Welcome to the Thunderbolts podcast for May 27, 2016.
In the previous episode, David Talbott - the director of the Thunderbolts project,
began his discussion of his working relationship
with one of the world's leading experts on space plasma,
renowned plasma physicist Dr. Anthony Peratt of Los Alamos laboratories.
In the Thunderbolts documentary Symbols of an Alien Sky,
well over a million viewers to date have received a brief introduction
to Peratt's extraordinary research into pictographs in the American Southwest.
Images that match the forms of high-energy plasma instabilities.
The implication is that these plasma forms were seen in the sky above ancient man
and depicted in rock art around the world.
As David explained in our last podcast- when Peratt published his findings,
he came under intense pressure for his involvement with the Electric Universe community.
Today in this reported talk, David adds further to the story of Peratt's contribution
and the events that effectively ended his groundbreaking research.
The events leading to the destruction of plasma scientist Tony Peratt's career
hold a unique message for us.
The story must be told because those complicit in the ending of Peratt's work
are still holding in place a profound deception,
a cover story to hide misconduct in the sciences.
The critical turn came in relation to a seminar our group announced
for Portland Oregon, September 22nd to 24th, 2000.
"This urgent update concerns our September seminar and some exciting additions to our speaker list:"
We had made the decision to invite several scientists on the leading edge of innovation
including plasma cosmologist Tony Peratt, astronomer Halton Arp,
astronomer Tom Van Flandern and geologists Robert Schoch.
But then it happened.
First one, then another, then a third speaker notified us that he was unable to attend.
Of the speakers I've named here just one was left, Dr. Tom Van Flandern.
I called Tom whom, by good fortune,
I had gotten to know at an earlier conference in 1994.
He informed me that the speakers canceling had 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 careers 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 of our originally named speakers really did prefer to come.
The only obstacle was the 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 surprising 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.
It was during this meeting that the late astronomer Halton Arp,
the leading authority on peculiar galaxies, stated his impression of my own work.
"What excites me the most about your presentation
is that we are now seeing in remote space
the types of formations that you've described in Earth's past."
One of the archetypal forms I had discussed at the conference
was a global theme often named "The Chain of Arrows".
This theme is almost always connected to another archetype called
"The Ladder of Heaven".
As the story goes, 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.
Of course I had long been persuaded that the global themes of myth and symbol
all related to visible dramas played out in the sky,
and it soon became clear to me that the rungs of the ladder
could be best understood as a stack of toruses.
I'd noted that the toruses themselves appear to have formed out of twisting filaments
reaching upward along an axis before dividing into the toroidal stack.
What I lacked however was anything approaching an adequate explanation
for the eye mask form appearing at the base of the configuration.
A few glimpses of the implied evolutionary sequence
can be seen in the forms carved on rock in the American Southwest.
It seems that this revelation stopped Tony in his tracks -
"That's the evolution of the plasma instability in the laboratory", he said.
So the moment he got home he asked me to send him the rock art images
and that began a series of exchanges between us
as I conveyed 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
I've reported in the first segment of this series.
Initially I sent Tony just the Cayenta pictograph, the image on the right,
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 explanation.
In Tony's own words, and I quote again,
"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", he wrote.
In particular, Tony noted the tendency of the toruses to acquire a conical form
close to the axis, which would give the appearance of a chain of arrows.
And he noted also that with the flattening of the toruses
there is a tendency to curl up or down at their outer edges.
"This tendency", he said, "is a precise counterpart
to the phenomenon recorded in intense electric discharge radiographs."
"But of course these traits", quoting Tony again,
"could not have been known to prehistoric man
unless he witnessed the same events in the sky."
The effect of these revelations on the Electric Universe movement was transformative.
Soon Tony had a contract for support of his fieldwork,
all with the goal to document global rock art
and its connection to intensely energetic plasma forms,
seen in both the laboratory and in space.
In the years that followed, with the help of several assistants and collaborators,
Tony 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 magnetosphere.
Tony then published several peer review papers from 2004 - 2009,
some co-authored with our own colleagues,
retired professor of electrical engineering Donald Scott
and linguist Rens van der Sluis.
Since these remarkable events I've often marveled at the intellectual movement
that exploded in the wake of Tony's contribution,
a movement now reaching hundreds of thousands of people seeking to know more
and I've often paused to consider the situation we would have faced
if a single inquisitor, the one I've named 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.