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SWASTIKA/LAMAT: EV COCHRANE'S RECENT VIDEO TRANSCRIPT
https://www.youtube.com/watch?v=Xsx4jMsmYmU
{ZEUS-MARS-THUNDERGOD}
In The Case of the Turquoise Sun, we presented evidence that the prototypical Sun of cosmogonic myth was the focus of intense electrical discharges in the form of heaven-spanning lightning and storms. We know this to be the case because ancient words for ‘Sun’ in widely disparate languages also denote lightning, storm, Thundergod. Yet for one reason or another, comparative scholars have largely overlooked this evidence. Truth be told, the prototypical Sun god and Thundergod were one and the same celestial power, both tracing to a towering planet-based structure hovering in the northern circumpolar heavens. The Greek Zeus is the most familiar example of this archetypal celestial god, but analogous figures will be found around the globe.
{ANCIENT ART}
Ancient artworks complement the testimony from cosmogonic myth and linguistics. Early pictographs and cylinder seals depict a celestial body universally accepted as being the Sun with lightning-like structures emanating across its face. Now consider the old Anatolian cylinder seal wherein lightning-like spokes present a swastika-like form. The swastika in fact stands at the very nexus of the ancient imagery attached to the prototypical Sun god and Thundergod.
{SWASTIKA}
How then are we to understand the original celestial reference behind the swastika? The swastika constitutes one of humankind's most archaic and enduring symbols occurring on every inhabited continent. Swastikas appear in prehistoric contexts in Old Europe around 5,000 BC, Neolithic China, Harappan India, and in the New World as well. Heinrich Schliemann’s excavations of Troy found hundreds of artifacts with swastikas on them. In the 19th century, scholars investigating the symbol's origin interpreted it as an astronomical image encoding the whirling rotation of the Sun. At the same time however, other scholars called attention to its intimate connection with the Thundergod’s fiery thunderbolt. Thor's thunderbolt, for example, was depicted alternately as a swastika or as a wheel-like object on ancient monuments and rock carvings, some dating to the Bronze Age.
{ROTATION SIGN}
There are numerous instances where swastikas appear alongside so-called ‘solar wheels’. Witness the prehistoric ceramic artwork from Isousa?... wherein a swastika is placed immediately adjacent to a four-spoked Sun. It is as if the ancient artists were trying to convey the impression that the two symbols were inherently related, or variations upon a common theme. Miranda Green, in her standard work on Bronze Age Sun worship noted a fundamental affinity between the swastika and solar wheel, quote, “What does the swastika as a symbol represent? It is, I think, a complex image, and one with a close solar link. First and foremost, it would seem to represent rotary movement and, if in close association with the wheel, represents above all the rotating aspect of the Sun. While a true wheel has spokes and a nave to reflect the circular, beaming Sun, the swastika reflects the movement of the orb across the sky.” End of quote.
{WRONG SUN}
Green's analysis of ancient artworks is basically sound so far as it goes. There is an undeniable connection between the solar wheel and swastika, but it suffers from a seemingly fatal flaw, namely the readily observable fact that the present Sun does not display wheel-like spokes or a swastika form as it moves across the sky. Yet, as we documented in Turquoise Sun, the prototypical Sun was routinely depicted with wheel-like spokes, typically four in number, the latter of which occasionally take on the form of a swastika. A perusal of ancient artworks will reveal an inherent connection between the swastika and whirling forms, the latter often depicted in the center of the field of vision.
Indeed, numerous indigenous cultures identified the swastika as a whirling Sun, or as the whirling of the four winds linked to the four cardinal directions. A design from the prehistoric bowl from Samara offers an archaic example of this widespread thematic pattern from around 5,000 BC. Here the swastika is set in the center of the design. The circumambulating fish contribute to, and accentuate, this impression of whirling and naturally suggest a counterclockwise rotation. It is obvious at once, that the easiest way to produce such an image is by means of a stellar object at the circumpolar region, i.e., the very region associated with the polar configuration of planets reconstructed by Talbott and myself. In contrast, there is no conceivable way for the present Sun to present the appearance of a revolving swastika. At this point I would draw the reader’s attention to the four dots that appear in the figure above. How are these dots to be explained by reference to the familiar Sun?
{FOUR DOTS}
Significantly, four dots are also found together with the swastika in prehistoric artworks from around the globe. In his classic book on the symbol, Thomas Wilson wrote as follows. Quote, “The swastika is sometimes represented with dots or points in the corners of the intersections.” End of quote. The figure above offers a representative example. Here too it is impossible to explain this particular image by reference to the familiar solar orb where four dots are nowhere to be found. Yet, four dots are a regular feature in prehistoric exemplars of the so-called ‘Lamat’ sign, discussed by us in several publications. The Lamat sign is archaic in nature, appearing already in preclassic Meso-America. It was the presence of this glyph, together with the numbers 236, 90, 250, and 8 on pages 46 to 50 in the Dresden Codex that led Ernst Forstemann and other early scholars to propose a connection between the glyph and Venus.
Martha Macri emphasized a remarkable continuity of this image and its attendant symbolism across the millennia. Quote, “The Venus/star logograph is depicted on portable objects from the Preclassic, Classic and Postclassic periods into the sixteenth century. This continuity of an image that is graphically complex and semantically consistent is evidence not of the borrowing of a word or concept but of the transmission of a specific image over an extensive geographic and temporal range.” End of quote.
{LAMAT SIGN}
The conventional explanation of the Lamat sign is that it offers an abstract reference to the phases of Venus. Susan Milbrath, an anthropologist specializing in ancient Mesoamerican astronomy, suggested that the glyph has reference to the four phases of Venus's appearance and disappearance. Quote, “The fact that there are four circles in a cross-shaped frame naturally suggests the four phases of Venus associated with the four different directions.” End of quote. Yet, this explanation is disproved by the fact that analogous images are to be found around the globe often in a non-astronomical context where a sophisticated knowledge of the Venus cycle is difficult to imagine. So far as I'm aware, I'm the first scholar to call attention to Lamat-like forms outside of Meso-America. As a case in point, consider the Nutsee cylinder seal above. It too depicts a star surrounded by four dots. The resemblance between the Mesopotamian and Mesoamerican images is undeniable. Not only is there a centrally located four-rayed star, but four circles or dots are placed in the indices of the star, exactly as in the Lamat sign. Not unlike the longevity of Lamat glyph in Mesoamerican iconography, the quadripartite-starred symbol persisted for millennia in Mesopotamia. The symbolic importance of the stellar image is indicated by the fact that Babylonian Kings had it depicted on their royal garments. How then are we to understand the unique design of the Lamat glyph? I discuss the Lamat in The Many Faces of Venus and other works noting its possible relationship to the planet Venus.
{SYNCHROTRON RADIATION}
At the time I was operating under the assumption that the image depicted a conjunction of Mars and Venus in which the red planet was positioned in front of the larger orb, but I had no idea how to explain the four smaller dots or satellites around the central star. Upon discussing the matter with Anthony Peratt in 2002, he pointed out that the dots in question are telltale signs of synchrotron radiation. According to Peratt, the only known mechanism that produces synchrotron radiation are electrons spiraling about a magnetic field at nearly the speed of light. Indeed, in high energy discharge experiments conducted at Los Alamos labs in the 1990s, Peratt himself had produced very similar images.
In the image on the left, one finds a close analog to the classic Lamat sign in which a central star is surrounded by four small circles. In the other figure, one finds a rosette-formed image, not unlike that depicted in The Case of the Turquoise Sun, wherein we argued that the prototypical Sun presented the appearance of a four-petalled flower at the time of creation. How interesting then to find that the Lamat sign was occasionally placed on the four-petalled Sun glyph in Mesoamerican monumental text, evidently without changing the latter's meaning at all. I return to the symbolism attached to Lamat in The Great Star published in 2004, and once again reached out to Dr. Peratt for instruction and clarifying the various structures in question. In response he wrote me as follows. Quote, “Of course, the symbol is found all over the place...It is indeed Venus and Mars in front, but the quincunx is yet in front of Mars. See my Physica Scripta article {
https://iopscience.iop.org/article/10.1 ... 014048/pdf} that purposely does not show everything yet. Too early and I'll have to find an alias to publish under.” End of quote.
{BEST EXPLANATION OF THE FOUR DOTS}
Alas, Tony has yet to elaborate further on his groundbreaking experimental findings, findings which help elucidate the astronomical imagery included in the ancient pictographs and hieroglyphs. One thing is certain, in the case of the Lamat sign, a pictograph is indeed worth a thousand words. Indeed, it is our claim that the stellar image in question represents a veritable smoking gun pointing to an extraordinary and catastrophic planetary conjunction in relatively recent prehistory, likely during the Neolithic period. That argument stands until someone can demonstrate how four dots can appear around a stellar image in the present sky apart from Peratt's intense synchrotron radiation.
{MAINSTREAM THEORY}
It is important to underscore the profound implications of these findings. The mere fact that the swastika and Lamat signs depict celestial objects that are nowhere to be found in today's sky points to the conclusion that the ancient skywatchers were witness to a radically different celestial landscape. The conventional position holds that the ancient artworks discussed here are abstract or non-representational in nature. Miranda Green for example, offered the following explanation of the various pictographs depicting the Sun. Quote, “Man did not simply look at the Sun and copy what he saw to the best of his ability. He went further and interpreted and superimposed new images of the Sun which were not based entirely on his visual perception.” End of quote.
The gods themselves (according to this position), are simply human constructs and have no reference point in the natural world. Jan Assmann, the recently deceased dean of Egyptologists emphasized the point. Quote, “The deities and their actions, to whose reality human activity responds, are a cultural construct.” End of quote. Richard Seaford, a world-renowned expert on Ancient Greek religion argued the point most forcefully. Quote, “Greek deities are human constructions.” End of quote.
{GODS WERE PLANETS}
We would reject this entire line of reasoning, a philosophical trend which has done much to impede our understanding of ancient religion, myth, art, and the recent history of the solar system. Ancient gods, such as Zeus, Thor, Inanna and Shamash, were real and corresponded to colossal awe-inspiring planet-based structures in the sky. The archaic artworks purporting to depict the stellar gods, such as the four-spoked wheel, swastika and Lamat forms discussed here are representational in nature and accurately depict the prototypical Sun participating in the polar configuration. An electrically charged Sun which bears absolutely no relationship to the present Sun. And that, my friends, is what the EU revolution is all about.
MY COMMENT
Ev said before that the squatterman and thunderbolt were the same signs seen from different angles. Lamat sign seems to be the same as the thunderbolt. Why the Lamat and swastika would show 4 dots, but the squatterman only 2 dots, isn't clear. So I tried to see if AI could possibly help clarify. I don't think it does, but I show the info below anyway, which might be of some use. Peratt paper/s had a plasma image of a torus around the middle of the plasma figure with a cup shape on the upper part of a stick and a bell or upsidedown cup on the lower part. Since the edges were brightest, only the edges were clearly visible and the upper cup sides looked like upraised arms, while the lower cup or bell edges resembled squatting legs. So the edges of the middle torus were the brightest parts of that and were drawn as dots or small circles on the sides of the squatterman. That might suggest that the dots in the swastika/lamat were the brighter parts of two toruses, but the relationship to the cross shape isn't clear. Ev has said that the cross was plasma streamers from Venus that possibly curved back toward Saturn. So, if the 4 dots were formed in a similar way as the 2 dots, then a plasma torus must have formed just above the crossbar and another just below it.
COPILOT AI PLASMA ADDENDUM
_Synchrotron radiation occurs when charged particles, like electrons, spiral at nearly the speed of light around magnetic field lines. This process emits electromagnetic radiation across a wide spectrum, often visible as glowing plasma structures. In high-energy environments, such as those hypothesized in ancient plasma discharge events, this radiation could create intricate visual patterns.
_Peratt's findings suggest that plasma instabilities in Earth's magnetosphere could have produced luminous phenomena visible to ancient skywatchers. These plasma discharges, shaped by electromagnetic forces, might have formed configurations resembling crosses, swastikas, or Lamat signs. The dots or small circles near these shapes could represent localized regions of intense synchrotron radiation, where electrons spiraled more densely, creating brighter spots.
_In essence, the interplay of magnetic fields and charged particles in a plasma environment could naturally generate these complex, symmetrical patterns, which were then immortalized in ancient art and mythology.
_Anthony Peratt's research into ancient rock art and plasma physics suggests that the "Squatterman" figure, often depicted with a dot on each side, was indeed a plasma apparition. This figure is thought to represent a high-energy plasma discharge event visible in Earth's atmosphere, which ancient people recorded in petroglyphs. The dots near the Squatterman figure could be interpreted as regions of intense synchrotron radiation, where charged particles spiraled in magnetic fields, producing localized bright spots.
_As for its relationship to the Lamat sign, cross, and swastika, these symbols share a common origin in plasma phenomena observed in the sky. They likely represent different stages or configurations of plasma instabilities during high-energy events. The Squatterman, with two dots, might depict a simpler or earlier phase of the plasma discharge, while the swastika and Lamat signs, with four dots, could represent more complex or evolved configurations.
_The difference in the number of dots could reflect variations in the plasma's structure or the observer's perspective. For example, the Squatterman might emphasize the vertical axis of the plasma column, while the swastika and Lamat signs could depict a more symmetrical, radial configuration. These variations highlight the dynamic and multifaceted nature of plasma phenomena, which ancient skywatchers immortalized in their art and mythology.