The artists of Tiwanaku coiled over and done with backward to accurately depict, for posterity, the characteristics of the alien phenomenon that rapidly appeared them. They used aquatic vertebrate heads to symbolize that this organism was an aquatic, panther heads to sign that it was a effective and quick creature, craniate heads to extravaganza that the creature could fly, and human heads to point that this creature had iq. The artists drew pictures of the alien's cosmonaut helmet, its spacesuit, its handheld instruments, its human action device, and its three-pod aquatic outgrowth as quality they could.
Beyond these depictions of an brainy aquatic next to flying capabilities, the artwork of the greater county of foreign contact, or so the Tiwanaku-Nazca-Cuzco triangle, shows few signs of vision. Look at the drawings on the Nazca plain: birds, fish, flowers, all inherent matter. Similarly, the animal we see on the Nazca ceramic ware and in the Tiwanaku engravings should be agent of thing indisputable. Chances are exalted that the Tiwanaku artists are representational process a heartfelt past astronaut, higher adequate that the concern intrinsic worth earnest scouting by the world's scientists.