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The visual brain and the early depiction of animals in Europe and Southeast Asia
16 references·9 citing·40 second hopsampled
The visual brain and the early depiction of animals in Europe and Southeast Asia (2015)The visual brain and the early depiction …Pleistocene cave art from Sulawesi, Indonesia (2014)Pleistocene cave art from Sul…Homo erectus at Trinil on Java used shells for tool production and engraving (2014)Homo erectus at Trinil on Jav…Thinking strings: Additional evidence for personal ornament use in the Middle Stone Age at Blombos Cave, South Africa (2013)Thinking strings: Additional …U-Series Dating of Paleolithic Art in 11 Caves in Spain (2012)U-Series Dating of Paleolithi…A 100,000-Year-Old Ochre-Processing Workshop at Blombos Cave, South Africa (2011)A 100,000-Year-Old Ochre-Proc…Pinnacle Point Cave 13B (Western Cape Province, South Africa) in context: The Cape Floral kingdom, shellfish, and modern human origins (2010)Pinnacle Point Cave 13B (West…A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa (2010)A Howiesons Poort tradition o…Late Pleistocene Demography and the Appearance of Modern Human Behavior (2009)Late Pleistocene Demography a…Implications for complex cognition from the hafting of tools with compound adhesives in the Middle Stone Age, South Africa (2009)Implications for complex cogn…Engraved ochres from the Middle Stone Age levels at Blombos Cave, South Africa (2009)Engraved ochres from the Midd…The invisible frontier. 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References

  • 2009Late Pleistocene Demography and the Appearance of Modern Human Behavior1,031 cited
  • 2014Pleistocene cave art from Sulawesi, Indonesia655 cited
  • 2009Engraved ochres from the Middle Stone Age levels at Blombos Cave, South Africa637 cited
  • 2011A 100,000-Year-Old Ochre-Processing Workshop at Blombos Cave, South Africa606 cited
  • 2012U-Series Dating of Paleolithic Art in 11 Caves in Spain575 cited
  • 2003The invisible frontier. A multiple species model for the origin of behavioral modernity533 cited
  • 2000Archeology and the evolution of human behavior499 cited
  • 2009Implications for complex cognition from the hafting of tools with compound adhesives in the Middle Stone Age, South Africa467 cited
  • 2014Homo erectus at Trinil on Java used shells for tool production and engraving461 cited
  • 2010A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa407 cited
  • 2000Coasting out of Africa347 cited
  • 2010Pinnacle Point Cave 13B (Western Cape Province, South Africa) in context: The Cape Floral kingdom, shellfish, and modern human origins344 cited
  • 2002Systematic Pigment Use in the Middle Pleistocene of South‐Central Africa305 cited
  • 2001What is Cultural Modernity? A General View and a South African Perspective from Rose Cottage Cave

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281 cited
  • 2013Thinking strings: Additional evidence for personal ornament use in the Middle Stone Age at Blombos Cave, South Africa245 cited
  • 1976'Art Mobilier' from the Apollo 11 Cave, South West Africa: Africa's Oldest Dated Works of Art206 cited
  • Cited by

    • 2018The Archaeology of Sulawesi: Current Research on the Pleistocene to the Historic Period34 cited
    • 2020The visual psychology of European Upper Palaeolithic figurative art: using Bubbles to understand outline depictions11 cited
    • 2021Upper Palaeolithic art as a perceptual search for magical images10 cited
    • 2023Absence of botanical European Palaeolithic cave art: What can it tell us about plant awareness disparity?9 cited
    • 2018How Do We Explain ‛Autistic Traits’ in European Upper Palaeolithic Art?8 cited
    • 2024Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia6 cited
    • 2025Tracing individuality and hand preference in Upper Palaeolithic engraving: experimental and traceological insights1 cited
    • 2023New evidence of early Holocene naturalistic rock art in Jinsha River valley, southwestern China1 cited
    • 2017Closely Observed Animals, Hunter-Gatherers, and Visual Imagery in Upper Paleolithic Art1 cited