Next to the discovery of the Turkana boy, the visit to Lascaux ranks as one of the great moments of my life. — Richard E. Leakey

The question... is whether Upper Paleolithic art bears the telltale signs of Lewis-Williams' three stage neuropsychological model, and could thus be shamanistic art.

Dots are just one example of an element in Lascaux art, and in all cave art... This is a profusion of nonrepresentational, geometric patterns. In addition to dots, there are grids and chevrons, curves and zigzags, and more. ...The coincidence of these geometric motifs with representational images is one of the most puzzling aspects of Upper Paleolithic art. ...images, six different kinds in all, are shimmering, incandescent, mercurial—and powerful. Called entoptic images—which means "within vision"—these phenomena are products of the basic neural architecture of the human brain.

When a San Shaman goes into a trance, he harnesses that power, becomes part of the world beyond, becomes invisible to the singers and dancers around him, and draws images on the rock face. Ask the San who drew the images, and they say the spirits. And the rock face is more than a surface for the paint; it is the boundary of this world and the world beyond. ...part of the meaning of it all, and the rock shelter itself assumes a special status, a place of veneration.