Discourses on an Alien Sky #34 | The Prehistoric Goddess—Emergence

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.