The Visual Dynamic Theory of Upper Palaeolithic Art
by
Derek Hodgson
email: dehogson@googlemail.com
[NOTE: THERE ARE THREE PAGES TO THIS SITE. CLICK ON THE THREE HORIZONTAL LINES AT THE TOP LEFT TO SEE FURTHER PAGES ON NEWS AND DEBATE.)
Contribute to this Research
Contribute to this Research
Thanks to Michael E. Yeaman, a stone sculptor and geologist, for making a donation to this research who found it informative regarding his own sculptures. Michael's work can be viewed at: https://www.michaeleyeaman.com/
Contents of this page (as well as the homepage, there are two supplementary pages to this website, one entitled "News" and the second "Debate" accessed at the top left of this page)
Contents of this page (as well as the homepage, there are two supplementary pages to this website, one entitled "News" and the second "Debate" accessed at the top left of this page)
Introduction
Introduction
Some Examples
Some Examples
Explicit Cues
Explicit Cues
Crucial references highlighting the importance of natural features in Upper Palaeolithic art
Crucial references highlighting the importance of natural features in Upper Palaeolithic art
Implicit Cues
Implicit Cues
References
References
Trauma
Trauma
References by Hodgson relating to "The Visual Dynamic Theory"
References by Hodgson relating to "The Visual Dynamic Theory"
Other Important References
Other Important References
Introduction
Introduction
There has been much debate as to why people of the Upper Palaeolithic depicted animals over such a long period in virtually the same format. Despite the intensity of the debate, there has been limited progress in determining why animals of various kinds were portrayed in a similar way over a period spanning 20,000 years or more. In order to better understand the origins of these depictions, I have approached the subject in a different way to usual, which has provided productive new insights into these enigmatic images. This is based on the psychology of perception and neuroscience that is able to explain, in a rational and testable way, the reason why these depictions occurred and is able to account for the many bizarre and strange paradoxes of this "art" by offering a coherent and logical explanation compared to those based on cultural determinants. Hopefully, the neuropsychological approach presented here can provide a platform on which cultural theories might be constructed.
There has been much debate as to why people of the Upper Palaeolithic depicted animals over such a long period in virtually the same format. Despite the intensity of the debate, there has been limited progress in determining why animals of various kinds were portrayed in a similar way over a period spanning 20,000 years or more. In order to better understand the origins of these depictions, I have approached the subject in a different way to usual, which has provided productive new insights into these enigmatic images. This is based on the psychology of perception and neuroscience that is able to explain, in a rational and testable way, the reason why these depictions occurred and is able to account for the many bizarre and strange paradoxes of this "art" by offering a coherent and logical explanation compared to those based on cultural determinants. Hopefully, the neuropsychological approach presented here can provide a platform on which cultural theories might be constructed.
This theory is set out in previously published papers to which interested readers can refer (cited at the end of this page). In brief, the theory posits that the visual brain of Palaeolithic hunters was not only specialized for detecting salient parts of animals but became acutely sensitized to detecting animal outlines, which derived from the everyday experience of hunting where predators and prey needed to be rapidly detected in camouflaged and degraded environmental conditions. As the hyperactive neural circuits for detecting and perceiving animals take time to return to a resting state, due for example to raised levels of adrenaline, these circuits would have still been active and were easily triggered by the suggestive outlines of the natural surfaces, especially in the subdued lighting of caves, thereby leading to the projection of animal outlines onto walls and ceilings. Attenuated lighting and ambiguity automatically activate what is termed perceptual hypothesis testing in the visual brain, which is a survival mechanism for avoiding danger. This process was further enhanced by the fact that Upper Palaeolithic caves were places where dangerous predators lurked, such as cave lions, bears, and wolves, which gives rise to intense emotional arousal and hyper-vigilance. As a result, when entering the caves the visual system was primed and preconditioned to see animals. The torches and lamp burners used to illuminate the cave will have caused shadows to move thereby further increasing the sense of animacy of the cave. The projected images seen in the mind's eye due to this dynamic are referred to as "hyperimages". The evidence for this theory comes from the fact that palaeo-artists frequently included natural features in animal depictions in that such features acted as trigger cues for beginning a representation - referred to as explicit trigger cues. The undulating walls and suggestive features that simulated animal outlines that were not included in actual depictions are, however, referred to as implicit trigger cues that served as sub-threshold features which preconditioned the visual system to see images of animals.
This theory is set out in previously published papers to which interested readers can refer (cited at the end of this page). In brief, the theory posits that the visual brain of Palaeolithic hunters was not only specialized for detecting salient parts of animals but became acutely sensitized to detecting animal outlines, which derived from the everyday experience of hunting where predators and prey needed to be rapidly detected in camouflaged and degraded environmental conditions. As the hyperactive neural circuits for detecting and perceiving animals take time to return to a resting state, due for example to raised levels of adrenaline, these circuits would have still been active and were easily triggered by the suggestive outlines of the natural surfaces, especially in the subdued lighting of caves, thereby leading to the projection of animal outlines onto walls and ceilings. Attenuated lighting and ambiguity automatically activate what is termed perceptual hypothesis testing in the visual brain, which is a survival mechanism for avoiding danger. This process was further enhanced by the fact that Upper Palaeolithic caves were places where dangerous predators lurked, such as cave lions, bears, and wolves, which gives rise to intense emotional arousal and hyper-vigilance. As a result, when entering the caves the visual system was primed and preconditioned to see animals. The torches and lamp burners used to illuminate the cave will have caused shadows to move thereby further increasing the sense of animacy of the cave. The projected images seen in the mind's eye due to this dynamic are referred to as "hyperimages". The evidence for this theory comes from the fact that palaeo-artists frequently included natural features in animal depictions in that such features acted as trigger cues for beginning a representation - referred to as explicit trigger cues. The undulating walls and suggestive features that simulated animal outlines that were not included in actual depictions are, however, referred to as implicit trigger cues that served as sub-threshold features which preconditioned the visual system to see images of animals.
One of the advantages of this approach is that it can explain the appearance of naturalistic depictions at such an early date in that the dynamic interaction between the suggestive cave walls and the hyper-stimulated visual system acted as a scaffold for realising the naturalistic representations. Thus, there was a dynamic interaction between the hypersensitive visual system of hunters for detecting animals and the suggestive natural features of the cave environment that can potentially explain the sophisticated but apparent naturalism of the depictions. In this sense, the depictions were both discovered and invented in that a subtle interplay occurred between the highly-tuned focused visual ability of the hunter and the cave environment. In a way, the ambiguous cave setting seemed to simulate the natural environment where the hunter needed to deal with ambiguity in order to detect animals in camouflaged situations and challenging visual scenarios.
One of the advantages of this approach is that it can explain the appearance of naturalistic depictions at such an early date in that the dynamic interaction between the suggestive cave walls and the hyper-stimulated visual system acted as a scaffold for realising the naturalistic representations. Thus, there was a dynamic interaction between the hypersensitive visual system of hunters for detecting animals and the suggestive natural features of the cave environment that can potentially explain the sophisticated but apparent naturalism of the depictions. In this sense, the depictions were both discovered and invented in that a subtle interplay occurred between the highly-tuned focused visual ability of the hunter and the cave environment. In a way, the ambiguous cave setting seemed to simulate the natural environment where the hunter needed to deal with ambiguity in order to detect animals in camouflaged situations and challenging visual scenarios.
One criticism of the visual dynamic theory is that the depiction of animals also occurred at outdoor sites and on portable artefacts where viewing conditions would not have been as ambiguous as in caves. This, however, fails to take into account that the perceptual vigilance of the hunter during daylight hours needed to remain high, especially as the situation with which the hunter regularly had to deal was by definition equivocal where animals attempted to remain concealed within the natural environment. Moreover, lighting is an unstable quantity that can fade for a number of reasons due to atmospheric conditions as during twilight and dusk, in shaded areas such as forest canopies and so forth. In addition, the human visual brain is particularly adept at what is termed seeing-in, which concerns the ability to apportion agency to any suggestive-like form as this is thought to have provided better survival outcomes. In other words, it is a more successful strategy to regard something as animate when it is not than the opposite which, nevertheless, is a proclivity that undergoes considerable enhancement in attenuated viewing conditions. Although many depictions do not include natural features this does not mean that the visual brain's projective capacity was not engaged, as these instances may not only derive from implicit cues but also the sense of danger and darkness in the caves and the hunter's over-active visual brain will have led to the projection of images onto many surfaces. Thus, those constraints which had determined the functional outcome of the hominid perceptual system also became important as a trigger for the motifs to be found in Upper Palaeolithic ‘art’ through a sharing and exploitation of the same visual mechanisms. Hence, in a situation that might involve the identification of ambiguous perceptual stimuli (often involving camouflage and partially hidden forms), a distinct advantage would accrue in being primed to respond to certain distinguishing traits.
One criticism of the visual dynamic theory is that the depiction of animals also occurred at outdoor sites and on portable artefacts where viewing conditions would not have been as ambiguous as in caves. This, however, fails to take into account that the perceptual vigilance of the hunter during daylight hours needed to remain high, especially as the situation with which the hunter regularly had to deal was by definition equivocal where animals attempted to remain concealed within the natural environment. Moreover, lighting is an unstable quantity that can fade for a number of reasons due to atmospheric conditions as during twilight and dusk, in shaded areas such as forest canopies and so forth. In addition, the human visual brain is particularly adept at what is termed seeing-in, which concerns the ability to apportion agency to any suggestive-like form as this is thought to have provided better survival outcomes. In other words, it is a more successful strategy to regard something as animate when it is not than the opposite which, nevertheless, is a proclivity that undergoes considerable enhancement in attenuated viewing conditions. Although many depictions do not include natural features this does not mean that the visual brain's projective capacity was not engaged, as these instances may not only derive from implicit cues but also the sense of danger and darkness in the caves and the hunter's over-active visual brain will have led to the projection of images onto many surfaces. Thus, those constraints which had determined the functional outcome of the hominid perceptual system also became important as a trigger for the motifs to be found in Upper Palaeolithic ‘art’ through a sharing and exploitation of the same visual mechanisms. Hence, in a situation that might involve the identification of ambiguous perceptual stimuli (often involving camouflage and partially hidden forms), a distinct advantage would accrue in being primed to respond to certain distinguishing traits.
These findings support the notion that the depictions are linked to a hunting lifestyle whereby hunters were obliged to attend to particular aspects of animal anatomy for the purpose of survival. Interestingly, research from France carried out by Fritz and Tosello (Fritz 1999; Fritz and Tosello 2000) found that the sequence by which the anatomical features of animals are drawn start with the topmost areas of animals i.e., head features, chest, and spinal contour, which confirms recent findings from perceptual psychology and neuroscience. Moreover, these features are often the only ones portrayed. Having said this, some aspects of the depictions were subjected to stylistic modification due to the influence of culture that led to different types of animals being portrayed in particular ways in various regions during different time-frames.
These findings support the notion that the depictions are linked to a hunting lifestyle whereby hunters were obliged to attend to particular aspects of animal anatomy for the purpose of survival. Interestingly, research from France carried out by Fritz and Tosello (Fritz 1999; Fritz and Tosello 2000) found that the sequence by which the anatomical features of animals are drawn start with the topmost areas of animals i.e., head features, chest, and spinal contour, which confirms recent findings from perceptual psychology and neuroscience. Moreover, these features are often the only ones portrayed. Having said this, some aspects of the depictions were subjected to stylistic modification due to the influence of culture that led to different types of animals being portrayed in particular ways in various regions during different time-frames.
The visual dynamic theory is able to account for the fact that mainly animals are portrayed in a particular format in a way that other approaches based upon straightforward hallucinations are unable to. For example, as well as animals, hallucinations comprise a host of different objects none of which are found in Upper Palaeolithic art. The visual dynamic theory, however, demonstrates how the addiction to portraying animals in palaeoart through hyperimages gave rise to constraints on both subject matter and the way animals were depicted.
The visual dynamic theory is able to account for the fact that mainly animals are portrayed in a particular format in a way that other approaches based upon straightforward hallucinations are unable to. For example, as well as animals, hallucinations comprise a host of different objects none of which are found in Upper Palaeolithic art. The visual dynamic theory, however, demonstrates how the addiction to portraying animals in palaeoart through hyperimages gave rise to constraints on both subject matter and the way animals were depicted.
Some Examples
Some Examples
EXPLICIT TRIGGER CUES
EXPLICIT TRIGGER CUES
Spotted Horse at Pech Merle Cave, France, where the depiction was inspired by the natural contour of the cave wall simulating a horses head.
Spotted Horse at Pech Merle Cave, France, where the depiction was inspired by the natural contour of the cave wall simulating a horses head.
Horses head from Commarque Cave, France inspired by the natural features around the eyes, brow, and ears. Only the horse's mouth and nose area have been deliberately engraved.
Horses head from Commarque Cave, France inspired by the natural features around the eyes, brow, and ears. Only the horse's mouth and nose area have been deliberately engraved.
Altamira Cave, Spain, where many of the depicted bison are based upon the natural bosses of the ceiling.
Altamira Cave, Spain, where many of the depicted bison are based upon the natural bosses of the ceiling.
El Castillo Cave, Spain, showing a shadow suggesting an animal-like figure caused by an intervening stalagmite in the foreground.
El Castillo Cave, Spain, showing a shadow suggesting an animal-like figure caused by an intervening stalagmite in the foreground.
The stalagmite itself is suggestive of a bison and has a bison depicted on the base of the natural feature, as illustrated below.
The stalagmite itself is suggestive of a bison and has a bison depicted on the base of the natural feature, as illustrated below.
Bear from Tibiran Cave where the natural folds in the cave wall were fully exploited. The head, legs and tail consist of natural contours that lack intervention by the person concerned.
Bear from Tibiran Cave where the natural folds in the cave wall were fully exploited. The head, legs and tail consist of natural contours that lack intervention by the person concerned.
L'abri Bourdois, Le Roc-au-Sourciers Cave, France.
L'abri Bourdois, Le Roc-au-Sourciers Cave, France.
llustration of the suggestive surfaces of Upper Palaeolithic caves where the animal outlines are embedded in the walls. The viewer is, at times, able to confirm the existence of animal representations whereas, in other cases, there is a measure of uncertainty. In perceptual terms, such arrays are full of false positives and false negatives that oblige the visual system to automatically engage in what is termed visual hypotheses testing in an attempt to determine figure from ground (The graphic extracts show the location of some of the actual depictions). This is a perfect example of what can be termed surrogate camouflage that simulates the landscape in which animals attempted to remain concealed from hunters during the Upper Palaeolithic. Photo and illustration G. Pinçon, photomontage J. Brot (Courtesy of J. Brot). www.brotjean.jimdo.com
llustration of the suggestive surfaces of Upper Palaeolithic caves where the animal outlines are embedded in the walls. The viewer is, at times, able to confirm the existence of animal representations whereas, in other cases, there is a measure of uncertainty. In perceptual terms, such arrays are full of false positives and false negatives that oblige the visual system to automatically engage in what is termed visual hypotheses testing in an attempt to determine figure from ground (The graphic extracts show the location of some of the actual depictions). This is a perfect example of what can be termed surrogate camouflage that simulates the landscape in which animals attempted to remain concealed from hunters during the Upper Palaeolithic. Photo and illustration G. Pinçon, photomontage J. Brot (Courtesy of J. Brot). www.brotjean.jimdo.com
Tito Bustillo Cave, Spain showing the clever way natural contours were exploited to depict the powerful form of a bison. Interestingly, this depiction is found in the deepest and earliest area of the cave. (Thanks to Rodrigo de Balbín for permission to reproduce this figure). Original article: Figure 12B in: de Balbín-Behrmann, R. Alcolea-Gonzàlez, J-J., Alcaraz-Castaño, M. 2017. The Palaeolithic art of Tito Bustillo cave (Asturias, Spain) in its archaeological context. Quaternary International. 430: 81-96. https://doi.org/10.1016/j.quaint.2016.01.076
Tito Bustillo Cave, Spain showing the clever way natural contours were exploited to depict the powerful form of a bison. Interestingly, this depiction is found in the deepest and earliest area of the cave. (Thanks to Rodrigo de Balbín for permission to reproduce this figure). Original article: Figure 12B in: de Balbín-Behrmann, R. Alcolea-Gonzàlez, J-J., Alcaraz-Castaño, M. 2017. The Palaeolithic art of Tito Bustillo cave (Asturias, Spain) in its archaeological context. Quaternary International. 430: 81-96. https://doi.org/10.1016/j.quaint.2016.01.076
The incorporation of natural features showing an Aurochs depicted on rock establishing a connection with fracture at the open air site of Siega Verde, Panel 7.
The incorporation of natural features showing an Aurochs depicted on rock establishing a connection with fracture at the open air site of Siega Verde, Panel 7.
(Thanks to Carlos Vázquez Marcos for permission to reproduce photo) Original photo Figure 13 in: Fernandes, A.B., M.Reis, C.E.Remirez & C.V.Marcos, 2017. Integration of natural stone features and conservation of the Upper Palaeolithic Côa Valley and Siega Verde open-air rock-art. Time and Mind 10(3), 293–319.
(Thanks to Carlos Vázquez Marcos for permission to reproduce photo) Original photo Figure 13 in: Fernandes, A.B., M.Reis, C.E.Remirez & C.V.Marcos, 2017. Integration of natural stone features and conservation of the Upper Palaeolithic Côa Valley and Siega Verde open-air rock-art. Time and Mind 10(3), 293–319.
This figure is taken from a thesis by Takashi Sakamoto, which shows that the original natural wall features (blue figure to the right) resemble the basic form of a quadruped mammal. Those features served as the trigger cues for the completion of the animal through adding a few crucial lines (the complete quadruped is on the left). Sakamoto's thesis looks in great technical detail at a number of Upper Palaeolithic caves and provides crucial evidence and many similar examples regarding the importance of the natural cave wall features in the depiction of animals (from Figure 5.98, Takashi, S. 2019 Cave Art as Installation Art: Analysis of the Human-Art-Wall Triad in Three Cantabrian Caves, and Embedded Interactivity in the Image-Making and Image-Viewing process. , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13196/
This figure is taken from a thesis by Takashi Sakamoto, which shows that the original natural wall features (blue figure to the right) resemble the basic form of a quadruped mammal. Those features served as the trigger cues for the completion of the animal through adding a few crucial lines (the complete quadruped is on the left). Sakamoto's thesis looks in great technical detail at a number of Upper Palaeolithic caves and provides crucial evidence and many similar examples regarding the importance of the natural cave wall features in the depiction of animals (from Figure 5.98, Takashi, S. 2019 Cave Art as Installation Art: Analysis of the Human-Art-Wall Triad in Three Cantabrian Caves, and Embedded Interactivity in the Image-Making and Image-Viewing process. , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13196/
Takashi summarised his extensive research on the integration of natural features into the animal depictions in three Upper Palaeolithic Caves as follows:
Takashi summarised his extensive research on the integration of natural features into the animal depictions in three Upper Palaeolithic Caves as follows:
"Overall, integration must have been a fundamental method of image-making, at least in the studied three caves. Furthermore, the position and shape of natural lines might have been one of the most prioritised factors for Palaeo-artists. The data about a correlation between integration and body sections strongly suggest that the integration was not performed randomly, but there must have been a principle that the creators of cave art obeyed.
"Overall, integration must have been a fundamental method of image-making, at least in the studied three caves. Furthermore, the position and shape of natural lines might have been one of the most prioritised factors for Palaeo-artists. The data about a correlation between integration and body sections strongly suggest that the integration was not performed randomly, but there must have been a principle that the creators of cave art obeyed.
Integration was detected in 39 images, which accounts for 72% of the total (39/54 images). This proportion signifies integration as an essential method for image-making in Covalanas, El Pendo, and El Castillo."
Integration was detected in 39 images, which accounts for 72% of the total (39/54 images). This proportion signifies integration as an essential method for image-making in Covalanas, El Pendo, and El Castillo."
Crucial references highlighting the importance of natural features in Upper Palaeolithic art
Crucial references highlighting the importance of natural features in Upper Palaeolithic art
ASIAIN, R. 2021. The use of the substrate by paleolithic artists in cavities of Asturias and Cantabria. The search for the third dimensioN, Phd thesis.
ASIAIN, R. 2021. The use of the substrate by paleolithic artists in cavities of Asturias and Cantabria. The search for the third dimensioN, Phd thesis.
Link: https://dialnet.unirioja.es/servlet/tesis?codigo=305624
Link: https://dialnet.unirioja.es/servlet/tesis?codigo=305624
(Excellent and exhaustive study of the inclusion of natural cave features in Upper Palaeolithic cave depictions)
(Excellent and exhaustive study of the inclusion of natural cave features in Upper Palaeolithic cave depictions)
ASIAIN, R., ONTAÑON, R. AND SAURA, P. 2023. Animals hidden in plain sight: Stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria. Antiquity, 1-16. doi:10.15184/aqy.2023.122
ASIAIN, R., ONTAÑON, R. AND SAURA, P. 2023. Animals hidden in plain sight: Stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria. Antiquity, 1-16. doi:10.15184/aqy.2023.122
(This study identified new animal depictions by taking into account the role of natural suggestive cave features)
(This study identified new animal depictions by taking into account the role of natural suggestive cave features)
BROT, J. 2005. L'Utilisation des reliefs naturel dans l'art gravé et sculpté pariétal du paléolithique supérieur Francaise. Ecole Pratique des Hautes Etudes, Université de Bourgogne, p.180. (a meticulous and detailed study of the inclusion of natural features in Palaeolithic cave art).
BROT, J. 2005. L'Utilisation des reliefs naturel dans l'art gravé et sculpté pariétal du paléolithique supérieur Francaise. Ecole Pratique des Hautes Etudes, Université de Bourgogne, p.180. (a meticulous and detailed study of the inclusion of natural features in Palaeolithic cave art).
Link: file:///C:/Users/User/Desktop/MY%20DOCUMENTS/Time%20and%20Mind%20my%20paper/Brot%202005.%20Use%20of%20natural%20contours%20in%20Pal%20Cave%20art.%20Dissertation.pdf
Link: file:///C:/Users/User/Desktop/MY%20DOCUMENTS/Time%20and%20Mind%20my%20paper/Brot%202005.%20Use%20of%20natural%20contours%20in%20Pal%20Cave%20art.%20Dissertation.pdf
BROT, J. 2010. L'art pléistocène dans le monde. Actes du Congres. IFRAO. Tarascon sur Ariège. L'utilisation des reliefs naturels dans l'art pariétal paléolithique. pp. 36-37 and pp.75-91. On CD, Fig. 12.
BROT, J. 2010. L'art pléistocène dans le monde. Actes du Congres. IFRAO. Tarascon sur Ariège. L'utilisation des reliefs naturels dans l'art pariétal paléolithique. pp. 36-37 and pp.75-91. On CD, Fig. 12.
FERNANDES, A.B., REIS, M., REMIREZ, C.E. and MARCOS C. V. 2017. Integration of natural stone features and conservation of the Upper Palaeolithic Côa Valley and Siega Verde open-air rock-art. Time and Mind 10(3), 293–319.
FERNANDES, A.B., REIS, M., REMIREZ, C.E. and MARCOS C. V. 2017. Integration of natural stone features and conservation of the Upper Palaeolithic Côa Valley and Siega Verde open-air rock-art. Time and Mind 10(3), 293–319.
OGAWA, M. 2005. Integration in Franco-Cantabrian Parietal Art: A Case Study of Font-de-Gaume Cave, France. In Aesthetics and Rock Art, eds. T. Heyd. & J. Clegg. Aldershot: Ashgate. 117–129.
OGAWA, M. 2005. Integration in Franco-Cantabrian Parietal Art: A Case Study of Font-de-Gaume Cave, France. In Aesthetics and Rock Art, eds. T. Heyd. & J. Clegg. Aldershot: Ashgate. 117–129.
OGAWA, M. 2012. Power of Seeing: high quality and diversity of Parietal Art in Chauvet. IFRAO Congress, September 2010 – Symposium: Pleistocene art in Europe. In, Clottes, J. 2012. L’art pléistocène dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo Actes du Congrès IFRAO, Tarascon-sur-Ariège, septembre 2010 – Symposium "Art pléistocène en Europe".
OGAWA, M. 2012. Power of Seeing: high quality and diversity of Parietal Art in Chauvet. IFRAO Congress, September 2010 – Symposium: Pleistocene art in Europe. In, Clottes, J. 2012. L’art pléistocène dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo Actes du Congrès IFRAO, Tarascon-sur-Ariège, septembre 2010 – Symposium "Art pléistocène en Europe".
Link: file:///C:/Users/User/Desktop/My%20Files/conferences/Chemin.%20Conf/Ogawa%202010%20Relief%20in%20cave%20art.%20Arriege%20conf..pdf
Link: file:///C:/Users/User/Desktop/My%20Files/conferences/Chemin.%20Conf/Ogawa%202010%20Relief%20in%20cave%20art.%20Arriege%20conf..pdf
GROENEN, M. 2007. Voir l’image préhistorique: bilan des travaux dans la grotte ornée d’El Castillo (Cantabrie, Espagne). In, Un siècle de construction du discours scientifique en préhistoire:... Aux conceptions d’aujourd’hui (pp. 307-321). Société préhistorique française.
GROENEN, M. 2007. Voir l’image préhistorique: bilan des travaux dans la grotte ornée d’El Castillo (Cantabrie, Espagne). In, Un siècle de construction du discours scientifique en préhistoire:... Aux conceptions d’aujourd’hui (pp. 307-321). Société préhistorique française.
Link:
Link:
GROENEN, M. 2016. Le rôle de la lumière dans l'art des grottes au Paléolithique supérieur. In, Ambivalences de la lumière. C. Beaufort, M. Lebrère (eds.) Paris, Presses de l’Université de Pau et des Pays de l’Adour.
GROENEN, M. 2016. Le rôle de la lumière dans l'art des grottes au Paléolithique supérieur. In, Ambivalences de la lumière. C. Beaufort, M. Lebrère (eds.) Paris, Presses de l’Université de Pau et des Pays de l’Adour.
Link:
HODGSON. D. 2006. Tracings of the mind: the role of hallucinations, pseudohallucinations and visual imagery in Franco-Cantabrian cave art. Anthroglobe.
HODGSON. D. 2006. Tracings of the mind: the role of hallucinations, pseudohallucinations and visual imagery in Franco-Cantabrian cave art. Anthroglobe.
Link:
Link:
HODGSON, D. 2008. The Visual Dynamics of Upper Palaeolithic Art. Cambridge Archaeological Journal. 18 (3): 341-353.
HODGSON, D. 2008. The Visual Dynamics of Upper Palaeolithic Art. Cambridge Archaeological Journal. 18 (3): 341-353.
Link:
Link:
ion/displayAbstract?fromPage=online&aid=2374188
ion/displayAbstract?fromPage=online&aid=2374188
HODGSON, D. 2013. The Visual Brain, Perception, and the Depiction of Animals in Rock Art. The Journal of Archaeology. Article ID 342801.
HODGSON, D. 2013. The Visual Brain, Perception, and the Depiction of Animals in Rock Art. The Journal of Archaeology. Article ID 342801.
HODGSON, D. 2013. Ambiguity, Perception, and the First Representations. In, Origins of Pictures (Papers from the Chemnitz Conference, Germany (2010). pp. 401-423. K. Sachs-Hombach and J. R. J. Schirra (eds.). Halem: Köln.
HODGSON, D. 2013. Ambiguity, Perception, and the First Representations. In, Origins of Pictures (Papers from the Chemnitz Conference, Germany (2010). pp. 401-423. K. Sachs-Hombach and J. R. J. Schirra (eds.). Halem: Köln.
Link: https://www.researchgate.net/publication/262611864_Ambiguity_Perception_and_the_First_Representations_In_Origins_of_Pictures_Papers_from_the_Chemnitz_Conference_Germany_2010
Link: https://www.researchgate.net/publication/262611864_Ambiguity_Perception_and_the_First_Representations_In_Origins_of_Pictures_Papers_from_the_Chemnitz_Conference_Germany_2010
HODGSON, D. and PETTITT P. 2018. The origins of iconic depictions: a falsifiable model derived from the visual science of Palaeolithic cave art and world rock art. Cambridge Archaeological Journal. 1-22.
HODGSON, D. and PETTITT P. 2018. The origins of iconic depictions: a falsifiable model derived from the visual science of Palaeolithic cave art and world rock art. Cambridge Archaeological Journal. 1-22.
doi: org/10.1017/S0959774318000227k:
doi: org/10.1017/S0959774318000227k:
HODGSON, D. 2020. Upper Palaeolithic art as a perceptual search for magical images. Time and Mind. doi: 10.1080/1751696X.2021.1961048
HODGSON, D. 2020. Upper Palaeolithic art as a perceptual search for magical images. Time and Mind. doi: 10.1080/1751696X.2021.1961048
HODGSON, D. 2023. Seeing Beyond Pareidolia: Implications for Palaeoart. Rock Art Research.40(2).
HODGSON, D. 2023. Seeing Beyond Pareidolia: Implications for Palaeoart. Rock Art Research.40(2).
LEJEUNE, M. 1985. La paroi des grottes, premier “mur” support artistique et document archéologique, in Le mur dans l’art et l’archéologie, Art et Fact, 2, Liège, pp. 15-24
LEJEUNE, M. 1985. La paroi des grottes, premier “mur” support artistique et document archéologique, in Le mur dans l’art et l’archéologie, Art et Fact, 2, Liège, pp. 15-24
SAUVET, G. 2004. L'art Mobilier non Classique de la Grotte Magdalenienne de Bedeilhac (Ariege). Art mobilier paléolithique supérieur en Europe occidentale Actes du colloque 8.3, Congrès de l’UISPP, Liège, 2-8 Septembre 2001 Liège, ERAUL 107. pp. 167-176.
SAUVET, G. 2004. L'art Mobilier non Classique de la Grotte Magdalenienne de Bedeilhac (Ariege). Art mobilier paléolithique supérieur en Europe occidentale Actes du colloque 8.3, Congrès de l’UISPP, Liège, 2-8 Septembre 2001 Liège, ERAUL 107. pp. 167-176.
(an interesting investigation into the exploitation of natural features in portable objects that gave rise to representations)
(an interesting investigation into the exploitation of natural features in portable objects that gave rise to representations)
Link:
Link:
file:///C:/Users/User/Desktop/My%20Files/conferences/Chemin.%20Conf/Sauvet%202004.%20Portable%20art%20and%20Natural%20Contours.%20Actes.pdf
file:///C:/Users/User/Desktop/My%20Files/conferences/Chemin.%20Conf/Sauvet%202004.%20Portable%20art%20and%20Natural%20Contours.%20Actes.pdf
SAUVET, G and TOSELLO, G. 1998. Le mythe paléolithique de la caverne. In, Le propre de l'homme: psychanalyse et préhistoire. F. Sacco. and G, Tosello. pp. 55-90. Delachaux and Niestle: Lausanne.
SAUVET, G and TOSELLO, G. 1998. Le mythe paléolithique de la caverne. In, Le propre de l'homme: psychanalyse et préhistoire. F. Sacco. and G, Tosello. pp. 55-90. Delachaux and Niestle: Lausanne.
SAKAMOTO, T. 2019. Cave Art as Installation Art: Analysis of the Human-Art-Wall Triad in Three Cantabrian Caves, and Embedded Interactivity in the Image-Making and Image-Viewing process. Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13196/
SAKAMOTO, T. 2019. Cave Art as Installation Art: Analysis of the Human-Art-Wall Triad in Three Cantabrian Caves, and Embedded Interactivity in the Image-Making and Image-Viewing process. Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13196/
SAKAMOTO , T., PETTITT, P. and ONTAÑON-PEREDO, R. 2020. Upper Palaeolithic Installation Art: Topography, Distortion, Animation and Participation in the Production and Experience of Cantabrian Cave Art . Cambridge Archaeological Journal. doi:10.1017/S0959774320000153
SAKAMOTO , T., PETTITT, P. and ONTAÑON-PEREDO, R. 2020. Upper Palaeolithic Installation Art: Topography, Distortion, Animation and Participation in the Production and Experience of Cantabrian Cave Art . Cambridge Archaeological Journal. doi:10.1017/S0959774320000153
VERHOEVEN M. 2023, Between and Beyond: The Role of Caves in Upper Palaeolithic Art and Cognition. In, The Oxford Handbook of Cognitive Evolution. T. Wynn, K.A. Overmann, and F. L. Coollidge (eds). pp. C47P1–C47S24
VERHOEVEN M. 2023, Between and Beyond: The Role of Caves in Upper Palaeolithic Art and Cognition. In, The Oxford Handbook of Cognitive Evolution. T. Wynn, K.A. Overmann, and F. L. Coollidge (eds). pp. C47P1–C47S24
(This paper emphasises the role of the cave in its entirety, especially the affordances of the rock surfaces, as crucial to understanding the cave depictions).
(This paper emphasises the role of the cave in its entirety, especially the affordances of the rock surfaces, as crucial to understanding the cave depictions).
WISHER, I., PETTITT, P. and KENTRIDGE, R. 2023. Conversations with Caves: The Role of Pareidolia in the Upper Palaeolithic Figurative Art of Las Monedas and Le Pasiega (Cantabria, Spain). Cambridge Archaeological Journal. 1-24.. doi:10.1017/S0959774323000288
WISHER, I., PETTITT, P. and KENTRIDGE, R. 2023. Conversations with Caves: The Role of Pareidolia in the Upper Palaeolithic Figurative Art of Las Monedas and Le Pasiega (Cantabria, Spain). Cambridge Archaeological Journal. 1-24.. doi:10.1017/S0959774323000288
WISHER, I., PETTITT, P. and KENTRIDGE, R. 2023. The deep past in the virtual present: developing an interdisciplinary approach towards understanding the psychological foundations of palaeolithc cave art. Science Reports 13: 19009.
WISHER, I., PETTITT, P. and KENTRIDGE, R. 2023. The deep past in the virtual present: developing an interdisciplinary approach towards understanding the psychological foundations of palaeolithc cave art. Science Reports 13: 19009.
(The above two papers by Wisher et al., provide extremely important empirical evidence of the role of projective imagery and the suggestive natural contours in the caves in Upper Palaeolithic cave depictions)
(The above two papers by Wisher et al., provide extremely important empirical evidence of the role of projective imagery and the suggestive natural contours in the caves in Upper Palaeolithic cave depictions)
HUGHES, F. 2021. Relief and the Structure of Intentions in Late Palaeolithic Cave Art The Journal of Aesthetics and Art Criticism. 79(3): 285-300. https://doi.org/10.1093/jaac/kpab022
HUGHES, F. 2021. Relief and the Structure of Intentions in Late Palaeolithic Cave Art The Journal of Aesthetics and Art Criticism. 79(3): 285-300. https://doi.org/10.1093/jaac/kpab022
(Interesting philosophical take on the role of relief in the depiction of animals in cave art from the perspective of Merleau-Ponty and embodied situational approaches to the material record with a criticism of Aujoulat's playing down of the significance of suggestive natural contours)
(Interesting philosophical take on the role of relief in the depiction of animals in cave art from the perspective of Merleau-Ponty and embodied situational approaches to the material record with a criticism of Aujoulat's playing down of the significance of suggestive natural contours)
IMPLICIT TRIGGER CUES
IMPLICIT TRIGGER CUES
Implicit trigger cues refer to when natural features resembling animals are located adjacent to or near actual depictions, that is, they are not included within the representation itself. These kinds of cues are preconscious or subliminal in that they bias preferences in ways not always obvious to the "artist".
Implicit trigger cues refer to when natural features resembling animals are located adjacent to or near actual depictions, that is, they are not included within the representation itself. These kinds of cues are preconscious or subliminal in that they bias preferences in ways not always obvious to the "artist".
Chauvet Cave
Chauvet Cave
Top Left: Bison-like animal depicted using hand-prints.
Top Left: Bison-like animal depicted using hand-prints.
Top Right:Back and head contour highlighted, enlarged and superimposed
Top Right:Back and head contour highlighted, enlarged and superimposed
on natural contour to demonstrate the similarity with the implicit trigger cue.
on natural contour to demonstrate the similarity with the implicit trigger cue.
Bottom Left: Natural trigger cue without hand-prints. Note the similarity to
Bottom Left: Natural trigger cue without hand-prints. Note the similarity to
the top spinal and head contour of a bison.
the top spinal and head contour of a bison.
Bottom Right: How a hunter might have projected a visual image of a bison
Bottom Right: How a hunter might have projected a visual image of a bison
onto the cave wall using the natural cue as a starting point. The hunter, however
onto the cave wall using the natural cue as a starting point. The hunter, however
may not necessarily have been consciously aware of the trigger cues that
may not necessarily have been consciously aware of the trigger cues that
inspired the hand-printed bison.
inspired the hand-printed bison.
Two mammoths from Rouffignac Cave (France) showing how the natural flint nodules below the representations served as implicit trigger cues that originally inspired the depictions as can be seen by the close resemblance between the natural features and actual representations. It is notable that 158 mammoths are represented in this cave, which might be a result of the widespread availability of the suggestive flint nodules throughout the site.
Two mammoths from Rouffignac Cave (France) showing how the natural flint nodules below the representations served as implicit trigger cues that originally inspired the depictions as can be seen by the close resemblance between the natural features and actual representations. It is notable that 158 mammoths are represented in this cave, which might be a result of the widespread availability of the suggestive flint nodules throughout the site.
In the lower illustration two of the natural rock nodules (black squares at the bottom of the picture) have been extracted, made partially transparent, enlarged and superimposed over the mammoths' heads of the actual representations to show the close correspondence. Fundamentally, the characteristic domed head of mammoths seem to have acted as the trigger cues for producing the representations. This is consistent with these features being some of the most important criteria for detecting and recognising such animals, which is consistent with Fritz and Tossello's findings regarding the sequence and priority realised in depicting the animals. (The three black squares illustrate the suggestive cues that resemble mammoth heads whereas the orange squares highlight the natural features that simulate the back outline of the same animals).
In the lower illustration two of the natural rock nodules (black squares at the bottom of the picture) have been extracted, made partially transparent, enlarged and superimposed over the mammoths' heads of the actual representations to show the close correspondence. Fundamentally, the characteristic domed head of mammoths seem to have acted as the trigger cues for producing the representations. This is consistent with these features being some of the most important criteria for detecting and recognising such animals, which is consistent with Fritz and Tossello's findings regarding the sequence and priority realised in depicting the animals. (The three black squares illustrate the suggestive cues that resemble mammoth heads whereas the orange squares highlight the natural features that simulate the back outline of the same animals).
Pech Merle Cave showing depiction of a Mammoth (left) and nearby natural cave concretions (right) as implicit cues that simulate Mammoths (© The Wendel Collection, Neanderthal Museum). Don Hitchcock states: "This flowstone evokes the same image of a Mammoth as that shown above, [the right image here] with long 'hair' providing much of the animal"
Pech Merle Cave showing depiction of a Mammoth (left) and nearby natural cave concretions (right) as implicit cues that simulate Mammoths (© The Wendel Collection, Neanderthal Museum). Don Hitchcock states: "This flowstone evokes the same image of a Mammoth as that shown above, [the right image here] with long 'hair' providing much of the animal"
http://donsmaps.com/pechmerle.html
http://donsmaps.com/pechmerle.html
Three bison showing how the natural cracks and undulations of the cave are reflected in the contours of the animals that may have served as implicit trigger cues that originally inspired the depictions by way of hyperimagery (Le Portel Cave, France). The contours on the right have been extracted to show the extent of the predisposing natural undulations. The natural but suggestive features of the cave wall support the notion that the caves simulated the challenging visual array experienced by hunters when engaged on hunting forays, that is these features acted as surrogate camouflage. The extracted natural contours on the right when taken together with the actual depiction also give the impression of a herd of bison. Interestingly, Fritz and Tossello (2015) suggest some of the depiction featuring groups of animals at Chauvet represent hunting scenes. The lower illustration shows the cave wall without the depictions as the cave artist might have first have seen it in subdued light.
Three bison showing how the natural cracks and undulations of the cave are reflected in the contours of the animals that may have served as implicit trigger cues that originally inspired the depictions by way of hyperimagery (Le Portel Cave, France). The contours on the right have been extracted to show the extent of the predisposing natural undulations. The natural but suggestive features of the cave wall support the notion that the caves simulated the challenging visual array experienced by hunters when engaged on hunting forays, that is these features acted as surrogate camouflage. The extracted natural contours on the right when taken together with the actual depiction also give the impression of a herd of bison. Interestingly, Fritz and Tossello (2015) suggest some of the depiction featuring groups of animals at Chauvet represent hunting scenes. The lower illustration shows the cave wall without the depictions as the cave artist might have first have seen it in subdued light.
Fritz C., Tosello G., 2015 - From Gesture to Myth: Artists’ techniques on the walls of Chauvet Cave, in White R., Bourrillon R. (eds.) with the collaboration of Bon F., Aurignacian Genius: Art, Technology and Society of the First Modern Humans in Europe, Proceedings of the International Symposium, April 08-10 2013, New York University, P@lethnology, 7, 280-314
Fritz C., Tosello G., 2015 - From Gesture to Myth: Artists’ techniques on the walls of Chauvet Cave, in White R., Bourrillon R. (eds.) with the collaboration of Bon F., Aurignacian Genius: Art, Technology and Society of the First Modern Humans in Europe, Proceedings of the International Symposium, April 08-10 2013, New York University, P@lethnology, 7, 280-314
Wall painting from Ekain cave showing repeated images of a horse on same panel. The representations depict all the typical aspects of visual imagery i.e. repetition, abbreviated outline contour, slight blurring, differences in scale, basic level sideways view. Some of the images also incorporate the beveled contours of the cave wall. Importantly, the implicit trigger cues adjacent to the actual depictions are highlighted. The large natural feature at the bottom right simulates the dorsal line of a horse (red curved line), which has been extracted and reduced in size and superimposed on the back of the left side top middle horse. More implicit trigger cues can be seen in the highlighted square where, in the expanded view below, two such natural trigger cues are highlighted. Note the large number of repeated natural "dorsal-head" outline features in the adjacent area that simulates the repeated horse depictions.
Wall painting from Ekain cave showing repeated images of a horse on same panel. The representations depict all the typical aspects of visual imagery i.e. repetition, abbreviated outline contour, slight blurring, differences in scale, basic level sideways view. Some of the images also incorporate the beveled contours of the cave wall. Importantly, the implicit trigger cues adjacent to the actual depictions are highlighted. The large natural feature at the bottom right simulates the dorsal line of a horse (red curved line), which has been extracted and reduced in size and superimposed on the back of the left side top middle horse. More implicit trigger cues can be seen in the highlighted square where, in the expanded view below, two such natural trigger cues are highlighted. Note the large number of repeated natural "dorsal-head" outline features in the adjacent area that simulates the repeated horse depictions.
In a study of the horses depicted at Quercy, Michel Lorblanchet (2007, p.214) stated that:
In a study of the horses depicted at Quercy, Michel Lorblanchet (2007, p.214) stated that:
“One cannot overemphasize the disconcerting skill with which the Palaeolithic engravers strove, from the beginnings of art, to blend their drawings with the rock, to integrate natural features into their drawings.”
“One cannot overemphasize the disconcerting skill with which the Palaeolithic engravers strove, from the beginnings of art, to blend their drawings with the rock, to integrate natural features into their drawings.”
Lorblanchet, M. 2007. The Horse in the Palaeolithic Parietal Art of the Quercy: Outline of a Stylistic Study. pp.207-228. In, Palaeolithic Cave Art at Creswell Crags in European Context. Edited by P. Pettitt., P. Bahn and S. Ripoll. OUP: Oxford.
Lorblanchet, M. 2007. The Horse in the Palaeolithic Parietal Art of the Quercy: Outline of a Stylistic Study. pp.207-228. In, Palaeolithic Cave Art at Creswell Crags in European Context. Edited by P. Pettitt., P. Bahn and S. Ripoll. OUP: Oxford.
Pair-non-Pair cave, France. Two depicted horses (below) where both explicit cues and implicit cues (above) have been exploited. Note the way that the implicit cues i.e., the various curves of the wall not only simulate the curvature of the animals but also give a sense of movement. (Courtesy of J. Brot)
Pair-non-Pair cave, France. Two depicted horses (below) where both explicit cues and implicit cues (above) have been exploited. Note the way that the implicit cues i.e., the various curves of the wall not only simulate the curvature of the animals but also give a sense of movement. (Courtesy of J. Brot)
Tito Bustillo Cave, Spain showing an implicit cue in the form of an animal-like head (highlighted in figure below). The two red lines and dots to the right of the image may have been added to mark out the rock formation as evocative. (Thanks to Rodrigo de Balbín for permission to reproduce this figure). Original article: Figure 12A in: de Balbín-Behrmann, R. Alcolea-Gonzàlez, J-J., Alcaraz-Castaño, M. 2017. The Palaeolithic art of Tito Bustillo cave (Asturias, Spain) in its archaeological context. Quaternary International. 430: 81-96. https://doi.org/10.1016/j.quaint.2016.01.076
Tito Bustillo Cave, Spain showing an implicit cue in the form of an animal-like head (highlighted in figure below). The two red lines and dots to the right of the image may have been added to mark out the rock formation as evocative. (Thanks to Rodrigo de Balbín for permission to reproduce this figure). Original article: Figure 12A in: de Balbín-Behrmann, R. Alcolea-Gonzàlez, J-J., Alcaraz-Castaño, M. 2017. The Palaeolithic art of Tito Bustillo cave (Asturias, Spain) in its archaeological context. Quaternary International. 430: 81-96. https://doi.org/10.1016/j.quaint.2016.01.076
Perfect example of a trigger cue from Aitzbitarte Cave III, Spain. At the bottom left of the top image one can see the shape of a horse's' or deer's head as suggested by the natural cave contours, which has been engraved to accentuate the head (highlighted at the bottom image).. From Figure 4, Garate D, Rivero O, Rios-Garaizar J, Arriolabengoa M, Intxaurbe I, Salazar S (2020) Redefining shared symbolic networks during the Gravettian in Western Europe: New data from the rock art findings in Aitzbitarte caves (Northern Spain). PLoS ONE 15(10): e0240481. https://doi.org/10.1371/journal.pone.0240481 Copyright: © 2020 Garate et al. Creative Commons Attribution License
Perfect example of a trigger cue from Aitzbitarte Cave III, Spain. At the bottom left of the top image one can see the shape of a horse's' or deer's head as suggested by the natural cave contours, which has been engraved to accentuate the head (highlighted at the bottom image).. From Figure 4, Garate D, Rivero O, Rios-Garaizar J, Arriolabengoa M, Intxaurbe I, Salazar S (2020) Redefining shared symbolic networks during the Gravettian in Western Europe: New data from the rock art findings in Aitzbitarte caves (Northern Spain). PLoS ONE 15(10): e0240481. https://doi.org/10.1371/journal.pone.0240481 Copyright: © 2020 Garate et al. Creative Commons Attribution License
Izzy Wisher is carrying out PhD research at Durham University to test the Visual Dynamic Theory of cave art by creating 3D simulations of the cave walls that can be viewed by subjects in virtual reality to assess whether animals emerge from the suggestive contours. She describes her research in a video, which can be accessed at this link: https://youtu.be/9GtUtvcomOI
Izzy Wisher is carrying out PhD research at Durham University to test the Visual Dynamic Theory of cave art by creating 3D simulations of the cave walls that can be viewed by subjects in virtual reality to assess whether animals emerge from the suggestive contours. She describes her research in a video, which can be accessed at this link: https://youtu.be/9GtUtvcomOI
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In an MA research project involving a perceptual questionnaire administered to over 1.000 individuals, it was found that those with an enhanced ability to detect detail are more prone to experience hyperimages. This research confirms the importance of hyperimages and The Visual Dynamic Theory of Palaeolithic Art as set out above. The research can be found at the following link: https://etheses.whiterose.ac.uk/20462/
In an MA research project involving a perceptual questionnaire administered to over 1.000 individuals, it was found that those with an enhanced ability to detect detail are more prone to experience hyperimages. This research confirms the importance of hyperimages and The Visual Dynamic Theory of Palaeolithic Art as set out above. The research can be found at the following link: https://etheses.whiterose.ac.uk/20462/
Reference: Scott, C. 2017. Conflicting Evolutionary Pressures on Human Cognition: A Case Study of Autism. MA by research thesis, University of York.
Reference: Scott, C. 2017. Conflicting Evolutionary Pressures on Human Cognition: A Case Study of Autism. MA by research thesis, University of York.
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Trauma
Trauma
Lascaux cave
Lascaux cave
A rare ritual-like scene at perhaps based on a tragic incident where a hunter may have been killed by a bison. When witnessed, such emotional events tend to persist in memory but are subject to distortion over time but initially may give rise to pseudohallucinations or hyperimages experienced by an onlooker which, in this case, seems to have been mythologised. Traumatic experiences would have been quite common for hunters during the Palaeolithic making the chance of intense, if not disturbing, recurring hyperimages highly likely.
A rare ritual-like scene at perhaps based on a tragic incident where a hunter may have been killed by a bison. When witnessed, such emotional events tend to persist in memory but are subject to distortion over time but initially may give rise to pseudohallucinations or hyperimages experienced by an onlooker which, in this case, seems to have been mythologised. Traumatic experiences would have been quite common for hunters during the Palaeolithic making the chance of intense, if not disturbing, recurring hyperimages highly likely.
References by Hodgson relating to "The Visual Dynamic Theory"
References by Hodgson relating to "The Visual Dynamic Theory"
Hodgson. D. 2003. Seeing the 'Unseen': Fragmented Cues and the Implicit in Palaeolithic Art. Cambridge Archaeological Journal. 13 (1): 97-106.
Hodgson. D. 2003. Seeing the 'Unseen': Fragmented Cues and the Implicit in Palaeolithic Art. Cambridge Archaeological Journal. 13 (1): 97-106.
Hodgson. D. 2003.The Biological Foundations of Upper Palaeolithic Art: Stimulus. Percept and Representational Imperatives. Rock Art Research. 20 (1): 3-22.
Hodgson. D. 2003.The Biological Foundations of Upper Palaeolithic Art: Stimulus. Percept and Representational Imperatives. Rock Art Research. 20 (1): 3-22.
Hodgson, D. 2006. Altered States of Consciousness and Palaeoart: An Alternative Neurovisual Explanation. Cambridge Archaeological Journal. 16: (1): 27-37.
Hodgson, D. 2006. Altered States of Consciousness and Palaeoart: An Alternative Neurovisual Explanation. Cambridge Archaeological Journal. 16: (1): 27-37.
Hodgson. D. 2006. Tracings of the mind: the role of hallucinations, pseudohallucinations and visual imagery in Franco-Cantabrian cave art. Anthroglobe.
Hodgson. D. 2006. Tracings of the mind: the role of hallucinations, pseudohallucinations and visual imagery in Franco-Cantabrian cave art. Anthroglobe.
Link:
Link:
Hodgson, D. and Helvenston, P. A. 2006. The Emergence of the Representation of Animals in Palaeoart: Insights from evolution and the cognitive, limbic and visual systems of the human brain. Rock Art Research 23 (1): 3-40.
Hodgson, D. and Helvenston, P. A. 2006. The Emergence of the Representation of Animals in Palaeoart: Insights from evolution and the cognitive, limbic and visual systems of the human brain. Rock Art Research 23 (1): 3-40.
Link:
Helvenston, P. A. and Hodgson, D. 2010. The Neuropsychology of “Animism”: Implications for Understanding Rock Art. Rock Art Research. 27 (1): 61-94.
Helvenston, P. A. and Hodgson, D. 2010. The Neuropsychology of “Animism”: Implications for Understanding Rock Art. Rock Art Research. 27 (1): 61-94.
Hodgson, D. and Helvenston, P. 2010. The neuropsychological basis of rock art: hyperimagery and its significance for understanding the archaeological record. In, Archaeological Invisibility and Forgotten Knowledge. Conference Proceedings, University of Łódź, Poland, 5th–7th September 2007. K. Hardy (ed.). pp. 172-179. BAR International Series 2183: Archaeopress: Oxford.
Hodgson, D. and Helvenston, P. 2010. The neuropsychological basis of rock art: hyperimagery and its significance for understanding the archaeological record. In, Archaeological Invisibility and Forgotten Knowledge. Conference Proceedings, University of Łódź, Poland, 5th–7th September 2007. K. Hardy (ed.). pp. 172-179. BAR International Series 2183: Archaeopress: Oxford.
Link:
Link:
Hodgson, D. 2008. The Visual Dynamics of Upper Palaeolithic Art. Cambridge Archaeological Journal. 18 (3): 341-353.
Hodgson, D. 2008. The Visual Dynamics of Upper Palaeolithic Art. Cambridge Archaeological Journal. 18 (3): 341-353.
Link:
Link:
Hodgson, D. 2012. Emanations of the mind: Upper Palaeolithic art as a visual phenomenon. Time and Mind.5(2):185-193.
Hodgson, D. 2012. Emanations of the mind: Upper Palaeolithic art as a visual phenomenon. Time and Mind.5(2):185-193.
Link:
Link:
Hodgson, D. 2013. Ambiguity, Perception, and the First Representations. In, Origins of Pictures (Papers from the Chemnitz Conference, Germany (2010). pp. 401-423. K. Sachs-Hombach and J. R. J. Schirra (eds.). Halem: Köln.
Hodgson, D. 2013. Ambiguity, Perception, and the First Representations. In, Origins of Pictures (Papers from the Chemnitz Conference, Germany (2010). pp. 401-423. K. Sachs-Hombach and J. R. J. Schirra (eds.). Halem: Köln.
Link:
Link:
https://www.researchgate.net/publication/262611864_Ambiguity_Perception_and_the_First_Representations_In_Origins_of_Pictures_Papers_from_the_Chemnitz_Conference_Germany_2010
https://www.researchgate.net/publication/262611864_Ambiguity_Perception_and_the_First_Representations_In_Origins_of_Pictures_Papers_from_the_Chemnitz_Conference_Germany_2010
Hodgson, D. 2013. The Visual Brain, Perception, and the Depiction of Animals in Rock Art. The Journal of Archaeology. Article ID 342801.
Hodgson, D. 2013. The Visual Brain, Perception, and the Depiction of Animals in Rock Art. The Journal of Archaeology. Article ID 342801.
Hodgson, D. and Watson, B. 2015. The visual brain and the early depiction of animals in Europe and Southeast Asia. World Archaeology. 47(5): 776-791.
Hodgson, D. and Watson, B. 2015. The visual brain and the early depiction of animals in Europe and Southeast Asia. World Archaeology. 47(5): 776-791.
Link:
Link:
http://dx.doi.org/10.1080/00438243.2015.1074871
http://dx.doi.org/10.1080/00438243.2015.1074871
Hodgson, D. 2014 (Oct). YouTube Presentation: The visual brain, embodiment and the first visual cultures: what can they tell us about "art"? https://youtu.be/xEr50nNnnRc
Hodgson, D. 2014 (Oct). YouTube Presentation: The visual brain, embodiment and the first visual cultures: what can they tell us about "art"? https://youtu.be/xEr50nNnnRc
Presented at: The Eleventh International Conference on Neuroesthetics: Seeing Knowing: Vision, Knowledge, Cognition, and Aesthetics, at the University of California, Berkeley. 2014 (Oct).
Presented at: The Eleventh International Conference on Neuroesthetics: Seeing Knowing: Vision, Knowledge, Cognition, and Aesthetics, at the University of California, Berkeley. 2014 (Oct).
Hodgson, D. 2017. Closely Observed Animals, Hunter-Gatherers and Visual Imagery in Upper Palaeolithic Art. Evolutionary Studies in Imaginative Culture. 1(2). https://doi.org/10.26613/esic/1.2
Hodgson, D. 2017. Closely Observed Animals, Hunter-Gatherers and Visual Imagery in Upper Palaeolithic Art. Evolutionary Studies in Imaginative Culture. 1(2). https://doi.org/10.26613/esic/1.2
Hodgson, D. and Pettitt, P. 2018. The origins of iconic depictions: a falsifiable model derived from the visual science of Palaeolithic cave art and world rock art. Cambridge Archaeological Journal. 1-22. doi: org/10.1017/S0959774318000227
Hodgson, D. and Pettitt, P. 2018. The origins of iconic depictions: a falsifiable model derived from the visual science of Palaeolithic cave art and world rock art. Cambridge Archaeological Journal. 1-22. doi: org/10.1017/S0959774318000227
Hodgson, D. 2020. Upper Palaeolithic art as a perceptual search for magical images. Time and Mind. doi: 10.1080/1751696X.2021.1961048
Hodgson, D. 2020. Upper Palaeolithic art as a perceptual search for magical images. Time and Mind. doi: 10.1080/1751696X.2021.1961048
Hodgson, D. 2023. Seeing Beyond Pareidolia: Implications for Palaeoart. Rock Art Research.40(2).
Hodgson, D. 2023. Seeing Beyond Pareidolia: Implications for Palaeoart. Rock Art Research.40(2).
Other important references
Other important references
Alpert, B. O. 2012. Niaux Cave: theatre of illusions. L’anthropologie. 116: 680–693.
Alpert, B. O. 2012. Niaux Cave: theatre of illusions. L’anthropologie. 116: 680–693.
Gombrich, E. H. 1960. Art and Illusion. Phaidon: London (pages 89-93)
Gombrich, E. H. 1960. Art and Illusion. Phaidon: London (pages 89-93)
Clottes, J. 2007. New Discoveries at Niaux Cave in the French Pyrenees. in, Exploring the Mind of Ancient Man : Festschrift to Robert G. Bednarik, editor P. C. Reddy. New Delhi: Research India Press, 281-291
Clottes, J. 2007. New Discoveries at Niaux Cave in the French Pyrenees. in, Exploring the Mind of Ancient Man : Festschrift to Robert G. Bednarik, editor P. C. Reddy. New Delhi: Research India Press, 281-291
Fritz, C. 1999. Towards the reconstruction of Magdalenian artistic techniques: the contribution of microscopic analysis of mobiliary art. Cambridge Archaeological Journal 9: 189– 208.
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Fritz, C. and G. Tosello 2000. Observations on the techniques in the horse panel at the Chauvet Cave (Ardèche). Example of the rhinoceroses confronting each other. International Newsletter on Rock Art 26: 23–2
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Valle, R., López, G-T. E., Tuyukamm, P. H. T. and Munduruku , J. S. 2018. What is anthropogenic? On the cultural aetiology of geo-situated visual imagery in indigenous Amazonia, Rock Art Research. 35,(2):123-144.