THUNDERBOLTS : PLASMA AND ELECTRIC UNIVERSE : THE KAYENTA PICTOGRAPH

.

image

.
Supercomputer simulation of spiral galaxy formation by Anthony Peratt, based on charged particle interactions

.

Plasma Scientist Anthony Peratt Meets the Electric Universe
By David Talbott

Could a Single Pictograph Spark a Scientific Revolution?

The story of plasma scientist Tony Peratt and the personal cost of his involvement with the Electric Universe community deserves to be told simply and accurately. Though I can tell the story from a personal perspective, others might fill in important background and details.

The overriding message is the damage that a self-appointed Inquisitor, lacking any expertise on the subjects in question, can do to the exceptional career of someone who deserved MUCH better.

There is something profoundly unethical and disturbing in the story of colleagues standing by, watching the slanderous treatment of Tony from the sidelines and taking no initiatives to stop the baseless attacks that abruptly terminated his career. In particular, these attacks ended Tony’s systematic, rigorously scientific work to reconstruct earth-altering electrical events in the ancient sky. To hide or to deny this story is to violate every standard of integrity in the sciences.

.

image

Kayenta Pictograph

It happens that the pictograph from Kayenta, Arizona at the left was the first of many that I sent to Tony at his request. What sparked his interest was his realization that rock art images I’d gathered over many years depict plasma formations called “Peratt Instabilities,” once witnessed in the sky close to Earth.

For me the most stunning discovery was that the precise form depicted in the Kayenta rock carving belonged to a range of intense electric discharge configurations well documented in laboratory experiments at Los Alamos National Laboratory (LANL), and named by his colleagues after Tony himself. In our communications, Tony recognized immediately that the correspondence of the Kayenta pictograph to a violently evolving laboratory discharge form was far too precise to allow for an alternative explanation.

The Kayenta pictograph finds many variations in other lands, given such names as “the ladder of heaven” and the “backbone of the sky,” all associated with what I called a “phase of wandering” in the dismemberment of the former Polar Configuration to which I’d devoted much of my life reconstructing. But what celestial events might have caused a form of this sort to appear in the southern sky above human witnesses on earth? The pictograph’s origin was particularly sensitive because so much of LANL activity was classified under the laboratory’s nuclear weapons research. According to Tony himself, his first reaction on seeing the pictograph was to think that someone had hacked into his computer. If so, the most likely next occurrence would be the seizure and “scrubbing” of his computer—and possibly his arrest.

If, however, the Kayenta pictograph was indeed carved on stone in Arizona (and it was), Tony understood the implications quite well. It would immediately raise the possibility that near-earth electrical events in the past could explain enigmatic rock art images the world over—including images in his own “backyard” in the southwest. Such carvings on stone have puzzled archaeologists for centuries.

And so Tony began an intensive investigation of global rock art spanning several years. His results, including the Kayenta pictograph and other images I had sent to him, were featured in a series of groundbreaking articles, several co-authored with our own Thunderbolts colleagues, retired professor of electrical engineering Donald Scott and the accomplished researcher and linguist, M.A. (Rens) Van der Sluijs.

http://plasmauniverse.info/NearEarth.html

I personally met with Tony on several occasions, in Portland, Phoenix, and Albuquerque, while these articles were in preparation. His inspiration was infectious, and no one meeting him had any doubt that his work would challenge fundamental assumptions in the sciences. In particular, Tony’s findings would categorically preclude the “uniformity principle” that has constrained scientific investigation for far too long. Even today, most of the theoretical sciences simply ASSUME that events occurring in our own time are the key to understanding the more ancient past: “As today so before.” But with any appreciation of the extraordinary natural events in more ancient times, the uniformity principle is the first ideological tenet to go out the window.

The truth is that today’s uneventful sky offers no analogy for the profound spectacles in in the skies above our early forebears. Earth-shaking electrical activity, recorded on stone around the world and recounted in archetypal myths and symbols, provoked a collective response from ancient people as if their lives depended on it. In fact the lives of millions of people DID depend on their response to these events, since (as Peratt himself acknowledged) the synchrotron radiation would have most likely been deadly. Humans survived by retreating to caves, and in many instances artists in the open would have died without the shielding provided by neighboring cliffs

.

Tony Peratt’s explanation of the Kayenta pictograph

The details of this story include a relentless personal campaign by one individual in particular to shut Tony down. These details will be given in future Thunderblogs. Therefore, your help in directing attention of others to this story could well affect the future of critical investigation in the sciences.

.

LINK

https://www.thunderbolts.info/wp/2016/04/08/plasma-scientist-anthony-peratt-meets-the-electric-universe/

.

Anthony Peratt Part 2: Backbone of the Sky
Plasma Scientist Anthony Peratt Meets the Electric Universe
By David Talbott

PART 2: The Backbone of the Sky

.

image

.

The events leading to the destruction of plasma scientist Tony Peratt’s career hold a unique message for all of us. Over a lifetime exploring challenges to orthodoxies in the sciences, I have never seen anything like it. And I have seen a lot.

The story must be told because those complicit in the ending of Peratt’s culminating work are still holding in place a profound deception—a cover story to hide misconduct in the sciences.

The critical juncture came in relation to a seminar our group announced for Portland, Oregon, September 22-24, 2000. We had made the decision to invite several scientists on the leading edge of innovation. And it worked, culminating in the announcement of expanded scientific outreach—

SEMINAR: “Our Violent Solar System”
DATE: September 22-24, 2000
Portland Oregon

This urgent update concerns our September seminar and some exciting additions to our speaker list: plasma cosmologist Tony Peratt, astronomer Halton Arp, astronomer Tom Van Flandern, and geologist Robert Schoch. These and other added speakers will give this event a much broader impact than we originally envisioned.

But then it happened. First one, then another, then a third speaker notified us that he was unable to attend. Of the speakers listed above, only one was left: Tom Van Flandern. I called Tom whom, by good fortune, I had gotten to know at our earlier conference in 1994. He informed me that the speakers canceling had all been scared away by threats from a fellow I shall name Resident Troll, whose words made clear that he would personally guarantee the destruction of their career if they attended.

Tom and I agreed that, separately, we would call the speakers who had cancelled and explain the situation to them. I still remember these conversations well, and it was clear that each or our originally-named speakers really did prefer to come. The only obstacle was the deep anxiety instilled by Resident Troll’s threats.

As it turned out, our conversations were sufficient to persuade all of the speakers to attend. And in amazing ways the event proved to be a turning point for us.

On the Monday following the seminar, we called a private gathering of speakers. The room was filled with inspiration and a sense of raw potential opening in front of us. In the meeting, the late astronomer Halton Arp, the leading authority on peculiar galaxies, stated his impressions to me in no uncertain terms: “What excites me the most about your presentation is that we are now seeing in remote space the types of formations you’ve described in earth’s past.”

One of the archetypal forms I had discussed involved the global myths and symbols of the “Chain of Arrows,” a theme inseparably connected to another archetype, the “Ladder of Heaven.” As the story was most commonly told, a great warrior launches arrows into the sky, each embedding itself in the one above to form a ladder or stairway to the land of the gods.

It soon became clear to me that the rungs of the ladder could be best understood as a stack of toruses. And I noted that the toruses themselves appear to have formed out of twisting filaments reaching upward along an axis before dividing into a toroidal stack. But I did not have anything approaching an adequate explanation for the “eye mask” configuration taking form at the “base” of the configuration. A few glimpses of the implied evolutionary sequence can be seen in the forms carved on rock below, from the American southwest:

.

image

.

It seems that this revelation stopped Peratt in is tracks. “That’s the evolution of the plasma instability in the laboratory!” he exclaimed. So the moment he got home, he asked me to send him the rock art images. And that began a series of animated exchanges between us, as I transmitted to him dozens of rock art images relating to the evolving formation in the ancient sky.

It was this exchange that led directly to the story reported in the first segment of this series. Initially I sent Tony just the Kayenta pictograph (image on the right above), and at that moment, as he subsequently stated to me, he knew his life had changed. “You can’t deny formations carved on stone,” he said. The precise correspondence with the laboratory discharge evolution was definitive, and it allowed for no other interpretation.

Peratt wrote:

“Many petroglyphs, apparently recorded several millennia ago, have a plasma discharge or instability counterpart, some on a one-to-one or overlay basis. More striking is that the images recorded on rock are the only images found in extreme energy density experiments; no other morphology types or patterns are observed. The inward rise on axis along with the upward folding of the outer edges of the carved lines and transition to edge curling, a phenomenon recorded in intense electrical discharge radiographs, could not have been known to prehistoric man unless he witnessed the same event in the sky.”

The effect on the Electric Universe movement (before the movement had been given that “official” name) was transformative. Very quickly Peratt himself signed a contract for support of his field work, all with a goal to document global rock art and its connection to intensely energetic plasma forms seen in both the laboratory and in space.

Over several years, with the help of several assistants and collaborators, Peratt used GPS to record the fields of view of the ancient artists at the precise locations of thousands of rock art images. By plotting this data on computerized topographical maps, he could calculate where the various forms occurred in the Earth’s ancient plasmasphere (magnetosphere). Peratt’s consequent peer reviewed papers were then published over several years, from 2004 to 2009, some co-authored with our own colleagues, retired electrical engineering professor Donald Scott and linguist Rens van der Sluijs.

As I have had many opportunities to reflect back on these events, I have found myself marveling at the intellectual movement that exploded in the wake of Peratt’s contribution, now reaching hundreds of thousands of people seeking to know more. And I have often paused to wonder about the situation we would have faced if a single Inquisitor (Resident Troll) had succeeded in his campaign to shut down our seminar in September 2000. The hero of this story is beyond question our good friend and critic, the late astronomer Dr. Tom Van Flandern.

.

LINK

Anthony Peratt Part 2: Backbone of the Sky

.

.