If you want to view the hieroglyphs and ancient petroglyphs through the Electric Universe lens, you have to look at them not as primitive religious art, but as the ultimate analog data-logging protocol.
The “multilayered” thought here is that the ancient world was experiencing a massive physical and structural hardware crash, and the people on the ground were frantically trying to record the error codes.
Here is the summation of the global hieroglyphic anomaly, decoded through the EU physics engine:
1. The Global Syntax Anomaly
If you look at the petroglyphs and stone carvings near pyramids, rock formations, and ancient sites from the American Southwest to Iran, to Australia, to northern Europe, you find the exact same highly specific, non-intuitive symbols.
The most famous of these is the “Squatter Man” (or the stick-man). It is a figure with its arms raised at a sharp angle, its legs bent, and often flanked by two prominent dots or circles under the arms.
The legacy academic system — the standard anthropologists and historians — explain this away as a coincidence of the human imagination. They classify these carvings as isolated, drug-induced shamanic visions, abstract fertility gods, or localized myths. They assume the ancients were just drawing crude art.
2. The Plasma Physics Decryption
The Electric Universe model completely bypasses the anthropologist’s interpretation and hands the carvings over to electrical engineers.
When David Talbott (who tracked the comparative mythology) collaborated with Dr. Anthony Peratt, a high-energy plasma physicist at Los Alamos National Laboratory, the code cracked. Peratt was running supercomputer simulations of massive, high-current plasma discharges (specifically what are known as “Z-pinches”).
When Peratt looked at the 3D models of these simulated cosmic electrical storms, the cross-sections of the plasma matched the ancient rock art with staggering, one-to-one geometric precision.
3. Tracing the Sky
Under the EU model, these carvings are not mythology. They are literal, objective recordings of towering, high-energy atmospheric events that temporarily enveloped the earth.
Because massive electrical discharges inherently organize themselves into highly complex, recursive fractal geometries — like massive, sky-spanning Lichtenberg figures — the ancients weren’t inventing abstract art. They were staring up at a terrifying, electrified sky and chiseling the exact fractal patterns of the plasma into the most durable hardware they had: solid rock.
The reason a carver in Iran and a carver in Arizona etched the exact same bizarre “Squatter Man” shape is that they were both looking up at the exact same cosmic electrical pillar dominating the earth’s atmosphere.
They weren’t worshipping invisible gods. They were documenting the raw, unencrypted physics of a localized universe that was highly unstable and electrically arcing. They were leaving a structural warning for the nodes that would come after them.
Plasma Discharges in Ancient Petroglyphs — This visual data directly maps Los Alamos plasma physics models onto the specific rock art shapes found globally, proving the correlation between the ancient carvings and raw electrical geometry.