In Termites of the Gods, Siyakha Mguni narrates his personal journey, over many years, to discover the significance of a hitherto enigmatic theme in San rock paintings known as ?formlings?. Formlings are a painting category found across the southern African region, including South Africa, Namibia and Zimbabwe, with its densest concentration in the Matopo Hills, Zimbabwe. Generations of archaeologists and anthropologists have wrestled with the meaning of this painting theme in San cosmology without reaching consensus or a plausible explanation. Drawing on San ethnography published over the past 150 years, Mguni argues that formlings are, in fact, representations of flying termites and their underground nests, and are associated with botantical subjects and a range of larger animals considered by the San to have great power and spiritual significance. This book fills a gap in rock art studies around the interpretation and meaning of formlings. It offers an innovative methodological approach for understanding subject matter in San rock art that is not easily recognisable, and will be an invaluable reference book to students and scholars in rock art studies and archaeology.

The powerful Antasy saga continues with The Prophet of the Termite God, the exciting new chapter following up on Clark Thomas Carlton's epic fantasy novel, Prophets of the Ghost Ants! Once an outcast, Pleckoo has risen to Prophet-Commander of the Hulkrish army. But a million warriors and their ghost ants were not enough to defeat his cousin, Anand the Roach Boy, the tamer of night wasps and founder of Bee-Jor. Now Pleckoo is hunted by the army that once revered him. Yet in all his despair, Pleckoo receives prophecies from his termite god, assuring him he will kill Anand to rule the Sand, and establish the One True Religion. And war is not yet over. Now, Anand and Bee-Jor face an eastern threat from the Mad Emperor of the Barley People, intent on retaking stolen lands from a vulnerable and chaotic nation. And on the southern Weedlands, thousands of refugees clamor for food and safety and their own place in Bee-Jor. But the greatest threats to the new country come from within, where an embittered nobility and a disgraced priesthood plot to destroy Anand … then reunite the Lost Country with the Once Great and Holy Slope. Can the boy who worked in the dung heap rise above the turmoil, survive his assassins, and prevent the massacre of millions?

God’s war crimes, Aristotle’s sneaky tricks, Einstein’s pajamas, information theory’s blind spot, Stephen Wolfram’s new kind of science, and six monkeys at six typewriters getting it wrong. What do these have to do with the birth of a universe and with your need for meaning? Everything, as you’re about to see. How does the cosmos do something it has long been thought only gods could achieve? How does an inanimate universe generate stunning new forms and unbelievable new powers without a creator? How does the cosmos create? That’s the central question of this book, which finds clues in strange places. Why A does not equal A. Why one plus one does not equal two. How the Greeks used kickballs to reinvent the universe. And the reason that Polish-born Benoît Mandelbrot—the father of fractal geometry—rebelled against his uncle. You’ll take a scientific expedition into the secret heart of a cosmos you’ve never seen. Not just any cosmos. An electrifyingly inventive cosmos. An obsessive-compulsive cosmos. A driven, ambitious cosmos. A cosmos of colossal shocks. A cosmos of screaming, stunning surprise. A cosmos that breaks five of science’s most sacred laws. Yes, five. And you’ll be rewarded with author Howard Bloom’s provocative new theory of the beginning, middle, and end of the universe—the Bloom toroidal model, also known as the big bagel theory—which explains two of the biggest mysteries in physics: dark energy and why, if antimatter and matter are created in equal amounts, there is so little antimatter in this universe. Called "truly awesome" by Nobel Prize–winner Dudley Herschbach, The God Problem will pull you in with the irresistible attraction of a black hole and spit you out again enlightened with the force of a big bang. Be prepared to have your mind blown. From the Hardcover edition.

Like previous series entries, this volume covers rock art research and management all over the world over a 5-year period, in this case 2015-19. Contributions once again show the wide variety of approaches that have been taken in different parts of the world and reflect the expansion and diversification of perspectives and research questions.

They have landing on the planet a hundred thousand years after the first book, in new bodies but with the same minds. Their new planet is still not suited to their alien needs, despite the terra-forming. Nevertheless they must build their colonies. The original fraterns become like Gods, immortal and all-powerful. One group develop mammalian mutants, trying to build their intelligence.Over several generations the colonies struggle to keep going. The 'Gods' are defeated by one of their fratern colonies. They wake up some years later with no memory of their crucifixion, but in new bodies. They discover that in the time they were away their colonies have destroyed each other during a bitter civil war. The mutants become their hope for the future.One side becomes devil-like and attempts to destroy the mutants.They continue to experiment; taking mutants and inseminating them with genetically engineered DNA, and putting them back. The stage is set for modern mankind.

Exploring a hitherto unexamined aspect of San cosmology, Mathias Guenther’s two volumes on human-animal relations in San cosmology link “new Animism” with Khoisan Studies, providing valuable insights for Khoisan Studies and San culture, but also for anthropological theory, relational ontology, folklorists, historians, literary critics and art historians. In Volume I, therianthropes and transformations, two manifestations of ontological mutability that are conceptually and phenomenologically linked, are contextualized in broader San myth. Guenther explores the pervasiveness of human-animal hybridity and transformation in San expressive culture (myth, stories and storytelling, ludic dancing and art, ancestral rock art and contemporary easel art), ritual (trance dance curing, female and male rites of passage) and hunting. Transformation is shown to be experienced by humans, particularly via rituals and dancing that evoke animal identity mergers, but also by hunters who may engage with their prey animals in terms of sympathy and inter-subjectivity, particularly through the use of “hunting medicines.”

An illustrated collection that takes stock of current knowledge and proposes a new way of reading indigenous art For thousands of years, nomadic hunter-gatherers assigned a fundamental role to the visualization of the animals who shared their lives. Some, such as the Cape eland, the largest of antelopes, were the object of a fascinated gaze, as though the graceful markings and shapes of their bodies were the key to secret knowledge safeguarded by the animals’ unsettling silence. Renaud Ego posits that the artists sought to steal the animals’ secret through an act of rendering visible a vitality that remained hidden beneath appearances. In this process, the San themselves became the visionary animal who, possessing the gift of making pictures, would acquire far-seeing powers. Thanks to the singular effectiveness of their visual art, they could make intellectual contact with the world in order better to think and,ultimately, to act. They gained access to the full dimension of their human condition through painting scenes that functioned like visual contracts with spiritual and ancestral powers. Their art is an act that seeks to preserve the wholeness of existence through a respect for the relationships linking all beings, both real and imaginary,who partake of it. The fundamentally ecological dimension of this message confers on San art its universality and contemporary relevance.Visionary Animal is a translation of L’Animal voyant, published in France in 2015. This rich collection of essays is beautifully illustrated with the author’s photographs of rock art from across southern Africa.