One of the more in-your-face insights available in reconstructing planetary history is the evidence of painted or rock chiseled petroglyphs. These quaint and sometimes spooky images are found all over the world. They vary from squiggly abstract circles, to human and animal-like stick figures, to wavy lines, and just about everything in between. What they represent has always been a mystery. Some people think they are evidence of ETs, being so bizarre and ghost like.
Because many of the images appear to be of humans and animals, archaeologists and other rock readers like to think of them as a type of sympathetic magic, a way for our primitive ancestors to psychologically identify with the hidden spirit world, perhaps to obtain a more successful hunt.
There are many other speculations, most of them having to do with self-expression and the beginning of abstract art – a way for humans to get a better grip on unseen natural forces, perhaps similar to how we relate to modern art.
What has not been previously imagined until recently, is that these images are recordings of apparitions seen in the sky. This ties back to the Electric Universe theory, recognizing that in ancient times there were many electric-plasma forms seen when the planets were in closer proximity to Earth. Depending on the intensity of the electric field charge on Earth and between planets, a variety of forms could appear. Since such phenomena occurred over many hundreds if not thousands of years, there could be a wide range of examples of glowing plasma discharges. Many of these forms were stable enough to be remembered and handed down to us as archetypes. One of the most familiar has become known as the ‘squatter man’, a human-like stick figure. It is in the nature of humans to anthropomorphize imagery to make it more familiar, explaining why abstract forms were sometimes drawn as people or animals.
A well-respected plasma scientist, Anthony Peratt, did a thorough study of this subject and came to the conclusion that certain plasma forms that could be made to appear in the laboratory were a match to many of the ubiquitous petroglyph images from round the world. There is a famous telling of this story when this insight popped into his head in the middle of a conference with Electric Universe scholars who were grappling with the origins of this rock art.
In addition to this insight the acknowledgement of a different electrical environment that allowed for these plasma shapes to take form recognizes that some planetary bodies were once in closer relation than is true today. For plasma apparitions to appear in the sky as large glowing, pulsing shapes, something would be going on several orders of magnitude greater than what powers today’s auroras in northern latitudes.
These glowing, radiating plasma shapes followed electrical currents over thousands, if not millions of miles into space. This was cosmic imagery: filaments, hourglass figures, toroids, twisting ropes, ladders, labyrinth shapes, kokopeli figures, beads moving up and down a string, all surely awesome sights for our ancestors. Add the evidence that these forms often gave off intense synchrotron radiation, and we begin to get a feeling of overpowering presence. Perhaps there were sounds associated with these vibratory forms if they were close enough to Earth.
No wonder these images were painted and carved into rock all over the world. The manifestation was unforgettable and surely deserved reverence. Man was always motivated through his desire for co-creation with the gods, to participate in a re-enactment. As Above; So Below was the driving theme. These plasma forms were clearly part of the god drama that was being enacted in the heavens. These forms were not the gods themselves, but were the stairways, or beanstalks, or ladders, or milky ways to the abode of the gods. They were also the tools of the gods, symbols of their awesome powers.
Anthony Peratt located many petroglyphs on high stonewalls that afforded views of the horizon from the artist’s perch, which would have also blocked dangerous radiation. This would seem to point to such rock art having been created during an ongoing plasma event. Alternatively, some rock art may have been created long afterwards in the absence of activity, in a type of sympathetic magic from a wish to bring back the god’s drama.
This idea of rock art as a recording of plasma events in the sky is now an important part of the Electric Universe story. Today’s plasma scientists willing to look outside of their academic box are one more link in the chain of empirical evidence supporting EU theory, and thus a revised planetary history. Their contribution in showing that these forms occur up and down the size scale, from micro to macro worlds has been a great boon to a rewriting of ancient history.