You've just entered the theater of an alien sky.
If the words and images seem strange to you, there's a reason for this.
Our world was once a vastly different place.
To experience this won't hurt you
and there is nothing to fear.
The Prehistoric Mother Goddess ― Emergence and Transformation ―
This video will continue our exploration of the ancient mother goddess
whose first appearance we have traced back to prehistoric times.
It seems that with the emergence of the more advanced civilizations
including the monumental cultures of Egypt and Mesopotamia,
the primeval goddess faded into the background
and often disappeared altogether.
In the prehistoric epoch, there are no written histories to guide us
but there are abundant figurines suggesting a mysterious feminine form
with certain unique features.
In this earliest phase, we cannot say whether regional wars
were commonplace or largely absent.
Hunting weapons seem more obvious than preparations for battle.
We see little or no evidence of the warrior kings that appeared so forcefully
with the emergence of the great civilizations that followed.
Unsettled issues include the origins and meaning of sacrifice
and details concerning death and burial.
Nevertheless, based on the totality of evidence explored in this series,
a variety of conclusions can be drawn as to the prehistoric environment
from which the first images of a mother goddess emerged.
For context, our approach to the mother goddess draws upon a larger investigation
into the wide-ranging cross-cultural archetypes of the antique world.
These most fundamental structures of ancient thought, at the dawn of civilization,
invite us to work backward in time
to envision a world before historical chronicles
and before systematic timekeeping.
That means prior to the first appearance of what we've called the Polar Configuration,
a grand assembly of planets gathered close to Earth
and moving through a dusty plasma cloud.
Our claim has been that it was this Polar Configuration,
by its impact on human imagination,
that catalyzed the emergence of symbols and sacred practices
that defined early civilizations.
And so, one puzzle drawing our attention is the dramatic break
that appears to separate the prehistoric phase
from the subsequent emergence of developed languages and commemorative practices.
It seems that this gap largely excludes the evidential linkage
or chain of events that one might have hoped to follow across the divide
from prehistoric to historical evidence.
And yet, several tantalizing clues invite us to ask new questions.
Across the prehistoric period, we observe two evolutionary phases
in the emergence of a mother goddess image.
Both are explicable,
but only within the framework of a radical challenge to common thinking.
The earliest evidence includes a first female form
that historians and archaeologists still struggle to understand,
a distinctly rotund goddess type called Steatopygia.
As we should expect, there was a frequent and inexplicable suggestion of sphericity
in the prominent features of the primitive goddess.
And we're not surprised that the spherical head or face of the goddess
often appears featureless
or that the lower limbs are frequently presented as a tapering column,
exactly as we've seen in our review
of the Martian contribution to the Polar Configuration.
For us, this place is an exclamation point
to an inescapable conclusion throughout these investigations
that something unrelated to any human cause
provoked the extraordinary depictions of the mythic gods.
Torus and Transformation
In the emergence of the prehistoric goddess idea,
there was a second phase as well.
That phase involved a distinctive torus or enclosure
displaying a visual opening and closing
as the celestial bodies moved through space.
This effect can be compared to the variable positions we previously observed
in the symbolic arms wrapped around the margins of the enclosure
and appearing in competing positions above
and below the breasts of the goddess.
In fact, the changing visual plane of the torus
adds additional clarity to that ancient concept.
And for us that means a new chapter in this investigation,
a chapter we could not have written just a year ago.
A critical breakthrough comes from an anciently depicted
clearly toroidal womb- of-goddess figures
where no human attribute will explain the unique form presented.
The ring displayed by this Olmec goddess
is a useful starting point and it is not unique.
Even more striking is the Moche counterpart, many centuries earlier,
in which the torus is sufficiently clear to identify that form as the archetype
whereby the associated female figure
simply gives the context of the mythic interpretation.
Ironically, it's another example from the opposite side of the world
that offers the most striking counterpart to the South American goddess images.
In this case not only supporting a radically new interpretation of the goddess
but confirming the direct connection
to the visual opening and closing of the envisioned torus.
We refer here to the enigmatic images of the mythic figure named Sheela na gig.
Her widely distributed images, appropriately called grotesques,
are found across much of Europe,
most prominently in Ireland and, enigmatically,
most often placed close to the entrances to churches.
The general consensus is that they had a protective function,
similar to that of the Medusa head
placed above temple entrances in other parts of the world.
But beyond that agreement, scholars are still looking for an explanation
of the deeply entrenched idea.
In the case of Sheela na gig,
the connection to the visual opening and closing of a torus
is simply too strong to be disputed
as we see most emphatically in these examples from Ireland
and most notably in the instance shown here,
where the toroidal form stands out as nothing else than a torus,
seen from a position orthogonal to the plane of the torus itself
and thus in the fully open position visually.
What then was the relationship of the opening and closing of the Sheela na gig torus
to the eye mask form also displayed by this very figure.
That's a form with which we are already familiar
and the answer comes from the ancient habit of juxtaposing
alternative mythic interpretations of underlying archetypal forms.
In this instance, the question has already been answered
by our earlier analysis of the Polar Configuration
for the twin eyes of the eye mask image
are explained by the unique forms of electric discharge in the plasma laboratory,
as we learned from the leading plasma scientist Anthony Peratt
over a dozen years ago.
Seen from the edge-on vantage point,
the observer looked directly into the twin aspects on opposite sides
of the tubular torus itself.
As viewers who followed our presentations will remember,
in the famous stickman image, so frequently seen carved on stone globally,
twin dots on opposite sides of the figure resulted from a field of view
directly into the tubular plasma discharge form.
But now, there is more to consider since the visual opening and closing of the torus
would affect both the symbolism of the twin eyes
and the toroidal voids so frequently and enigmatically
enclosed by the twin arms of the ancient goddess.
Both the twin eyes and the toroidal folded arms
direct our attention back to distinctive aspects of the root forms,
eyes closed or eyes fully open with a direct view into the tubular torus
that constituted the visual boundary of the enclosure,
to which we add the tapering lower limbs of the goddess as the formation evolved.
Our claim is that the full complex of symbolic patterns
belongs to a unified substructure tracing back to prehistoric times.
And lastly, it's not just in the ancient images and not just in laboratory experiments
that we observe the twin aspects of the plasma torus.
Today, we see similar geometry in the toroidal form
configured around the South Pole of the planet Venus.
Though obviously diminished and degraded,
as planets moved around the Sun in increasing isolation.
The original dynamics of the primitive goddess archetype can still be discerned
and that's a synchronicity well worth investigating,
one polar vortex producing twin vortices
just as our study of the eye mask revealed
and just as laboratory experiments have so conclusively demonstrated.
And now, just as we have observed in the prehistoric mother goddess.
Such considerations, as these, can only add crucial support
for an extraordinary human experience
confirming, once again,
that the ancient world was indeed a very different place.