in the heavens and from this assumption we give credit to the doctrine of endless solar system stability and the belief that under the rule of gravity the nine planets have moved on their present courses since the birth of the solar system based on the evidence garnered from the petroglyph record and the recreation of these symbols and laboratory conditions we contend that humans once saw planets suspended as huge spheres in the heavens immersed in the charged particles of a dense plasma celestial bodies radiated electrically and the plasma discharge produce sky wide formations emanating from the magnetic south and forming the squatter man in many different phases over millennia in the imagination of the ancient myth makers and in the words of wallace thornhill the planets were alive they were the gods the ruling powers of the sky awe-inspiring often capricious and at times wildly destructive cosmic lightning evolved violently from one discharge configuration to another following patterns observed in high energy plasma experiments and only recently revealed in the deep sea as well around the world our ancestors remember these discharge configurations in apocalyptic terms they call them the thunderbolts of the gods according to the saturn myth authored by david talbot who asserts that greek legends recall a remote and mysterious era of chronos wielding a great stone sickle the creator god of the harvest and member of the titans whom ruled from the summit of mount olympus during the golden age before eventually being displaced by his own son against whom he warred violently chronos is preeminently the god king his darker side concealed the greek poet hessia first of the western tradition writers in 710 bc says first of all the deathless gods who dwell on olympus made a golden race of mortal men who lived in the time of chronos when he was reigning in heaven and they live like gods without sorrow of heart remote and free from toil and grief miserable age rested not on them the fruitful earth unforced bear them fruit abundantly and without stint they dwelt in ease and peace upon the lands with many good things rich in flocks and loved by the blessed gods the peaceful epoch of the golden age is clearly the age of chronos if we move over to the more ancient traditions in ancient egypt we can assert that among the egyptians the father of the golden age possessed many names but each tradition proclaimed the same original excellence of creation and throughout their history the egyptians believed in a time of perfection at the beginning of the world and in the earliest age according to the egyptian sources the great god was the first king a ruler whose life served as a model for all succeeding ages with the god king osiris the egyptians constantly associated a vanished golden age as king osiris the beneficent being taught his subjects to worship the gods gave them the arts of civilization and formulated the laws of justice founding sacred temples and cities and disseminating wisdom from one land to another he became the benefactor of the whole world but his eventual murder brought worldwide destruction and among classical writers the idea prevailed that osiris lived on our earth as a man who was also a god egyptian sources too often portray him in human form yet the early religious tech say again and again that osiris was the supreme light of heaven ruling from the cosmic center and he was in fact the lord of the gods god number one his body formed the circle of the celestial residents of the gods and the secondary gods themselves constituted the limbs of osiris and eventually the traditions of osiris melt into those of raw the god one who came into being in primeval time according to ancient egyptian text just as osiris followers remembered his rule on earth so did other egyptians recall the terrestrial reign of the creator raw and the lost echoes of history to this age the egyptians continually looked back with regret and envy to declare the superiority of the one thing above all other things imaginable it was enough to affirm it's like had never been seen since the days of raw raw the father of gods reigned over the terrestrial world but wandered away when the heavens fell into disorder sir earnest wallace budge writes that all chronological tradition affirms that raw had once ruled over egypt and it is a remarkable fact that every possessor of the throne of egypt was proved by some means or another to have the blood of raw flowing in his veins however the same belief can be applied to the god horos the god king as well as atom capria pita and amen and the fact which must be explained is that the memory of the creator king and his original age of abundance was far broader than any local tradition to the point that the story was not limited to egypt ancient tribes of caldea apparently owed their civilization to a powerful and benevolent figure named oans who ruled before a great flood swept the land away according to babelonian priest who took note of their assimilation into babelonian culture prior to the great figure the tribes lived without order like the beast but the new god king who issued from the sea instructed mankind in writing and various arts the formation of cities and the foundation of temples and he also taught them the use of laws of bonds and divisions also the harvesting of grains and fruits and in short all the pertains to the nullifying of life he delivered to men and since the time nothing more has been invented by anybody sensationally oans is simply the Greek name for the Sumerian god inky worshiped in the city of iridu at the mouth of the euphrates the tradition dates to the earliest stage of Sumerian history a time when the myths say that inky and his wife governed the lost paradise of delmon the pure place of man's genesis many ancient accounts attest that they alone reposed in delmoon where inky and his wife reposed that place was pure that place was clean and delmoon the raven croaked knot the kite shrieked not kite like the lion mangled not the wolf ravaged not the lambs ruling over this favored dominion inky introduced civilization to mankind founded the first cities and temples and set down the first laws in the account of barossus the bringer of civilization appeared as a man emerging from the water the earlier accounts call him the creator and his home was the cosmic sea apseu the celestial waters of fire rage splendor and terror but inky was only an aspect of the creator on whose ideogram appears as the earliest mesopotamian sign of divinity in all the myths and temple hymns the Sumerians distinguished the present age from that day or the days of old when the gods gave man abundance the day when vegetation flourished the supreme figure reigning over this remote age was on the central and highest light whose foremost characteristics was lu gaul meaning king and the ancient Sumerian claimed that the very institution of kingship descended from the heavens of on and it was on who produced a golden age when the destiny was fixed for everything that was engendered when on engendered the year of abundance how widespread was this memory of a golden age foundered and governed by the creator himself in mexico legends recount the ancient ruler of ketsu kuadal who appeared from the sea to become the good and wise ruler of the golden age the legend describes the god as a law giver teacher of the arts and founder of purified religion he was the ancestral founding king and all later toll tech kings considered themselves his direct descendants of ketsu kuadal all the arts of the toll techs their knowledge everything came from ketsu kuadal and the toll techs were wealthy their food stuffs their sustenance cost nothing they needed nothing and got everything they needed in a very happy time of prosperity of fruitfulness on the earth the story of ketsu kuadal finds the same confusion of man and god as in the legends of egypt and mesopotamia and early chroniclers wrote that although this ketsu kuadal had been a man they respected him as a god indeed he was the creator for he made the heavens the sun the earth not only was ketsu kuadal the giver of life the legend proclaims that the first divine generations emanated directly from him and eventually the god suffered a violent fate bringing to an end this global tradition of a golden age which is echoed all over the planetary culture of the earth from denmark to china the names are changed but the overriding factors in each creation myth prevails to the same conclusions in mexico egypt and mesopotamia the latin poet ovid tells us that it was saturn who ruled the golden age when he states that the first millennium was the age of gold then living creatures trusted one another people did well without the thought of ill nothing forbidden in the book of laws no fears no prohibitions read in bronze or in the sculpted face of judge and master no brass-lipped trumpets called nor clanging swords nor helmets marched the streets country and town had never heard of war and seasons traveled through the years of peace the innocent earth learned neither spade nor plow she gave her riches as fruit hangs from the tree grapes dropping from the vine cherry strawberry ripened in silver shadows of the mountain and in the shades of joe's miraculous tree the falling acorn spring tied the single season of the year but then old saturn fell to death's dark country there is not a race on earth that forgot this cataclysmic event the death of saturn the universal monarch or the fall of adam in the peoples the world over for thousands of years awaited the full time of times wheel when saturn's kingdom would appear again to rescue the world from a decadent age of iron which is widely thought to be the current age the powerful memories of saturn's age gave rise to a prophesized return as announced in the famous lines of virginal where it is written that now has come the last age of the kumin prophecy the great cycles of periods born anew now returns the maid returns the reign of saturn now from high heavens descends a new generation and oh holy goddess of childbirth lucina do thou be gracious at the boy's birth in whom the iron race shall begin to seize and the golden to rise all over the world again Richard Kilbansky and his co-authors write in their study of saturn and melancholy that saturn possesses the double property of being the forefather of all other planetary gods and of having his seat in the highest heaven on the oldest and highest of the samaritan and Babylonian gods whose primordial age was the year of abundance which signified saturn and the same verdict is tacitly maintained by renowned researchers Alfred Jeremiah's and Stefan Langdon who identified the great god Nunerta as both the planet saturn and form of anew and one can add the well-known fact that the samaritan in key Babylonian e the oans and barossus came to be the translated word of cronus saturn by the Greeks the accumulation of an event so dramatic in the earth's atmosphere would see the birth of sky worship emerge from the cosmic cataclysm prehistoric people perceived what they saw as giant humanoid figures waging battle in the sky and at the end of the cycle as the apparent gods disassembled an overall figure emerges the Greeks and the Hindus tell us of the gods in the sky seemingly visible for ages and of course the Hindus show us different representations of the many gods visible over time as the great spectacle in the sky morphed throughout millennia the Greeks tell us the different generations of the gods of the sky Zeus for example being god of the sky lightning and thunder ruler of all the gods as inherited from his father cronus king of the gods and widely understood to be the planet saturn from which the great sky event of prehistory may have manifested to earth observers and overwhelmingly influenced the very being of ancient earthlings the iconography spread all over the planet of the sky god and emerged into art all over the Mediterranean region and ancient near east the ancient Greeks tell us the iconography comes from very ancient times times referred to as archaic times even by the earliest Greek writers and this does suggest a populous explosion in prehistoric times that relates to the sky spectacle directly when the first of our kind reemerged from the shelter of the caves and begin to again claw back civilization from the brink they reemerge with a thinking of appeasing gods of the sky cultures emerge from this way of thinking and the squatter man of the petroglyph the representation of the z-pinch aurora begins to be brought to life by ancient artists who remembered in the oral traditions at first there must be a visual remembrance and this goes from petroglyph patterns to works of art in pottery coins and other materials capable of holding a striking resemblance of the prevailing figure witnessed all across the world known to the Greeks as the patnia thereon a humanoid figure which is always being flanked by animals on either side emerges into ancient cultures all across the earth this widespread motif is recognized as a precursor of worship the cosmic entity of the lost age of humanity from the time when our skies went electric when planet Saturn went supernova the figure of the potney thereon is a representation of the manifested aurora and the animals flanking either side sometimes snakes as seen in Greece and other regions is actually immense plasmatic discharges radiating down on our planet the ancient earthlings witness this they believe this was a weaned deity and they recorded this in petroglyphs and later on they would stylize their entire reemergence of this event and to the Greeks and the Hindus they were gods and the so-called mythological episode in humanity's cavitus upbringing were literal events as perceived by prehistoric people the emergence into art of the squatter man can be traced to the very earliest of times for example artifacts from the times of the ancient sithians relate to an underground goddess who had presented herself to the people daughter of a river god and seemingly dwelling above the mountains in some accounts she is half snake and of course the snake has been identified as being representative of the plasmatic thunderbolts of the gods ambiguous by their nature these images are a category of representations that are frequently associated with rituals or transitions and limitation with the intermediate stages of creation when the world is in neither its primal nor its finished state at this transitional stage when the country of sithia already existed but was only in infancy the sky goddess gave birth to the reemergence of the sithian people because this is what they saw they believed this to be a great being similarly in Greek belief in the primordial world before people learn the laws of civilization these great beings of the sky flourished in all their might and wonder inspiring worship implementing fear and faith confounding the earthlings who had lost prosperity and who had long sat in all of the spectacle radiating above them long they waited for a return to the time of old and they were comforted by this unimaginable widespread phenomena from which the mythological stories would emerge it actually happened snakes of course are creatures of ambiguous character gliding between the worlds above and below the earth capable of bringing death and prosperousness representing the electrical plasma discharging plants grow from the depths of the earth where the dead depart and they evoke fertility and renewal accordingly both snakes and plants embody the idea of death and revival the combination of human and vegetable or serpentine elements in a divine image implies the deity's power of life and death relating to the aurora being both beautiful and dangerous to human beings with the duality inherent in the combination of human and animal or vegetable elements being enhanced by the neutrality of feminine and masculinity in the snake thoughts awaken curiosity stirs regardless of culture or origin we use the great term potney atheron to identify this widespread phenomena and we say it's a phenomena because this is exactly what had happened in prehistory for this wave of understanding to even begin to unfold the Mycenaeans heavily influenced by Minoan culture presented the symbol in a Minoan manner and with her usual sacred symbols however by the late Mycenaean period the old type of deity flanked by animals was forgotten assimilating into cultural beliefs as the ages slipped by as the memory of the event slipped into mythological status the sky goddess is usually described as a human deity but some authors associate her not only with wild animals snakes and birds but further with a sacred tree and pillar with poppy and some lily and eventually she looked like a mistress of trees and mountains the Mycenaeans adopted the iconographical type of mistress of animals and applied it to the goddess of nature who was represented with vegetation mainly palms and papyrus flowers the archaic Greeks following the tradition used by the old iconography scheme with their own aesthetic program but over time the name of Patnian Theron and her attributes and functions were eventually assimilated into the Greek religion the goddess of hunting Artemis the earliest representations of the sky goddess are thought to be in the various strange venuses found throughout Europe dating to the earliest of times with the seeded woman found in Turkey in 1961 thought to date to 6000 years before Christ thought to be precursors of more advanced artistic renderings assimilating into the master of animals which emerged in Mesopotamia in the fourth millennium before Christ inspiring representations of human animal hybrids in the ancient Near East and dynastic times of Egypt where a representation from 3500 BC known as the Gible L. Arc knife shows a figure in a Mesopotamian dress who grapples with two lions it has been connected to the famous Pasupati seal from the Indus Valley civilization showing a figure seated in a yoga like posture with a horn headdress and surrounded by animals this in turn is related to the figure on the gondestrip cauldron who sits with legs part crossed has antlers is surrounded by animals and grasp a snake in one hand and a torque in the other and even in ancient Britain we see the continued cultural explosion of the great representation of the immense aurora event in prehistory in the form of the Sutton who pursed lid which has two plaques with a man between two wolves and the motif is common in Anglo-Saxon art and related early medieval styles where the animals generally remain aggressive the understanding of the past is a minefield because we attempt to explain a happening in a comparison by comparing what we see to what it looks like and this is all related one way or another to the events recorded in the petroglyph record the story of the events survived in the minds of the people for ages and what they saw became godlike in nature to their thoughts the evidence assembled over the past decades by David Talbot indicates that within human memory extraordinary changes in the planetary system occurred in the earliest age recalled by human beings the planet Saturn was the most spectacular light in the heavens and its impact on the ancient world was so overwhelming that it triggered a certain thought process all throughout the entire prehistoric world before the emergence of the first civilizations in Mesopotamia and the reoccupation by the dynasties of Egypt who then felt compelled to scroll hieroglyphs all over the place describing the time of the gods in the sky these were in fact representations of events that had passed through the thoughts of people in sheltered conditions for ages a manifestation of thoughts from a visual scene that would eventually be lost to history generally accepted among egyptologist and other researchers is the belief that the egyptian great god has his inspiration in the rising and setting sun atum raw osiris horos and pretty much all the great gods of the dynastic egyptians are explained as symbols of the solar orb being either the sun of day or the sun during its night journey of the egyptian great father there is no better representative than the one mighty atum whom egyptologists usually regard as a sun god shining at night and he is the acknowledged alter ego of the primal son raw founder of the lost golden age the coffin text says that the great god lives fixed in the middle of the sky upon his support and this refers to atum whom the imminent egyptologist rondo clark calls the arbiter of destiny perched on the top of the world pole the egyptian creation legend states that when atum came forth alone in the beginning he stood motionless in the cosmic sea his description was the firm heart of the sky to the egyptian's atum was the chief or center of the movement of the universe at the celestial pole for the egyptians knew the pole as the midst or heart of heaven the single immovable point around which the movement of the stars occurred rondo clark tells us that the celestial pole is that place or the great city the various designations show how deeply it impressed the egyptian imagination for if god is the governor of the universe and it revolves around an axis then god must preside over the axis clark writes that no other people was so deeply affected by the eternal circuit of the stars around a point in the northern sky here must be the node of the universe the center of regulation the egyptian hieroglyph for atum is a primitive sledge signifying to move to the god of the cosmic revolutions the book of the dead proclaims held to the atum lord of heaven who give us motion to all things but while moving the heavens atum remained at rest or in one spot moreover and contrary to nearly every universal opinion the great god raw has little in common with the solar orb unlike or every moving sun raw stands at the stationary midst or heart of heaven he is the motionless sun who rested on his high place according to inscriptions his home is the polar zenith may your face be in the north of the sky may raw summon you from the zenith of the sky my father ascends to the sky among the gods who are in the sky he stands in the great polar region and learns the speech of the sun folk raw sets his hand on you at the zenith of the sky the notion that raw rises and sets in one spot is inseparable from the vision of raw as the lord of hete rest in fact the god does not literally rise or set at all with the phases of day and night his light comes forth and recedes the god comes out and goes in when we say today that the moon comes out at night we do not mean it rises in the east we mean simply that the moon grows bright precisely the same meaning attaches to the egyptian words which so often receive the translation for the word rise rather than a moving sun raw is the central pivot round which the lesser gods revolve the god king osiris an obvious counterpart of the primeval sun raw is the god of firmness or stability he is always a passive figure and according to wallace budge as a cosmic god he appears as a motionless director or observer of the actions of his servants who fulfill his will osiris the stationary heart of heaven beautiful as the god of the motionless heart proclaims the book of the dead the hymns to osiris as the lord of hete rest or as the resting heart one egyptologists after another seeks to understand the imagery in terms of a night sun resting in an imagined underworld however numerous egyptian sources show that the place of rest is the motionless center and summit osiris is exalted upon his resting place or in the heights the hieroglyphs portray a column of steps leading to the polar zenith and it is here that the hymns locate osiris hail oh osiris thou hast received thy scepter and the place whereon thou art to rest and the steps are under thee it is also futile to interpret osiris rest or motionless heart as mere symbols of death the state of rest one must remember belongs to the living or resurrected osiris for the text applied to term hete rest to osiris im ankh as a living being it should be clear to all who consider the language of the hymns that the unmoving heart means the unmoving god for the heart is the god as when the text describes the heart upon its seat osiris the motionless heart is the central stationary sun oh still heart thou shinest for thyself oh still heart the stationary sun the sun at the polar zenith also occurs under many other names in egyptian religion including but not limited to horos the firm and stable god who takes his place at the zenith of the sky therefore in the hieroglyphs all the egyptian great gods appear as firmly seated figures this immovable posture which corresponds to divine imagery in many other lands is no accident the seated or resting god is the unmoved mover that the egyptians conceived in the cosmic center as the source of celestial motion it is clear from the terminology of the center the heart of heaven is ab a word which has the concrete meaning of center or mist but ab also conveys the sense of lively motion in the later usage the determinative appears to depict a human figure turning around while standing on one foot in one place at rest denoted by the word ab is the resting but ever-turning heart of heaven similarly while the term men means fixed or abiding in reference to the god of the stable center and summit men mean means to go around to the great god as the steadfast center or foundation stone of the cosmos the egyptians gave the name ben ben but ben alone is a verb of motion and particularly of going around this dual seemingly paradoxical relationship of motion and rest occurs throughout the egyptian texts and becomes intelligible only when one recognizes the central sun the unmoved mover as the source of the imagery i am the air the primary power of motion and of rest reads the book of the dead though the words have a modern sound they express the literal sense of the hieroglyphic text it is in the root character of every polar god to move while at rest inseparable from the egyptian motion of rest is the concept of silence the motionless center of the heavens is the still place or region of silence but those experts who connect the solar orb with the great god have nothing to say concerning such language the god who stands at rest in the silent region is raw the sun god par excellence yet the entire concept contradicts the image of our wandering sun what often prevents generalists from perceiving the stationary character of the primeval sun is the translator's unfortunate habit of substituting vague and intangible terms for literal meanings wallace budge follows a common practice when he renders a hymn to raw in these words homage to thee oh that who art in peace and from such terminology one could hardly be expected to formulate a clear concept of the god but the phrase in peace actually conceals a vital meaning for the egyptian original is m heta literally the hymn celebrates the god who shines at rest or while standing in one place shining over the golden epic before dramatic events would be perceived as cosmic entities battling in the sky eventually assimilating into stories sparking worship and faith as prehistoric people try to make sense of something they try to document in a way of understanding that has been lost to history but what do you guys think about this anyway comments below and as always thank you for watching