It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Some features of ATS will be disabled while you continue to use an ad-blocker.
So my criteria here for starters was COULD the Utah petroglyphs be illustrating the flying phenomena as related by Sherman, the triangular craft and refrigerator shaped, and my conclusion is most certainly, in terms of observation of the essential shaping of the figures, the triangular forms and block shaped.
Speculation and personal interpretation. Intriguing, but I could look at it and have a completely different view, as could just about anyone looking at what is essentially abstract art.
reply to post by Kantzveldt
I would venture that they sure were trying to tell someone something... truer words were never typed, heh.
But what and who is the big ?
I admit I do like Red Cairo's idea about petroglyphs maybe being consciousness shorthand... for some reason it resonated with me ... I was an Anthro undergrad and have looked at too many of them... mostly in groups of three... but it's too weird for most to swallow, or even consider... but I have seen some weird "shamanic" things having to do with ESP and expanded consciousness.
It is true that these pics correspond to the spirit world as seen by cactus intoxicated aboriginals AND spectacle wearing modern nerds in white lab coats (sorry NIDs).
reply to post by hiii_98
Well i guess art is one of those things were everyone's an 'expert'
reply to post by hiii_98
Well i guess art is one of those things were everyone's an 'expert'
Art was my field of study and I'd hardly consider myself an expert....
Its worth noting that artists are inspired by what is prevalent during their time period. You have the Stone Age cave paintings like fertility gods and such, moving to Mesopotamia which provides narration in stone and art of warriors. Than on to Egyptian (self explanatory). From there we go to Greek and Hellenistic, etc, etc.
Each period reflects a way of think up through classical to modern day art. By understanding the theme you can understand the way of thinking for that time. So what's with all the ancient demons and vortex spirals from a time long past? There is more to ancient art than some give credit for. That said, interpretation is key and already stated, can vary by those who view it. Now there is a difference between someone who isn't familiar with the history of art and those who are. There is also a difference between art history majors who have an open mind to things and those who follow what they're told by history books.
So yes, interpretation is a bitch but it doesn't mean nothing can be gleamed from them.
Also worth noting that the petroglyphs of Hawaii are exceedingly similar to some petroglyphs in Utah.
This picture is from the petroglyphs field in Waikoloa, Hawaii. Notice the three "legs". Best anyone can tell is that it represents the umbilical cord ritual and the dots above the head supposedly represents the number of people in audience. That said, no one really knows for sure but interestingly the same symbol exists in Utah and represents a "lizard"... Curious and curiouser.
edit on 7-2-2014 by Rosinitiate because: (no reason given)edit on 7-2-2014 by Rosinitiate because: (no reason given)
Plasma Formations in the Ancient Sky Plasma scientists are now comparing electrical discharge formations in the laboratory to rock art images around the world. Results in 2005 should confirm that immense and terrifying plasma configurations were seen in the sky of our ancestors. For over three decades Anthony Peratt, a leading authority on plasma phenomena, concentrated his laboratory research on the unstable formations that develop in high-energy electrical discharge. He recorded the evolution of these configurations through dozens of phases. Some of the most elaborate discharge forms are now called “Peratt Instabilities” because he was the first to document them. But Peratt’s most recent work has taken him in a new direction, and the results offer a remarkable link between plasma science and things once seen in the heavens. In September, 2000, in response to communication with David Talbott, Peratt became intrigued by the striking similarity of ancient rock art to the discharge formations he had documented. Suddenly he was seeing, carved on stone by the tens of thousands, the very forms he had observed in the laboratory. The correlation was so precise--down to the finest details--that it could not be accidental. The artists were recording heaven-spanning discharge formations above them. In his investigation of rock art themes, Peratt concentrated his field work in the American Southwest and Northwest, but he also gathered data internationally. For his on-site study he used GPS longitude and latitude positions, always noting the orientation and field of view. A team of about 30 volunteers, including specialists from several fields, assisted Peratt in the investigation, and he has since gathered more than 25,000 rock art images. The illustrations of one interesting formation—the “squatter man” shown above--are taken from Peratt's recent paper in "Transactions on Plasma Science" of the Institute of Electrical and Electronics Engineers, in December 2003. Peratt states his conclusion forthrightly: The recurring petroglyph patterns "are reproductions of plasma phenomena in space". Peratt’s findings are particularly significant in their contrast to traditional explanations of rock art. The majority of rock art authorities, particularly those with primary interest in Native American sources, argue that only images of the sun, moon, and stars reflect actual celestial phenomena. Apart from such associations, most authorities claim that global patterns do not exist. Rather, they tell us, the ancient artists projected onto stone the subjective content of shamanistic trances. Peratt’s investigations say the opposite, and they confirm dozens of patterns of rock art that occur globally. Through massive labors, some apparently taking whole lifetimes according to Peratt, the artists recorded immense discharge phenomena in the heavens. The “squatter man” configuration depicted above occurs when a disk or donut-like torus around a linear discharge column is bent by magnetic fields induced by intense current flow. From the viewpoint of the observer, the edges of the upper disk may appear to point up (forming "arms") and those of the lower torus may appear to point down (forming "legs"). The underlying “hourglass” pattern, with many subtle variations, occurs around the world. To appreciate the evolution of this discharge configuration it is essential that one visualize it three dimensionally, as illustrated by the idealization above. The graphic image on the upper left utilizes a tonal gradient to indicate the structure of a translucent plasma discharge, where this structure would not be self evident in a rendition carved on rock. The key here is to recognize that rotating the configuration on its axis would not change the basic form or appearance to the observer. This fact will not be evident, however, in a simple carving on rock. To make the point, the accompanying image converts the illustration into black and white, which represents the way the configuration would likely appear in a stone carving. Our idealization shows slight variations between the upward-pointing and downward-pointing components, consistent with common variations in the laboratory and in rock art. The upper “champagne glass” form results from a distortion of a disk as the edges curve upward. In the warping of the disk below, the downward curvature is interrupted at the extremity, which bends outward to create a “squashed bell” appearance. The rock art images shown above include other variations as well. Sometimes, the “arms” and “legs” of the “squatter man” are horizontal, while at other times they are more squared than in our graphic representation, but both variations are characteristic of intense plasma discharge. Our idealization of the hourglass discharge form accents the visual relationship of the two symmetrical dots or circles to a transparent doughnut-like torus, viewed edge on. But many other nuances of such discharge configurations must be taken into account. The warping of the upward and downward extremities of the hourglass foredit on 8-2-2014 by darrellabbott because: (no reason given)
The nature of the whirlwind, which whizzes around in circles, effects a power that can do the same to the mind, rendering the enemy confused and disoriented, It is no wonder, then, that the Sioux god Whirlwind is a deity of chance, games, and most particularly love.16 The moth is a natural exemplar of the vortex, since it circles a flame in a tightening spiral, and some species of moths also spiral downward to escape bats. Another predator of moths, the spider, is in an obscure way involved with the whirlwind. In Lakota apotropaic designs, the spider silk web indicates the whirlwind as much as does the silk cocoon. This may be because both the web and the whirlwind are circular, and form a trap.
The eye of the gods can be reborn on earth as Ear because light is strongly analogous to sound. In Hočąk symbolism sound stands for light. Wears White Feather, for instance, who is the star Sirius, has a living loon for his headdress, a bird that makes a loud call that expresses the brightness of the star. The fact that both light and sound are waves makes them radiate from a center outward in every direction. They vary in amplitude and wave length, and just as light is seen in colors, so sound is heard in pitch. This well appreciated isomorphism allows the ear to stand as a symbol not only for sound, but for light. Thus the offspring of the solar Eye of the World is Ear
...this coincides with the web of the spider who guards the hole in the sky, and on whose back is frequently displayed the cross or even the circled cross. This comports well with what we would expect given the spider's presumed supervision of that center from which the transmigration of souls takes place. On the Hidatsa model, Spider Man controls the hole in Orion through which these souls travel. It is this hole which Morning Star tears in two and displays on his Hyades-shaped, bifurcated tail.