I cannot see for the life of me why not, since 80% of the paper does not concern shamanism. LW now promotes a broader hypothesis on Altered States of Consciousness (ASC), but actually the paper is more concerned with explaining the Neuro-visual theory and then comparing how the two differing theories compare.Ishtar wrote:The difficulty I’m having here is that I cannot really take seriously the paper of Hodgson who has never in his life experienced a shamanic journey telling me (who has, and who knows many others who have) what the shaman experiences on those journeys, and how it is actually different from what I and most other shamanic practitioners say that we experience.
For example and with regard to geometric forms;
Q. Explains geometrics in the art of shamanistic cultures.
Neurovisual theory - Partially
ASC - Partially
Q. Can account for geometric designs in art of non-shamanistic cultures
Neurovisual theory - Yes
ASC - No
Q. Can account for geometric designs where the representation of objects is absent
Neurovisual theory - Yes
ASC - No
Q. Explains the appearance of geometric designs before the Upper Palaeolithic
Neurovisual theory - Yes
ASC - No
Q. Is based on a non-symbolic account
Neurovisual theory - Yes
ASC - Yes
Q. Is related to the ecology of perception and the dynamics of evolution
Neurovisual theory - Yes
ASC - No
Q. Accounts for culturally defined aspects of geometric designs
Neurovisual theory - No
ASC - No
Q. Explains why geometric forms widespread in art despite infrequency in ASC
Neurovisual theory - Yes
ASC - No
Q. Relies on stages (sequential or otherwise)
Neurovisual theory - No
ASC - Yes
Q. Offers a mechanism that links the production of geometric marks directly with the normal functioning visual brain
Neurovisual theory - Yes
ASC - No
Q. Is refutable
Neurovisual theory - Yes
ASC - Yes
There was no need to go to such trouble since I have studied the subject well, and as I explained before Hodgson was falsifying a particular notion of LW's that there are three stages;Ishtar wrote:It would be like, say, you’d just returned from Egypt to find a load of pendants, who’d never in their lives left the UK, waving papers at you that ‘prove’ that the pyramids don’t exist.
Not only that, but in basing his conclusions on one man’s experiences with hallucinogenics, Hodgson isolated a very particular method of achieving the shamanic altered state, which is in no way representative. That is why I went to trouble to show you all the different ways of reaching that state …so you could see how Hodgson had, by no means, got the full picture.
Stage 1: entoptics
Stage 2: construal
Stage 3: entoptics and iconics
this is clearly not the case.
I am only too aware that our interpretations are subjective, to then base a theory on the back of an ‘alien’ interpretation appears to be incredibly naïve.Ishtar wrote:Art can only ever be a matter of interpretation.
Neurological functions can more than adequately explain many of the characteristics of Palaeolithic art such as the exaggeration of salient features. The visual recognition system has a propensity to recognise certain key visual cues known as sign stimuli. Further, it we know that artificial stimuli (i.e. exaggerated representations) can act as super normal stimuli, i.e. eliciting a stronger or faster neurological response. For an example of this in action think of how caricatures aid in recognition.Ishtar wrote:Science, except in the dating of the rock that it’s on, has no place there anyway. Neurological functions are interesting, but they tell us the ‘what’ – they don’t tell us the ‘why’.
Again, your misinterpretation. I mentioned the geometric forms we see when we close and rub our eyes. Hodgson explains why geometric forms are preferred by the architecture of the visual brain. It certainly has nothing to do with shamanism and wasn’t the exclusive domain of HSS or HNS.Ishtar wrote:Do Hodgson and Bednarik seriously think that Palaeo man sat there rubbing his eyes and then thought, ‘I know. Those pretty dots would make a good picture.” ?
Again, everyone is welcome to speculate, but they must recognise that that is all they are doing. But, if they insist on claiming more than this, then the onus of proof rests with them to demonstrate so or withdraw the claim.Ishtar wrote:He may have done, of course. But the whole matter about what drove the art and architecture of Palaeo and Neo man is open to interpretation.
Or rather your ‘interpretation’ was subjective. Bednarik has gone to considerable lengths – as have many others – to demonstrate why and how the ASC theory does not stand up to scrutiny. It’s not a casual dismissal of LW’s apparent intransigence and forever adapting theory and to believe so only demonstrates a lack of appreciation for how seriously these people take their subject and the depth of consideration displayed.Ishtar wrote:Why I came in on this, and started this discussion, was because Bednarik was casually dismissing all the shamanic interpretations out of hand, showing a closed mind to any other possibilities.
Neither I nor anyone else has said that LW thinks all Palaeoart can be accounted for by the theory of ASC since he cannot credibly make such a claim. What I did imply was that the “blanket” use of the Shamanic theory to account for Palaeoart was fundamentally flawed but regularly invoked by people who don’t know any better. You have yet to prove me wrong.Ishtar wrote:So for the moment, I will suspend my disbelief to take your view that Lewis Williams thinks all Palaeo art is shamanic. Then, on the other side, we have Bednarik whose position is equally polarised … he thinks all Palaeo art is definitely not shamanic.
And likewise I apologise if my somewhat direct nature can appear abrasive or argumentative.Ishtar wrote:Neither of them can possibly be sure, and so in the middle there, we have room for debate, discussion and a polite exchange of views on the matter. That’s what I was hoping for anyway…I don’t know how it descended into anything else, but I apologise if I had any part in that.
Ishtar wrote:BTW - Copywriters who write book covers are like tabloid headline writers. They write whatever they think loosely fits the contents with a view to grabbing good reviews and selling the book. They usually choose the title too, and the author rarely gets a look in on all of that.
Manystones wrote:And even if the sleeve wasn't written by LW it is certainly accurately descriptive of the theory, and by virtue of being published - sanctioned by the author.
The Mind in the Cave puts forward the most convincing explanation yet proposed for the origins of image-making and art. The Neanderthals, our nearest ancient relatives, lived alongside our Cro-Magnon ancestors for over10,000 years, borrowing stone tool technology but never developing art – how could this be? The answer, David Lewis-Williams shows, lies in the evolution of the human mind. Cro-Magnons, unlike the Neanderthals, possessed a higher-order consciousness and a more advanced neurological make-up which enabled them to experience shamanistic trances and vivid mental imagery.