Prometheus

"Woe to him whom Ishtar had honoured! 

The fickle goddess treated her passing lovers cruelly, and the unhappy wretches usually paid dearly for the favours heaped on them. 

Animals, enslaved by love, lost their native vigour: they fell into traps laid by men or were domesticated by them. 

'Thou has loved the lion, mighty in strength', says the hero Gilgamesh to Ishtar, 'and thou hast dug for him seven and seven pits! Thou hast loved the steed, proud in battle, and destined him for the halter, the goad and the whip.'

Even for the gods Ishtar's love was fatal. In her youth the goddess had loved Tammuz, god of the harvest, and—if one is to believe Gilgamesh —this love caused the death of Tammuz."

Ishtar (English pronunciation /ˈɪʃtɑːr/; Transliteration: DIŠTAR; Akkadian: DINGIR INANNA; Sumerian) is the East Semitic Akkadian, Assyrian and Babylonian goddess of fertility, love, war, and sex.

"In 1979, we discovered in space no one can hear you scream. 

In 1992, we will discover - on Earth - EVERYONE can hear you scream...."

Alien ^3 Pre-release publicity.

Twentieth Century Fox,

1991

"If thou openest not the gate to let me enter,

I will break the door, I will wrench the lock,

I will smash the door-posts, I will force the doors.

I will bring up the dead to eat the living.

And the dead will outnumber the living."

Epic of Gilgamesh

Nubian Queen by H.R. Geiger

The Giants lack any melanin and speak in Proto-Indo-European (PIE) - they are Aryan Giants

In the context of Ridley Scott's later comments and casting attitude when making his Moses/Akhnathen epic, this is somewhat troubling.

“I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such.

I’m just not going to get it financed. 

So the question doesn’t even come up.” 

- Ridley Scott

In his movie, Moses is Welsh.

These are all languages and cultures of an origin predominantly of war-like and conquering white people - even the Indian ones, by way of the Persian Empire;

The Afrocentric scholars speak of They Who Can to the Earth (meaning the Africans)

and Those That Came Out of the Earth (meaning the Caucasians and previously cave-dwelling races)

Consider Plato's allegory of The Cave :

The prisoner born underground in a place of no light or hope, who knew not God and was fearful and in pain in the sight of the sun.

Consider Herodotus and his description of the race of the Trogolodytes :

 Men with pale white skin who wore no clothes and lived in cave, who lived by eating lizards and serpents, whose language was like the screeching of bats.

Consider Solon, the Lawgiver of Athens, on a visit to pre-Ptolomeic Egypt :

"We Greeks are but children to you Egyptians."

"In 1177 B.C., marauding groups known only as the "Sea Peoples" invaded Egypt. The pharaoh's army and navy managed to defeat them, but the victory so weakened Egypt that it soon slid into decline, as did most of the surrounding civilizations. After centuries of brilliance, the civilized world of the Bronze Age came to an abrupt and cataclysmic end. Kingdoms fell like dominoes over the course of just a few decades. No more Minoans or Mycenaeans. No more Trojans, Hittites, or Babylonians. The thriving economy and cultures of the late second millennium B.C., which had stretched from Greece to Egypt and Mesopotamia, suddenly ceased to exist, along with writing systems, technology, and monumental architecture. But the Sea Peoples alone could not have caused such widespread breakdown. How did it happen? 

In this major new account of the causes of this "First Dark Ages", Eric Cline tells the gripping story of how the end was brought about by multiple interconnected failures, ranging from invasion and revolt to earthquakes, drought, and the cutting of international trade routes. Bringing to life the vibrant multicultural world of these great civilizations, he draws a sweeping panorama of the empires and globalized peoples of the Late Bronze Age and shows that it was their very interdependence that hastened their dramatic collapse and ushered in a dark age that lasted centuries. 

A compelling combination of narrative and the latest scholarship, 1177 B.C. sheds new light on the complex ties that gave rise to, and ultimately destroyed, the flourishing civilizations of the Late Bronze Age - and that set the stage for the emergence of classical Greece. "

©2014 Eric H. Cline. Published by Princeton University Press. (P)2014 Audible, Inc.

"It had mtDNA (mitochondrial DNA) with mutations unknown in any human, primate, or animal known so far. 

But a few fragments I was able to sequence from this sample indicate that if these mutations will hold we are dealing with a new human-like creature, very distant from Homo sapiens, Neanderthals and Denisovans."

As Discovery.com's Sharon Hill explains:

"[S]cience doesn’t work by social media. 

Peer review is a critical part of science and the Paracas skulls proponents have taken a shortcut that completely undermines their credibility. Appealing to the public’s interest in this cultural practice we see as bizarre — skull deformation —instead of publishing the data for peer-review examination is not going to be acceptable to the scientific community."

So, will this information be given up to the general scientific community? Well, Foerster is dubious on that front, stating on Facebook:

"Peer review will of course be considered, but this information belongs to THE WORLD, not a few academics…"

Opaque watercolor and gold on paper Creation Date: ca. 1650CE

Towards the end of the Ramayana Rama has rescued Sita from Ravana's clutches in Lanka. A bridge has been built from Lanka across the water back to the mainland to let Rama, Sita, and Lakshmana return home to Ayodhya. In the painting the residents of Lanka bid goodbye to the monkeys and bears, who helped in the battle to rescue Sita. In the airborne palace filled with these curious beasts Rama and Sita look out from the top floor. Rama and Lakshman confer with the leaders of the animal army.

This set of Ramayana illustrations are among the earliest and most impressive narrative paintings from the Panjab Hills. Strongly based in the imperial Mughal style the quality of execution and finish as well as the lavish use of gold being obvious hallmarks of the manuscript, the paintings also exhibit a wit and charm in the depiction of the animals and water creatures.

Above the west lintel of the sanctuary is a scene from the Ramayana. 

The temple shown here is a miniature of Phnom Rung itself, being drawn through the air and surrounded by Hanuman's monkey army and the heads of celestials. 

Freeman (p.108) identifies this as Ravana's Pushpaka chariot, in which Sita was taken to view the battlefield.

Rama being welcomed back to Ayodhya. 

Also shown him flying in the Pushpak Vimana, the celestial flying machine.

Dr. Liz Shaw and The Giants