by Lloyd » Thu May 30, 2024 12:23 am
260291
TURQUOISE SUN/SATURN
Ev Cochrane made a couple videos on this topic so far. I made the following transcript of the prequel. I posted the transcript along with some of the images at
https://cataclysmicearthhistory.substac ... unsaturn-1. Ev also had an article, maybe on his website
https://www.maverickscience.com/ about Mars having been green before it became red. Cardona showed evidence that Saturn was initially purple, so I think that was before the nova stage during the Age of Darkness. I think in God Star Cardona said Saturn was also red during the Age of Darkness. So maybe it went from purple to red, then went nova, very bright, then turquoise and green, then Mars became red. Maybe I or someone will sort all that out some day. It seems pretty certain that Cardona concluded that Saturn went nova at the Younger Dryas event, i.e. Saturn's nova caused the YD event.
Ev Cochrane: Turquoise Sun – Chronicle of Creation
https://www.youtube.com/watch?v=N1jc4lOCtK4
Ev Cochrane: Turquoise Sun – Prequel to Discovery
https://youtube.com/watch?v=_mD-GUNRo7U&t=22s
COCHRANE MET TALBOTT. Given the feedback I've received since posting the first video on the Turquoise Sun series, it occurs to me that a brief review of the historical reconstruction defended by David Talbot and myself might be helpful in order to clarify various matters and set the stage for the discussion to follow. In the early 1970s, Dave began theorizing about a polar configuration of planets in the northern circumpolar heavens. So far as I know, this idea was original with him and had never occurred to anyone previously. In The Saturn Myth, published in 1980, Dave presented a wealth of evidence in favor of this hypothesis, arguing that Saturn and its unique configuration dominated the sky and the relatively recent prehistoric past. In that book, Dave did not speculate about the role of other planets in the configuration in question. But it was evident from his writings and network that he ascribed Jupiter and Mars prominent roles as well. He believes Mars is involved in the formation of the World Mountain, for example. I first learned about Dave's theory in 1981 and began corresponding with him shortly thereafter. Very early on, I had arrived at the idea that in order to be conceptualized at the eye of Horus, Venus must have appeared behind Mars but in front of Saturn. Although Dave had Venus and Jupiter hidden behind Saturn in his original scenario, he eventually saw the logic of my contribution and our collaboration was born.
VENUS, EYE OF MARS? In a series of articles published in the journal Kronos in the mid 80s, Dave and I presented evidence that Venus's comet-like history traced to the period of its involvement in the polar configuration, i.e. in prehistoric times well before the series of events discussed by Velikovsky and Worlds in Collision circa 1500 BCE. We identified Venus with the eye of Horus. The latter described as rampaging about the sky in serpentine form and threatening the world with destruction. In the Saturn myth, Dave relied heavily on a careful reading of the Egyptian Pyramid Texts to make his case. In addition to being the oldest corpus of religious texts found anywhere on Earth, the Pyramid Texts have the additional advantage that the hieroglyphic language employed often encodes the celestial imagery in strikingly concrete terms. Consider the name of the Egyptian goddess Hathor, which literally means House of Horus. As the eye of Horus, Hathor is to be identified with the planet Venus. Horus, in turn, was identified with the planet Mars by Egyptian skywatchers as early as the second Millennium BCE. Encoded in Hathor's name is the astronomical information that Venus was conceptualized as housing or containing Horus/Mars. The Egyptian texts have the additional advantage that they are endlessly redundant, describing the same celestial relationships from numerous different vantage points. Thus it is that Horus/Ra is repeatedly described as residing within the womb of Hathor. Here too, Horus/Mars was clearly conceptualized as a place within Hathor/Venus.
EARLY SATURN, VENUS, MARS CONFIGURATION. Central to our argument from day one was the proposition that the unique relationship between Mars and Venus provides the key to understanding the message encoded in ancient myth and religion. The ancient sources speak with one voice that Mars was located between Earth and Venus, seemingly fixated in front of the larger body for a prolonged period of time. Hence we would understand the classic depictions of Horus at the breast of Hathor accounts, describing him as the pupil of her eye. Inasmuch as this particular configuration of planets is quite impossible, and the present arrangement of the solar system where Mars can never appear in front of Venus, much less for a prolonged period, it constitutes a decisive claim of our reconstruction. With this scenario in mind, we hired a world class computer animation company to simulate what 3 spheres the size of Saturn, Venus and Mars would look like. While in conjunction they came up with the following image. Here Saturn is the large yellow orb, Venus is the green orb, and Mars is the innermost red orb. While it would take numerous videos to summarize the evidence pointing to this particular arrangement of planets, the short answer is because the ancient testimony demanded it.
RAGING EYE IN ANCIENT ART. It will be seen at once, moreover, that this image closely approximates the classic sun image recorded in rock art the world over. A core principle of our research methodology holds that the primary mythological motifs must be reflected in ancient artworks. A classic example in this regard is the oldest pictograph of the planet Venus; it's Inanna, the so-called mu sign. Given the known fact that the earliest Sumerian script, like the Egyptian script, was pictographic in nature, how is it possible to explain this image by reference to Venus? The answer is that it depicts a comet-like Venus during one particular phase in the polar configuration's history. Hence, it comes as no surprise to find that the destructive history of Inanna/Venus, as recounted in the Sumerian sources, is virtually indistinguishable from the Egyptian accounts of the raging eye of Horus.
VENUS ROSETTE/LOTUS. Another early symbol associated with Venus was the rosette. An example taken from Inanna's Temple at Uruk is illustrated here. What are we to make of the fact that the innermost core of the rosette was red in color? According to our historical reconstruction, this red orb must be Mars, the deduction supported by the fact that analogous images will be found around the globe. Which brings us back to a core thesis of the case of the Turquoise Son. The planet Mars as Horus was specifically described as a star on a Lotus flower at the time of creation. Thus it is that the passage from the Coffin Texts recounts the God's inaugural appearance during the tumultuous natural events attending the primeval separation of heaven and earth, a pivotal juncture in cosmogonic myths around the globe. Quote "The earth opens its mouth. Geb throws open his jaws on my account. And I will raise up as Horus preeminent on his Lotus flowers." End of quote. The Star god's epical appearance atop the Lotus is celebrated again and again in Egyptian texts, albeit always in elusive terms. A hymn from the post Amarna period invokes the Horus child as follows. Quote "Greetings, boy from the womb child who ascends in the Lotus flower. Beautiful youth who comes from the land of light and illuminates the 2 lands with his light." End of quote. The Horus child atop a Lotus flower represents a popular theme in Egyptian religious iconography as well. According to Eric Horning, the Dean of Egyptologists, quote "The sun god on a Lotus blossom was an image of the first emergence of shapes at the creation." End of quote. James Allen offered a very similar assessment of the archaic traditions attached to the Lotus. Quote "One of the images is of the first place in which the sun rose." End of quote.
FOUR-PETALED SUN/SATURN. You know why an infant child sitting atop a Lotus should be an archetypal symbol of creation? It's rarely addressed by Egyptologists and has never received a satisfactory answer. At no point is the elephant in the room addressed, namely, where in all of heaven is a Lotus-like structure to be found in the immediate vicinity of the sun? Yet if we take our cue from ancient artworks, and obvious answer presents itself. The Lotus likely has reference to the petaloid forms associated with the sun and iconic images around the globe, many of which occur in prehistoric context. Consider the Syrian seal depicted here, which shows what appears to be a four-pedaled sun. Our hypothesis receives a significant measure of corroboration from the fact that analogous conceptions are evident in pre-Columbian Mesoamerica. The most common name for sun in the Mayan language was Ken, the hieroglyph for which depicts a four-petal flower. Such imagery is perfectly familiar to all Mayans. Quote "In Mayan iconography, the sun was conventionally represented as a four-petaled flower." End of quote. Considered in isolation, the Mayan traditions with respect to a four-petaled Sun can only appear as incongruous and alien in nature, divorced as they are from our own experience, where flower like forms are nowhere to be found in the immediate vicinity of the sun. Yet, when viewed in light of the cylinder seals from the ancient Near East depicting a four-petaled Sun, they suddenly take on a profound significance. Can anyone doubt that were such a constellation to present itself in the sky, traditions of a four-pedaled sun would be certain to follow? It's, as far as I'm aware, not a single Mayanist, Egyptologist, or Sumerologist has ever entertained the possibility that the artworks in hieroglyphs in question might faithfully reflect the sun's visual appearance at some point during the distant past.
ASTRONOMICAL CHALLENGE. Looking back on those early years of my collaboration with Dave, it is simply impossible to convey the thrill of discovery as we developed our ideas and saw one deduction after another confirmed in distant cultures in Mesoamerica, India and China. I often compared our working relationship to that of Watson and Crick, or Lennon and McCartney. Our partnership was at once complementary and synergistic in nature with one of us pushing the other to ever greater insights again and again. But there was one colossal problem. We had no idea how to explain the images we were reconstructing from an astronomical standpoint. How was it possible to explain those petaloid forms depicted in the Rosetta Venus?
THORNHILL’S ANSWER: ELECTRIC DISCHARGE. As Dave described at great length in an article in Aeon, it was Wal Thornhill who provided the answer during a prolonged visit to Portland in 1996. Quote, "What Wal presented to me involved, among other things, the principle of plasma discharge, and he provided a dramatic illustration as the manner in which such a discharge will account for the unique descriptions of the radiant Venus, with streamers radiating in all directions. Wal proposed that Venus was the focus of such discharge due to the electrical interactions with other bodies in the hypothesized polar configuration. This would mean that what I have called the radiance of Venus was not due so much to illumination of material from the Sun, but to the luminosity of the discharge itself." End of quote.
AXIAL JET & SPIRAL. Equally revolutionary was the implication of the optics of the respective planetary forms. In order to be seen as a radiant rosette-like form in the sky, Venus and Mars would have to be aligned on a common axis with the Earth. They've discussed this aspect of the theory at some length in the same article. Quote, "In order for the observer on Earth to see the predicted image, only one vantage point will work. The Earth itself must be on the axis, precisely the position claimed in the historical argument. Again, to fully appreciate the significance of this, one must be willing to apply both common sense and elementary principles of probability. One highly unusual point of correspondence will be impressive enough, but when multiple highly unusual correspondences converge in one reconstruction, the improbability of the accidental explanation quickly grows exponentially to astronomical proportions. With that principle in mind, a further correspondence must be considered. In both the laboratory version and in the galactic scale plasma model, there is, in addition to the organization of spiraling gases out from the axis, the potential for a jetting of material along the axis, a phenomenon mocking Newtonian models of the universe. This streaming of gas is along the axis of rotation. This has, for 25 years, been part of the bedrock of the Saturn theory. That is the meaning of the polar column, or world mountain, remembered by all ancient peoples." End of quote.
CLOSING. Those were the days, my friends. Days of breathtaking discovery and camaraderie rarely seen in the history of science. Alas, time marches on and remains undefeated. And yet, the intellectual revolution sparked by the Saturn myth remains ongoing now and forever, so long as inquiring minds take serious heed to what the ancient skywatchers have to tell us. The truth will out.
260291
[color=#FF0000]TURQUOISE SUN/SATURN[/color]
Ev Cochrane made a couple videos on this topic so far. I made the following transcript of the prequel. I posted the transcript along with some of the images at https://cataclysmicearthhistory.substack.com/p/the-turquoise-sunsaturn-1. Ev also had an article, maybe on his website https://www.maverickscience.com/ about Mars having been green before it became red. Cardona showed evidence that Saturn was initially purple, so I think that was before the nova stage during the Age of Darkness. I think in God Star Cardona said Saturn was also red during the Age of Darkness. So maybe it went from purple to red, then went nova, very bright, then turquoise and green, then Mars became red. Maybe I or someone will sort all that out some day. It seems pretty certain that Cardona concluded that Saturn went nova at the Younger Dryas event, i.e. Saturn's nova caused the YD event.
Ev Cochrane: Turquoise Sun – Chronicle of Creation
https://www.youtube.com/watch?v=N1jc4lOCtK4
Ev Cochrane: Turquoise Sun – Prequel to Discovery
https://youtube.com/watch?v=_mD-GUNRo7U&t=22s
[color=#0000FF]COCHRANE MET TALBOTT.[/color] Given the feedback I've received since posting the first video on the Turquoise Sun series, it occurs to me that a brief review of the historical reconstruction defended by David Talbot and myself might be helpful in order to clarify various matters and set the stage for the discussion to follow. In the early 1970s, Dave began theorizing about a polar configuration of planets in the northern circumpolar heavens. So far as I know, this idea was original with him and had never occurred to anyone previously. In The Saturn Myth, published in 1980, Dave presented a wealth of evidence in favor of this hypothesis, arguing that Saturn and its unique configuration dominated the sky and the relatively recent prehistoric past. In that book, Dave did not speculate about the role of other planets in the configuration in question. But it was evident from his writings and network that he ascribed Jupiter and Mars prominent roles as well. He believes Mars is involved in the formation of the World Mountain, for example. I first learned about Dave's theory in 1981 and began corresponding with him shortly thereafter. Very early on, I had arrived at the idea that in order to be conceptualized at the eye of Horus, Venus must have appeared behind Mars but in front of Saturn. Although Dave had Venus and Jupiter hidden behind Saturn in his original scenario, he eventually saw the logic of my contribution and our collaboration was born.
[color=#0000FF]VENUS, EYE OF MARS?[/color] In a series of articles published in the journal Kronos in the mid 80s, Dave and I presented evidence that Venus's comet-like history traced to the period of its involvement in the polar configuration, i.e. in prehistoric times well before the series of events discussed by Velikovsky and Worlds in Collision circa 1500 BCE. We identified Venus with the eye of Horus. The latter described as rampaging about the sky in serpentine form and threatening the world with destruction. In the Saturn myth, Dave relied heavily on a careful reading of the Egyptian Pyramid Texts to make his case. In addition to being the oldest corpus of religious texts found anywhere on Earth, the Pyramid Texts have the additional advantage that the hieroglyphic language employed often encodes the celestial imagery in strikingly concrete terms. Consider the name of the Egyptian goddess Hathor, which literally means House of Horus. As the eye of Horus, Hathor is to be identified with the planet Venus. Horus, in turn, was identified with the planet Mars by Egyptian skywatchers as early as the second Millennium BCE. Encoded in Hathor's name is the astronomical information that Venus was conceptualized as housing or containing Horus/Mars. The Egyptian texts have the additional advantage that they are endlessly redundant, describing the same celestial relationships from numerous different vantage points. Thus it is that Horus/Ra is repeatedly described as residing within the womb of Hathor. Here too, Horus/Mars was clearly conceptualized as a place within Hathor/Venus.
[color=#0000FF]EARLY SATURN, VENUS, MARS CONFIGURATION.[/color] Central to our argument from day one was the proposition that the unique relationship between Mars and Venus provides the key to understanding the message encoded in ancient myth and religion. The ancient sources speak with one voice that Mars was located between Earth and Venus, seemingly fixated in front of the larger body for a prolonged period of time. Hence we would understand the classic depictions of Horus at the breast of Hathor accounts, describing him as the pupil of her eye. Inasmuch as this particular configuration of planets is quite impossible, and the present arrangement of the solar system where Mars can never appear in front of Venus, much less for a prolonged period, it constitutes a decisive claim of our reconstruction. With this scenario in mind, we hired a world class computer animation company to simulate what 3 spheres the size of Saturn, Venus and Mars would look like. While in conjunction they came up with the following image. Here Saturn is the large yellow orb, Venus is the green orb, and Mars is the innermost red orb. While it would take numerous videos to summarize the evidence pointing to this particular arrangement of planets, the short answer is because the ancient testimony demanded it.
[color=#0000FF]RAGING EYE IN ANCIENT ART.[/color] It will be seen at once, moreover, that this image closely approximates the classic sun image recorded in rock art the world over. A core principle of our research methodology holds that the primary mythological motifs must be reflected in ancient artworks. A classic example in this regard is the oldest pictograph of the planet Venus; it's Inanna, the so-called mu sign. Given the known fact that the earliest Sumerian script, like the Egyptian script, was pictographic in nature, how is it possible to explain this image by reference to Venus? The answer is that it depicts a comet-like Venus during one particular phase in the polar configuration's history. Hence, it comes as no surprise to find that the destructive history of Inanna/Venus, as recounted in the Sumerian sources, is virtually indistinguishable from the Egyptian accounts of the raging eye of Horus.
[color=#0000FF]VENUS ROSETTE/LOTUS.[/color] Another early symbol associated with Venus was the rosette. An example taken from Inanna's Temple at Uruk is illustrated here. What are we to make of the fact that the innermost core of the rosette was red in color? According to our historical reconstruction, this red orb must be Mars, the deduction supported by the fact that analogous images will be found around the globe. Which brings us back to a core thesis of the case of the Turquoise Son. The planet Mars as Horus was specifically described as a star on a Lotus flower at the time of creation. Thus it is that the passage from the Coffin Texts recounts the God's inaugural appearance during the tumultuous natural events attending the primeval separation of heaven and earth, a pivotal juncture in cosmogonic myths around the globe. Quote "The earth opens its mouth. Geb throws open his jaws on my account. And I will raise up as Horus preeminent on his Lotus flowers." End of quote. The Star god's epical appearance atop the Lotus is celebrated again and again in Egyptian texts, albeit always in elusive terms. A hymn from the post Amarna period invokes the Horus child as follows. Quote "Greetings, boy from the womb child who ascends in the Lotus flower. Beautiful youth who comes from the land of light and illuminates the 2 lands with his light." End of quote. The Horus child atop a Lotus flower represents a popular theme in Egyptian religious iconography as well. According to Eric Horning, the Dean of Egyptologists, quote "The sun god on a Lotus blossom was an image of the first emergence of shapes at the creation." End of quote. James Allen offered a very similar assessment of the archaic traditions attached to the Lotus. Quote "One of the images is of the first place in which the sun rose." End of quote.
[color=#0000FF]FOUR-PETALED SUN/SATURN.[/color] You know why an infant child sitting atop a Lotus should be an archetypal symbol of creation? It's rarely addressed by Egyptologists and has never received a satisfactory answer. At no point is the elephant in the room addressed, namely, where in all of heaven is a Lotus-like structure to be found in the immediate vicinity of the sun? Yet if we take our cue from ancient artworks, and obvious answer presents itself. The Lotus likely has reference to the petaloid forms associated with the sun and iconic images around the globe, many of which occur in prehistoric context. Consider the Syrian seal depicted here, which shows what appears to be a four-pedaled sun. Our hypothesis receives a significant measure of corroboration from the fact that analogous conceptions are evident in pre-Columbian Mesoamerica. The most common name for sun in the Mayan language was Ken, the hieroglyph for which depicts a four-petal flower. Such imagery is perfectly familiar to all Mayans. Quote "In Mayan iconography, the sun was conventionally represented as a four-petaled flower." End of quote. Considered in isolation, the Mayan traditions with respect to a four-petaled Sun can only appear as incongruous and alien in nature, divorced as they are from our own experience, where flower like forms are nowhere to be found in the immediate vicinity of the sun. Yet, when viewed in light of the cylinder seals from the ancient Near East depicting a four-petaled Sun, they suddenly take on a profound significance. Can anyone doubt that were such a constellation to present itself in the sky, traditions of a four-pedaled sun would be certain to follow? It's, as far as I'm aware, not a single Mayanist, Egyptologist, or Sumerologist has ever entertained the possibility that the artworks in hieroglyphs in question might faithfully reflect the sun's visual appearance at some point during the distant past.
[color=#0000FF]ASTRONOMICAL CHALLENGE.[/color] Looking back on those early years of my collaboration with Dave, it is simply impossible to convey the thrill of discovery as we developed our ideas and saw one deduction after another confirmed in distant cultures in Mesoamerica, India and China. I often compared our working relationship to that of Watson and Crick, or Lennon and McCartney. Our partnership was at once complementary and synergistic in nature with one of us pushing the other to ever greater insights again and again. But there was one colossal problem. We had no idea how to explain the images we were reconstructing from an astronomical standpoint. How was it possible to explain those petaloid forms depicted in the Rosetta Venus?
[color=#0000FF]THORNHILL’S ANSWER: ELECTRIC DISCHARGE.[/color] As Dave described at great length in an article in Aeon, it was Wal Thornhill who provided the answer during a prolonged visit to Portland in 1996. Quote, "What Wal presented to me involved, among other things, the principle of plasma discharge, and he provided a dramatic illustration as the manner in which such a discharge will account for the unique descriptions of the radiant Venus, with streamers radiating in all directions. Wal proposed that Venus was the focus of such discharge due to the electrical interactions with other bodies in the hypothesized polar configuration. This would mean that what I have called the radiance of Venus was not due so much to illumination of material from the Sun, but to the luminosity of the discharge itself." End of quote.
[color=#0000FF]AXIAL JET & SPIRAL.[/color] Equally revolutionary was the implication of the optics of the respective planetary forms. In order to be seen as a radiant rosette-like form in the sky, Venus and Mars would have to be aligned on a common axis with the Earth. They've discussed this aspect of the theory at some length in the same article. Quote, "In order for the observer on Earth to see the predicted image, only one vantage point will work. The Earth itself must be on the axis, precisely the position claimed in the historical argument. Again, to fully appreciate the significance of this, one must be willing to apply both common sense and elementary principles of probability. One highly unusual point of correspondence will be impressive enough, but when multiple highly unusual correspondences converge in one reconstruction, the improbability of the accidental explanation quickly grows exponentially to astronomical proportions. With that principle in mind, a further correspondence must be considered. In both the laboratory version and in the galactic scale plasma model, there is, in addition to the organization of spiraling gases out from the axis, the potential for a jetting of material along the axis, a phenomenon mocking Newtonian models of the universe. This streaming of gas is along the axis of rotation. This has, for 25 years, been part of the bedrock of the Saturn theory. That is the meaning of the polar column, or world mountain, remembered by all ancient peoples." End of quote.
[color=#0000FF]CLOSING.[/color] Those were the days, my friends. Days of breathtaking discovery and camaraderie rarely seen in the history of science. Alas, time marches on and remains undefeated. And yet, the intellectual revolution sparked by the Saturn myth remains ongoing now and forever, so long as inquiring minds take serious heed to what the ancient skywatchers have to tell us. The truth will out.