Cognitive Aspects of Upper Paleolithic Engraving

Marshack, Alexander

doi:10.1086/201311

Cited by 87 publications

(34 citation statements)

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“…This analysis is based on a broadly representative sample of 211 art traditions gleaned from published literature and from visits to major sites and museums (Supplemental Table 1). Literature consulted includes general syntheses (Sandars 1985), reports on individual art traditions, and area-, genre-, and period-based syntheses (Bailey 2005;Biehl 2003;Bradley 1997;Bradley et al 2002;Casini et al 1995;Casini and Fossati 2004;Clottes 2002;Clottes and Lewis-Williams 1998;Gosden et al 2008;Groht 2013;Helskog and Olsen 1995;Lawson 2012;Leroi-Gourhan 1982;Marshack 1972;Mithen 1987;Nash 2012;Robb 2008Robb ,2009Sanchidrian 2005;Scarre 2007;Shee 1981;Talalay 1993;Ucko and Rosenfeld 1967;Wells 2012). Tables 1 and 2 give an overview of the sample, which is listed fully and illustrated in the Supplementary Materials.…”

Section: Methodology and Materialsmentioning

confidence: 99%

“…These pieces served some ritual purpose for which evident skill was not central; the point was the act of making an image or an expedient mnemonic or narrative purpose, not the appearance of the finished product. Some art may have served didactic (Mithen 1987), mnemonic, or calendrical (Marshack 1972) purposes, but, again, there is no reason to think that all art did. In terms of Paleolithic art production systems, the overall impression is that archaeologically known art is a small material component of an active ritual life; in it we see the paraphernalia used in ritual operations, with broad, decentered, often idiosyncratic networks of ritual practitioners.…”

Section: Paleolithic and Mesolithic Art: Mobility And Fluiditymentioning

confidence: 99%

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Prehistoric Art in Europe: A Deep-Time Social History

Robb¹

2015

Am. antiq.

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Although many researchers have studied prehistoric European artthere has been virtually no attention paid to the broad prehistory of art as a specialized form of material culture: virtually all studies focus narrowly on single bodies of art. This paper presents a new approach to analyzing prehistoric art: quantitative deep time study. It analyzes a database of 211 art traditions from across Europe and from 40,000 B.C. to 0 AD.to identify changes in the amountnatureand use of prehistoric art. The results reveal clear long-term trends. The amount of art made increased sharply with the origins of sedentary farming and continued to rise throughout prehistory. New forms of art arise in conjunction with new ways of life: “period genres “ are closely tied into patterns of social change. There are also long-term shifts in aesthetics and the uses of art (such as a gradual shift from arts of ritual and concealment to arts of surface and display). These resultsthough preliminaryshow that a deep-time approach familiar from topics such as climate change is applicable to art; the resulting social history can illuminate both art and its social context.

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Section: Methodology and Materialsmentioning

confidence: 99%

Section: Paleolithic and Mesolithic Art: Mobility And Fluiditymentioning

confidence: 99%

Prehistoric Art in Europe: A Deep-Time Social History

Robb¹

2015

Am. antiq.

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“…Undoubtedly, they have been used to count, or to keep track of cyclical patterns in the environment. Marshack (1972) thinks they represent lunar calendars. d'Errico (1995) devised the more general term Artificial Memory System.…”

Section: Complex and Accurate Numerical Competencementioning

confidence: 99%

Towards a Darwinian Approach to Mathematics

Cruz

2006

Found Sci

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In the past decades, recent paradigm shifts in ethology, psychology, and the social sciences have given rise to various new disciplines like cognitive ethology and evolutionary psychology. These disciplines use concepts and theories of evolutionary biology to understand and explain the design, function and origin of the brain. I shall argue that there are several good reasons why this approach could also apply to human mathematical abilities. I will review evidence from various disciplines (cognitive ethology, cognitive psychology, cognitive archaeology and neuropsychology) that suggests that the human capacity for mathematics is a category-specific domain of knowledge, hard-wired in the brain, which can be explained as the result of natural selection.

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“…SDG1 石核上的刻划线条与西欧旧石器时代晚期奥瑞那至马格德林时期出土的骨、角、砾石上的刻划痕迹相比 [4] , 很难说是构成了某种带有描述性的图案, 甚至较之年代更早的发现于南非 Blombos 洞穴遗址赭石上的刻划痕迹 [8] 与我国兴隆洞遗址象牙上的刻划痕迹 [16] 其时代大约在 120~150 ka [16] . 在北方, Pei [36] 介绍过周口店山顶洞人遗址出土的带有刻划痕迹的鹿角, 尤玉柱 [14] 发现峙峪遗址出土有距今 28~32 ka 的带有刻划痕迹的骨头, Bednarik [15,37] 也报道过龙骨洞洞穴遗址发现有距今 13065±270 a BP 的带有刻划痕迹的鹿角.…”

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