Infrasound Pulsations Generate Red Sprites Above the Pyramids
Red Sprites and the Pyramid of Fire
by Alex Putney for Human-Resonance.org
September 1, 2011 - Updated January 12, 2018
The latest photographs of high-atmospheric plasma discharges, in various forms called blue jets, sprites and elves, reveal higher quantum states of our atmosphere now manifesting in interesting new ways. The interface of Earth's atmosphere with the vacuum of space is being constantly bombarded by cosmic rays which dissociate water molecules into monatomic gases that become ionized to form luminous plasma, known as auroras.
Auroras are seen in various hues depending on the intensity of the energetic reaction occurring. The lower-intensity plasma formations appear in a range of light greens, whereas high-intensity auroral formations glow a bright pink/red hue.
Security camera surveillance of the skies has captured many examples of the phenomenon of red sprites briefly illuminating the high atmosphere, as observed in these beautiful and haunting images taken in Sant Vilcenç de Castellet, Spain by Oscar van der Velde, seen throughout this page. The brevity of these plasma discharge events prevents thorough documentation of the phenonmenon, but other recent manifestations of red sprites have occurred for over an hour in Xiamen, China.
The flashing eruptions of red sprites commonly occur above intense thunderstorm activity, cooinciding with lightning strikes below the storm cell. The long pink/red vertical plumes rise miles into space, and can be surrounded by a circular plasma halo, refered to by scientists as 'elves'.
The giant vertical plumes often display branched structures that are highly reminiscent of tree branch formations, and for this reason were associated with the sacred life-force of the planet, for all atmospheric lightning and plasma formations cleanse the atmosphere by producing ozone. These tall branching tree-like aerial plasma formations were depicted in several ancient traditions that have not been previously identified.
The giant enigmatic geoglyph was formed by the Paracas culture in the stable giant coastal sand dunes near the modern Peruvian city of Pisco (above) is a perfect example of the ancient Tree of Life symbol, which has been commonly misinterpreted as a candelabra, cacti, or some other tree. In fact, the emerging physics of red sprites reveals a profound connection between energetic formations in our atmosphere and the ancient pyramids of the world.
The Paracas geoglyph very clearly depicts the Great Pyramid in cross section, with giant vertical plasma plumes extending into the sky from the apex and base of the monumental structure. The cactus-like branches of the massive designs exactly match the branching arms of red sprite discharges that rose above the pyramids of Giza during their active use many thousands of years ago. The pyramid texts of Saqqara directly corroborate this hypothesis, stating:
Great Pyramid, House of the gods with pointed peak; for Heaven-to-Earth it is greatly equipped. House whose interior glows with a reddish Light of Heaven, pulsating a beam which reaches far and wide...
The location of the Paracas geoglyph (13.34°S 76.12°W) also presents a precision Fibonacci distance relationship with the Orion pyramids of Giza, Egypt, being 7,697 miles apart, which amounts to exactly 30.9% of the Earth's mean circumference (of 24,892 miles). This georelationship exactly reflects the golden ratio to three digits of accuracy (19.1 : 30.9 : 50.0) which encodes the natural nonlinear order of standing waves that are transduced by the pyramids at Giza.
Another aspect of this type of auroral phenomena has been recently recorded by a motion-sensing gametrail camera that just happened to be perfectly positioned to record the first-ever documented evidence of red sprites at ground level on 9-9-9:
During two separate flare-ups in Longview, Texas these radiant, arching plumes of plasma appear to have spontaneously ignited at about 6 feet above ground level (above). The colors of the plasma appear to closely resemble those pink/red hues of the high-altitude sprites, which correspond to the known emissions of HHO plasma, formed by the ignition of water vapor as defined by Dr. R. Mills of Blacklight Power.
Extensive laboratory testing has revealed that in high-temperature vacuum conditions water molecules can be dissociated by vaporized metal particles, thereby releasing hydrogen and oxygen gas, known as HHO gas, which then implodes to form hydrinos. During this HHO gas implosion process the hydrogen atoms' single electron jumps to 1/4 the 'normal' orbital distance, thus releasing heat and light in the form of infrared and ultraviolet-A:
Once the vacuum is released or cooled, the plasma reaction is quenched as the hydrogen and oxygen atoms recombine to form water vapor. For this reason, the Blacklight Power process of HHO plasma generation from water is a completely clean and renewable free energy resource.
The orbital changes observed in the electron as it implodes to form HHO plasma produce vast amounts of energy, and release forms of light and heat that heal and regenerate the cells of the human body. The electron was well-known to Atlantean Sanskrit wisdom traditions, which have left us clear geometric formulae for nonlinear standing waves that have recently been directly observed by physicists in Sweden imaging a single electron:
Sanskrit artifacts from La Maná, Ecuador demonstrate geometric mandala patterns that fluoresce under ultraviolet light, and were found underground with sacred springwater sources that contain gold and silver nanoparticles (above).
How were these ancient artists producing UVA light to appreciate their fluorescent masterpieces? The Vedic cultures of Ecuador once used giant quartz vacuum bulbs and chambers to produce HHO plasma! This same HHO resonant plasma process was also depicted among other ancient pyramid-building cultures of the world:
Ancient Egyptian wall reliefs of the Temple of Hathor at Dendera clearly depict the use of giant quartz lightbulbs powered by thick electrical cables (above). The giant quartz vacuum bulbs contained HHO gas which was electrified by a metal fixture at the base, shaped like a lotus flower, from which extends an undulating, luminous plume of HHO plasma that was depicted by ancient artists as a snake.
Other depictions of small HHO plasma bulbs in the Egyptian stone reliefs have been recognized, with the same snake symbolism denoting the HHO plasma filament (below). Small modern recreations of the Dendera lightbulb have been built for demonstration at various exhibitions of ancient technology:
The healing effects of cellular regeneration and longevity by exposure to HHO plasma have been revealed in the independent experiments of Canadian inventor extraordinaire Troy Hurtubise, whose 'Godlight' HHO plasma beam device rapidly reduced cancerous tumors within a few days following an exposure to the skin of only 7 seconds per session.
The kneeling figure below the giant Dendera lightbulb is likely receiving a healing by exposing the pineal gland to the IR and UV-A light of the HHO plasma through the crown chakra at the top of the head. The lotus flower fixture and the undulating snae also reference the chakras and the twisting DNA helices at the core of every living cell that function efficiently as a holographic transceiver under the special infrasonic and luminal influences of resonant HHO plasma within the pyramid chambers.
The giant tree formations of red sprites that once reached out of the sky and found grounding atop the Great Pyramid resembled a kind of luminous willow tree with drooping plumes clustered together in geometric formations:
The vast scale of these dramatic red sprite formations are very well documented in yet another very famous cultural image maintained as a large mural adorning the walls of one of the sacred temples at the Teotihuacan pyramid complex in central Mexico:
The Teotihuacan mural (above) depicts a range of mountains covered in rolling clouds and mists, below a brilliant red sky dominated by the huge figure of Tláloc, the Maya/Aztec god of celestial waters. Falling from Tláloc's open hands are flaming droplets of celestial water, likely representing the high-resonance isotope of protium, that overtly reference the ignition of celestial water vapor to form HHO plasma. The differentiation of celestial waters from terrestrial waters through the infrasonic evaporation of water vapor corresponds to special modern water purification processes involving the separation of resonant lightwater (protium) from dissonant heavy waters (deuterium and tritium).
The plumed headdress of Tláloc is comprised of radiating feathers of green and red hues, representing the colors of auroral plasma. Three arching red plumes stand out from the other green plumes of the headdress, extending from either side of the central figure and from the foreheads (pineal glands) of the two smaller figures in profile, representing the three frequencies of sound that generate nonlinear standing waves. Rising above the giant central figure of Tláloc is a majestic twisting Tree of Life image, composed of intertwining plumes of yellow/green and pink/red aerial HHO plasma that appear identical to modern photographs of the plasma discharges of red sprites.
The geoposition of Teotihuacan pyramid complex (19.68°N 98.83°W), reveals a nonlinear (or Fibonacci-based) resonant alignment with respect to the Great Pyramid of Giza, being 7,684 miles away or 30.9% of the Earth's mean circumference (of 24,892 miles), just as observed of the Paracas geoglyph!
The Maya/Aztec Pyramid of Fire Codex was secretly preserved during the Spanish conquest of Mesoamerica, in the care of the original lineage of special knowledge of the complex meanings of the hieroglyphic texts. The painstaking translation of the codex into Spanish and English was accomplished in the 1970's with the collaboration of beat poet Martin Matz, to be later published by John Major Jenkins in 2004 ('Pyramid of Fire: The Lost Aztec Codex: Spiritual Ascent at the End of Time' Bear & Co.):
Tláloc, God of Celestial Water,
god of the vapor that rises, from the earth warmed by the sun after the rains,
god of the mist that ascends from the valleys at dawn,
god of the water that returns to its source in the clouds that swim over the highest peaks,
god of the humid incense from which rise the copal prayers and the prayers of sacrifice.
Tláloc is the return of vapor that strains to rise, is the return of time that strains to remember.
Tláloc, God of the Fight Against the Current, with whose aid the hero battles against the torrent
toward his own origin and beginning,
towards the wings of his soul, the wings that Tláloc hides in the hero's past...
To sow life in the fires of sacrifice:
Are the flames rising on the Hill of the Star, toward Cauhlacan?
Or is it my own heart that is afire?
The cycle of years is past - the waiting ended. Come - reunite, pilgrims, for the sky is in flames!
From Xochicalco to Teotíhuacan the red spreads one step, another step, and another,
only twelve short steps from the cave of the womb to the final conflagration...
The flames rage in consummation- Rise, oh flames!
What light, what heat! What great holocaust! The smoke ascends and spirals...
Obscurity disappears as the flames rise to Tonatiuh, the purest light.
The red skies depicted in the Teotihuacan mural are also directly referenced in the Pyramid of Fire Codex, when it states that "the sky will be in flames" that will spread from one pyamid to another, as the worldwide netwrok of pyramids and sacred sites become activated to bath the area in the brilliant infrared and ultraviolet-A light of aerial HHO plasma plumes.
This enveloping veil of red plasma covering the entire sky is also detailed in the Prophecy of the Red Sky envisioned by Native American Apache Elder Stalking Wolf in the early 1920's:
The spirit warrior spoke to Grandfather. "These are the things yet to come that will mark the destruction of man. These things you may never see, but you must work to stop them and pass these warnings on to your grandchildren. They are the possible futures of what will come if man does not come back to the Earth and begin to obey the laws of Creation and the Creator. There are four signs, four warnings, that only the children of the Earth will understand. Each warning marks the beginning of a possible future, and as each warning becomes reality, so too does the future it marks"...
Grandfather spent the next four days at the cave entrance, though for those four days nothing spoke to him, not even the Earth. He said that it was a time of great sorrow, of aloneness, and a time to digest all that had taken place.
He knew that these things would not appear in his lifetime, but they had to be passed down to the people of the future with the same urgency and power with which they had been delivered to him. But he did not know how he would explain these unlikely events to anyone. Surely the elders and shamans of the tribes would understand, but not society, and certainly not anyone who was removed from the Earth and Spirit.
He sat for the full four days, unmoving, as if made of stone, and his heart felt heavy with the burden he now carried.
It was at the end of the fourth day that the third Vision came to him. As he gazed out onto the landscape towards the setting Sun, the sky suddenly turned to a liquid and then turned blood-red. As far as his eyes could see, the sky was solid red, with no variation in shadow, texture or light. The whole of Creation seemed to have grown still, as if awaiting some unseen command. Time, place and destiny seemed to be in limbo, stilled by the bleeding sky. He gazed for a long time at the sky, in a state of awe and terror, for the red colour of the sky was like nothing he had ever seen in any sunset or sunrise. The colour was that of man, not of Nature, and it had a vile stench and texture. It seemed to burn the Earth wherever it touched. As sunset drifted to night, the stars shone bright red, the colour never leaving the sky, and everywhere the cries of fear and pain were heard.
Again, the warrior spirit appeared to Grandfather, but this time as a voice from the sky. Like thunder, the voice shook the landscape. "This, then, is the third sign, the night of the bleeding stars. It will become known throughout the world, for the sky in all lands will be red with the blood of the sky, day and night. It is then, with this sign of the third probable future, that there is no longer hope. Life on the Earth as man has lived it will come to an end, and there can be no turning back, physically or spiritually. It is then, if things are not changed during the second sign, that man will surely know the destruction of the Earth is at hand. It is then that the children of the Earth must run to the wild places and hide. For when the sky bleeds fire, there will be no safety in the world of man."
Grandfather sat in shocked horror as the voice continued. "From this time, when the stars bleed, to the fourth and final sign, will be four seasons of peace [that is, one year]. It is in these four seasons that the children of the Earth must live deep in the wild places and find a new home, close to the Earth and the Creator. It is only the children of the Earth that will survive, and they must live the philosophy of the Earth, never returning to the thinking of man. And survival will not be enough, for the children of the Earth must also live close to the Spirit. So tell them not to hesitate if and when this third sign becomes manifest in the stars, for there are but four seasons to escape."
Quite clearly, this prophetic knowledge possessed by the advanced Nahuatl cultural traditions of the Apache, Maya and Aztec societies is one and the same, and works in unison with the prophetic Long Count calendar of the Maya, which alludes to a specific date for the 'Red Dawn' - on the morning after the solstice of June 21, 2018, the day marking the Solar Minimum. On this special date, ancient wisdom traditions predict that humanity will begin a new cycle of consciousness under the influence of the 'purest light' of a rejuvenative auroral canopy of HHO plasma.