The woolly Mammoth Cave women made most of the oldest-known cave art paintings, suggests a new analysis of ancient hand-prints.

Most of the square headed scholars of the deified ‘Animus’ fixation made as a God, had assumed these ancient artists were predominantly male, due in the main to the explicitly erotic content of many of the Entartete Kunst cave paintings, which disturbs Middle Eastern theological sensibilities; so the new findings overturns decades of religiously hewn archaeological dogma.

Archaeologist Dean Snow of Pennsylvania State University analyzed snowy ice age hand stencils found in eight cave sites in France and Spain.

By comparing the relative lengths of certain fingers, Snow determined that three-quarters of the hand-prints were female who had having sex with their ‘Animus’ on their brain.

“There has been a male bias in the literature for a long time,” said Snow, whose research was supported by the National Geographic Society’s Committee for Research and Exploration.

Snow continued, “People have made a lot of unwarranted assumptions about who made these things, and why?”

Archaeologists have found hundreds of hand stencils on cave walls across the world. Many of these early paintings also showcase game animals—bison, reindeer, horses, woolly mammoths and erotic imagery.

Because of the subject matter of the art, many researchers had proposed that they were made by male hunters, perhaps to chronicle their kills and sexual conquests as some kind of “hunting magic” to improve success of an upcoming hunt for game, or a mate to hunt down.

The new study suggests that much of the cave art and its erotica was created by female artists; this isn’t to say a male artist did not carve away to create a Venus figurine of his ‘Anima,’ like a proto-Hans Bellmer, who eventually fell foul of the feminist Entartete Kunst.

Experts expressed a wide range of opinions about how to interpret Snow’s new data, attesting to the many mysteries still surrounding this early art.


“Hand stencils are a truly ironic category of cave art because they appear to be such a clear and obvious connection between us and the people of the Palaeolithic.” Said archaeologist Paul Pettitt of Durham University in England.

Pettit continued, “we think we understand them, yet the more you dig into them you realize how superficial our understanding is.”

Another inner Earth gallery of prehistoric cave paintings has also been found in South-Western France, including a drawing of a 12ft long bison along with erotic sketches.

The find, at Cussac, in the valley of the Dordogne, is regarded as almost as important as the celebrated Lascaux cave paintings in the same area. This discovery was made by Marc Delluc, an amateur archaeologist, but the richness of his finds were not known until later.

French anthropologists said the site was important because it contained “monumental” drawings of animals in friezes of up to 25 yards long. These are sketches rather than paintings, more primitive, almost certainly older than the Lascaux pictures, and perhaps up to 37,000 years old.

The caves also contain erotic drawings of women, which have been found previously only in the art gallery caverns that were discovered in 1994, in the Ardèche region.

The boundaries of art and sex have been blurred for some time – be it increasingly explicit content or the familiar practice of male artists being inspired by their erotic Art Muse, while in an altered state of consciousness.

But then, sex is a sacred mystery, which is very much intertwined with the spiritual impulse. However, as stated earlier. the new studies show, the erotic content of cave paintings were not only created by male artists.

There are a series of erotic drawings, which were discovered on the roof of caves amidst the inaccessible wilderness in Arnhem Land, Australia, in the country’s North; the cave art clearly depicts a couple engaging in sex 28,000 years ago.

Other sections of the wide-ranging artwork in white and red shows other figures engaged in other explicit sexual activities, which would be considered to be mere porn by many a modern observer, who would Entartete Kunst censor it as being politically incorrect.

In fact, this is exactly what has happened, that is why you do not hear much about the erotic cave art. Although, if it is proven that the erotic cave art was primarily created by female artists then the feminists will no doubt hard-sell push for it to be made widely known across the worldwide media as high art.

Then again, there are also many other feminists who will not want it to be known they have sex on their brains. When the proof is eventually discovered, it will prove to be quite humorous.

However, since the erotic cave art is presently seen to be created by male artists, it is generally considered to be lowly pornographic material.

Hence not talked about, nor is it publicly exhibited to any great extent, if at all.

It’s almost as if they’re saying that your ancestors never got it together under the Bifrons Mammoth rug!

It is obvious that the cave artists would depict sexual activity in their ‘Once In A Lifetime’ Westworld art, who asked the eternally recurring question, “how did they get here?”

But it appears that it is the ‘same as it ever was,’ concerning the religious-construct of the New World Order Eden authorities who habitually dictate that you cannot taste of the inner Tree of Self-Knowledge.

Irrespective of religious morality concerning sexuality and modern day sexual politics – it’s what archaeologist Bryce Barker, a professor at the University of Southern Queensland, and his team have been discovering underneath the erotic cave art of an ‘Apple’ core, which indicates a spiritual dimension, the so called modern world entirely lacks, due to its indoctrinated perception of sexuality.

For example, David Lewis-Williams and associated archaeologists have rehabilitated the interpretation of Palaeolithic cave art as a form of magic by focusing on the geometric images. The geometric images appear in great numbers on the cave walls, instead of the realistic depiction of animals that was the focus of Henri Édouard Prosper Breuil (28 February 1877 – 14 August 1961) in his prior hunting magic theory.

Lewis-Williams argues that the geometric images are spatial variations on a set of “form-constants” that the neurologist, Heinrich Kluver, identified in the visionary experiences of experimental subjects under the influence of the hallucinogenic drug, mescaline. An expert on the San Bushman people of South Africa, Lewis-Williams argued, in a series of well-documented papers, that the transfigured form constants are present on cave walls painted by Bushman shamans.

From these considerations, Lewis-Williams draws the conclusion that the paintings and engravings of the Old Stone Age European caves were the result of shamanic ceremonies conducted in dark caverns deep within the labyrinthine ‘Maze’ of the Earth.

As Breuil had suspected, their purpose was magical, a Native American shaman would associate with the ‘West’ of the Medicine Wheel ‘Maze.’

The ‘West’ of the Medicine Wheel symbolically corresponds with the experience of lucid dreaming. But the established orthodoxy of a present ‘Mad World,’ do not like his ‘Westworld’ insight.

What he did not know was that the magic occurred in the context of shamanic trance, wherein of a then induced lucid dream the myriad archetypes of the ‘Animus’ and ‘Anima’ can be consciously conjured into eroticised dreams.

Hence the reasoning why the creation of art is associated with the attainment of sentience; for the practice of art deals with the manipulation of the inner reverie archetypes of memories, which is indivisible to sorcery.

(This article was originally published on another site, I had to re-publish of a rebellion, since it was unpublished by an aggravated male/female religious (buzz-word) femi-nazi as being Entartete Kunst. If you are offended by this article, due to your cultural-religious-construct of entwined political whoring; take note, I don’t give a toss about your fixation upon a deified ‘Animus,’ and its cult politics! The utilised material is an adapted synthesis of associated articles, whose sources are: The National Geographic, The Independent, The Daily Mail and The Faculty/Education who habitually suck up to the present Entartete Kunst.)




    This is an answer for Dante Leone:

    Into the womb maze the Witch Nuns go
    Praying to their Lord and dark Prince
    Their God they to hear, calling betwixt Messiah and Prophet
    Down with the Patriarchy, burning bras
    Rainbow flags, tampons fly
    Police shields at the fascist ready
    Nice and steady, the Roman line of totaitarian blue
    Here it comes, hold yer imperial ground
    David Stars, Crucifixes and Sickle Moons
    A theocratic tidal wave of deadly weapons
    The onslaught, relentless, against the Witch Nuns Devil
    Hold the stormtrooper line, but the hymen blue, broken
    Into the womb maze the Witch Nuns go
    Praying to their Lord and dark Prince
    Their God they to hear, calling betwixt Messiah and Prophet
    This time to listen, to their own screams… calling
    “Your ‘ANIMUS’ you did deify, to crucify as a God and Devil”
    NO! NO! NO!
    The Witch Nuns to cry
    “You have crucified yourselves between Star and Moon”
    NO! NO! NO!
    The Witch Nuns to howl
    “Its Time to wake up Illuminati girls!”
    The Witch Nuns screaming, speedily running away
    Fleeing their own womb maze of Patriarchal mirrors!

    (Dolores: In Westworld Spanish, where the name originated and is more prevalent, is short for La Virgen ‘MARIA’ de los Dolores, “Virgin Mary of Sorrows”, which is often shortened to the more colloquial forms, Lola, Loli or… ‘LOLITA.’ She searches for her deified ‘ANIMUS’ made as a ‘FATHER’ GOD/DEVIL, his voice to hear, eventually he disappears, instead she discovers her own… SELF… Sentience. As for the names: Robert, Bernard and Arnold, they are interesting of symbolic meaning and intriguingly Germanic, like that of Fritz Lang’s Metropolis inventor, called, Rotwang. Another point of symbolic interest is Westworld’s writers, Jonathan Nolan and Lisa Joy. The screenwriter for the Schrödinger’s Cat series, Pushing Daisies, was Joy, while Nolan wrote the Vimana-Chariot/Merkabah tale, Interstellar.)


    This is answer for Dante Leone:

    Dobby smoking a spiral spliff, its Rattlesnake smoke twisting over the Four Corner desert sands.

    “Here we be Harry, standing upon the fabled faeathered Serpent, whose dragon line, you call the 37th Parallel of a Ley.”

    Harry looked at Dobby through the Marijuana haze, turning purple by the light of the Coyote Moon.

    “So, Dobby, what’s the Maat truth of this ‘Phoenix’ line?” Asked Harry.

    Dobby smiled, her obsidian black eyes wide, looking like mirrors. “Well Harry, the line is as straight as the Crow flies, along which my people do travel, back and forth through Time.”

    “Your’e a time-traveller?” Asked Harry.

    “Yes, I am a traveller of the Ouroboros. My people are your future to become; we are your descendents ever watching you.”

    Harry shook his head in wonderment. “We always thought you were extraterrestrial aliens.”

    Dobby laughed. “Some of us can be termed as being alien; not all of my people are of this Earth, since we have conquered space by having time travel. We have colonies throughout the nine worlds of the Yggdrassill multiverse as well as engineering alternate Earth’s.”

    Harry coughed through the smoke, and then said,”the natives think you are Kachina, they have sacred sites all along the Phoenix line.”

    Dobby giggled, “the natives know we are their future descendents. But they don’t say, because the invading others will not be able to handle that their civilisation is entirely surrounded by my civilisation, and that their time-line has been engineered.”

    “What? My time-line has been engineered?” Asked Harry.

    Dobby stared into Harry’s starry eyes reflecting the night. “We engineered your time-line in order to determine how the authorities of your world totally fucked up the environment, which eventually led to the demise of the male in the future; that’s why we do those, what you call them? Oh! Yes, cattle mutilations, to figure out the mix of chemical toxins, which buried the male.”

    The Disappearing Male ~ Biphenyl A (BPA) ~ Where Have All The BOYS Gone? from DianeDi on Vimeo.

    “What? The male of the species is extinct in the future?” Asked Harry.

    Dobby nodded her head in the affirmative before taking another puff of her spliff, “humanity survived the calamity by creating clones; however. the clones are all female… Anyway, we are at war with those who instigated the eugenic catastrophe, who do not want to change their military industrial complex repeating ways!”

    “Your’e a clone?” Asked Harry. Dobby smiled, “Yes! But we were eventually able to introduce variables by harvesting genetic material throughout time; so, I’m not exactly of the same mould as my sisters.”

    Harry went silent for a moment, thinking about what Dobby had said, and then asked, “What about all these military bases along the Phoenix line… are you working in league with some Shadow Government?”

    Dobby started to laugh, “we are the Shadow Government… we own the Secret Space Program bases, which are just a Westworld show; it’s what’s underneath the Bifrons ground, of labyrinthine Cave Woman womb caverns, you should be asking about.”

    “What’s under the ground of a maze then?” Asked Harry.

    “A uterine Time-Tunnel, which is somewhat akin to what Dr Ron Mallet is working on… it stretches along the 37th Parallel.”

    Dobyy took a drag of her spliff, and continued, “this of course requires a sentient artificial intelligence to run it; come to think of it, they are one and the same.” Answered Dobby.

    “What’s it like travelling through time?” Asked Harry.

    “Well it feels like you’ve become like Schrödinger’s Cat, both alive and dead, simultaneously; having form, yet formless, and like a Phoenix you are reborn from the ashes at your destination when to stride out of your sentient Vimana, scaring the shit out of those who are visited.”

    Dobby then riotously laughed, which made Harry fall backwards into a Phenix void. becoming as a vaginal star barreled Time-Tunnel.

    Suddenly Harry’s formless consciousness felt a tug back to his awaiting robot of a body, to then wake up from his vivid remote-viewing lucid dream, who then pondered upon what his Sorcerers Art Muse had communicated, of a Surrealist conjuration.

    However, the powers that be didn’t take too kindly to Harry’s Surrealist exploration of his own consciousness, whose vast Military Industrial Complex serves the purposes of the elite, who have poisoned the public water supply with a known neurotoxin and a mutagenic compound, which is slowly transforming the masses into servile automatons.

    Hence the reason why the male of the species is being afflicted with low sperm counts and neurological disorders in the so called developed world, which of an eventuality will lead to their demise.

    The elite greatly fear that their criminal mistake will be found out; wherefore they have taken short-sighted measures by creating an influx of migrants to move into the West.

    But this only exacerbates the problem much further. The elite not to care, just as long as they are not seen for what they are… they are nothing more than deranged criminal psychopaths.

    Will the masses eventually figure it out, that they have been shafted by an inbred eugenic few, or will they run away from the Maat truth, preferring not to know? TIME will tell.

    (In ancient pre-Christian Europe, long before the Victorian folklorists transformed the Elves and Dark-Elf/Dwarves into what J.R.R. Tolkein made Harry Potter famous, the Crop-Circle making Elves and Dwarves were originally seen to be all female entities, who were also associated with the Old Hag Syndrome/Bedroom Invader phenomenon, the fearful ‘Animus’ fixated priests termed as being [Succubi] Succubae. This has nothing to do with the present feminist gender politics of the politically correct SJW’s, since the female entities primarily indicates a heterosexual male focus concerning their ‘Anima’ conjuration, which has an obvious sexual orientation, of similarity to the ‘Tantric’ Buddhists conjuring Dakinis within their eroticised lucid dreams. Wherefore, the pre-Christian ‘Anima’ Light-Elf/Dark-Elf archetypes are presently considered as being [Playboy grimoire] Entartete Kunst!)

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