SHA: The historical evidence

One of the sources often cited by Dale Lyles as moral and aesthetic 70-445 foundation for his transgressive inclusivist SHAs was Ernst Dortenschein’s Eine Stichprobenerhebung von der paläolithische Symmetrischehandgestaltungen (1887), specifically Dortenschein’s examination of the infamous rock carving 1Z0-456 exams from Pontevedra, Spain.

The Pontevedra carving

The Pontevedra carving

1Z0-456 exams

Thought to be around 15,000 years old, dating from the Lower Magdalenean period, the carving was one of several found in the rush of 1813-14 discoveries during the Napoleonic era in Spain. Long suppressed by previous scholars due to its heretical nature, the carving had never been reproduced before Dortenschein’s massive study of the origins of SHA in Europe.

Dortenschein himself refused to propose a precise meaning for the carving, and though his description of the drawing emphasized the possibility of “eine deformierte Salatgurke eingeschloßen,” he never jeopardized his standing within the international SHA community by being more specific than that.

Some proponents of SHA inclusivism claim that there was other evidence in Dortenschein’s papers of what they call “SHA’s original intent,” evidence that his university forbade him to publish, but research into that proposition—though not extensive—has failed to reveal further supporting data.

3 Thoughts on “SHA: The historical evidence

  1. I think we all know what this picture REALLY represents.

  2. Anthropologist Henri Comfi-Bruhle articulated it quite matter-of-factly in his most well-known work The Leaking Trough (1956): We see in this scrawl a rudimentary attempt to capture a newly found fascination with the act of self-pleasuring–the work of some precocious youth, no doubt.

    The structuralists exploded the SHA hypothesis quite conclusively. No one takes it seriously now.

  3. The structuralists don’t take it seriously, but for the rest of us, the jury is still out. Rock carving is not X-Tube, where (I am told) precocious youth can instantaneously share their newly found fascination with the power of their genitalia.

    No, rock carving is an act of power, of determination to link with the eternal: eternal matter, eternal sacred. The Pontevedra carving is not graffiti—it is worship.

    It is worth remembering that what we call “the Pontevedra carving” is in fact one of scores of such carvings in the area. Several, if my readers will check their Dortenschein, are of primitive SHA. It is merely this one example that shocks with its seminal inclusivism.

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