Symbolic Behavior (Palaeoart) at Two Million Years Ago: The … 39 slide IFRAO 2013.pdf · 2013-05-04 · Self-Organizing Combinatorial Systems in Acoustic Phonological Space (simulation

SymbolicBehavior(Palaeoart)atTwoMillionYearsAgo:

TheOlduvaiGorgeFLKNorthPeckedCobbleTheEarliestArtworkinHumanEvolution

JamesHarrod,Ph.D.AdjunctInstructorinArtHistory,MaineCollegeofArt,Portland,Maine

Director,CenterforResearchontheOriginsofArtandReligionoriginsnet.org

IFRAOInternationalRockArtCongress2013Albuquerque,NM,USA

Session:Archaeologyandthescienceofrockart

ANewParadigm

• WaveI:DispersalofHomorudolfensis/habilis,withclassicOldowanpebble‐coretooltradition,out‐of‐Africa,~2.0Mato1.7Ma

• WaveII:DispersalofHomoerectus,withMiddleAcheulianorDevelopedOldowan‐liketooltradition,out‐of‐Africa,~1.0Mato800ka

• WaveIII:DispersalofHomosapienssapiensout‐of‐AfricaorSWAsiawithMid‐MiddlePaleolithictechnology,~150to60ka

• WaveIV:UpperPaleolithic60kaGlobalRockArtHeritage

Oldowan,groovedandpeckedcobble

OlduvaiGorge,FLKNorth,UpperBedI,1.75to1.76Ma~8x5x5cm,artificiallygroovedandpeckedphonolitecobble,cortexfullyremoved,peckedwithfourpitsinrow,3‐4mmdeep+2pits0.5mmdeeponlowersideandlineargroove,varying9to18mmdeep,encirclingthecobble,sufficientforsuspendingbythong;overallshape‘unlikelyatool,resemblesaprimate/baboon‐head’(LM1971:84,269;LM1976;‘apparentcupuleson

eitherside’(BR2003).PhotoMaryLeakey(1971:pl.18)

In search of a method

In search of a ‘scientific’ method to make hypotheses about the evolution of

human symbolic behavior, including palaeoart, during the Lower and Middle Paleolithic

1.  Look at phylogeny. Review general trends of primate evolution and cultural innovations and speculate about stages of human evolution over the last 2 million years. Few such studies cite known lower palaeolithic art, which would support or reject their speculations.

2.  Look at ontogeny. Define stages of child development in one or more domains (e.g., cognition, planning, learning and imitation, vocalization and language, play, child tool use, child drawing) and suggest that early hominin capacities correlate to some stage of childhood. Setting aside the disparaging aspects of this approach, few such studies mention any palaeoart artifacts prior to UP art or MP ‘symbolic behavior’, e.g., Blombos. Again, artifactual evidence is rarely presented to support or reject these hypotheses.

3.  Carefully examine tools to identify typical visuospatial features and extrapolate competencies. I used this method in my paper examining an Oldowan ‘found art’ artifact from Koobi Fora (~ 1.8 mya) (Harrod 1992).

Wynn, Thomas. 1989. The evolution of spatial competence. Chicago: University of Illinois.

and from this I initially deduced

Eight (8) Oldowan visuospatial features

4.  Use neuroscience brain imaging studies of present-day Homo sapiens sapiens to make inferences about the cognitive abilities of prior species. To date there are only the three imaging studies (Stout, Toth, Schick and Chaminade 2008; Stout and Chaminade 2007; Stout, Toth and Schick 2000) on the making of Oldowan or Acheulian tools. There are no imaging studies on subjects making palaeoart markings; nor have the Stout studies been used to clarify anything about the evolution of human symbolic behavior.

InthepresentstudyIaimtobridgeartandscienceanddosowithrespecttotheOlduvaigroovedandpeckedcobble.

ToaccomplishthistaskIdevelopandapplytwomethods.

Method#1

IextendWynn’smethod(Wynn1989)forlookingatvisuospatialfeaturesinOldowantoolstolookingatOldowanpalaeoart.IexpandthisbyidentifyingOldowan‘bodytechniquesorelementaryactionsonmatter’(Joulian2005;Leroi‐Gourhan1971,1965)andshowinghowtheyimplyaconceptualworldviewforthepalaeoartist,andextrapolatingfurtherIreconstructOldowanabasicphonological‐lexical‐semanticscorrespondingtoboththeOldowanvisuospatialfeaturesandOldowanbodytechniques.HereIbuildonthephememetheoryofMaryLeCronFoster1996,1994,1992,1990,1983,1978)andherreconstructionoftwoOldowanphememes.

Method#2

FromtheoppositedirectionIdevelopandapplyanart‐theoreticapproachtotheartifactlookingfortheartist’sapplicationofbasicdesignprinciples.FirstIreviewneurosciencebrainimagingstudiesonOldowantoolmakingandidentifyfunctionsforthefullrangeofnodesinthesestudies.NextIdevelopacomprehensivelistofdesignprinciplesandtheircorrespondingneuralsubstrates.IsynthesizecorrelationsbetweendesignprinciplespositedbyMacnab(2012)andtheStouttoolmakingstudies,addinginbrainimagingstudiesofart‐makingandtheonlystudyofthemakingofsomethinglike‘glyph‐like’markings,astudyonJapanesekanji‐writing.ToreducethedegreeofprojectionbiasandreconstructHomohabiliscapacitiesfordesign,ImaptheneuralnetworkforOldowantoolmakingontopaleoneurologyendocaststudiesoftheHomohabilisbrain(Tobias1987;Falk1983;HollowayandPost1982;Holloway1981,1978,BrunerandHolloway2010).Ithencomparethistoachecklistofdesignprinciplesandtheirneuralsubstrates.

Oldowan,groovedandpeckedcobble

OlduvaiGorge,FLKNorth,UpperBedI,1.75to1.76Ma~8x5x5cm,artificiallygroovedandpeckedphonolitecobble,cortexfullyremoved,peckedwithfourpitsinrow,3‐4mmdeep+2pits0.5mmdeeponlowersideandlineargroove,varying9to18mmdeep,encirclingthecobble,sufficientforsuspendingbythong;overallshape‘unlikelyatool,resemblesaprimate/baboon‐head’(LM1971:84,269;LM1976;‘apparentcupuleson

eitherside’(BR2003).PhotoMaryLeakey(1971:pl.18)

Method #1

InitialidentificationofdesignfeaturesusingaWynnvisuospatialanalysisapproach

(afterThomasWynn,JohnGowlett,NicholasToth)

The Oldowan artist uses hierarchical-dependence-in-sequencing rule to make the art space of the medium

(the stone ‘canvas’ and ‘frame’)

Pecking and battering make its opposite, ‘a clean slate’, the everyday phenomenal stone object is transformed into a ‘canvas’/‘frame’ on/in which a design will be incised, marked. (‘affordance’)

and

After it is marked the design is available to be further pounded, battered, erased. (‘anti-affordance’)

The Oldowan artist uses syntactic sequencing rule to incise two complementary reversal transformations

A circular dot repeated makes a line

A line repeated makes a circle

Nearbynesscontiguity,contact,overlap,proximity

(cf.trimming)

Separationapartness,standingapart

usuallybymeansofboundary

thePairsetoftwoorfour

similarknappingactions,marks

Alternationthisside/that(other)side

(cf.bifacialflaking)

SyntacticSequencingandReversalconcatenationofelementsjoinedinorderedseries

=nearbyness+separation+repetition+constantdirectionFiniteStateGrammar(FSG)ABABABandSequenceReversal,e.g.ABCDDCBA

HierarchicalRuleUseinSequencingactions,geometricshapes;hierarchical(embedded)dependency;

visuospatialgoal‐subgoalsactionoutcomeprediction

Surface/Corenutmeatfromshell;

reverse:flakesfromcore

Matrix/Pitmatrixwithpitinit;reverse:pitwith

a‘matrix’init(e.g.,cupule)

Oldowan Visuospatial Features

Top 3 rows: Wynn, T. (1979, 1981, 1985); Gowlett (1984), Toth (1987). Wynn (1979:17) suggests sequence reversal does not appear until Acheulian bilateral symmetry; I suggest it is intentionally applied on the Oldowan pitted and grooved cobble. 4th row: based on Oldowan toolmaking brain

imaging (Stout, Toth, Schick & Chaminade 2008). Bottom row: Harrod (1992)

TheOldowangroovedandpeckedcobblemarkingsin

ConceptualSpace

AHypothesis

DialecticofOldowanBodyTechniquesinConceptualSpacetopologicallyandconceptuallycomplementarywholeorworldview

of‘elementaryactionsonmatter’,gesture‐movement‐forms,informingtheconceptualspaceofsymbolicbehavior

Cut,slice,divide,divideintoshares;shear,split,scrapeoff;separatelinearly

(product)carved,distributedmeat,fruitsustenance;bastfiber,tendon,grass,leaves,twigs

(by‐product)scrapedhide,husk,hair,fur,feathers;bone

Tool:sharpedgeflake,knife,scraper

Pierce,puncture,drill,digintothatwhichenvelopstoreveal,discover,‘un‐bound’

(product)foodsustenance(by‐product)hole,indentation(cf.cupule)

Tool:diggingstick,pointedchoppercore,awl

Pound,hammer,percusstostrikeoff,removehardcortex;separatecircularly

(product)core‐seed‐essence,groundorsoftenedfood,sustenance

(by‐product)shattered,crushed,husk,shell,cortex,bone;innermatterpulverized

Tool:choppercore

Bound,bind,join,link,concatenate,curveintocurvedshapetoencircle,envelop

(product)thread,twine,knot,plaiting,curvedbark(by‐product)?containertocarry,protect,e.g.,bedding,sleepnest,

windbreak,ties,babysling,net‐bag,barktraybracelet,necklace

Tool:fingers,hand,otherbody‐instrument

Oldowan stone tool use wear or residue studies indicate ’cutting grass, fibrous tubers and other plant material’, Kanjera South, 2 Ma (Lemorini et al 2009); ‘cutting soft plant tissue and scraping and sawing wood’,

plus ‘cutting soft animal tissue’, Koobi Fora, 1.5 Ma (Keeley and Toth 1981)

The Oldowan palaeoartist applied

all four of these body techniques (gesture-movement-forms),

which constitute a conceptual-space-worldview,

to make the grooved and pecked cobble design.

Cut,slice,divide,separatelinearly=groove

Pierce,puncture,digout,‘un‐bound’=cupules

Pound,hammer,percusstostrikeoff,separatecircularly=

removecortexpulverizetopdisk

Bound,bind,join,link,curvetoencircle,envelop=circumferentialcircle

groupdot‐points(4by2)


Phonological‐Lexico‐SemanticSpace

AHypothesis

OldowanPhonological‐Lexical‐SemanticSpace

*t(p)V cut,slice;shear,splitoff,separatelinearly

*m(n)V curve,turn,bend,circle;bound,contain,issuebetweentwosurfaces,join

*t(p)V‐m(n)Vpound,hammer,hit,strike,smash,crush,breakintopieces,takepiecesoff,chip,chew;sufferormakesuffer,thin,faint,troubled;stretch,lengthen

*m(n)V‐t(p)V makeapit,pierce,puncture,dig,drill,peck,indent(cf.cupule);boreahole,digup,walk,pursue,seek

Mary LeCron Foster in a series of papers (1996, 1994, 1992, 1990, 1983, 1978) developed a hypothesis for reconstructing the structure and root stems of “primordial language” (PL) based on ‘phememes’, which overlap sound and mouth-movement shape, and hypothesized how PL evolved through various paleolithic stages. Foster reconstructed two basic Oldowan phememes (V = vowel): *t(p)V and *m(n)V.

In the light of the my proposed basic fourfold elementary body-techniques (gesture-movement-forms) in conceptual space, I take Foster’s hypothesis a step further by adding two permuted combinations of the two Foster phememes to reconstruct four basic lexemes of Spoken Oldowan, which map onto the Oldowan conceptual-space-worldview.

I propose that all four of these

How is it that these quaternion structures, (fourfoldnesses)

appear evident in the Oldowan art space, conceptual space and phonological-lexical

space?

Self-Organizing Combinatorial Systems in Acoustic Phonological Space (simulation imitation language game with 10 agents interacting to 60,000 generations)

De Boer B and Zuidema W. 2010. Multi-agent simulations of the evolution of combinatorial phonology. Adaptive Behavior 18(2): 141-154; figs 3, 5 and 6 (modified, rearranged as one figure)

randomly initialized state 4 trajectories, after 60,000 generations

5 trajectories 6 trajectories 10 trajectories

In search of an ‘art theoretic’ method

"But,afterall,theaimofartistocreatespace‐spacethatisnotcompromisedbydecorationorillustration,spacewithinwhichthesubjectsofpaintingcanlive.”

FrankStella(1986)

(quoted,dedication)Tyler,ChristopherW.andIone,Amy.2001.“TheConceptofSpaceinTwentiethCenturyArt.”InB.E.RogowitzandT.N.Pappas(Eds.),HumanVisionandElectronicImaging:ProceedingsofPhotonicsWest,TechnicalConference.TheInternationalSocietyforOpticalEngineering(SPIE)andtheSocietyforImagingScienceandTechnology(IS&T).SanJose,California.

Method #2

Insearchofan‘arttheoretic’method

Step1

ToapproachtheOldowanartifactasanexampleofpalaeoart,IfirstseeaneedtoclarifywhataretheconstitutiveontologicalspacesofexperiencethatmightbeatworkinthisOldowanartifact.

Howmany‘spaces’arethere?

Five (5) Fundamental Ontological Spaces of Experience (each with its own constitutive principles)

1.  The phenomenal space of the lived, phenomenal world

2.  The multiple embedded spaces of the artwork a)   Place (embed) art object in the lived phenomenal world-space (landscape) b)  Make space of the medium (conveyance of form, design, information) c)   Incise, mark (embed) a design on/in the space of the medium d)  (techniques, methods, processes of producing structured forms e)   Space the space of the design (pattern, motif, figure) by application of design

principles f)   Make space of visuospatial illusions of design/space g)  Space the agôn, agent/patient dynamics (grammatical ‘animacy’) h)  Make the space of curation (holding as special; caring, treasuring, salvaging;

intimately showing, displaying as a gift, in gratitude) i)  Formulate the audience space (space for observing, visual analysis,

interpretation, understanding, appreciation, critique)

3.  Mathematical space (space of numerosity)

4.  Conceptual space (conceptual worldview)

5.  Combinatoric phonological-lexico-semantic space

Insearchofan‘arttheoretic’method

Step2

Doanart‐visual‐analysisoftheOldowanartifact,focusingonitsthreeart‐spaces•  Thespacingofdesignitselfbyapplicationofdesignprinciples•  Theembedofmarks(motif,figure,pattern)on/inthemedium•  Themedium

Step 3

ReduceprojectingownbiasontoapriorspeciesandclarifyuniquenessofOldowanpalaeoartbyderivingacross‐mappingofpatternsofcorrelationsbetween•  PaleoneurologyendocaststudiesoftheHomohabilisbrain•  NeurosciencebrainimagingofsapienssapiensmakingOldowantools•  Basicgraphicdesignprinciples(afterMacnab2012,2008)•  Addhypotheticalreconstructionsofhabilinebrainneuralnetworks

fortheactofmakingart,numerosity,conceptualworldview,andlanguage.


TheDesignSpaceoftheArtwork

WhatdesigncompetenciesdidHomohabilishave?

WorksheetforDesignPrinciples(Macnab+Harrod)

BrainArea(Tal.Coordinates)

designprinciple(italics)

DesignPrinciples(M=Macnab,H=Harrod)neuralsubstrate:T=Oldowantoolmaking(ACH=Acheulian),K=Kanji‐writing,A=Art‐drawing

N=Oldowannumerosity(notincludingSS‐PMnodes)

RLIO‐V4:VisualObjectArea(objectidentityintegration;shape,color,depth,lightinvariances;gestaltprocesses);RL=N

1)Phosphenes• Shape,degreesoffreedom(point,line,plane,geometric3‐D)• Sensoryelements(color,lighting,etc.)• Gestaltstructureprinciples(figure/ground,closureorcompletion,continuance,similarity,proximity)

M TAN

RLOT:VisualWordFormArea(VWFA);L=N

2)Message‐1‘Visuallanguage’(meaninglinkedtoform,shape,pattern;‘visuallanguage’arisingfromform,‘fromgroupingtoshapetovisualmeaning’,Pinna[2010],PinnaandAlbertazzi[2011])

H TAKN

RIT:medialFFAFamiliarObjectArea;R=N

3)Familiarobjects(equipment,affordances?) H TKN

RMT/ITS:Supramodalsemioticsystem(linkssymboltomeaning;iconicgesturemeaning,e.g.,‘huge,’‘high’,‘round’,tospokenmeaning(image,sound,object,number),similecomprehension{REM});L=N

4)Message‐2Linksymboltomeaning(glyphs,glyph‐likemarkings,gesturemovementforms?)

MH

TN






RLIPS/PCS:Visuallyguidedgrasping,hapticmanipulation;R=N

5)Touch,grasp,manipulate,hold,show(curate) H ?AKN

RLSP7:VisuospatialOrientationPatternProcessing(L/Rorientation,navigateegocentricvirtualspace,followtrail;comparemagnitudes;visuallyexplore,spatialIQ,matchpatternssimilar,dissimilarinserialorsimultaneousarray,matrix,attendtovisualmotionof/inpatterns);R=N

6)Patternsofmovement(constructalflowpatterns,fractal,scalable,whichstore,connect,transportenergy)

M TAN

RLSP7:VisuospatialMentalRotation;R=N

7)Symmetry‐‐Rotational M TN

RLSMG40:SpatialRelationships(L/R,locatives,view‐dependentreferenceframe)(Lakoff‐Johnsonimageschemas)

8)Axial,LocativeImageSchemas H TA

RTOS:VisualPattern—Conjunct(Searchfortargetpatternconjunctionofshapeandsensoryelements)

9)Searchfor,findtargetpatternconjunctsofshapeandsensoryelements(makeconjuncts)

HM

T

RLIPL/MO/SO:Biomotion—SocialInteraction(Animacyperceptionandsemantics)+RLBiomotion(Animal)

10)Aliveness,animacyinsocialinteraction(qualiaofBergsonélanvital;Minkowskipersonalélanandcontactwithreality)+Animalshapes‐contours,aliveinlivingmovement

H T






LPM4:TransitionbetweenSingleMotorActs(executestart/stop,nestsegmentsinhierarchicallyorganizedactionplan,motorenact).[R:ACH]

11)Agency–Imprint(organizeplan,executestart/stop,sequencesegmentsofsinglemotoracts)

H TAK

LPC6:Initiation/TerminationofSimpleChunks(phonemesimilarity;symmetryjudge>aesthetic;lip,tonguearea);RL=N

12)Symmetry–Translational M TAN

LPM4/PC6:SequentialSyntacticProcessing(concatenation,finitestategrammar–FSG:ABABAB)

13)Concatenate,link,join,joincharacterstrings(FiniteStateGrammar:ABABAB)

H T

LIFG6/44:LSequentialgoals‐subgoalsactionoutcomeprediction;Visuo‐spatialhierarchy(embed)rulesuseinsequenceprocessing,Supramodalsemantics,speech,gesture,animacywordorder,mouthmirroraction,tooluse,ACH(expertonly);R=N

14)StructuralFormsofFlow–Arrangeclustersofobjectsbypartition,chain,linearorder,ring,hierarchy,tree,grid,cylinder[KempandTenenbaum2008]

M TKN




DesignPrinciples(M=Macnab,H=Harrod)neuralsubstrate:

T=Oldowantoolmaking(ACH=Acheulian),K=Kanji‐writing,A=Art‐drawingN=Oldowannumerosity(notincludingSS‐PMnodes)

RBrocaBA44,nearBA6:Sequentialgoals‐subgoalsactionoutcomeprediction(geometric,non‐biol.andbio.);RVisuo‐spatialhierarchy(embed)rulesuseinsequenceprocessing,hierarchicaldependency;R1st,2nd,and3rdpersonauditoryverbalimagination;ACH;R=N

15)Archetypalpatterns(‘patternsofregenerationandconnectivity’,suchasbranch,meander,spiral,helix,and‘patternsthatstackandpack’,suchastessellatingshapes,especiallytriangle,square,hexagon)+Hierarchicallatticesofspaceand/orsymbols

MH

xN

LBrocaBA45:LInitiation/TerminationofSupraordinateChunks(pre‐learnedsequenceofcategorizationtasks);LIntegratediscoursecontextandworldknowledge(T/Fpropositioninrealworld),semanticmeaning,andviolationjudgments;innerspeech,monitoringone’sthoughtsinverbalmodality

16)Higher‐orderstructuralformsofflow(suchashierarchy(internaltree),tree(bifurcatingbranches),grid,cylinder)

M x

RLmedialBA6:RTransitionbetweenSimpleChunks,symmetry;LTransitionbetweenSimpleChunks,attentiontosingleletters(symbols)

17)Symmetry–reflection,mirror,bilateral M A

? 18)Self‐similarshapescaling,fractals M xRBrocaBA45:RInitiation/TerminationofSupraordinateChunks(pre‐learnedsequenceofcategorizationtasks);Visualobjectdecision(matchvisualformstomemory);RIntegratediscoursecontextandworldknowledge(T/Fpropositioninrealworld),pragmatics;introversion;novelmetaphor>conventionalmetaphor>literalwordpairs;GoldenRatioperception;ACH

19)Goldenratio M x

Question

HowmanyoftheOldowantoolmakingdesignprinciplesappearevident

intheOlduvaiPeckedCobble?

Fourteen(14)OldowanDesignPrinciples(1‐4)‘TheSpacingoftheSpaceoftheDesign’

(derivedfromOldowantoolmakingbrainimagingneuralnodes,checkedagainstchecklistof19basicart‐designprinciples(afterMacnab2012,withseveralprinciplesadded)

InferiorOccipital,InferiorTemporal,Extrastriate

RLIO‐V4:VisualObjectArea(objectidentityintegration;shape,color,depth,lightinvariances;gestaltprocesses)

1)Phosphenes• Shape,degreesoffreedom(point,line,plane,geometric3‐D)• Sensoryelements(color,lighting,etc.)• Gestaltstructureprinciples(figure/ground,closureorcompletion,continuance,similarity,proximity)

RLOT:VisualWordFormArea(VWFA) 2)Message‐1‘Visuallanguage’(meaninglinkedtoform,shape,pattern;‘visuallanguage’arisingfromform,‘fromgroupingtoshapetovisualmeaning’,Pinna[2010],PinnaandAlbertazzi[2011])

RIT:medialFFAFamiliarObjectArea 3)Familiarobjects(equipment,affordances?)

RMT/ITS:Supramodalsemioticsystem(linkssymboltomeaning;iconicgesturemeaning,e.g.,‘huge,’‘high’,‘round’,tospokenmeaning(image,sound,object,number),similecomprehension{REM})

4)Message‐2Linksymboltomeaning(glyphs,glyph‐likemarkings,gesturemovementforms?)

Note1.Apparently,fiveofnineteenbasicart‐designprinciplesarenotfoundinOldowantoolmaking:(15)archetypalpatterns,suchasbranch,meander,spiral,helix,andstackableandtessellatingshapes,includinghierarchicallatticesofspaceand/orsymbol,whichdoesoccurintheAcheulian;(16)higher‐orderstructuralformsofflow,suchashierarchy(internaltree),tree(bifurcatingbranches),grid,cylinder;(17)symmetry–reflection,mirror,bilateral,whichisactivatedinArt‐making(drawing);(18)self‐similarshapescaling,fractals;and(19)goldenratio,whichalsooccursintheAcheulian.

MoreOldowanDesignPrinciples(5‐10)‘TheSpacingoftheSpaceoftheDesign’


SuperiorParietal,IPS,InferiorParietalandExtrastriateMiddleOccipital,TOSRLIPS/PCS:Visuallyguidedgrasping,hapticmanipulation

5)Touch,grasp,manipulate,hold,show(curate)

RLSP7:VisuospatialOrientationPatternProcessing(L/Rorientation,navigateegocentricvirtualspace,followtrail;comparemagnitudes;visuallyexplore,spatialIQ,matchpatternssimilar,dissimilarinserialorsimultaneousarray,matrix,attendtovisualmotionof/inpatterns)

6)Patternsofmovement(constructalflowpatterns,fractal,scalable,whichstore,connect,transportenergy)

RLSP7:VisuospatialMentalRotation 7)Symmetry‐‐Rotational

RLSMG40:SpatialRelationships(L/R,locatives,view‐dependentreferenceframe)(Lakoff‐Johnsonimageschemas)

8)Axial,LocativeImageSchemas

RTOS:VisualPattern—Conjunct(Searchfortargetpatternconjunctionofshapeandsensoryelements)

9)Searchfor,findtargetpatternconjunctsofshapeandsensoryelements(makeconjuncts)

RLIPL/MO/SO:Biomotion—SocialInteraction(Animacyperceptionandsemantics)+RLBiomotion(Animal)

10)Aliveness,animacyinsocialinteraction(qualiaofBergsonélanvital;Minkowskipersonalélanandcontactwithreality)+Animalshapes‐contours,aliveinlivingmovement

MoreOldowanDesignPrinciples(11‐14)‘TheSpacingoftheSpaceoftheDesign’


ExtendedBroca’sArea(sensulato):anteriorPrimaryMotor,Premotor,posteriorBA44LPM4:TransitionbetweenSingleMotorActs(executestart/stop,nestsegmentsinhierarchicallyorganizedactionplan,motorenact).[R:ACH]

11)Agency–Imprint(organizeplan,executestart/stop,sequencesegmentsofsinglemotoracts)

LPC6:Initiation/TerminationofSimpleChunks(phonemesimilarity;symmetryjudge>aesthetic;lip,tonguearea)

12)Symmetry–Translational

LPM4/PC6:SequentialSyntacticProcessing(concatenation,finitestategrammar–FSG:ABABAB)

13)Concatenate,link,join,joincharacterstrings(FiniteStateGrammar:ABABAB)

LIFG6/44:LSequentialgoals‐subgoalsactionoutcomeprediction;Visuo‐spatialhierarchy(embed)rulesuseinsequenceprocessing,Supramodalsemantics,speech,gesture,animacywordorder,mouthmirroraction,tooluse,ACH(expertonly)

14)StructuralFormsofFlow–Arrangeclustersofobjectsbypartition,chain,linearorder,ring,hierarchy,tree,grid,cylinder[KempandTenenbaum2008]

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Symbolic Behavior (Palaeoart) at Two Million Years Ago: The … 39 slide IFRAO 2013.pdf · 2013-05-04 · Self-Organizing Combinatorial Systems in Acoustic Phonological Space (simulation