ABSTRACT
This chapter returns to take up the historical narrative and discuss prehistoric sites that show evidence of the way replicators experimented with entering compositions, focusing on the automatisation and massification of such processes, and where the techniques to perform such transformations were disseminated. In Tassili, a mountain range in Central Sahara, there are a series of sites containing wall-painted images that were the first systematic effort to represent human beings in paintings. This chapter focuses on the ‘Great God’ images of Sefar and the narrative paintings of Iheren. The images are on the one side grotesque, repulsive or outright pornographic, while on the other capture strange, occult and also cynical narratives; a morbid design that indicates a fluxed matrix in movement. The artistic quality of the illusionary images is strangely high. Tassili can be considered as a remote site used for the incubation of the operators of the fluxed matrix.
