Richard E. Leakey

In its extreme form self-awareness manifests itself in notions such as that of the soul, but in simple form it merely means to be aware of oneself as an individual among others.

Prehistoric images speak to us more evocatively than any other element of the archeological record: colorful, vibrant paintings of horses, of bison, of a panoply of animals and humans that often seem alive and in motion. And yet there is a dimension of unreality about them... The images seem plucked from life... often arranged chaotically to our eye, frequently superimposed... sometimes apparently incomplete. ...There is an enigma in these images, a profound challenge to our understanding of the past.

The first major discovery of prehistoric art was the Spanish cave of Altamira, which, like Lascaux, is one of the most spectacular examples of Upper Paleolithic art yet known.

The painted, engraved, and carved images of prehistory are threads from past cultures, and we are foreigners trying to interpret their meaning. Perhaps more than anything else, art can be fully understood only in the context of the culture that produced it.

A vital leap in the evolution of intellectual capacity would have been the ability to form concepts, to conceive of individual objects as belonging to distinct classes, and thus do away with the almost intolerable burden of relating one experience to another. Concepts, moreover, can be manipulated and this is the root of abstract thought and of invention. The formation of concepts is also a necessary, but apparently not sufficient, condition for the emergence of language.

Leroi-Gourhan surveyed more than sixty caves and saw order in the distribution of their images. Deer... often appeared in entranceways but were uncommon in main chambers. Horse, bison, and ox were the predominant creatures of the main chambers. Carnivores mostly occurred deep in the cave system.

Because the art of Africa was on rock shelters, not deep in caves, as in Europe, the ravages of time have eroded most of a rich expression. What we now see is the merest glimpse of what was on the minds of these people.

The quality that accompanies the emergence of learning in the evolution of higher animals, namely intelligence, is surprisingly difficult to define.

The Abbé Breuil died in 1961, and with him died the all-encompassing hunting magic hypothesis. By this time another French archeologist, André Leroi-Gourhan, had been developing his own interpretation, one based on the emerging ideas on structuralism.

To our western eyes, the painted images are the most prominent component of a corpus of artistic expression. This Western bias, a particularly Eurocentric bias, has been pervasive and deep. ...it has resulted in a lack of attention to, and concern about, prehistoric art of equal and sometimes greater antiquity in eastern and southern Africa.

Ever since Darwin tied knots between human beings and the rest of the animal world, many people have frantically attempted to untie them again, declaring that even though our roots are in the animal world we have left them so far behind as to make any comparisons utterly meaningless. To some extent this is true, because the quality that makes us unique in the biological kingdom is the enormous capacity to learn.

It appears that the evolutionary process promotes its own progress: learning about the environment (which demands a certain intelligence) means living in a stable social mileau (which demands at least an equal and possibly a greater intelligence); as social intelligence increases, so too will the ability to learn; this in turn encourages an even longer social apprenticeship; and longer group living leads to more social intelligence.