Legacy of the Overculture Picture

A photo montage symbolically representing the Overculture and its artifacts. Not the greatest piece of art I've ever done, but it's more conceptual than aesthetic. The idea was a synthesis of diverse visual elements related to the vanished Overculture, presented as a quasi-subliminal composite overlay. Component images include:

· The "Hummingbird" Nazca geoglyph, cited by "Chariots of the Gods" author Erich von Daniken as an ancient ET landing strip;
· Several variants on the hypothetical "world grid," the vertices of which I envisioned corresponding to the future locations of Flea-spewing Hellmouths (and also evoking the "canals" of Mars);
· Various arthropods (notably fleas, cicadas, spider crabs, isopods, amphipods, and copepods) representing the synthetic races left throughout the solar system by the vanished Overculture;
· A tetradhedron within a sphere, its vertices at 19.5 degrees N/S latitude, giving a nod to "face on Mars" proponent Richard Hoagland's "hypergeometrical" model of vacuum-derived free energy;
· Sumerian girtablilu (scorpion men), mythological basis for the Cydonia temple's Nephilim;
· A schematic diagram of the ancient Colombian "stingray" pendant so often cited as proof of ancient flying machines along the lines of the Rama Empire's legendary "vimana" aircraft;
· A composite image of Permian Earth and contemporary South American rainforest, representing an approximation of the future terraformed Venus;
· Lord Pacal's funerary inscription from the Palenque site sarcophagus, interpreted as a Mayan astronaut by paleocontact theorists;
· An infrared photo of the hexagonal storm system at Saturn's north pole, which in the Flea War universe serves as a free-energy powerplant and thus one of the Overculture's refueling points in the outer solar system;
· A Panamanian jaguar pendant claimed by "alternative history" buffs to depict a "zoomorphic machine";
· The Bermuda Triangle, which may lie over a partially functional Overculture probability manipulator;
· A Japanese Dogu, often lauded by the ancient astronaut camp as proof of prehistoric extraterrestrial contact;
· The Moon, Mars, and Venus, indicating sites of past and future Overculture activity in the solar system;
· Moai portrait busts of Rapa Nui/Easter Island, embraced by the ancient astronaut "theorists" as proof of ET paleocontact;
· A cloud chamber, used in particle physics to reveal traces of ionizing radiation;
· The fabled "Bimini Road" in the Bahamas, supposedly a vestige of Atlantean megalithic engineering;
· Hoagland's "golden mean" interpretation of "Cydonia complex architecture" as a mathematically encoded message according to the esoteric dictates of "sacred geometry";
· The legendary Piri Reis map, purported to show the coastline of ancient Antarctica free of ice;
· Paul A. LaViolette's "model 'G' etheron/subquantum kinetics" interpretation of subatomic particle interaction, giving a nod to the antigrav/Tesla proponents' "vortex model" of the atom;
· A megalithic Olmec portrait bust, again popular among "Chariots of the Gods" enthusiasts;
· An Easter Island "bird man," providing a tantalizing clue to the true form of the Overculture's inhabitants.

UPDATE: To give the composition a focal point, I added an Udjat or "Eye of Horus," representing the fabled maritime Osiran culture that purportedly rivalled Atlantis in scale and power.

UPDATE 2.0: Further balanced the composition for symmetry, tweaked a few elements, and added a light source for saturation and warmth. Hopefully this is the last time I'll mess with it.
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