picture of the day
Left to right: Navaho rug; sacred design of the Dayak or Iban of
Sarawak; head of the Polynesian deity
Credits: (Navaho rug) Wal Thornhill, (Dayak)
Alex Pollard, (Tiki) Cindy Lea Clark
Jul 09, 2007
Memories of the "Squatter Man"
Many symbolic patterns around the world can now
be seen as variations of the global "squatter man" or "stick man"
first documented by plasma scientist Anthony Peratt. They are
stylized derivations of a plasma discharge configuration seen in the
The "squatter" or "
figure is a ubiquitous symbol found in nearly every culture.
It is often confused with a crude, distorted version of the
human form. Some cultures speak of it as the big red man in
Below is a
simple illustration of a three-dimensional plasma discharge
form appearing above ancient sky worshippers, inspiring a
vast array of mythical interpretations. The laboratory
verified configuration includes a transparent “champagne
glass” form above, a transparent “hollow donut” (when seen
edge-on), and the “squashed bell” form below, all joined by
an axial spine running down from the “head” of the figure.
in the heavens, this plasma discharge column--the axis
mundi of world mythology--evolved through a series of
"plasma instabilities" documented in high energy laboratory
experiments. Seen here are examples (left to right) from
Armenia, United Arab Emirates, Spain, Arizona, and Guina.
As we have noted
previous Pictures of the Day, a columnar discharge
current breaks up into a string of sausage-like
cells—usually 7 to 9 in number—which evolve into donut-like
ring currents (toroids). The stacked toroids flatten into
disks, and their edges fold away from the disk plane—upward
in the top toroids and downward in the bottom ones. The form
that we see as the "Stickman" is the culmination of a late
phase, as a number of the flattened toroids fold up to form
the stickman's head. This squatting figure is one of the
more stable (longer-lasting) plasma “instabilities,” and in
this phase it was the the brightest and most terrifying
component in a configuration of stunning impact on human
imagination. The discharge form was recorded on stone by all
human communities that witnessed it, and it influenced
sacred designs across several millennia. (See, for example
Chinese Longevity Symbol.) Often, as in the colorful
images above, the designs will explain themselves through
comparative analysis. But it is also helpful to remember
that the configuration was visually alive. The “arms” of the
celestial figure, for example, were not stationary but
dynamic toruses, “warping” or folding upward, then downward,
then upward again.
form can be seen in widely varied compositions. And as
plasma discharge experts would be the first to point out,
this includes innumerable “secondary” design elements,
including the bi-polar “thunderbolt” loosely indicated in
the Navaho rug design:
Talbott and Wallace Thornhill,
Thunderbolts of the Gods, pp. 21ff. and 52ff.
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