Mini-Slide Shows:
Perception and Illusion:
The spinning wheel image is from a website titled “Relatively Interesting”. http://www.relativelyinteresting.com/. The image appears to move in a clockwise rotation. It is an optical illusion. Our perception of movement is influenced by use of color to suggest light and shadow, then by shape to suggest a leading edge and a trailing edge on each spoke of the wheel. The lines at the center of the wheel are sharp while the lines progressively grow softer as they radiate outward. This softening of edges is what we would expect to see if we compared it to another spinning object in motion. Our perception of movement is related to both experience and anticipation.
I found this video from echalk on YouTube. Can you change your perception of which way the dancer is turning?
Hidden Symbolism:
Esoteric Symbolism: Sacred Geometry and Layers of Metaphor [http://www.illusions.org/dp/1-49.htm dragon box]
Plasma Squatter Man Symbolism:
Exorcising Conscious Plasma?
Plasma Chalice Symbolism in Aztec Sun Stone:
Plasma in the Bible:
Esoteric Metaphors and Symbolism:
Pineal Peacock:
Michelangelo’s Symbolism of Ancient Esoteric Egyptian Knowledge:
Michelangelo’s Symbolism of Scalable Plasma in Relation to the Role of the Mother Goddess:
Plasma Djed Pillars:
Plasma Template for the Chalice of the Word:
Sound Image of the Double-Headed Squatter Man:
Mythology Manifest in Water:
Archived Presentations
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Educational Purposes Only:
A Mythology in Plasma and Stone:
A. Slide show only. No audio.
B. Slide presentation and text.
A.
B.
This image represents Tsagaglalal, or “She Who Watches”. Her story is a trickster tale, from a time when “people were not yet real people”. The cunning Coyote warned Tsagaglalal that a time was coming when women would no longer be Chiefs, and that her people would have to make their way on their own. But Tsagaglalal wanted to watch over her people forever. so, the trickster Coyote cast her into the stone and from there her hypnotic gaze watches over her people to this day. Her story does not tell us why people were not yet real people or why it was that women would no longer be chiefs… but stories such as hers leave symbols in petroglyphs and stone, clues to confirm that powerful and life altering transitions were taking place.
So, what is plasma? Consider the primordial aether. Plasma carries or enables the movement of charge. Ninety nine percent of the universe is made of plasma in its unseen dark mode, its visible mode or its dramatic arc mode. We were taught in school that space was a vacuum, a lifeless void. It’s anything but. Filaments of charged plasma connect our universe, not unlike the neurons that carry impulses in our brains.
The images on this slide are all forms of plasma. You’ll notice what looks like a pair of eyes, not unlike Tsagaglala’s watchful eyes. The iconic Squatter Man plasma form fills the center of the page. Look at each of the other images. What do they remind you of? Comparing and contrasting an image that is unfamiliar with an image that is sensing a resonance with an image or between the familiar and the unfamiliar on the basis of form, function and pattern matching stirs in us a recognition of scalable connection and this in turn is at the core of pareidolia.
Pareidolia is appreciated in a cultural sense when we use it to identify a geographical landmark with a commonly understood visual metaphor, such as Half Moon Bay or Horse Head Beach. Pareidolia becomes a metaphor of scale and a symbol when it is applied to images with which we project a shared form, such as the “Hand of God” or the “Eye of God”.
We will consider how pareidolia might be used to describe energetic resonance with extraordinary electromagnetic events that our ancestors witnessed in the ancient skies.
Further, if we are experiencing a dreamer dreaming a dream scenario in a scalable, holographic reality” then the subjects of our scalable metaphors are characters in our dream. As our material reality is real to us, then literal manifestations of our metaphors are also real and scalable. Evaluating their meaning is not a question of relevance on a single scale to the exclusion of other; not “either-or” …but a morphically resonant “and”.
Every petroglyph grouping tells a story, realistically documenting the characters and symbols in a non-linear composition. That is , the layers of images do not follow a sequential pattern discernible to modern eyes. The petroglyphs only seem abstract and graffiti-like. Actually, they are accurate descriptions of something that we had not been able to witness in our own times.’Not until plasma was observed and simulated in the lab.
With a little imagination, we can see a six-figured owl with a small figure on its head. We can see a dancing man and a cross. There’s a sun and a swirl and what we can identify as stacked toroids. Other images would have made little sense until we could compare them with plasma in stages of the Peratt Instability.
You can find petroglyphs matching stages of the Peratt Instability in the above photos. I’ve shown the pattern matches in blue to simulate how they might have looked if they were visible as plasma in the sky.
Visual plasma is not limited to the ancient skies. We are all familiar with the beautiful auroras visible at the magnetic poles. There are also forms of plasma that are occasionally caught on camera. Smaller in scale than what our ancestors described in myths and glyphs, they are clues to the life=like behaviors that inspired ancient legends. Regardless of their contemporary scale, their forms are included in the ancient petroglyphs as testament to their historical presence here.
Hans Jenny created images such as these by sending vibrational waves through glycerin on a membrane. The iconic plasma Squatter Man along with chains of Ant People and stereotypical big eyed “aliens” danced through the glycerin in response to the tones. Creating forms with sound is cymatics.
Twin Squatter Man images occur in cymatic sound experiments as well as in ancient petroglyphs. Twins can be either sided by side or head to head.
The Chladni plate image contains twin patterns of the Squatter Man lying with their heads toward a central oval and dot. This pattern from sound in a medium is consistent with the pattern and the power of the Vajra or Thunderbolt of the Gods.
If fractal Squatter Man petroglyphs and religious icons reflect the same kinds of shapes that are created by frequencies traveling across a membrane, then it seems logical that the plasma instability also has a relationship to sound frequencies. Evidence pointing in that direction will become apparent as we continue.
The Heteromac plasma forms create a fractal appearance. They can look like horses in military formation or herds of animals in the sky. Heteromac plasma can give the appearance of many people holding hands or traveling on the Ship of Heaven. Spiraling cluster forms of the Heteromac plasma look as if they might be the inspiration for labyrinthine patterns, coiled serpents and the Triskelion swirls that represent the Goddess. The swirling Heteromac and the Cho Ku Rei healing symbol of Reiki share the same pattern.
The Dogon people of West Africa have a rich tradition of cliff art that is ongoing and incorporates images recognizable as plasma including stages of the Peratt Instability. Like many of the world’s remaining indigenous peoples, they trace these images back to a time of interactions with living Gods.
Selected images from the cliff art are reproduced on the bottom of the slide in linear fashion so that the progression roughly demonstrates the stages of the Peratt Instability.
By now you’ll recognize these images as stages of various plasma forms and instabilities. For our purposes, think of them as individual Rorschach tests, visual metaphors and as symbols. Consider also that these metaphors and symbols have meaning that are scalable within a holographic matrix. It will be critical to balance what our minds know and expect to find with what our unconscious minds might recognize on a deeper level.
Pareidolia is encouraged for this pattern recognition exercise. On some level, we remember our connection to the source of these patterns. They are symbols in our mythologies, our cultures and religions. We respond to the use of these symbols because they are a touchstone of something lost in the fog of what Immanuel Velikovsky termed our cultural amnesia. If our group consciousness carries the remnant trauma of a powerful plasma even, then reclaiming our conscious awareness of the event will help us all to dispel the trauma.
The Seed of Life pattern can be suggested from the loosely hexagonal instability. Compare the circle of the Diocotron instability on the left with the petroglyph on the upper right. They both share characteristics with the cultural icon in the center. Similarly, each of the plasma stages on the left of this slide, and most of the subsequent slides, will have a comparison petroglyph on the right and a religious or cultural icon between them. Occasionally, at the top of the page, I will include a photo of a particular nebula or other plasma form that is scalable to the plasma stage.
A theme has been given to each slide in reference to the culturally symbolic nature of each pattern. This will be an inherently subjective exercise, allowing our intuitions and imaginations to sense connections that witnesses to large scale plasma events may have felt. We may begin to understand the possible relationship between plasma and the iconography of world religions and cultures.
A faint echo of the plasma formation is repeated inside of each plasma condition photograph. The stable and plasma sausage formation found at the center of the complete sun wheel petroglyph are forming circles within circles. In the complete sun wheel, the pattern of the plasma instability resembles a serpent around an egg. In the opening sun wheel, the dot at the serpent’s mouth is an interesting pattern match for the idea of an embryonic food sack. This takes us to the mythology of the cosmic egg from which hatched a primordial hermaphroditic deity.
Here we see the Stable and Sausage Plasma forms repeating their pattern in group, then the spiral and then labyrinthine form. The mother serpent has become the labyrinth guarding the treasure within. Goddess Freya is known for bringing opposites together, making their union sacred. She is shown entwined by the serpent.
The Alchemical Serpent encircles the Cosmos. The petroglyphs show a stage progression from the nearly closed loop to t he C shape. Again, we have a reference to a serpent in the c-shaped jade dragon.
Spirals are a traditional symbol for the Mother Goddess.
The Eyes of Inanna are magnetic energy contours.
Slide 20 in Anthony Peratt’s chart “Forces Between Birkeland Currents”, seen above in the upper left hand corner, is where I noticed a definitive asymmetry in the progression pattern of the plasma instability.
Illustrations of plasma stages in partial form or in what I imagine as additional transitional forms will be shown in brown in the left hand column. The standard Peratt plasma forms will be in black. Photographic images of related plasma instabilities will be included in the left hand column as well.
The eyes begin to have unequal numbers of circles around them. As the instability expands, the asymmetrically developing halves take on the appearance of spiraling twins or of the dragon and the phoenix.
Pairs imply a relationship of interactions; tension, opposition, energy, balance. The stone eyes and the inward detailing of the plasma instability all demonstrate the asymmetrical progression of the plasma formation first on one side, and then on the other.
Now let’s look at Anthony Peratt’s “Particle in Cell” (PIC) Simulations. The image on the top left is what Peratt labeled Fornax A: Observed. What I was drawn to were any symmetrical forms in each section that resembled eyes. The most predominant was the section enlarged below Fornax A. A second set of symmetrical proto-eyes are hidden in the other half of this pattern.
As an undulating sky plasma, Fornax A might have looked like a turtle head and shell or a two headed serpent or the faces of a pair of hatchlings; one hatchling eventually becoming a dragon and the other a phoenix. The turtle or tortoise can also be found in iconic images and petroglyphs. The idea of stacked turtles, however, more closely resembles the stacked toroids that we will find in the Peratt Instability.
The Haudenosaunee and Anishinaabe Peoples have this to say about the importance of the turtle (see fisherstarcreations.com):
…”Turtle teaches the People healing and communication with the Mystery World. Although physically the slowest of all creatures, he/she symbolizes swiftness of t he mind and is regarded as a master of communication.”
The Woman Who Fell From the Sky or more simply, Sky Woman is a primal ancestor in Iroquois and Huron mythology. She plays a central role in creation.
To paraphrase various sources on this legend, the “Woman Who Fell From the Sky” lived in a world above the sky. One day she became pregnant and fell out of heaven. Some say that the tree of life was uprooted and she tumbled through the hole left behind.
AS the woman fell, ducks flew beneath her to slow her descent. She landed in a vast watery place, with no land in sight. Turtle arose from the water and let her rest on his back. Meanwhile, Muskrat dove beneath the water and brought up mud to form the earth. Soon after, the woman gave birth to a daughter called “Breath of the Wind”; the daughter later gave birth to two sons.
In some versions of the legend one son was good and one was evil. The evil twin, having been banished to the underworld by his brother, attempts to spread evil in the world. Some versions say that one brother represents destruction, death , night, and winter to balance the other brother’s creation, life, day, and summer.
This legend calls to mind the story of the creator deities Enki and Enlil.
As a token of appreciation for having served mankind by offering his back as a refuge to the “”supernatural creator” Sky Woman, and by lending his shell for the “re-creation” of the world, the turtle was endowed with unique powers. These powers enable him to “interchange his physical and incorporeal qualities, and travel backward and forward in time.”
Remember that this swift minded Turtle, this master of communication, phase shifter and time traveler on whose back is the world tree, is also a metaphorical pattern match for that which supports the Birkeland Current as it goes through the stages that lead to the Squatter Man.
Parthenogenesis usually produces an androgynous female offspring, same gender as her parent. When a change in energy or direction is required, a male offspring is born. This is the model for Virgin Birth.
I wasn’t expecting to find the Madonna emerging from inside of a plasma simulation. I could imagine a Madonna in those nested lines and not one child, but two. Others who have viewed this image described it as looking like a fetus in a womb. The similarity in theme of motherhood was constant.
The theme of parthenogenesis, or Virgin Birth, and Goddess Queens runs throughout our mythology. Prior to our introduction to this solar system, we may have lived in the womb-like shelter of our brown dwarf star as discussed by Wal Thornhill in his video lecture “The Star ‘Proto-Saturn'” from the 2015 Electric Universe Workshop. http://www.youtube.com/watch?v+Kff_ytg0-8w
Protected in the atmosphere of a brown dwarf, our planet would have experienced conditions for plant and animal growth matching descriptions of a Golden Age or a Garden of Eden. I can imagine a world with no changing season, no moon to impose cycles of fertility. Instead, consider the evolution of humanity and culture if fertility had been internally influenced by consciousness…and parthenogenesis.
If the Earth was “born” from the womb of a great Brown Dwarf into the light of the Sun as a result of a violent and terrifying electrical event, then this might explain why trust int he power of the Great Mother was diminished as the Sun symbolically became at once the light-giving Father, and the parthenogenic Son.
Here we can imagine a short snouted dog or a bear. Following the idea of opposition, the face of the demoness Lamastu can be interpreted as emerging from the other half of Fornax A. If we consider our universe as a fractal or scalable holographic consciousness, then perhaps demons and demonesses represent a fractal split within the psyche of the universe, and between men and women; the genders themselves representing fractal reinterpretations of a more unified whole. It is at this point that the questions arise; how far up the fractal and holographic “God” consciousness does the trauma really go and was the end of the so-called Golden Age itself the result of a SERIES of behaviorally scalable catastrophes that included not only the intrusion of the Sun, but the intrusion of fractal consciousness manifest as interloping pseudo-Gods? Certainly our myths include stories of beings who sought to create worshipful cultures to serve their needs.
What looks like the snout of the dog could be a serpent child. Two parents appear where the dog’s eyes had been. Two parents appear where the dog’s eyes had been. ‘Or maybe we could envision a Holy Child with his or her loving parents. Differing cultures will interpret them differently. In every case, the plasma tells a story that is reflected in our mythology and drawn in stone.
Perhaps something like this was visible in the sky. Perhaps our ancestors felt a connectivity or morphic resonance with the fractal consciousness within the plasma.
The image of Simulation 2355 + 490 is unaltered, just enlarged. “She Who Watches” matches the template or pattern that appears naturally from the simulation. It is not a contradiction to find her here. The image can be implied from the double spiral AND from and expression of one half of the double spiral in a way that is similar to progressions of Mandelbrot fractals.
The eyes of She Who Watches are the same stylized eyes of Inanna and Asherah, both ancient Goddesses. They are also the eyes of the blood thirsty Aztec God whose image is at the center of the Sun Stone.
Inanna was known on the one hand, for attracting lovers, but on the other, for repelling them. Was this a personification of magnetic attraction and repulsion? How many stories of Gods and Goddesses contains clues to the electromagnetic energy in plasma?
We should consider how the electromagnetic forces may have been influencing the bodies, behaviors and perceptions of our ancestors. For example, what physical effects would they have experienced if the gravity was increased as a result of shifting from the energy of a brown dwarf star to that of the Sun?
In this simulation, we can imagine the Phoenix and the Dragon, the Egyptian Ouroboros and the symbol for Infinity.
Maybe this is how our ancestors interpreted the spiraling plasma of Peratt’s 2355 + 490: Simulated.
3C315: Observed looks to me like a crisscrossing energy or a snake striking at its foe. To date I’ve found only one real corollary in stone and that is the Aboriginal Great Rainbow Serpent and Mother of All Creation. Other petroglyphs share only the general form.
If we play with the pareidolia, we might imagine Minoan bull leapers, Chimaeras, and bearded Gods all combining in one visual display…
…that may have looked something like this.
Let’s look again at the swirling plasma density. The Yin contains the Yang and the Yang contains the Yin. There are clues in the forms themselves of course, but let’s look at language and numbers as they are in relationship with each other. The more masculine El, as in El-ohim, Ang-el and el-ectricity, is in sacred balance with the more feminine 13 moons, 13th apostle either Mother Mary or Mary Magdalene and 13th constellation, Ophiuchus/Ophiciana the Serpent Bearer. There is also the symbolism of the thirteenth being added to the twelve to witness completion. The meaning of the EL 13, reported to be the mystic letters over the door of the Oracle of Delphi is simply”He or She IS”. Superimposing this symbol over the bottom view of swirling Birkeland Currents demonstrates how the mythology, the alchemy and the plasma science all describe the same energetic relationship. ‘But is this a symbol of sacred alchemical union …or an intention cast to focus discordant resonances within a holographic reality? In either case, the symbolism of the plasma refers to scalable behaviors. It is for us to understand and break free of any unconscious intention toward the re-creation of discordant trauma.
Naturally undulating, intertwining spirals of electromagnetic energy produces a pinch; and energetic plasma focus of dense energy, such as that which forms a young star in a stellar nursery. What began as recognition of this natural power and was perceived as coming from a distant “God” or demi-gods was converted into the concentration of power itself and the claim of divine right to rule. Symbols of powerful natural energy were converted to symbols of powerful earthly rulers.
If our holographic and fractal reality was itself traumatized by cataclysm, what our ancestors perceived as God was a fractal intelligence upstream as it were from our remnant awareness, traumatized by events enough to fracture its balanced ego consciousness and create the devastating corruption of conscience and consciousness that we have the opportunity to heal.
The pillar climbs out of the double spiral. This will come to include the obelisks of Egypt that have been established as signs of power in Rome, Washington, London and elsewhere.
Note: Top center figure is mis-identified as an “Assyrian Cylinder Seal”. Correction to be made.
The energetic bulge that forms in the plasma column is repeated in the idea of the radiant Monstrance that holds the blood of the S-o-n: Son or S-u-n: Sun of God. Petroglyphs depicting radiant spirals atop a spiraling line following the same pattern theme.
The bulge on the plasma column flattens out. Petroglyphs distinguish this cross from the cross with four arms of equal length. the symbolic crucifixion and resurrection of a solar deity as well has the ritualized killing and blood sacrifice as offering to a deity are inseparably linked to this symbol.
I found it interesting to see what looked like sections of rosary beads next to what looks like a crucifix in a petroglyph. The carvers of the petroglyphs must have witnessed planetary bodies in a similar configuration.
People around the world use some form of prayer beads. The holding of a succession of individually strung prayer beads between the fingers to focus intention and the focused “pinch” development of stars seemingly beaded along an electromagnetic plasma connection would be good candidates for sharing Rupert Sheldrake’s morphic resonance, but across a massive scale.
The arms of the plasma cross reach upward. This pattern is used in both fertility Goddess symbols and symbols of death. They seem to mark a cycle of mortality.
The arms become the branches of a tree in the Garden of Eden as the spiraling column becomes the serpent around the tree. The Minoan Goddess held serpents and the plasma columns formed her skirt clad body.
The Chalice of Grail stage of the plasma instability becomes apparent as the top of the formation becomes more opaque.
The plasma chalice when seen from the top is congruent with what the Church claims is the Host and the body and blood of Christ. But what does that mean?
Transubstantiation, most simply is one thing becoming another. The inference is that something unseen and in spirit becomes manifest in physical form.
Carved into Dagda’s Caldron of Plenty is the bowl of that same plasma chalice and that chalice is holding the symbol of transubstantiation. The symbol consists of two inward facing crescents almost joined at the bottom and separated at the circle within a circle. In the center of the inner circle is what looks like the top half of a Squatter Man; raised arms around a central column with a small circle on either side.
The central circle between two inward curving arms or crescents is very similar in symbolic theme to what we will see later, on the bodice of Michelangelo’s Bruges Madonna.
In religious terms transubstantiation refers to the fully realized or “christened” spiritual energy that result from at-one-ment or what the Church calls “atonement”, transmuting itself into its metaphorical counterpart. Note that the word atonement might also be re-emphasized as a-TONE-ment; another interesting reference to sound.
Patriarchal re-labeling of the grail as vessel and the substantiation of energy into matter as the unique purview of a single “Son” of an entirely male God dismissed and disavowed the balance of hermaphroditic deities or the Goddess and God, and ignored direct connection to God Consciousness all together.
The trauma of catastrophe, especially cyclic catastrophe has served as an alchemical refinement process. The Parthenogenesis or Mother Goddess and Son story is repeated as a cyclic theme within the process. We are learning to heal and resurrect our whole selves by understanding the energy and consequences of intentions. This esoteric alchemy underlies all mythology and is evidenced in the plasma and the petroglyphs, creating a spagyric allegory to understand and end the cycle of traumatic catastrophe.
Controlling the symbols of energy and spirit allows for the manipulation of the beliefs of those who respond to the symbols without understanding them.
‘Back to the plasma…A second bulge develops below the bowl of the plasma chalice and it too flattens out before it begins to curve upward.
All at once we have multiple images emerging here; Yggdrasil and the World Tree, the remains of the Chalice and the Goddess. We can find a correlation with the Lady of the Labyrinth with her double axe configured arms and a head that replicates a Bostick plasma display.
We are seeing plasma templates as symbols of our myths, but also of our fractal and holographic reality.
The Queen Bee symbolizes the sacred geometry of the hive with its octagonal chambers and the buzzing sound or frequency of communication and construction. The dances of bees are pattern matches for patterns seen in plasma. The Queen Bee represents matriarchy but also the vital process of pollination conducted by the males of the colony, the sweet golden honey and the birth of new generations of bees. She is central to the food chain and thereby the chain of life.
Kurma, the tortoise Avatar of Vishnu represents the churning of the ocean of milk to obtain the nectar of immortality. He supported the mountain on his back so the serpent could be used as a rope and pulled to churn the ocean.
The Grail is the Chalice of Transformation of the mortal and the immortal.
Embedded cylinders sit above a torus on the plasma column. The Eye of God in the palm of the hand is the top of the dense plasma focus.
This focused energy of healing is in our own palms just as the energy of our electromagnetic star is receiving and giving out the energy from further into the fractal universe.
The Hand of God formation becomes more tree-like. It begins to look like a Menorah.
The dances of Ganesha and of Kali are both expressive of what we might imagine the spinning instability to look like in this stage. More than that, they are a reminder that power can be used consciously or unconsciously. Obviously, there are consequences too how we manifest our power.
Multiple arms of a Goddess and serpent, the Serpent at the base of the World Tree; this might describe a view angled from the bottom of the instability.
The plasma instability gives us a Mermaid or Merman form. We cannot discount the potential that templates of intention formed fractal life forms slightly different than our own and that they have actually existed on this planet. The Dogon who still maintain images that match stages of the Peratt Instability, believe the Nummo were their teacher-Gods.
This energetic stage of the plasma instability is echoed in the ancient serpent Goddess and later, in this painting of the Virgin Mary as the Woman of the Apocalypse; her foot upon the head of the Serpent.
Mythically, Mary is a conglomeration of ancient Goddess and their metaphor for magnetic energy disguised by religious dogma. Mary’s foot suppresses the movement of the serpent but does not destroy it. Compare this with the relationship between magnetism and electricity.
This form of the Goddess is also a part of our own psyche that must be better understood. As I understand the lore of the Church, Mary is symbolically and metaphorically the Immaculate Conception in that she was conceived of in the “mind of God” prior to the fall of humanity and never separated from the Consciousness through the supposed disobedience of Eve. The name Mary refers to “star”. It also refers to waters …and to illusion as Maya. Mary as the Goddess is a metaphor for right brain consciousness, necessary for taming the serpent. The serpent that would want to destroy the Christ consciousness would be the traumatized, psychotic ego not the healthy ego. The healthy ego is an individualized expression of inviolate and sovereign or self-authoritative consciousness.
Mary was born to barren parents named Joachim and Anne. As a play on words, Mary was conceived IN-ANNA. This takes us back to the Birkeland Current and the properties of magnetism, symbolized by the Goddess.
Petroglyphs and religious icons demonstrate crosses as versions of the active plasma state. This triple cross is the Papal Cross. The double cross atop the serpentine plasmoid is the alchemical symbol for sulfur which in turn was associated with evil or Satan. The equidistant spaced Cross of Lorraine in alchemical terms, refers to “as above, so below”.
By inverting the instability, we once again have Inanna, and the owl eyes of wisdom. The Tree of Life petroglyph, bottom right, resembles the owl.
These particular petroglyphs echos the idea of the halo around the head of the “Holy” being. Halos are representations of the energy of Consciousness.
The raised arms, open hands and glowing aura would be easily imagined in witnessing the energy of a dense plasma focus atop this active stage.
If all of existence is one morphically resonant conscious organism, then our ancestors, having possibly experienced or remembered a “Golden Age” would have understood this symbolism.
The Qabalah and the Caduceus are both visual pattern bridges between this stage of the plasma instability and petroglyphs displaying sets of circles. They are symbols for spiritual and physical healing.
Imagine the activated chakras as a column of dense plasma focuses. The alignment of the Yin/Yang activated aspect of the chakra energy centers is akin to the alchemical sacred marriage. The chakra images in the center column are cymatic formations that reflect the specific sound of each chakra energy center.
Again, we see the triple cross. This is a petroglyph of the Tree of Knowledge and the Tree of Life. Their positions, in relation to one another, mirror those of the Yin/Yang symbol. The Tree of Life incorporates the crescent moon and symbols of the Goddess.
The eight-pointed star or rosette, appearing between the pincers of two scorpions is the symbol for Inanna. Translating Inanna’s symbol through the plasma, as it might look splayed out like two scorpions with a rosette on the top, we end up with a dense plasma focus and current filaments.
Michelangelo’s Bruges Madonna wears a symbol that may share significance with the swirling plasma density; a central disc flanked by two inward facing discs or crescents. It resembles petroglyohs from Knowles Ireland and elsewhere. Mary is considered to the Ark of the New Covenant in the Catholic faith. I compared its symbolic meaning to the Mercy Seat on the Ark of the Covenant envisioning the crescents as reference to angels with their wings folded forward.
Obviously, there is a conceptual match between the legendary power of the Ark and the power potential within the plasma “pinch”. I also sensed a connection because the placement of this symbol is at the top of a Tau Cross.
The pattern also bears a strong resemblance to the Van Allen belts around the Earth. This would correspond with idea of the magnetosphere having a feminine or Goddess aspect.
Assuming that it was a top view of some part of the Birkeland Current, I used the petroglyphs as guides in determining that the inward facing crescents likely refer to the filaments of the Birkeland Current. The glyphs themselves differ in their depiction of the central disk; some as a swirling plasma density stage, some as the dense plasma focus. The pattern however, was definitely there.
Finding significantly congruent symbols in the head and earrings of the Mayan King’s image and considering the sacred marriage symbolism of the engagement ring in relation to the concept of “at-tone-ment”, the significance of the symbolism became clearer. Then, I realized that the Anja Chakra Symbol, representing the opening of the Third Eye, is a pattern match and thematic match for the power of the swirling plasma density and dense plasma focus. The sound associated with the third eye chakra is the all-inclusive “OM”. Lastly, there is an important match in concept more than in obvious pattern with the pregnant womb that carries the “Light of the World” and with the abundance of creation symbolized by Dagda’s Cauldron.
The drapery that falls from the shoulders of the Madonna, framing her breasts and the TAU cross might be translated as the inner veil of the temple that separates the Holy of Holies from the rest of the temple, The Veil of the Holy of Holies is open on the Great Day of Atonement. Atonement can be interpreted as “being at one with” or “of one mind with” higher consciousness.
The High Priestess on the Tarot Card sits between the pillars of Solomon’s Temple that, like the filaments of Birkeland Currents in a stellar nursery, mark the entrance to a sacred place or in plasma terms, the place where the extreme energy of the dense plasma focus will produce a transcendence of energy into form.
The petroglyph from Mt. Helan, China shown at the bottom of the slide can be read as a gateway with two strong pillars, between which, suspended in an oval is what appears to be a seated woman.
The petroglyph from Mt. Helan strongly resembles Torii Gates, again marking the entrance to a sacred space. If we consider the scalable metaphor here and our ancestral ability to sense a resonance with the energies involved, then we can begin to explain the recreation of the filaments as the entrance to a temple.
The Ancient Egyptian hieroglyph T-Square of “Tau” refers to a sacred gate or sacred opening. The Tau Cross is the Tree of Life. It is the tree onto which the “Son of God” is “nailed”. The tree is fed with fallen leaves that compost to nourish the life-giving essence of Spring. It is the sacrifice of the Green Man. The Tau Cross is a symbol for Resurrection.
The spiraling filaments wrap around each other with the serpent of energy between. The Tau Cross becomes a symbol for a magical doorway, a healing place. Like choosing the middle way path, an alchemical refinement or spagyric energy might be imagined here.
The top rectangle of the Tau Cross surrounding the symbol is likely what is called the 5:12 rectangle or Jerusalem Rectangle*, but it is difficult to verify the dimensions of the rectangle from these photographs. The 5:12 rectangle is part of the alchemical language of “as above, so below” and the scalable nature of all that exists. [*See Scott Onstott’s Secrets In Plain Sight website for information on the Jerusalem Rectangle.]
If the esoteric symbolism of this imagery points to the power of the”Ark” of the Covenant, hidden within the Holy of Holies, accessed only by being in a state of “at-one-ment”, then what is the true “Covenant”? Is electromagnetic energy in the plasma instability the power source of the Ark and is it scalable to our own plasma bodies? Is electromagnetic energy a function of consciousness?
As we decipher the symbolism of mythology as it relates to plasma, what will it tell us about the trauma experienced by our ancestors? What might it tell us about the Goddess in us and about healing our place within a holographic matrix?
Grandmother Spider was asked by her consort to weave the world into existence. Electromagnetic energy patterns clearly can take the appearance of an insect or of a spider as is illustrated in the image of Jupiter’s magnetosphere.
I’ve juxtaposed this icon from Gobekli Tepe here because it’s spiraling Birkeland Currents so clearly resemble DNA.
Petroglyphs and icons both demonstrate a double ended stage of plasma. This is consistent with what we can observe in a bipolar nebula. In the center of the nebula is a pinch, potentially the birth if you will, of an energetic star. The double ended icons on this page represent longevity and the continuity of life.
The pattern of the Squatter Man is the Greatest Name Emblem in the Bahai faith. It is also the Aleph in the Malachim alphabet. Remember that is the “word” that is made manifest, or flesh. Intention, vibration, sound creates form. “In the beginning was the Word, and the Word was with God, and the Word was God.”
Interestingly, it is the casting of energetic intention of vibration into the form of alphabets, of words or of symbols that focus and define the intention of the potentially powerful energy. Intention and emotions feed the power of the word so when we focus intent through words spoken or spelled; in essence we are casting a “spell”.
The heads of the birthing assistants and the heads of the Putti holding the arms of Jesus all represent the central toroid that is designated by t w o circles under the arms of the Squatter Man.
The “Hail Mary” prayer concludes with the words “…Now and at the hour of our death”. Over time, Tsagaglalal or “She Who Watches” became a symbol of conscience and of death. The feminine, the right brain consciousness is the intermediary between the material and the spiritual. It represents a portal repeated on multiple levels of scale. The veil, the vesica, the vortex and “pinch” are all scalable metaphors for transition within a living, interactive and conscious holographic matrix.
Goddesses supplanted by patriarchal religions may still be remembered as serpent healers. They remind us of the 13 moons and balance of nature. The serpents they hold may also be esoteric references to DNA.
“Our Lady’s Blue Mantle” refers to the layer of visible sky above our Earth. It is the Goddess Nut arching through the sky. It can also be used as a metaphor for the mantle of the magnetosphere. It sets a boundary that protects the Earth from the powerful radiation of the Sun.
And what of Mary’s mantle as veil? Like the veil of the Holy of Holies, it is a metaphor for separation, for the hidden and for the readiness to understand the right brain and the unconscious mind. It veils the power hidden within, and its potentials of scale from those who are not emotionally, psychologically, and spiritually at one with the Consciousness or Source.
‘Still settling into its final form, the pattern of the Squatter Man emerges as the Menorah and Light of the World. The pattern of the Menorah is found on oil lamps in the shape of a womb.
Before the Temple of Solomon was constructed by the Djinn, before patriarchal dogmas, there was the Mother Goddess. Temples to the Goddess were rounded like stacks of toroids. Her form is match for what we might consider the template of the Squatter Man. Even as a goddess, the Squatter Man form, though it represents power unassigned to either good or bad, can be used either as a positive fertility symbol or as a powerful curse unto death. It’s a matter, literally, of intention.
Betrayal of power and blood is an important aspect of the mythology of plasma and stone because it speaks to the upending of the healthy ego and the corruption of power in the name of a traumatized or false God. Not unlike the head of the murdered Gorgon or the face of the destructive Kali, the inverted face of the Aztec Sun God is the champagne glass or chalice formation of the Peratt Instability. By flipping the “chalice” the inverted “God” is symbolically birthed from the Squatter Man shaped energy of the Olin icon. Symbolically, this creates, summons, honors and “feeds” the inversion of “Christed” consciousness’ the evil twin or false God.
The inverted face of the Aztec Sun God is absolutely a pattern match for the champagne glass or what I call the chalice formation of the Peratt Instability. The eyes represent the plasmoid base. The nose creates the plasma column. The open mouth and the earrings are the diocotron instability and the tongue is the terminus. The dense plasma focus is the energetic Host in a very dark communion.
Ritual Sacrifice of the powerful Heart and Blood is designed to satiate the appetites of a pseudo-Deity or supposed God, stealing the Life Force Energy from willing and unwilling victims alike. It is a corruption of the sacrifice of the Green Man, an abuse of entheogenic communion and a cruel mockery of the cycle of fertility. You’ll notice here that red blood cells are toroids sharing the electromagnetic pattern of plasma that we have seen in the shape of the Goddess herself and her ancient temples.
Ritual sacrifice creates a priest class that defines the desires of the Deity and mandates enforcement of ritualized killing to empower the rulers with the sacrificed energy of the victims.
Our consciousness has manifested, that is, taken what we experience as material form through the Portal of Creation. It is the portal of life, of life altering transition; of self-awareness and sacrifice in the hero’s journey: of death and resurrection. Metaphorically at least, the Portal of Creation shares a resonance with stellar formation within the Birkeland Current or the concentration of energy within the pinch. We are participants in a g rand alchemical allegory; the awakening fractal projections of omnipresent consciousness within a material reality.
The patterns in plasma are scalable templates for our own faces and our own bodies. The head of the Squatter Man even lies over the “third eye” when scaled down to fit the face. Not unlike the Vitruvian Man, our Squatter Man has a relationship with sacred geometries and forms of nature.
Ancient witnesses to plasma events weren’t merely projecting characteristics onto lifeless form. They were recognizing the morphically resonant patterns of nature, which they shared. They were in some way recalling their connection to the Consciousness of Source.
The Squatter Man is fractal. Ancient petroglyphs demonstrate fractals as offshoots or branches of the parent and also as representative of the central plasma disc. Again we have the theme of twins or two sons from Sky Woman and the Turtle, Cain and Abel, Enki and Enlil, Romulus and Remus, Jesus and John the Baptist or alternatively, Jesus and Satan. We see the separation of the hermaphroditic deity and the undivided Source Consciousness into genders of complementarity and of opposition. This energetic tension can be metaphorically scalable with the resonance between the filaments of the Birkeland Current.
We should also consider the symbolism of two sons as a metaphor for two solar suns or stars.
The ever plentiful Father God Dagda or Saturn is shown with one son on each shoulder. You’ll recall his cauldron and its implied relationship to the grail chalice and abundance. The cauldron and grail represent the Mother.
The Laocoon and his sons, pictured on this slide, were killed by the serpent for warning the people of the treachery inside the Trojan horse. It is significant that the Squatter Man form and its visual icon. Variations of this theme include the beheading of John the Baptist and the Crucifixion of Yeshua/Jesus. These persons or personas represented significant threats to the ruling dogmas of separation and unbalanced power. Each taught conscious realization and fulfillment of the power that supports the universe. Each became a sacrifice in blood.
Energy of the serpent not tamed is the energy of chaos and destruction. Energy of the blood betrayed is the energy of corruption. Such is the perpetuation of trauma.
The word Daimon referred to the voice of inner discernment until the Church demanded compliance with dogmatic doctrines and branded and contrary free though as being “demonic”. The Devil in the Codex Gigas takes the pose of the Squatter Man. Another Squatter Man is depicted as a demon from a painting of an exorcism. The emblem at the bottom of the page is the Goetic seal of Murmer, Great Duke and Earl of Hell who had legions of demons at his command.
Tradition states that King Solomon enslaved the Djinn to construct the first temple in Jerusalem that housed the Holy of Holies and the Ark of the Covenant. Patriarchy manifested the geometry of the Temple around the secret of the Goddess.
The esoteric knowledge of plasma’s power has been passed down through history. Plasma’s symbols are a subliminally powerful tool in both the awakening of our catastrophically inspired memories and the manipulation of our cultural amnesia. We unconsciously respond with defense to the pageantry and symbolism of the Squatter Man and other forms of the plasma instability even though we don’t consciously recognize it as the powerful plasma form.
Elizabeth the First titled herself the Virgin Queen, a declaration of her right to rule without marriage to a powerful consort or a King, but also a Protestant Royal comparison with the Catholic Church’s Mother of God. The bloodlines of deity are implied. In the Rainbow Portrait, she wears a symbolic toroidal field that places her head at its center. Again we have a correspondence to the Van Allen Belts around our planet, our Mother Earth.
Included on this slide is the sigil of Hermetic Philosopher John Dee, Chief Intelligencer to Queen Elizabeth the First. He wrote the Monas Hieroglphica to explain his glyph and the mystical unity of all creation.
Use of the Squatter Man as a subliminal symbol of power is something we are all familiar with but few have made note of. Snow White’s Dark Queen wears the cloak of the opaque Squatter Man. She wears a medallion that resembles Mars in front of Venus as it might have appeared in an ancient sky. She holds a small coffin designed to contain and pierce Snow White’s heart of innocence.
The idea of chakras representing plasma focus centers and the potential for each energy center to be a powerful vehicle of conscious transformation is what leads me to the attention that is placed upon the human heart. It is the most powerful, energetic, resonant part of our physical being.
The purity of consciousness implied by the symbolism of the Immaculate Heart seems to be prerequisite to manifestation of the Sacred Heart. The Sacred Heart is prerequisite to or at least symbolic relationship and parthenogenesis of Mother and Son. It would be interesting to know if there is a corresponding relationship between plasma and electromagnetic charge that it carries.
The sausage plasma condition shares a form and a symbolic function with the Creator’s Ship from the movie Prometheus. The dense plasma focus matches Sauron’s Eye from the Lord of the Rings. The plasma chalice form echoes the Dark Tower Barad-dur. In the Dark Knight Rises, the design on the powerful nuclear device is a pattern match for the Squatter Man.
In every case a hero or heroine must overcome impossible odds to conquer not only his/her inner demons, but exterior demons as well.
Subliminal symbols influence the narrative of our perceptions. Pareidolia summons our sense of resonance and intuitive discernment. Whether esoteric symbols are used as propaganda to set the boundaries of understanding, or as recognizing the symbols of plasma as templates for our creation reshapes our perceptions of a greater reality.
Science and spirituality are both searching for a truth that has been shrouded by our apparent cultural amnesia. Finding the inspiration for the icons of belief in plasma does not negate the existence of spirit in matter, it recognizes the responsiveness, intentionality and consciousness potential in plasma as part of the whole. ‘As above, so below. ‘Not an exclusive either-or, but an all-inclusive and.
These are living symbols of the self-examination and restoration of balance; the healing, mercy and love that are necessary to move past the traumas of division or separation, manifest full individual sovereign potential and begin to be the real people that we are meant to be.
Thank you.
Searching for the Cymatic Squatter Man:
A. Slide show only without audio.
B. Slides from presentation, with text.
A.
B.
We’ll be looking for plasma patterns in sound, sigil and symbols. The image on the lower left i What the Squatter Man looks like in the laboratory experiments of Anthony Peratt. The image on the right is an image created by sound in a medium. It’s a cymatics form observed by Hans Jenny.
Cymatics is the demonstration of sound and vibration as it creates movement and forms patterns in a dimensional and visible medium. “In the beginning, there was the word… “The world’s great religions assign all of creation to the voice of a largely exterior God. from a catastrophist’s view, Velikovsky suggested that humanity had once heard what it perceived to be a celestial voice, which spoke the name of God. If the Squatter Man petroglyphs are testimony in stone to the visual component…the glow mode of the plasma instability, then perhaps the cymatic squatter man is giving us clues to the sound. If the form and pattern of the “Squatter Man” portion of the Peratt Instability are truly scalable and reproducible by vibration and sound, then the patterns of plasma should be evident on smaller scales in our everyday lives.
The image carved into the Abernethy Pictish Stone from Scotland shows what looks like an elaborate tuning fork. Next to it is a hammer to strike it with. The image below the carved tuning fork matches this cymatic form observed by Hans Jenny. Both of these forms follow the general form of the energetic toroid that underlies the Squatter Man.
Anthony Peratt
This is how we are used to seeing the Squatter Man …in petroglyphs from around the world and as the final energetic stage of plasma in the Peratt Instability. Keep in mind that the Squatter Man is the two dimensional representation of a three dimensional plasma form.
https://www.thunderbolts.info/wp/2015/12/30/eu2016-the-cosmic-thunderbolt/
From the Cosmic Thunderbolt page on the Thunderbolts website:
“Stylized illustration of 3-D electric discharge forms in the plasma laboratory, occurring between two electrodes. In contrast, the 3-D electrical environment in space provokes axial jets evolving in both directions from a charged body.”
The images on the top row and stylized in 3-d forms. I have added the opaque version of the Squatter Man to the progression of stages. The Kayenta form is not included here, but it would immediately precede the Squatter Man stage.
“Images of the cosmic thunderbolt…illustrate the variations in the bipolar symmetry.”
You can see how the second row is a doubling or mirroring of the top row.
“…understood as conical and cylindrical structures similar to those seen in high energy laboratory experiments. the luminous limbs stand out in visible light and other frequencies.”
“A thin metal plate shaken vertical by a post in the centre will vibrate in a certain mode pattern. The pattern can be made visible by sprinkling white sand or salt on the plate. The grains are shaken off the areas where the plate is moving most violently (the anti-nodes) and collects on the non-moving regions (nodal lines). This technique was originally invented by Robert Hooke, but made famous by #Ernst Chladni in the late 18th century”.
[Notes from slide: “The stadium shape is interesting because it mimics the motion of a quantum particle on a billiard table with classically chaotic trajectories.” Scarred wave functions “can be visualized in sand.” flickr.com
Note Frequency (Hz) Wavelength (cm)
B0 30.871110.
C1 32.701050
Frequencies for equal-tempered scale. This table created using A4 = 440 Hz
Speed of sound = 345 m/s = 1130 ft/s = 770 miles/hr
(Middle C is C4. phy.mtu.edu) ]
The pattern on the Chladni plate mirrors itself top and bottom with a central dot in the middle.
What surprised me here was the image of the Goddess that matches some of the earliest Mother Goddess symbols. We can also compare the bipolar nature of the cymatic Squatter Man image to the petroglyps on the left …and the Vajra on the right.
Adding some color makes these images even more obvious.
The Goddess with twins is a theme that shows up frequently in mythology. Here we see it with sound. This particular form of Squatter Man can be found in a rather special drawing by Michelangelo that I’ll show you in a bit.
I have a set of rules for finding the plasma pattern whether I am looking at cymatics or a cultural icon:
1) There are always eight points of reference implied in 2-D patterns of the Squatter Man. They represents the most opaque and visible portions of the 3-D plasma.
2) There must be an implied ninth point in the center that corresponds to the “pinch” of the plasma instability.
3) The images must be within the range of patterns or styles found in petroglyphs or in Peratt’s laboratory versions of the Squatter Man ….having an implied central column, upward bowl, downward bowl and representation of a central disk.
4) In searching for the essential elements of the plasma Squatter Man in cymatic forms, we include of course, the relevance to tone, sound, song, frequency or vibration. This includes references to the octave, the tritone and musical geometries.
Beyond these rules, coincidental pattern matches and those that are built only upon a human-like resemblance are still interesting in that they point to a relationship between the plasma and our own forms and to recognition of the universal scalability of the form.
You’ll recognize the image in blue and the Squatter Man. Above it is the cymatic Squatter Man, seemingly with two heads. Compare this with the two headed eagle icon, the twin deities or the petroglyph . The two headed bird is an ancient icon that may have been inspired by both the vision of moving, glowing plasma and by its audible cry.
These are cymatic patterns formed by vibrating sand at particular frequencies upon an oval Chladni plate. The oval cymatic patterns, particularly our Squatter Man, resemble a tortoise shell. The turtle has special significance in creation mythology so it was really interesting to find two Squatter Man patterns associated with tortoise shell patterns.
You’ll recognize the two-headed Squatter Man from the previous page. His frequency is 1021 hz. Here he’s been rotated and pulled off to the side.
The image on the lower right, from a frequency of 1085 hz, also shares characteristics with the Squatter Man.
Thank you to Jeff Volk for allowing me to use these images.
{Notes: (add chart here)
Frequencies for equal-tempered scale, A4 = 432 Hz}
The basic structure in this figures fits over the tops of the eight pointed Squatter Man. ‘Even has a belly button where the dense plasma focus should be… but pattern recognition also requires the purposeful use of pareidolia and a playful imagination. The two central images are identical: one is just flipped upside down to give us a different perspective.
You might see a teddy bear, a gingerbread man, maybe an astronaut floating in space or a Minotaur. How about the Michelin Man with his tires where the Squatter Man’s dots would be? Though these forms look more like figures and less like the stick man that we think of as the Squatter Man, they share the same design.
The Chladni plate cymatic design shares a representation of the central disk; the two dots that we typically find in Squatter Man patterns, represented by two half-ovals, one on either side of the central figure. To match the angle of the central dots with our Michelin Man’s tires, I had to turn them as if the image had depth and dimension. Does sound have a dimension?
John Stuart Reid is a leader in the study of cymatics. His website is cymascope.com. He reminds us that…”vibration underpins all matter in the universe. No matter can exist without sound and vibration.”
The Cymascope pictured here makes sound or music visible, “creating detailed 3D impressions of sound or music vibrations… the rapidly expanded sphere is captured in a frozen moment. The interior reveals a beautiful and complex structure representing the rich harmonic nature of ….music.”
Reid says that… “If our eyes could see music they would be bathed in scintillating kaleidoscope-like patterns”.
…and this from “The Physics of Sound” on Reid’s website:
“Sound in air does not travel as longitudinal waves as is commonly described in physics text books. Sound propagates spherically in air due to diffraction, the reactive result of atomic collisions. Reciprocal effects in air occur in the jostling of molecules initiated by a sound event, causing components of the sonic energy to move in all directions almost simultaneously. The distribution of energy within the sonic bubble is always concentrated on axis with the direction of primary propagation from the sound source.
According to an article from the Proceedings of the National Academy of Sciences, at pnas.org, infrared light, if concentrated enough, is visible to the human eye and is perceived as green. Imagine what it would have been like, under proper circumstances, for our distant ancestors t o see symbolism within audible vibrations.
http://io9.gizmodo.com/under-the-right-conditions-humans-can-see-infrared-166548040 http://www.pnasorg/content/111/50/E5445.abstract
There it is, in the very voice of our planet, the signature of the plasma instability. This is what the Schumann Cavity Resonance: 7.83 hz looks like when recreated on a Cymascope. Again, from John Stuart Reid “…(musicmadevisible) images can be thought of as analogs of music because the geometry they contain is a mathematical correlate of the musical pitches and intervals that caused the pattern to form on the Cymascope membrane.”
On the bottom row are images I’ve teased out of the larger image above. They begin to resemble recognizable cultural icons; in particular the serpent bearing Gods and Goddesses and of course, the Squatter Man.
To get the best description of the Cymascope itself, go to
cymascope.com/cymascope.html.
Ben Browne observed these cymatic water images at 54hz. The correspondences to the Squatter Man are not as obvious but the structure and central focus are within each water image.
[Question: 432 or 440 hz images?]
The eight points and central focus, the relevance to a God Source…all of these are represented in Eastern traditions with the idea of chakras. These symbols represent the solar plexus …our own inner Sun, the Alta Major …or voice of God and the Third Eye Chakra and the opening of the Pineal gland. Chakras also represent particular tones or harmonies of sound.
Interestingly, the Alta Major Chakra is said to contain “the memory of survival during times of extreme change and is directly connected to the Planetary Consciousness.” This certainly seems relevant in a culture hell-bent on recreating traumatic catastrophe …or hopefully intent on breaking the cycle of trauma.
http://www.twinmiracle.com/pages/sections/section_5.html
On the left we have cymatic sound images associated with energetic centers or chakra from cymascope.com. On the right is the Kayenta pictograph that I mentioned earlier. It represents the most opaque view of the fiercely active stage of the Peratt Instability; just before it collapses into the Squatter Man form. In the center, we have an illustration of the human energy centers and spinal column that suggest to me the biological and energetic expression of the Peratt Instability in the human form.
The pattern of the plasma column with its stacked toroids corresponds to the pattern of the spine with its stacked vertebrae. The pattern of the torus/plasmoid corresponds to the general form of the pelvis. Each energy center, and I would imagine there are many many more than are depicted here, is likely to be and energetic expression of the plasma pinch or dense plasma focus. Each energy center or portal is an expression of vibration and sound.
This image is inspired by Eileen McKusick’s Human Biofield studies and the consistent pattern of not only charkra energy centers but male and female parental energies that approximate the yin/yang and the central disk around the Squatter Man. It seems that our own human biofield is resonant with the active toroidal and Squatter Man stages of the Peratt Instability.
The patterns of our manifest energy are repeated with fractal-like qualities in our extremities, our faces, our ears and even our eyes. Our bodies in the squatting stance demonstrates balanced kata; the proper form for stabilizing and centering the power of the body in the Hara. The power point of the human form is consistent with the placement of the pinch in the center of the Squatter Man formation.
This is a cross-section of the Toridal Human Energy Field. Notice how the Hara or energetic center of the body is exactly where we would expect to find the pinch. The power center of the body is in the center of the Vesica Piscis.
The body is the central column, the arms and legs are extended in way that is still compatible with petroglyphic representation of the Squatter Man. The energy field forming the toroid corresponds to the dicotron instability.
‘From: http://www.form.ink/sacred-geometry-meanings/
“After the creation of the Seed of Life, comes the Egg of Life. The structure forms the base for music, as the distances between the spheres is identical to the distances between the tones and the half t ones in music. It is also identical to the cellular structure of the third embryonic division (whereby one cell divides into two cell, then to four cells then to eight).”
From: http://sacred-geometry.es/?q=en?content/egg-life:
“This is the structure of the Egg of Life proposed by Drunvalo Melchizedek in the first volume of his book “The ancient secret of the Flower of Life”. …Drunvalo …affirms in his book that this structure is adopted by tour first eight cells in the body. Those cells are located in our exact geometric center, and they are the only ones that never die to be regenerated.”
The Egg of Life with its eight circles and its ninth or central point of power sits inside of the cube …and the cube in tern sits at the center of the tesseract. On the bottom row we have another interpretation of the tesseract which again has the eight point pattern with a central focus …and again …the Squatter Man. The pattern of the final stage of the Peratt Instability is likewise implied.
http://www.greatdreams.com/blog-2013-2/dee-blog526.html
The Mandelbrot Set seemed totally unrelated to the Squatter man as far as I could tell. It does not demonstrate the pattern as we know it but within its fractal reality it does demonstrate the pattern as we know it but within its fractal reality it does demonstrate an eight pointed geometric shape with a smaller Mandelbrot or Buddhabrot inside. The reason I include it here is because it is related to another cymatics image that may be familiar with from Gabriel Kelemen’s film on cymatics.
Gabriel Kelemen’s YouTube page: https://www.youtube.com/user/kelemengabi
Consider the template like nature of the patterns of vibration in relation to what we recognize as physical form, particularly our physical forms.
We are drawn to the symmetry of our faces and bodies as evidence of physical and emotional well-being. We are also morphically resonant with the patterns of energy symbolized in the plasma instability as part of our own design. The Squatter Man template is scalable to our bodies and to our faces, repeating itself in the geometry of creation.
The form in the middle looks like a seated woman giving birth. She is formed by three interference waves… 7Hz, 12Hz, 30/40Hz See video below:
[Notes: Definitions:
Symbol: Mark, sign, or word that indicates, signifies, or is understood as representing and idea, object, or relationship.
Symbols allow people to go beyond what is know or seen by creating linkages between otherwise very different concepts and experiences.
businessdictionary.com/definition/symbol.html
Symbols are successful stimulants on conscious and subconscious levels of recognition.
Sigil: a sign, word, or device held to have occult power is astrology or magic]
The creative power of vibration and sound is inseparable from the intentional quality of the energy that informs it; consciousness. The conscious casting of the resonant pattern of creation into image or sigil or written language is not only a remembrance of the power of creation, but an attempt to recreate its power.
This symbol represents the Greatest Name of God in the Bahai faith. It looks very much like the Squatter Man in an oval. Marko Rodin developed a mathematical toroid and symbol to reflect the Greatest Name of God. At the center of his symbol is the straight edged version of the infinity symbol …with an eight pointed radiant star at its c enter. Look how his diagrams resemble the dense plasma focus, the swirling Birkeland Currents and this model of the Sun’s toroidal field.
Symbols of the eight points around a central focus are often found with ritual or ceremonial repetitions of words, chant or song. And here we see the familiar dragoon …or energetic serpent.
These forms speak of life force and creation, longevity and love…
Top row: Motifs on Turkish rugs that symbolize a wish for matrimony.
Middle row: Adrinka symbol for knowledge. The one on the right is turned on its side to more closely match the Squatter Man.
Bottom row: Gate of God Winter Solstice Dec. 21
The Chinese symbol for longevity and…Congress as the original intention of the word implies …a joining or mating.
And these forms are testimony to the energetic power to transform.
Each of these icons follows the rules for matching the pattern of the Squatter Man. The central disk for the human form is implied as part of the body’s energy field. Follow the upstretched arms …the central pillar that forms the head and body the downturned legs …the central disk translated as points or as the heads of putti …and the central point of focus that marks the concentration of energy, the solar plexus, the child in the womb and the head of the Christ: the pinch.
The icons that match this pattern are generally those that are morphically resonant with either witnessing or participating in an important transitional state or in the process of creation itself.
The vibration manifest in form becomes a talisman or sigil for the potential power it carries.
This is the Malachim symbol for aleph. “The Malachim alphabet is derived from the Hebrew and Greek alphabets. It was created by Heinrich Cornelius Agrippa during the 16th Century and is still used by Freemasons to a limited extent. This version is from Bartolozzi’s Biblioteca Magna Rabbinica, 1675.”
Sigils of power inspire an unquestioning allegiance and a more subjective personal pride. They are recognized as symbols of over and authority that is politically or dogmatically sovereign over the individual.
Next to the Squatter Man on the top row is what the final stage of the Peratt Instability looks like under lab conditions. It looks more like a frog than a man but we can imagine how skyward variations of this must have looked to early witnesses. Next to it is how a demon was depicted in a drawing of Jesus performing an exorcism.
If the church understood the power of the plasma symbol, or knew of its connection to an ancient traumatic event, it obviously utilized the symbol to reinforce our fear …and obedience. Once the pagan Cross of Constantine, the Chi Ro carries the same pattern as the demon, but is aligned with the power and authority of the {Roman Church and of God …to authoritatively save us from that same power within ourselves.
Sigils for enslaving demons, the symbol on Inanna’s ring or the structure of the blood that was offered in human sacrifice, these were all inspired by the raw power of the plasma instability.
{Notes: “In Sumerian mythology, Anu (also An; from Sumerian “An = sky, heaven) was a sky-god, the god of heaven, lord of constellations, king of gods, spirits and demons, and dwelt in the highest heavenly regions.” Wikipedia}
Michaelangelo may have understood the significance of the pattern of the Squatter Man. He drew this pieta as a gift for Vittoria Colonna, a supporter of reforms within the catholic Church, specifically using this esoteric pattern. Several works of Michelangelo demonstrate an esoteric understanding of the dynamics of the plasma instability.
{Notes: This particular image may also be tied to references to the Peratt Instability in the biblical story of Moses over the Amalekites, (Exodus 17, 8-16). Kristina Hermman Fiore}
The Catholic Church rejected the Tritone as Diabolus in Musica or “The Devil in Music”. Whether or not this is linked to the esoteric understanding of the relationship between sound and form is something I am still researching. We do know that the Protestant reformation brought the tritone back into use. See the work of Richard Merrick at http://interferencetheory.com/ for more on Diabolus in Musica.
The shape on the bottom center is called Olin. Olin means movement. Consider the movement of the plasma instability as it takes the Squatter Man form.
As the Olin symbol traces the pattern of the Squatter Man, the face inside of the symbol for movement is the face of the Sun God, his tongue extended like Kali’s. Inverted, it is the chalice formation of the Peratt Instability. There is a pattern match between the symbolism of this plasma stage and the symbols of ritual blood sacrifice.
This was an unexpected find. This eight pointed pattern does not fulfill the rules for matching the Squatter Man pattern in the strictest sense but it speaks to the heart of the geometry of the energy and its significance to life.
Quote from: bhavanjagat.com
“”Red Blood Cell: The Magic of Creation will be appreciated by simply comparing the structure of Hemoglobin molecule with Chlorophyll molecule. The affinity of Hemoglobin molecule for oxygen is predetermined by the ability of Chlorophyll molecule to trap radiant energy which is converted into chemical energy during the photosynthetic reaction. These molecules perform goal-oriented, sequential actions to achieve a predetermined purpose…”
“trap radiant energy …to achieve a predetermined purpose”.
Interestingly, to date, I have found no eight pointed correlations with the Squatter man form in nature other that in animal form. Having found this pattern though, it is likely obvious in nature.
And by the way, if you wondered why I included this image with more iconic pattern matches…
…It’s because at the central point or “pinch” of this particular pattern is in effect a portal where we are able to see into another world of sorts …the scalable and very small …and in some cases, the holographic. The arrow in the picture is not pointing at the obvious roundish shape, but at that very tiny dot. That dot, seen under very high magnification, is the cube, the geometry of eight spheres, tone and half tone, the hara and the inferred pattern …and power …of the plasma instability.
Humanity strives to find its place in the cosmos; to find a balance between the power of the individual and the power of the whole. it strives to explain the process of its own creation. And it strives to understand its own reflection within the face of “God”.
The conscious energy of creation symbolically displayed throughout our cultures has been our subconscious link to the memory of our resonant, scalable and infinite connection to our true nature and to Source. The misuse of symbol and sigil has served to separate us from that connection. It is within our power to turn this around and recast the power of our potentials.
‘Separating the Sigil from the Sovereign. If we are a physical manifestation of consciousness within a scalable and morphically resonant plasma cosmology, then we are at once connected to the whole, while we house manifestations of the whole within ourselves. We are the individual sovereign expressions of the infinite sovereign whole. The responsibility is on us to recognize and reclaim the symbols of our conscious creation, of our vibrational manifestation into physical form and rediscover who we really are.
Thank you
The Subconscious Symbolism of Plasma:
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These are symbols that have been used to infer a sense that rightful authority is due a King or other ruler over the masses by the will of the Divine. Each of these symbols is an esoteric trigger that awakens our subconscious recognition of power. The final stage of the Peratt Instability in the opaque form has been historically employed as a subliminal symbol to reinforce the power and authority of Royal personage.
Henry VII split the Church of England from the Church of Rome and declared himself head of both Church and State by no less than the Divine Right of Kings. Compare the clothing of Henry VIII to the Squatter Man on the right. It’s only a general resemblance but it will take a greater significance during the reign of his daughter, Elizabeth I.
The exaggerated collar and extremely wide skirt is a striking recreation of the opaque plasma form as well as the ancient glyphs. Emblems of legend and metaphor adorn the Queen’s skirt to further reinforce the impact of the gown.
The subliminal power of design would surely have instilled a sense of awe and respect for those adorned in the robes of power. It would have resonated with people on a mythic level.
In this painting, Queen Elizabeth plays the role of the Goddess who tames the serpent; a significant symbol of Divine Power.
The Monas Hieroglyphica pictured on the lower left is the esoteric sigil created by John Dee, Magus and Court Astrologer to Queen Elizabeth I, as emblem of his esoteric treatise. The Monad represents the moon, the sun, the elements and fire; and bears a resemblance both to ancient solar catastrophe configurations and to the plasma squatter man. Dee claims that his treatise would “revolutionize astronomy, astronomy, alchemy, mathematics, linguistics, mechanics, music, optics, magic, and adeptship.” ‘No doubt that Dee was influenced by even earlier esoteric teachings.
{Note: http://www.esotericiarchives.com/dee/monad.htm}
This is the Rainbow Portrait of Elizabeth I as Virgin Queen; and mother of her people. She wears a symbolic toroidal field that places her royal head at its center. It is a correspondence to the Van Allen Belts around our planet; our Mother Earth. She becomes the esoteric archetype of the Pagan Goddess and the Protestant Virgin Queen.
This is Catherine the Great of Russia, a contemporary with our own Founding Fathers. She wears the wide plasma shaped skirt and holds the orb and scepter. The double headed Eagles are consistent with petroglyphs depicting a double column of plasma and with cymatic imagery observed by Hans Jenny.
Catherine’s crown is a blatant display of the Divine Right to Rule and the Royal Blood of Kings. It is the Flower of Life and the Vesica Pisces, giving birth as it were, to an implied descendant of God.
A symbol of the cosmos, the world and the infinite: witness the essential meaning of the royal orb and the secret it holds, protected by the Guardians of Knowledge.
{Notes: http://www.britannica.com/art/orb-royal-emblem
“…a sphere surmounted by a cross. The ball as a symbol of the cosmos, or of the universe as a harmonious whole, is derived from the ancient Roman, who associated it with Jupiter and, hence, with the emperor as his earthly representative.
Christians adapted the symbol by setting a cross above the ball to signify the world dominated by Christianity. Rulers were often depicted with the orb, but the first to hold it in hand at his coronation was the Holy Roman emperor Henry II in 1014; thereafter the “imperial apple” became an important emblem of the royal power invested in the monarch.”}
Esoteric symbols consistent with the plasma instability can be found in contemporary film.
As the pageantry of the Royals and Religious served to visually trigger subconscious subservience, movies, television and hand held media are the visual subliminal theater of our times. Symbolism has served to stir our subconscious recall without fully awakening our remembrance of our own relationship to the creative power within the plasma instability. Recognizing the esoteric themes and symbols will help us to reclaim our memory from the field of trauma and illusion.
As we awaken from our unconsciousness we may discover ourselves as characters in a play, acting out the plots and subplots; the transition from powerless spectator to heroines and heroes in our very own stories.
The image of the Plasma Squatter Man and the Champagne Glass or Chalice formation of plasma can be found as a symbol of power whether for good or evil. It is a symbol of subliminal authority that triggers our minds and potential responses.
The Image of Snow White’s Evil Queen came to mind when I first saw the semi-opaque version of the plasma discharge. She holds the box into which the Huntsman was tasked to place the heart of the beautiful Snow White. On the box there is a symbol of a heart pierced by a sword that resembles the pierced Immaculate Heart in Christian theology. Above the heart is a disc within a disc resembling depictions of Mars as it might have been seen with Venus. Both are references to the Virgin Goddess and to Venus. The clasp may also serve as sigil or seal on the power that lies within its wearer, or within its witness. All of these symbols have layers of mythical, alchemical and esoteric meaning.
In Disney’s original Snow White movie, The Queen’s mirror reflects a face that demonstrates the form we can overlay with the pattern of the Squatter Man and the Peratt Plasma Instability. That pattern is scalable to our own human faces. Instead of seeing her own face reflected in the mirror, her intention draws forth the dark knowledge of her alter or complementary gender. He is her other half.
Disney’s Evil Queen sits upon a Peacock Throne. The eyes of the peacock feathers trace the transit map of Venus. The great fanned tail is consistent with the symbol of Ishtar, Innana and of Venus as she gives birth to Mars. The peacock symbolizes the God Anu. The peacock is also a representation of the transformative glands of the middle brain; the pituitary and pineal glands as they unite to control the power of the serpents within. For those among us studying the role of Saturn in the esoteric cosmology, there is an image of Saturn on the Throne, visible as the Queen leans forward.
In Snow White and the Huntsman we can again find the symbolism of Venus, the Peacock, the dense plasma focus all tied together with the purity of Snow White; and the false purity and power sought by the Evil Queen. The windows in the Throne room and in the room where she bathes both imitate the dense plasma focus. One sheds light on power, the other on the supposed purity of the evil Queen Ravenna or at least a cleansing of her sins.
The exaggerated collar of Queen Ravenna’s gown echoes the champagne glass portion of the plasma formation. Her crown hints at the fiery electrical energy of the ancestral Gods and encircles the energy of the transformative glands and crown chakra; making the crown itself into a sigil of power. The male and female energies recreate the central disk.
Queen Ravenna’s Mirror is a portal to her veiled subconscious and likely a trauma based projection of her own fears. The idea that her inner knowing comes from a male persona in the story is interesting given that Queen Ravenna has vengefully eliminated her worldly male counterparts and now seeks balance through a false standard literally reflected by a male “other”.
In a B movie called “Lords of Salem”, it is the sounds played from a record album that is marked with a strange symbol that calls out to people, causing them to become like zombies to serve an evil presence. There is a hypnotic, transforming sense to the qualities of sound. As the central character becomes entranced by the voice of the Lords of Salem, she too transforms to a zombie like state, wearing the sigil of the Lords. The sigil is a pattern match for the iconic Squatter Man and the Peratt Plasma Instability.
In Legend by Ridley Scott, the Black Wedding Dress dances before the fire enticing Lili, a Lilith parallel, to become the bride of Darkness. Again, the music is used to induce a compliant hypnotic trance.
Visually, the Black Wedding Dress with its exaggerated collar creates the same champagne glass silhouette that we found in Disney’s Snow White. Lili dances before the flames of the fireplace that resembles a glowing skull.
Ultimately, the heroine must overcome her seduction and regain control of her own free will. She must risk herself to free the innocent, in this case represented by the unicorn, thus defeating the goal of evil to co-opt and kill all that is pure and good in the world.
Again, our villain Queen wears the high collar whose subliminal message is one of power both magical and dangerous. Note also her horns, symbolically recognized as demonic in most cultures.
Maleficent isn’t the only one to wear Devilish horns. In the image above, the horns are worn by a fashionable Medieval witch and by Sauron, Lord of the Rings. Is there some pattern resonance with what looks like a crown and cloak within a planetary magnetosphere? Did our ancestors fear horns as associated with evil or were they able to sense severe spikes in the energy fields and associated them with chaos and danger?
In this bottom image, biological cycles are plotted as waves: brainwaves, heart rate, breathing rate, day and week. This looks like the laboratory version of the Squatter Man. It also looks like the Sheela Na Gig Goddess carvings and many depictions of squatting demons or devils.
Only half a Squatter Man is in his symbol, but again the design of the champagne glass plasma formation in evident in the collar of his cloak. The clasp on his cape is decidedly symbolic. His story also involves the esoteric wisdom in restricted books, the casting of words and the power therein.
A pattern strongly resembling the plasma Squatter Man was the design used on the fusion power source that had been created for clean energy but then turned into a weapon by the “Shadows” who sought to destroy corruption in human civilization and reset the balance, supposedly between good and evil.
A pattern strongly resembling the plasma Squatter Man was the design used on the fusion power source that had been created for clean energy but then turned into a weapon by the “Shadows” who sought to destroy corruption in human civilization and reset the balance, supposedly between good and evil.
The hero’s role that the Batman must fulfill, is to survive the journey through the inner shadow and transform the energetic potential of destruction into creation. he conscious and subconscious use of symbol in art and cinematic storytelling are a tool for examining our own shadow selves and for the remembering of wisdom and knowledge locked away by trauma and time. Our traumas and shadow selves are mirrored also by our social structures, dogmas and governments, reflecting back to each of us the responsibility to successfully complete our own hero’s journey.
Tolkein’s mythic stories embrace the hero’s journey, the Goddess, and the raw power that can be harnessed for good or for evil. Like all good myths, it speaks to us on the esoteric and exoteric levels, layers of meaning for the initiate and the innocent alike. Tolkein’s signature symbol is a very similar symbol to that is created by the Peratt Plasma Instability and the Squatter Man petroglyph. Consciously or subconsciously this symbol is repeated in imagery that reflects understanding of power for evil or for good ….and the battle between the two.
In Return of the King, the Eye of Sauron hovers over the Dark Tower of Barad-dur; its energy focused at the center of the Vesica Piscis, a parallel to the Communion Host over the Chalice, or the dense plasma focus over a chalice-like stage of the Peratt Instability.
Sauron’s Eye seeks the One Ring, the sigil inscribed with the words of power to control those whose own rings were cast to help their bearers rule.
“…a celebrated master illuminator arrives from foreign lands carrying an ancient but unfinished book, brimming with secret wisdom and powers. To help complete the magical book, Brendan has to overcome his deepest fears on a dangerous quest that takes him into the enchanted forest where mythical creatures hide.” https://www.rottentomatoes.com/m/secret_of_the_kells/
Of course his friend and companion is herself a mythical shape shifting creature.
The arches are decorated with symbols that include the serpentine crescent, the sacred mountain, the spiral, the tau cross and the Squatter Man. They also include a row of faces as witnesses to the magic.
The Master Illuminator eats from the symbolic apple of sacred geometry, the geometry of five, the Goddess and Venus. Remember the significance of the apple in Snow White and as the Royal Orb and as the Flower of Life.
In “Captain America: The First Avenger”, Obergruppenfuher Schmidt aka Red Skull, the leader of Hydra, sought out the legendary Tesseract of Odin’s treasures. He found the hidden energy source in a Church wall, hidden in the roots of Yggdrasil; the Tree of Life and guarded by the serpent Jormungandr. Schmidt extracts a box from the roots of Yggdrasil. Serpent coils can be seen in the close-up of the box. This is a correlation between the stable plasma form and the World Serpent around the Orphic egg.
Howard Stark’s notebook is shown in the film, open to an image of the Tesseract. As the serpent coils around the egg, the eight celled Egg of Life is the cube at the center of the Tesseract. Drawn as an eight pointed star, the Tesseract pattern serves as a pattern overlay for the final stage of the Peratt Instability. These are allusions to the same mythical “power of the Gods”.
To quote the character Johann Schmidt: “My weapons contain enough destructive power to decimate every hostile capital on Earth. Quite simply, gentlemen, I have harnessed the power of the Gods.” http://www.imdb.com/character/ch02267309/?ref__tt_cl_t5
In the movie Prometheus, life on Earth was spawned by a fictitious alien species. The “creator’s” ship echoes the shape of the plasma “sausage” instability.
We seem to have subconscious recognition of these shapes as being related to the beginnings of life. The Labyrinth, the Oroborus, the cymatically produced serpent all resemble the embryo and egg sack. The “Cymatic 666 Hertz” is a pattern match with the mythological representations of the Serpent in the Garden of Eden and the Serpent around the World Tree.
Note on Cymatic Alchemy: “Serpent” 666 Hertz (six-six-six) is perceived as the number of Man. It also shares the pattern of the plasma “sausage”instability. 666hertz is an E+ in music, nearly a harmonic chord with C#.
In Avatar, the moon Pandora was geomagnetically capable of supporting floating islands and creating archways over what in the movie is called “The Tree of Souls”.
In Marvel’s Thor movies, Odin, King of Nine Realms had sacrificed one eye to gain higher perception and wisdom.
In Tomb Raiders, there was a huge Orrey; a movable model of a solar system. Laura Croft used the Illuminati Eye in an experience of healing the past by entering the Orrey.
In The Dark Crystal, Aughra, Keeper of Secrets sacrificed her eye to witness the intensity of light during a previous Great Conjunction. She kept track of the alignment of planets and the Great Conjunction with a huge Orrey. During the Great Conjunction, the Dark Crystal would be mended and those who had been separated into polar opposites of themselves would finally be made whole.
All of these characters remind us of the “eye that is single” and the goal of illumination. The energy at the center of the Vesica Piscis, the power in the dense plasma focus; the pattern that forms your own eyes; these are all scalable resonance portals of light and information. Likewise the illumination so sought after by those who would heal a traumatized culture, or mind, or planet is demonstrated by the Eye of Ra, the Eye of Thoth and the Sacred Marriage of the Pineal and Pituitary Glands.
Fans of Harry Potter and the Deathly Hallows will remember the bead-like nodes on the Elder Wand which is also called the Death Stick, and the Wand of Destiny. This deliverer of powerful energy looks a lot like a Harbig-Haro Object; a string of stars formed like beads along an electrical current in stellar nurseries.
In the Deathly Hallows, Dumbledore learned that he could not be trusted with the deadly power of the wand. Instead, it was his destiny to tame it.
The Elder Wand echoes the symbolism of the life generating lightning with nodules along its shaft. Through its services had been abused for greed and power its energy was directed by the intention of its master. The Resurrection Stone allowed the characters to briefly interact with those who had died. It represents a portal of interdimensional communication. The Cloak of Invisibility served to veil or shroud the wearer in this dimension of reality.
Also key to the story of Harry Potter is the transformation of the hero and his or her willingness to “…undertake the alchemical work and achieve the Philosopher’s Stone”. in Harry’s case the Stone was a symbolic story plot as well as a foreshadowing of his own transformation. This is another example of the way in which contemporary examples of myth focus on the end of abusive power and the will to heal.
Note: The Stone (or Elixir, or Quintessence) is the result of separation and recombination (Solve et Coagula) of the active and passive forms of the Spirit, the “primordial form of energy-consciousness that is utilized in magical rituals as well as in alchemy.” It is symbolized by an eight-spoked wheel.” http://thestygianport.blogspot.com/2009_03_01_archive.html
Voldemort misunderstood the meaning of being the Master of Death, believing that the Deathly Hallows gave mastery to forego death. Harry overcame death by sacrificing himself unto his death for those he loved then choosing to return to life so that he could complete his journey.
There is a scene early in part two of the Deathly Hallows where Hermione, Harry and Ron must escape from Gringott’s by freeing an imprisoned dragon. The dragon, or kundalini serpent energy that has been blinded and imprisoned in the lowest portions of the temple or the body (represented here by the deep caves under Gringott’s bank) that have blocked access to the treasure is set free to rise through the temple or body or treasure house and break through the crown chakra or in this case the glass roof, carrying the trinity of male female energy that has wrapped itself around the dragon or electrical energy.
Excalibur (according to some versions) is embedded in stone. Excalibur with its blade pointed upward is returned to the water and the Lady of the lake. Again, this reflects a stage of the Peratt Instability.
The Dark Crystal: Remember Aughra, the Keeper of Secrets kept track of the alignment of planets with the huge Orrey, waiting for the Great Conjunction and the healing of not only the Crystal, but those who had been split into polar opposites when the Crystal had been damaged.
Each of the corners of this triangular “Great Conjunction” symbol contains an image resembling the stable plasma condition. Each image resembles a serpent around its egg. The triangle refers to the conjunction of a trinity. Trinities are a common theme in mystical storytelling. Consider how the resonance of a trinity might apply to the electromagnetic forces within a plasma cosmology.
Here we witness the reunification of divided halves during the triple solar conjunction. Divided, the imperfections of the greedy Skeksis and the passive Mystics could not be destroyed lest they perish wit them. Reuniting in the light made them whole. This brings us again to the sacrificial meaning of the Host in the Holy Grail or Chalice metaphor and healing or resurrecting intention of Divine Consciousness.
Incidentally, of the three Suns in the Dark Crystal, on is the “great Sun”, on is the “Rose Sun”; recalling perhaps a red dwarf star, and one is a “Dying Sun”. Would that refer subconsciously to another player in the catastrophe theory?
In The Dark Crystal, the Grand Conjunction brings three suns together, casting light upon the Stone of Truth from which a shard has been broken in conflict. if healed the Dark Crystal would emanate with song that would resonate through “all the rocks of Thra”, being felt by all life on the planet.
The healing of the Stone is prerequisite for the split souls of the horrible Skeksis and gentle Mystics to be reunited into wiser versions of their more balanced original forms. This was the esoteric wisdom of the Keeper of Secrets. Replacing the lost shard and healing the Stone was dependent upon the heroic actions and the symbolic sacred marriage of the central characters. http://darkcrystal.wiki/Great_Conjunction
Plasma and the Goddess:
Medusa, Michelangelo and the Mother of God
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The aether; the womb of creation; that which carries the potential for all energetic manifestation. We’ve heard repeatedly that plasma is life-like. It is at least that. Plasma tells a story. It has a language. The stages of plasma are, in their own forms, like characters in a play. If all ‘the world’s a stage, as Shakespeare declared then plasma has dressed itself in mythology and symbol to tell us the story of the Goddess and of good and evil, to help us remember who we are.
We are individualized parts of a divine conscious organism encompassing all; communicating first through intuition, but also through symbol, metaphor and allegory; storytelling. A symbol being shown or a story being told on one scale is repeated again on endless scales like figures repeated on Mandelbrot Sets. Touching any part of one story is like reaching out and touching the same plot, same character in a very similar story but on a different scale.
We live in a holographic and fractal matrix where the omnipresent conscious organism is being overlaid with omnipresent technology; an automated intelligence for an artificial God. This is a pattern that has repeated itself in the reenactment of false Gods birthed from trauma. In order to understand the role of plasma and the Goddess, let’s focus on naturally occurring holograms and fractals.
Our hands, feet, eyes, ears, faces and tongues carry holographic touchstones for our entire bodies. Holographic contact points can represent us without looking like us. Red blood cells also carry holographic information about our bodies in a way that I will show you in this presentation.
Our bodies have fractal qualities. ‘Our nerves, our veins… all branch-like. ‘Branches of the tree of life. Symbols within the story.
Our bodies’ form and energy fields are scalable. The figure in the center is a yoga instructor demonstrating appropriately enough, the Goddess Pose. ‘Look familiar? [https://www.mindbodygreen.com/0-22440/a-10-minute-yoga-sequence-to-discover-your-feminine-power.html]
The Goddess Pose is very powerful and represents the feminine force that created the universe.”
The solar plexus area or Hara; the “center of being,” where the body’s vital energy is generated. Proper breathing comes from the Hara. This is the focal point of the energetic “pinch”.
Fear, anxiety and trauma block this vital energy. To understand Plasma and the Goddess, we have to look at how we subconsciously remember the symbols of plasma’s power and their link to divine consciousness.
We’ll also ask ourselves if conscious understanding of the symbols and power of plasma has also been retained within the human culture but used to hamper our ability to heal from the trauma.
The images on this slide are from “A Mythology of Plasma and Stone” and can be found on my blogsite.
Each of the plasma state, stages, simulations and magnetic resonances has pattern matches with not only petroglyphs but with iconic symbols of culture and religion. For example, the stable and sausage forms become the serpent around the egg. Magnetic resonances can form the eyes of one Goddess and the same Goddess might be recognized in a Particle in Cell Simulation. Plasma contains a living mythology.
Petroglyphs for wheels of the sun also carry the symbolic serpent and egg. The layers of symbol and metaphor complement each other. They are not in contradiction when understanding the deeper meanings.
The question here is to what extent our ancestors were responding to inner recognition of patterns and resonance from Source and how much of our symbolism has been re-interpreted by cultures and religions out of misunderstanding and misuse.
The pillar to God becomes the Cross, then the Son of God on the Cross, or the Goddess with her hands raised to God. Then it becomes the chalice that holds the blood, then the hand of God, then the Tree of Life and the Menorah. The worlds are swirling around Yggdrasil in the active, violent stage and so is the Kabbala. ‘And we are here too because all of this is part of us. We are the Squatter Man and the Goddess giving birth. The pattern of the dense plasma focus is something we can see when we look into each other’s eyes.
Medusa represents a betrayed and beheaded Goddess. ‘Cursed by a jealous rival, serpents writhe ‘round her head like the fiery tail of Venus. Powerful energy kills anyone who looks into Medusa’s eyes. Medusa represents the same power that inspired the Squatter Man. Electromagnetic lasers shoot out of her eyes. She is holding Birkeland Currents in her hands. Her wings create the champagne glass or Chalice and the circles symbolizing synchrotron radiation.
The Gorgon Medusa is also the 13th Constellation, Ophiciana or Ophiucus as we know it today.
This 13th constellation should not be squeezed into the calendar to fit with the twelve signs, but this 13th is a witness; a symbol of a cycle that has come to completion. She who was cursed with serpents has come back as the Goddess; the Pythoness and Serpent Healer.
This Norse image of the winged Gorgon goddess combines elements from Ophiciana and Medusa including a beard and hair inspired by serpentine energy. Her pose is the “warrior stance” though. It resembles the dance of destruction and creation. She holds a serpent in each hand, recalling the separation of the entwined electrical current or kundalini energy into duality as she dances or reverberates between them.
The archway under which she dances, think about the arch created by Goddess Nut, is coiled in a spiral at its base and rises to what looks to be two serpent heads, one devouring the other. The alternating stripes of black, red and white unite the colors of the Goddess with the combined energy of the kundalini.
Asclepius and Ophiuchus are the male versions of the healing Gods. Medusa and Ophiciana are the same healers. The designation of the Serpent Bearer Ophiuchus only as male ignored the female Pythoness, Ophiciana. Her role as the thirteenth constellation reminds us of the thirteen lunar months, of healing and fertility. Her Gorgon image reminds us that she is also the Goddess betrayed and cursed with serpents.
[Lost Books of Nostradamus 2012 and Ophiuchus 1 of 3]
[http://en.wikipedia.org/wiki/Ophiuchus]
The imposition of a moon to regulate the cycles of nature and the fertility of women after our Earth was birthed from its brown dwarf mother is a subject that is linked to the number thirteen and definitely something that requires further research.
“Before there was Medusa, there was the Gorgon Goddess of Righteous Wrath….a warrior goddess, unconquered and armed for battle, she and her lion guard the temple at Coru. …”
She represents the wisdom in many Goddess metaphors; strong female power. Her Gorgon face reminds us that these strong and wise women had been betrayed and supplanted by a goddess of both wisdom and WAR.
She is also our first glimpse at Sofia as mother of a false God.
Yaldabaoth was the unintended offspring of the Gnostic Sofia’s unintended mystical intercourse. We see him symbolically birthed from the Vesica Pisces. Legend has it that out of shame, she hid her offspring from God…as if such were possible. The sheltered and powerful being assumed credit for the creations that were not his own and declared himself God.
It might be worth noting that the Vesica Pisces can also refer to the larynx. The words we speak carry powerful intentions; sometimes giving birth to our own unintended offspring.
[https://www.pinterest.com/pin/324118504423163836/]
Laocoön and His Sons
[Marble. 1st century CE. Rome, Vatican Museums, Pius-Clementine Museum, Octagonal Court, Laocoon (Musei Vaticani, Museo Pio-Clementino) http://ancientrome.ru/art/artworken/img.htm?id=1372]
Do you see the similarities with the pattern of the Squatter Man? The heads of the sons are where we would find the dots on petroglyphs representing synchrotron radiation. The serpent; the Birkeland Currents.
It is not known whether it is an original work or a copy of an earlier sculpture, but surely we see its influence in later religious art, especially in the work of Michelangelo.
Michelangelo’s Creation of the Sun and Moon…
The torso of God is in counter-clockwise rotation. The legs of God are rotating clockwise. The pattern is that of two spiraling vortexes. The point at which the two vortexes meet is marked with an image of “eye that is single”. The eye marks not only the portal of inner introspection and transcendence, but is mirrored, as above so below, in images we remember from the Hubble telescope of the center of swirling vortexes.
When mankind views the sun and the moon from the earth, they are similar in size as they are shown in this scene. This scene also represents the separation into complementaries, the sun representing male, the moon representing female. God is represented as male, but notice the exaggerated breasts beneath the beard. God has no gender but is the Source of the complimentary. The symbol of the Eye lies upon God’s womb.
In Michelangelo’s Pietà for Vittoria Colonna we see the representation of the Squatter Man plasma form. Mary’s arms form the champagne glass or Chalice bowl. Jesus’ arms form the bell. His head is where the pinch would be. Putti heads fill the space for the circles typically drawn in the Squatter Man petroglyphs.
Notice that the body of the figure on the left is facing toward us as the other shows us his back. The visual sense of tension in holding back the arms of Jesus is paired with the suggestion of a counterclockwise movement.
This Pieta is dramatically different in composition from the famous sculpture of the Pieta that he did much earlier in his career. This is one of two relevant drawings done for his friend Vittoria Colonna, the Pieta and the Crucifixion that both demonstrate a compositional format balancing the upward arch and the lower arch on the pillar with two minor characters on the sides along a central axis.
Michelangelo’s Pieta for Vittoria Colonna
“Kristina Hermman Fiore explores the meaning of the design…: “Raising the arms upwards toward the height of the sky was a sign of “victory” with reference to that of Moses over the Amalekites, described in the Book of Exodus of the Old Testament (Exodus 17, 8-16). Moses on that occasion was seated on a rock and his arms were held up by Cur and Aaron. In the drawing however the two angels at their posts do not hold up victorious arms of the Madonna, but rather those of Christ …” Moses was hurling a bolt of electricity.
The iconographic sign of victorious prayer stems from the victory of Moses over the Amalekites which may also describe the Peratt Instability.
In the studies for the crucifixion we see the putti under the outstretched arms of Jesus and the Virgin and St. John standing at the foot of the cross. The composition as a whole contains the elements of the Squatter Man and plasma instability.
Included here is a sketch of Vittoria Colonna and it was Colonna that posed for the woman with the side-lock braid. ‘Venus symbol anyone?
Michelangelo’s “Creation of Adam”
Dr. Frank Lynn Meshberger discovered that Michelangelo had painted God’s cloak is in the shape of the human brain. Most of us have seen this by now.
[https://commons.wikimedia.org/wiki/Sistine_Chapel_ceiling]
This is a detail from Michelangelo’s depiction of the great flood. The Venus side lock, a braid in this case is worn by the woman holding a young child while another clutches at her leg. The trio is not unlike the Madonna with young Jesus and John the Baptist but this Madonna with her heirs will perish in the catastrophic flood. Oddly, the child she holds is making the hand gesture of John the Baptist who baptized with water. Submersion baptisms brought about near death experiences and visions of God.
[https://commons.wikimedia.org/wiki/Sistine_Chapel_ceiling]
The symbolism of the two young children and mother in “The Deluge” or The Flood is combined with the same billowing cloak design that was a clue to the Eye of God in his “Creation of Adam” and “Creation of Sun and Moon”. The two portions of the cloak, one portion behind each child, again a reference to the brain; the mind, this time split in two as a result of the cataclysm as it takes their lives.
The right hemisphere of the brain is repeated on the lower body and legs of God in the image on the bottom. Where we find God’s head in the Creation of Adam, we find the image of an Eye on God’s lower abdomen in the Creation of the Sun and Moon and Planets.
This is Michelangelo’s Doni Tondo. The Holy Family is in the foreground. A young John the Baptist is behind the border, separated from the primary group. A less obvious version of the swooping curve of the brain is hidden on Mary’s right leg. It looks more like an eyebrow. Clues embedded in this painting shed further light on the message of the brain.
A saffron robed monk and hidden symbols lie within folds of fabric. Saffron represents the God of Fire, the Priest of the Sacrifice and the provider of the treasure of knowledge. [color meaning source: Sam Bhatta from Quora site online.]
The Eye of Ra becomes obvious. The cymatic insert is an image created with sound in the Kings Chamber by John Stuart Reid. [cymascope.com]
Both the Eye of Horus and the Eye of Ra are on Mary’s garments. Notice the comparison with the section of the brain. [Original source of brain/ eye image unknown]
The symbol for Pi is easy to find. Other symbols are less clear.
The peacock is often used in art to represent Royalty or God. It is also a symbol for a map of the third eye. [Original source unknown]
The Uraeus Serpent; the kundalini, the body’s energetic currents awaken the third eye of the seeker. In the material world, it is the peacock that kills the serpent. Only the wise may pass this way.
The Annunciation by Vittore Carpaccio:
God is represented in the sky in an oval. He’s sending down what looks like Saturn in a beam toward Mary while a peahen walks behind a colorfully-winged Archangel Gabriel.
‘Another Rorschach test… The Anu Nebula …and the winds of the Angel Gabriel
The iconic Mother and Son archetype is repeated throughout religious tradition and mythology. These stories generally share the theme of parthenogenesis or Virgin Birth. If we look at the progression of stories collectively, hopefully we can infer a pair of conjoined archetypes through whom lessons are learned and wisdom is gained.
[Image credit: scontent.cdninstagram.com]
Tarot cards show the High Priestess sitting between the pillars Boaz (strength) and Jachin (mercy, or Yah establishes). It reminded me of the Goddess holding serpents. ‘Also, I imagine energy of creation between Birkeland currents.
Here I’ve substituted Michelangelo’s Brugues Madonna as the High Priestess. This Madonna plays a special role as plasma storyteller.
The Bruges Madonna was the only major work that Michelangelo allowed to leave Italy during his lifetime. I suspect that the symbols are the reason why this was moved away from Papal eyes.
The pillars from the front of Solomon’s Temple are here, on the bodice of Mary’s dress. I think these folds of fabric have a double meaning. They represent the strength and severity of Boaz, the mercy of Jachin, and the torn veil to the Holy of Holies which was rent in two upon the moment of Christ’s death.
Matthew 27:51
“And behold the veil of the temple was rent in two from the top even to the bottom, and the earth quaked, and the rocks were rent.” biblehub
The Tau cross is a symbol for life and for resurrection; the Cross of the Christ and the Tree of Life. It represents a sacred gate or opening. The Tau is the center of the cube of space. This symbol combined with the split drapery or veil on the garment of the Mother of Jesus as Michelangelo sculpted her here, guiding her Son as he moves from her, foreshadows the ripping open of the veil upon the “sacrifice of Jesus” on the cross. The death of the Christ on the Tau Cross and the tearing of the veil represent the breaking of the old covenant and the redemption of those bound by it.
In “The Tao of the Tau” Scott Onstott refers to…
The Inner Structure of the I’Ching by Lama Anagarika Govinda …a question is asked, ‘What is the meaning of these things happening at this moment?’” … “The word Tao is the answer to this question. The present situation within and around oneself is Tao, for the present moment is life. Our memory of the past is contained in it as well as the potentiality for the future.”…
This brings us to part of the prayer most commonly associated with Mary, “pray for us now and at the hour of our death.” The now is the Tao, the new covenant is the Tau.
The rectangle at the top of the Tau Cross appears to have the dimensions of something Scott Onstott talks about in Secrets in Plain Sight; the Jerusalem Rectangle, symbolizing “As above, so below” and the scalability of all that exists. It may also represent the double cube (cite) in the Holy of Holies. As the Mother of the Christ, Mary is considered the Ark of the New Covenant.
Finally, there is the circle within the rectangle, with two inward facing disks. Following the logic of “if this is the Ark of the Covenant, then this is a representation of the Mercy Seat,” I wondered if the disks were a top down view of the Cherubim wings. The disks would have to be facing outward for this to be a symbol of the Goddess. So, I had to think about what else this resembled.
Michelangelo gives us two more examples of the Tau Cross. The first is a simple crucifix but without the arms of the cross or the arms of the Christ. The second is the Bronze Serpent painted on the ceiling of the Sistine Chapel. This healing serpent was placed on a cross by Moses so that the tormented upon seeing it, would be healed.
Again, from Scott Onstott: “God kills his chosen people with snakes because they complained about being hungry and thirsty. It’s easy to forget that and recall only that he healed those who didn’t complain with the Nehushtan as it is also known.”
This severity allowed mercy only through absolute obedience and fear. This is why I suspect this god is a traumatized demi-God; an element of the cataclysmic cycle, a Yaldabaoth or Enki or local war god.
[Note: Passover is forever tied to the “God” (demiurge or Yaldaboath) ordering the murder of first-born sons of Egypt before the “Exodus”. The TAU sign is linked those who offered the blood sacrifice of the lamb so that the mark over their doors would exclude them from the slaughter. Later, the murder/blood sacrifice of Yeshua/Jesus on a T or Tau shaped cross, made him the eternal Pascal Lamb offered by the people to the false God.]
Michelagelo’s Bronze Serpent points to the hypocricy of creating the conditions that require healing and on top of that, to demand love, adoration, and later the sacrifice of someone else’s blood to be healed.
The Star of Life symbol, similar to the Rod of Asclepius and the Bronze Serpent of Moses represents emergency medical services such as ambulances.
‘Notice how the Star of Life has the upward reaching arms and the downward reaching arms and the general shape of the plasma Squatter Man?
This is an important example of the symbol of the circle with the inward facing discs. This is the roof of the Hagia Sofia; a magnificent church dedicated to wisdom and later turned into a Mosque. On the inside of the central dome is the Gnostic Wisdom Sofia….as Mary, with Baby Jesus.
But what does this symbol of Sofia and Mary and Jesus have to do with plasma?
‘Everything. It is the symbol of consciousness becoming matter, of plasma, of electromagnetic energy on all levels of scale and recorded in stone and myth by those who understood its power.
The veil of the temple was opened only once a year to admit the high priest into the Holy of Holies on the great Day of Atonement. Atonement can be interpreted as “being at one with” or “of one mind with” higher consciousness. The Wisdom Sophia and Mary represent the female aspect of Divine Consciousness. Christ or Christ Consciousness is the literal embodiment through wisdom, of being at One with the Consciousness of God.
There is far more than a coincidental use of plasma imagery in Michelangelo’s work. The Medici family was interested in the esoteric documents of their time. Michelangelo’s instructors were the Neo-Platonists of the Renaissance. It’s not hard to imagine why he was encoding symbolism that went beyond that of the Catholic Church.
This was Solomon’s Temple. You can see the two pillars at the entrance. Tradition states that King Solomon enslaved the Djinn to construct the first temple in Jerusalem, housing the Holy of Holies and the Ark of the Covenant.
What is important to see here is the sigil on the right between two symbols of the Squatter Man. Their patterns are virtually identical. This sigil of encircled power is the Goetic Seal of Murmer, designating Solomon’s enslavement of the Great Duke and Earl of Hell whose is credited with constructing the Temple.
The fact that the symbol of plasma in this case represents a presumably evil energy underscores how energy can be directed by consciousness according to free will choices and intentions.
Also, please note that the secrets of (conscious) plasma are now hidden in the Holy of Holies and accesssed only by a (male) Priest class.
The symbolic energy of plasma is also to be found in the written and spoken word. The Squatter Man stage is the Aleph in the Manachim Alphabet. The aleph is one of the Three Mother Letters in the Sefer Yetzirah: The Book of Creation.
This is a Goddess Temple in Malta dating from 3500 BC according to the research of Marija Glimbutas (1921 – 1994) “…The Malta artifacts (are) as representations of Mother Earth, symbolizing rebirth in the cycle of life and death.” http://www.carnaval.com/goddess/
The figure on the right is a Babylonian Goddess Ashtart Ishtar statue from 200 BC (reproduction) with essentially the same shape. https://www.ancientsculpturegallery.com/sculptures/statuettes/mesopotamian-statues.html
The Goddess figure on the left was created cymatically with sound frequency vibrating through a medium on a Chladni plate.
The cymatic Goddess is in the center between mirror images of the Squatter Man just as the pinch is represented in the center of the Vajra and recorded in this petroglyph.
The Mother Goddess is an aspect of the Divine Consciousness that has intentionally fallen into this material realm. The Goddess Temple reflected the maternal consciousness at the center of the plasma. She shares resonant energy on all levels of scale.
We can see Her in the Saturn Polar Configuration from the Thunderbolts Group, and in Jno Cook’s planetary Goddess configuration. ‘Complementary metaphors in a story of consciousness.
‘From the Thunderbolts forum: I really like this image. There we are, down at the bottom of the purple haze.
Imagine, our planet inside of a womb-like lush garden where no seasons chilled us or burned us. ‘No moon to create and control cycles of fertility. ‘Communication by telepathy and intention. ‘Capable of accessing the entire visual spectrum and sound spectrum. Who knows?
Prior to any catastrophe, prior to a traumatic separation from the womb, I imagine we were one with the overarching consciousness of all that exists.
Perhaps we had nearly non-material bodies….less dense and more ethereal. Maybe we were something like J.R.R. Tolkein’s graceful Elves who required little food, seemed lighter than air and who were nearly immortal. Maybe there was a Middle Earth. Under such conditions, we may even have been aware that we too would fall into matter and experience life in bodies. Imagine. Image credit: saturndeathcult.com
It seems to me that the catastrophe that ended that age might be what is recorded in the Book of Revelations. The “Woman crowned with twelve stars” would have been Saturn. The moon under her feet from the perspective of Earth might have been Venus or Mars. It is this “Woman” who would have been the one who was sent away to a place prepared for her. The dragon would have been the planets’ fiery interaction with a new Sun. The dragon’s perceived prey would have been this Earth and all of life upon it.
Imagine the trauma of being abandoned by a mother. Imagine the betrayal perceived when left to be prey of an angry Sun God and dragon. Imagine that, like Sofia, we blamed ourselves for not anticipating the severity of the experience and that self-blame and trauma turned to guilt…and shame.
I equate being closed out of the Garden of Eden to being closed out of the vast potential of our well-developed brains.
I’ve also considered how there was no need for “animal skins” to cover the nakedness of Adam and Eve until after the expulsion from the Garden as meaning that Adam and Eve had ethereal energy bodies, not physically dense bodies.
The serpent around the tree in Michelangelo’s Garden of Eden resembles this image of plasma toroids. One some level, the “Garden” may have been thoroughly pre-material plasma.
The Kolbrin Bible tells a story similar to that to that of the Garden of Eden, but the “fall” of the feminine was not into temptation, but voluntary, out of compassion for the injured man in material form.
Here we see Medusa as the angry Venus, Bes who became protector against all evil, Kali as destroyer and Medusa again, and this time with her son Pegasus who has thunderous hooves. The same tongue extended style face belongs to the Sun God in the center of the Aztec Sun Stone. Note: This is NOT the Mayan Calendar. In addition to being symbolism of planetary interaction, faces with the tongue extended are symbols of untold blood sacrifice. They are destructive inversion of the creative narrative of plasma function.
The structure of the symbolism around the face of the Sun God is the template of the Squatter Man. It is the Aztec symbol for movement. It displays the upward reaching arch and the lower arch with the circle like sections on the sides, fulfilling all of the components of the Squatter Man. In its center, were the pinch would be, is the dagger-tongued Sun God.
Again, the blood sacrifice offered to the angry Sun God is an inversion of the creative principles of plasma in matter. The blood sacrifice of the Mass is fraught with double meaning and reinforcement of this inversion.
The re-inversion of the head itself shows us the plasma chalice aka champagne glass formation of plasma. When considered in conjunction with the dense plasma focus, it is symbolic of the transubstantiation in the Catholic Mass.
This is a simplified drawing of a high magnification (or what was formerly called) a “dark field” microscope.
In a stellar nursery, the densification of matter takes place in the pinch of the plasma formation. Curiously, when starting with a material form that happens to mimic the Squatter Man formation, such as this microscope, the point of the pinch becomes a portal through which a holographic image is visible. A holographic snapshot of the body’s current health condition and subconscious thought process is visible within a drop of live blood when viewed through was seems to be a portal.
The blue arrow in the photo points to an almost imperceptible dot on the live blood slide. When the dot is enlarged, it is a hexagon or cube.
It is a hexagon that marks the North Pole of Saturn. It is a cube that houses the (Goddess) meteor fragments in the Kaaba. It is “Metatron’s Cube (that) is composed of 13 spheres held together by lines from the midpoint of each sphere.” There is the number 13 again.
More from the universal life tools website: “The spheres of Metatron’s Cube represent the ‘Feminine’ whilst the straight lines represent the ‘Masculine’. Thus Metatron’s Cube represents the weaving together of the Male & Female polarities to create the ONENESS field of the infinite ALL.”
All of this is in our living blood; the unions of the symbolic thirteens in a sacred marriage, the energy of creation and Oneness with Source. No wonder it is such a coveted sacrifice. Imagine the energy potential that has been waiting for us to mature through the esoteric teachings to reclaim our pre-traumatized state of being.
Imagine the feast of energy that has been wasted or misdirected by our well-groomed ignorance. It makes me think of the value of humans as batteries to the overarching automated intelligence in the movie, “The Matrix”.
DISCLAIMER: Reference to the book “Holographic Blood” in no way implies that the author, Harvey Bigelsen or the book’s publishers in any way support my findings and opinions in regards to the esoteric importance of holographic blood. That said….
“Holographic Blood” by Harvey Bigelsen is a must read for anyone serious about understanding our human biology. The image on the center top is an ultrasound image of a fetus. That same fetus was identified holographically in drop of its mother’s blood (image on the right). The image top left is also a holographic fetal image.
X-Ray images of the spine and a femur are compared with their counterparts seen as holographically in blood.
The plasma pinch at the center of the toroid creates a focus of energy as it becomes matter. It seems that the pinch once materialized is also a portal or window into the energetic hologram. Is the energy of the plasma instability is a template for the realization of spirit into matter and a portal of creation/transition on all levels of scale?
An understanding of plasma’s creative and destructive power would have been coveted esoteric knowledge. The idea of associating such power with the Goddess as Mater and Mother, or in general with women would have been intolerable to Yaldabaoth style archetypes like Abrahamic patriarchies.
The only acceptable and no doubt carefully crafted archetype for woman was the obedient and nearly silent Mary.
Look at the opaque plasma image next to the dress worn by Queen Elizabeth I in this painting. They are the same. Elizabeth wore the symbol of the plasma instability as a recognizable influence upon all who would see her.
John Dee was the Nobel Intelligencer to the Queen. His personal monad or symbol is shown bottom left. Dee’s esoteric knowledge likely included the psychological alchemy of the plasma symbol.
Dee’s father had been the clothier to Elizabeth’s father, Henry VIII. Henry was the first to wear elements of the plasma power symbols.
In Isaac Oliver’s Rainbow Portrait of Queen Elizabeth I, a portrait full of symbolism, the “Virgin” Queen as she titled herself, wears a version of the same symbol that Michelangelo encoded as the heart of the Ark of the Covenant. The royal head serves as the center of the toroid, the world, and the highly exaggerated collar of the cape portrays to subconscious recognition, the energy of the toroid and the Van Allen belts.
If you count the recognizable features of the plasma symbol there are eight points….’nine when you count the dense plasma focus as a top view. The template of plasma as symbol of power is the foundational pattern for Coats of Arms, turning them into sigils of power.
We respond to these symbols as rightful symbols of authority and power. We respect and fear them. On some level we identify with the symbols because we feel a connection to the underlying pattern. But our fear of them stems from the initial trauma reinforced by thousands of years of war.
Subconsciously, we resonate with symbols based on many different stages of the plasma instability. Some of our favorite movies carry the symbols of plasma. Always, these are symbols of power or authority in one form or another. More examples of this are in “The Subconscious Symbolism of Plasma” presentation also on this blog-site.
This particular illustration of Yggdrasil is laid out in a Squatter Man form. It is under another arch like that created by the body of Nut. To the right we see Red Skull standing before a wall carving of Yggdrasil in which he had found, coiled within the rings of a serpent, the powerful tesseract…another cube.
“She/He will crush thy head and Thou shalt lie in wait for Her/His heel.” Genesis 3:15
This theme is subtly repeated with the symbolism of the Peacock as both God and serpent killer. The Eye of the Peacock feather is the geometric pattern made in the sky by the planet Venus, so she too is the Peacock.
It would seem that the kundalini is the serpent on one level of this metaphor. That makes this task a spiritual wisdom journey. If we are the seed of the Woman and/or the seed of the Serpent (children of Cain), then this story is as personal for us…
Crushing the angry God or Goddess by one’s heel is significant because the heel in biblical history is a point of vulnerability. In the contemporary mythology of theater and film, the heel is a source of magical power. (Clara in the Nutcracker and Dorothy in the Wizard of Oz both use their heels to vanquish their foe or obstacle.) The heel on the Reflexology map of the body represents our root chakra and reproductive chakra.
Remember, Wisdom Sofia is an active metaphorical aspect of the feminine within God Consciousness. She is also an archetype across levels of scale. We see ourselves reflected in her as we experience compassion, error, wisdom and healing.
Wisdom Sofia steadies God’s arm and checks the direction of his life giving power. ‘Sounds like magnetic energy around an electrical current.
The ill-conceived seed of Sofia’s shame was the mythical rapist of Eve and the father of Cain. How many of our stories reflect the trauma of separation and betrayal? How many levels of the hologram became corrupted in the “fall”?
Sheltered from higher knowledge and falsely claiming sovereignty, the Gnostic Yaldabaoth imposed himself on others as an angry, jealous and vengeful demi-God. This is a metaphor that is carried out in all religious Gods of wrath.
Again, we have the symbols of the deity representing the Sun and the serpentine Birkeland Currents. Look at the coiled serpent around the figure on the right. His mother sheltered and protected him….. Magnetic energy wrapped around the otherwise uncontrollable electrical energy?
Lilith, Eve, Pandora are blamed for the ills of mankind. Adam would not accept an equal for a partner tried to force himself on Lilith. When Lilith fled seeking shelter from “God”, “god” cursed Lilith rather than protect her.
The pain that women bear in childbirth is blamed on Eve as punishment for her sins in the Garden. The subjugation of women is historically linked to such examples of “disobedience”. Thus the wisdom of women in the face of the false God has brought reprisals throughout history.
Sarai, like the wraith from the Kolbrin creation story, had compassion for the plight of her husband. She took personal responsibility to fulfill his needs because the promise of the strangers bore no logic, but the burden on her husband was real. She would bear the blame for the separation and wars between the sons of Abraham.
The “Woman Who Fell From the Sky” bears no such cultural blame for her pregnancy and fall because hers is a true creation myth, not burdened with sociopolitical dogma.
The High Priestess is the Sofia Wisdom, the most ancient Goddesses, Eve before the fall. She represents the (recognition) of the Holy Spirit as the Mother aspect of the Holy Trinity.
The Immaculate Heart symbolism of Mary refers to a pre-fall (or pre-trauma) condition of Spirit that is prerequisite to birth of the Sacred Heart of Christ Consciousness; the third aspect of the Trinity.
“Mary” gave birth to the physical Jeshua, Emmanuel, or Jesus which makes Her the High Priestess of the true Mass. She was Her Son’s first teacher, nurturing his innate abilities and wisdom and encouraging Him to go out into the world.
The Strength Tarot card with its Goddess and Lion is about balancing primal forces with feminine nurturing, intuition and compassion.
The Sofia legend is also a cautionary tale as presumably out of her own trauma induced shame; she sheltered her likewise traumatized offspring from a healing relationship with Divine Consciousness, enabling him to create an oppressive, vengeful, enslaving and violent authority over those who might see him as a God.
We have seen this theme repeated in all authoritarian structures that have used the plasma symbolism as tools to instill respect and awe in the subconscious minds of those unaware of its esoteric meaning.
Sofia’s wisdom had to be born of experience in the material realm. As an aspect of the Divine Consciousness, she participated in the creation of matter by becoming matter. Mater is Mother. Mother is Matter.
As consciousness expresses itself through energy, it is not visible to our eyes. Our visual and auditory spectrums are so narrow that we cannot see or hear or perceive most of the spectrum of energy or reality. This too, I suspect is related to trauma. However, there are those who claim to have seen the etheric natures of Divinity in plasma-like personas.
In 1531, Juan Diego spoke with the apparition of a beautiful plasma-like Lady of Light whose image was miraculously created on his tilma. This venerated tilma is pictured here. The Virgin of Guadalupe is the Christianized version of an ancient Aztec Goddess. The stars on her mantle form a constellation map that appears as if viewed from far outside of our solar system:
Draco the dragon is facing the image of the Virgin. Virgo is at her heart. The Corona Borealis or Northern Crown is over her forehead (third eye). Leo (symbol for the Lion of Judah or perhaps the original sphinx at Giza) is over her womb. Taurus is over one side of the horn shaped crescent moon. In the position where the serpent should be crushed by her heel if we were to follow Revelations mythology we find three stars of the archer constellation Orion (pyramids at Giza). Ophiucus the Serpent Bearer and Healer, and more to the point, the thirteenth constellation Ophiciana…the beheaded and healed Medusa is at the neck and head of Our Lady.
There are modern plasma-like apparitions of “The Lady of Light” as she is described. The apparitions have taken place and are still occurring all over the world. This photograph was taken in Cairo where this Lady of Light appeared several times over a Coptic Church. zeitun-eg.org
Those who speak with the Lady of Light are generally children, innocents. They speak with the Lady and receive instructions and warnings of chastisements for the corruptions of mankind. [See Pinterest link for VM Fujii, “Fatima…” page]
The most famous of these apparitions took place in Fatima Portugal on the thirteenth day of six consecutive months from May to October of 1917. This is the 100th anniversary of the events at Fatima.
On October 13th, a rain soaked crowd of 70,000 people witnessed the Sun appear to “dance” and spin in the sky. Then the crowd watched in horror as the Sun fell from the sky and began to hurl toward the Earth.
The Sun stopped its fall and returned to its place in the sky. The muddy ground was suddenly dry and so were the clothes of people in the crowd. This is referred to as the Miracle of Fatima.
This Lady of Light called Herself the Lady of the Rosary. She warned the three seers of horrible chastisements and asked for fasting, penance and prayer, specifically of the Rosary. She also made requests of the Papacy which went largely ignored.
[Note: The date for the Miracle of the Sun, October 13th also brings to mind another famous 13th; Friday the 13th (of October) when the Catholic Church massacred the Knights Templars.]
The 100th Anniversary of the Miracle of the Sun will fall on Friday, October 13th, 2017.
Lucia, the oldest of the three seers at Fatima called the blue sky “Our Lady’s Mantle” for the blue robe She wore. This always seemed like an excellent metaphor for the protective magnetosphere of our planet. At Fatima, at Knock, at Akita, Our Lady asked for (the power of) prayer in order to lessen the severity of what was to come. In at least one case she requested prayer to help her “hold back the arm of her Son”.
In a vast holographic dream, is this the equivalent of the personified energy of Mother and matter in the magnetosphere asking for our help to strengthen it against a powerful arm of solar plasma discharge?
Is some part of our collective subconscious mind reaching out through metaphor and symbol to encourage the strengthening of our personal biospheres from the intrusion of unnatural technological energies?
Praying the rosary is a verbal, visual, auditory, tactile and contemplative meditation that focuses attention and directs energy from the prayer said on a series of beads toward the Lady of the Rosary, to the Christ, to God the Mother/Father and to the Holy Spirit.
This sounds a lot like consciously connecting with the morphic resonance of plasmoids and stars dotted like beads along a powerful Birkeland Current.
[Note: exploration per lecture of Cara St. Louis, Rudolph Steiner assessment of multi-sensory human meditation. See Pinterest and YouTube links below. Also: https://vortexcourage.me/tag/cara-st-louis/%5D
Contemplatives from many faiths use prayer beads in conversation with the Consciousness of the Divine.
The ancient petroglyph in the center of the page strongly resembles a Herbig-Hero device… or prayer beads….
…or a Rosary.
The Lady of Light, Queen of Heaven, Mother of “God”, aspects of God Consciousness as Sofia Wisdom and magnetism personified are requesting assistance through the power of prayer as a scalable metaphor and sympathetic connection to the powerful, conscious energy of the plasma.
Was Fatima’s falling Sun a warning of an approaching star or another catastrophic solar event? Is “the arm of my Son” a metaphor for a massive solar discharge hurling plasma like an arm from the Sun?
A wise man once relayed to me a lesson from his Rabbi. Paraphrasing here, he said “mankind just about gets things figured out then everyone gets wiped out, and has to start all over again.”
We are the legacy cultures of even older legacy cultures that have spanned too far back to count. Ancient planetary interactions; the disruption of solar systems; chaos spurred intentionally or unintentionally by earlier legacy cultures; trauma has likely been repeated and rehearsed and relived again and again. Each catastrophic event leaves scars on the psyche of the group soul.
Foreknowledge of catastrophic planetary interactions, solar extremes and extinction level events is not unlikely given our species has had learn to survive them numerous times. Those who preserve the knowledge and wisdom of each age can carry it into the next. Whether that knowledge is shared and with whom is vital to understanding our mythologies, our religions, our cultures and our science.
Symbols of the event(s) are retained in plasma as touchpoints that stir emotions associated with the trauma of the event(s) in hopes that we will awaken from the nightmarish loop. We can all contemplate the messages within the plasma and the symbols of darkness and light and discern the healing path of Light.
In recognizing the symbols of plasma and reclaiming their proper use, we can heal ourselves as Medusa was healed and strive with the Wisdom of Sophia and Mary to reach Christ Consciousness or Oneness of Source. Michelangelo left us the clues that would become apparent when we were ready to understand them.
But why would plasma be the language of such esoteric healing? It is because plasma is the vehicle of consciousness. It is the energy of Metatron’s Cube. We have the capacity to infuse our thoughts and our prayers in an energetic healing of our scalable plasma template; our planet’s magnetosphere; of our human biofields; our cells. Certainly, we have all of the natural tools. Is our human biofield, and each energy center or chakra and the toroid of each drop of blood not morphically resonant with our magnetosphere? Can’t touching one part of the holograph have an effect on the whole?
We all have to deal with questions of worthiness, of forgiveness, of faith, and the confronting of our own traumatized inner demons and demi-gods. We all have to realize the sanctity of our sovereign individual biospheres as living energy morphically resonant with the whole.
Are we here at this conference in part, talking about catastrophism to understand the past or because we sense the potential for cyclic catastrophe on the horizon? ‘Maybe we’re here because we sense a readiness to heal ourselves and our world and realize that the properties of plasma are part of the solution.
Whether we are living in a conscious organism, a dream, a hologram or a divine consciousness that encompasses all of these perspectives, we are like Dorothy at the end of her journey in the Wizard of Oz. She always possessed the power to awaken from the dream; the power to go home. For her, the magic was in clicking the heels of the slain witch’s red shoes. Dorothy could not learn this lesson until she had walked in the shoes of the evil witch that she had crushed and gained the wisdom from experiencing …and healing the traumas of her life.
The folks at HeartMath have done remarkable research that demonstrates how we can reach out with love and intention to affect our world. If it is our role to heal ourselves and aid in healing the world, then certainly, we can be the electromagnetic, conscious generators of such intention.
Thank you.
BIBLIOGRAPHY:
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https://www.pinterest.com/vmfujii/
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