Wilkins & Wakefield (1995) provide a thoughtful contribution to our understanding of language origins. In this commentary I attempt to define the relationship between object-manipulation and primate brain function further by reviewing research on aimed throwing and the production and use of stone tools by tufted capuchin monkeys (Cebtis apella). I propose that examining the relation between brain function and object-manipulation inCebuswill provide insight into the preconditions of language in our hominid ancestors.

This article reconsiders the early hominid ‘‘lithic niche’’ by examining the social implications of stone artifact making. I reject the idea that making tools for use is an adequate explanation of the elaborate artifact forms of the Lower Palaeolithic, or a sufficient cause for long-term trends in hominid technology. I then advance an alternative mechanism founded on the claim that competency in making stone artifacts requires extended learning, and that excellence in artifact making is attained only by highly skilled individuals (...) who have been taught and practiced for extensive periods. Consequently both competency and expertise in knapping comes at a high learning cost for both the individual learner and the social group to which they belong. Those high intrinsic costs of learning created contexts in which groups selected cost-reducing forms of social learning and teaching, and in which specialization could develop. Artifacts and their manufacturing processes probably acquired functions as social signals—as honest signals of valuable capacities. The magnification of these signals, through competition between knappers and through inspiring later craftspeople, may account for a substantial amount of the accumulated elaboration visible in the archaeological record. Consequently lithic artifacts operated as material symbols from an early time in hominid evolution. (shrink)

This paper examines the inferential framework employed by Palaeolithic cognitive archaeologists, using the work of Wynn and Coolidge as a case study. I begin by distinguishing minimal-capacity inferences from cognitive-transition inferences. Minimal-capacity inferences attempt to infer the cognitive prerequisites required for the production of a technology. Cognitive-transition inferences use transitions in technological complexity to infer transitions in cognitive evolution. I argue that cognitive archaeology has typically used cognitive-transition inferences informed by minimal-capacity inferences, and that this reflects a tendency to favour (...) cognitive explanations for transitions in technological complexity. Next I look at two alternative explanations for transitions in technological complexity: the demographic hypothesis and the environmental hypothesis. This presents us with a dilemma: either reject these alternative explanations or reject traditional cognitive-transition inferences. Rejecting the former is unappealing as there is strong evidence that demographic and environmental influences play some causal role in technological transitions. Rejecting the latter is unappealing as it means abandoning the idea that technological transitions tell us anything about transitions in hominin cognitive evolution. I finish by briefly outlining some conceptual tools from the philosophical literature that might help shed some light on the problem. (shrink)

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

Using a model of cognition as extended and enactive, we examine the role of materiality in making minds as exemplified by lithics and writing, forms associated with conceptual thought and meta-awareness of conceptual domains. We address ways in which brain functions may change in response to interactions with material forms, the attributes of material forms that may cause such change, and the spans of time required for neurofunctional reorganization. We also offer three hypotheses for investigating co-influence and change in (...) cognition and material culture. This project has received funding from the European Union’s Horizon 2020 research and innovation program under grant agreement No. 785793. (shrink)

Cognitive archaeologists infer from material remains to the cognitive features of past societies. We characterize cognitive archaeology in terms of trace-based reasoning, which in the case of cognitive archaeology involves inferences drawing upon background theory linking objects from the archaeological record to cognitive features. We analyse such practices, examining work on cognitive evolution, language, and musicality. We argue that the central epistemic challenge for cognitive archaeology is often not a paucity of material remains, but insufficient constraint from cognitive theories. However, (...) we also argue that the success of cognitive archaeology does not necessarily require well-developed cognitive theories: Success might instead lead to them. (shrink)

She laughs to herself, and her whole body shakes with it—she's got a volcano to choke off. So she curls the fingers of one hand into a fist, and sears down its throat with her awareness, not burning but cooling, turning its own fury back on it to seal every breach. She forces the growing magma chamber, back, back, down, down …We know surprisingly little about rock. Rock is red-hot, creeping, viscous stuff that we rarely see, and touch at our (...) peril. For living things like us to enter into an intimate relationship with the lithic - to become enmeshed with rock - is to become rock. It is to meet with sudden, certain, cessation of life.At least, that's how it would be if we could encounter the bulk of the Earth's rock.... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hope Draped in Black: Decolonizing Utopian StudiesCaroline Edwards (bio)What does utopian studies have to learn from critical race theory, Black studies, and ideas of Black futurity? While utopian scholars have begun unpicking the colonial entanglements of utopianism’s origins (particularly as a literary genre grounded in pelagic crossings to the New World that have advocated slavery, extractivism, and eugenics to name a few notable examples across the utopian canon), few, (...) if any, have incorporated the perspectives, aesthetics, and theoretical work of Black scholars themselves.1 The following are a few brief remarks organized around keywords (in a nod to Raymond Williams, a fierce advocate of utopian thinking) that attempt to sketch an answer to these questions, with a focus on my own area of utopian study: utopian literary and cultural production in the contemporary period.ProgressWe might start by considering the literary utopia’s most prolific period, from roughly 1880 to 1915. In a deluge of utopian narratives, many of them penned by amateur writers, we find the emergence of a genre that is thoroughly [End Page 498] rooted in industrialized progress. Whatever their perspective on capitalism and waged labor, these works privilege advanced industrialization as the primary means to eliminate poverty and disease, thereby liberating workers into automated futures of post-scarcity abundance. Examples include Edward Bellamy’s highly rationalized system of pneumatic delivery (Looking Backward: 2000–1887 [1888]), Mary E. Bradley Lane’s chemical production of food from waste products (Mizora: A World of Women [1890] 1999), H. G. Wells’s titanic hydro-powered engineering (Men Like Gods [1923]), Edward Bulwer Lytton’s lithic limitless energy, Vril (The Coming Race [1871]), or the ubiquitous electricity that powers Elizabeth Burgoyne Corbett’s clean city (New Amazonia: A Foretaste of the Future [1899] 2011), Alice Ilgenfritz Jones and Ella Marchant’s advanced Martian society (Unveiling a Parallel: A Romance [1893]), and Alexander Bogdanov’s advanced scientific culture on the red planet (Красная звезда [Red Star (1908) 1984]). Indeed, many notable dystopian novels begin with the same premise of highly automated societies that focus, rather, on the awfulness of life without purpose (Anna Bowman Dodd’s The Republic of the Future; Or, Socialism a Reality [1887], E. M. Forster’s “The Machine Stops” [1909], Kurt Vonnegut’s Player Piano [1952]). While they are far from uncritical of the telos of historical progress (most of the works highlight the class and gender inequalities of their own time), utopian novels in this period tend to view the utopian process as one of harnessing historical progress in a more equitable direction; they rarely question the Hegelian premise that history moves through contradictory forces in a dialectical series of stages.In his 2016 book Hope Draped in Black, Joseph R. Winters explores the lasting damage that ideas of historical progress have wrought on Black writers, artists, and thinkers. While notions of racial uplift are loaded with a linear narrative of Black progress such conceptions, he writes, “are mediated by melancholy, loss, and a recalcitrant sense of tragedy” (6–7). Building on Adorno and Horkheimer’s landmark critique in Dialectic of Enlightenment (1944) as well as the works of W. E. B. Du Bois, Winters notes thatmodern notions of progress and freedom are inherently flawed and problematic because they rely on and are intertwined with practices and conditions—capitalism, colonial expansion, racial hierarchies, endeavors, and incentives to usurp and possess that earth—that are harmful to non-Europeans, working-class bodies, women, and other groups.(2016, 8) [End Page 499]Examining the relationship between melancholy and hope in Black literary and aesthetic traditions, Winters explores how writers such as Toni Morrison and Ralph Ellison incorporate jazz into their works, using its discordant, improvisational structures to imagine time out of joint (the Derridean deferral of justice announced by the arrival of the specter of old King Hamlet, who returns) (Derrida 1994). Here, Winters writes, “the past can always haunt and disturb the present [so that] the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility” (2016, 25). If we are to contemplate the almost overwhelming task of decolonizing utopian studies, then... (shrink)

This article offers some hypotheses to explain Later Stone Age lithic miniaturization: the systematic creation of small stone flakes on the finest-grained materials. Fundamentally, this phenomenon appears to represent the prioritization of stone tool sharpness over longevity, and a disposable mode of using stone tools. Ethnographic evidence from Australasia, the Andaman Islands, and Africa is used to suggest some specific functions for miniaturized lithics, as well as their relationship to other aspects of Later Stone Age material culture, including ochre (...) crayons, shell beads, and notched bones. Miniaturized lithic functions are hypothesized to have a common basis in the cognitive capacity for abstraction: having ideas about ideas. The technological and social affordances of abstraction may have given later Homo sapiens significant adaptive advantages over other members of our genus. (shrink)

This article addresses the question of whether early Pleistocene hominins are plausibly viewed as having possessed a protolanguage, that is, a communication system exemplifying some but not all of the distinctive features of fully modern human language. I argue that the answer is “yes,” mounting evidence from the early Pleistocene “lithics niche.” More specifically, I first describe a cognitive platform that I think would have been sufficient, given appropriate socio-ecological conditions, for the creation and retention of a protolanguage. Then, (...) using archaeological evidence pertaining to hominin lithic behavior from the early Pleistocene, I attempt to make plausible the idea that each of these cognitive abilities were in fact in place by this point in hominin evolutionary history and also that the requisite socio-ecological conditions were satisfied. (shrink)

For decades, the dominance of the Clovis-first paradigm precluded the possibility of acknowledging a human presence in the Western Hemisphere before 11.5 ka. Yet there are a multitude of sites in the Americas with significant evidence for human occupation dating back to 200 ka and older. At two of these sites, Holloman in Oklahoma, and Hueyatlaco in Mexico, stone tools were found that indicate the possible presence of a lithic technology advanced beyond that found contemporaneously in Eurasia. Culturally modern humans (...) may not have originated in Africa as is currently thought, but in America where evolutionary change was facilitated by geographic isolation. Homo sapiens could have re-entered Eurasia from America as early as 75 ka and spread rapidly, displacing archaic Homo species. The opening and closing of the Bering Land Bridge over the last several hundred thousand years may have functioned as the pacemaker of human evolution. Keywords: Clovis, Out-of-Africa, evolution, Pleistocene, America. (shrink)

Stone hurts—and not simply because rocks so easily become missiles. The lithic offers a blunt challenge to our belief that humans matter. Homo sapiens are a species perhaps 200,000 years old. Homo erectus and Homo habilis, two of our earliest ancestors, go back perhaps 2.5 million years. That seems a substantial span. If you were to count one number per second and never pause to sleep or eat, it would take about twelve days to reach one million. Two-and-a-half million is (...) a month filled with incessant counting. Stone was the Earth's first solid. Geologists have identified bedrock that has endured at least 4.3 billion years. Some zircon crystals are older still. Every migrant continent harbors rocks of at least... (shrink)

It is generally held that Presocratic cosmologies are sui generis and unique to their authors. If, however, a division is made between sixth-century and fifthcentury BC cosmologies, some salient differences emerge. For instance, heavenly bodies in sixth-century cosmologies tend to be light, ephemeral, fed by vapors, and located above the earth; those in fifth-century cosmologies tend to be heavy, permanent, heated by friction, and to travel below the earth. The earlier cosmologies seem to embody a meteorological model of astronomy, the (...) latter a lithic model. The change in models can be accounted for on the basis of Parmenides’ discovery that the moon is illuminated by the sun and hence is a spherical, permanent, opaque or earthy body. This insight generated empirical evidence to confirm itself and rendered obsolete earlier cosmologies. (shrink)

The comment endorses and reinforces Daniel W. Graham’s highly original and attractive proposal that early Greek cosmology develops in two stages. In what Graham calls the “meteorological stage” of the sixth century BCE, celestial objects are explained as formations either from fire or from watery exhalations in a roughly planar model of the cosmos. In the “lithic stage” of the mid- and late fifth century introduced by Anaxagoras, the model is that of a central earth around which solid stone-like celestial (...) objects revolve held aloft in a vortex. The change to the lithic stage comes about, according to Graham, as the implications of Parmenides’ epoch-making discovery that the moon is illuminated by the sun come to be understood and are then theoretically exploited. The present comment also proposes that the false explanations of lunar phases and lunar and solar eclipses in the meteorological-stage cosmologies, respectively, of Xenophanes and of Heraclitus may have played a helpful heuristic role in the theoretical breakthrough to heliophotism. (shrink)

Experimental archaeology is often understood both as testing hypotheses about processes shaping the archaeological record and as generating tacit knowledge. Considering lithic technologies, I examine the relationship between these conceptions. Experimental archaeology is usefully understood via “maker’s knowledge”: archaeological experiments generate embodied know-how enabling archaeological hypotheses to be grasped and challenged, and further, well-positioning archaeologists to generate integrated interpretations. Finally, experimental archaeology involves “material speculation”: the constraints and affordances of archaeologists and their materials shape productive exploration of the capacities of (...) objects and human skill in ways relevant to archaeological questions. (shrink)

This paper examines Pedro Tabensky's claims that rational human life has a single unifying purpose, and that there is an analogy between the skill of living and that of painting. It examines his arguments for the first claim, in particular the relation between ratio nality and different ways in which a life might be unified. For, in addition to the narrative or artistic unification which Tabensky favours, there is also (for example) the possibility of unifying one's life through the adoption (...) of a so-called monolithic end, such as pleasure (assuming that pleasure is monolithic). The paper also investigates the implications of each of these modes of unification for how we should understand the skill of living. According to the narrative or artistic model, living will indeed be like painting; however, according to the mono lithic-end model, living may be more like business management; and other models may make other analogies salient. All this will make a difference to our attitudes to events within our lives, for example, whether the inevitable disturbances within our lives are to be integrated or, rather, eliminated. S. Afr. J. Philos. Vol.23(4) 2004: 353-364. (shrink)

Wynn's model for the evolution of spatial cognition is well supported by fossil evidence from brain endocasts, and from neurological studies of the cerebellum and the posterior parietal region of the cerebral cortex. Wynn's intriguing hypothesis that the spatial skill reflected in artifacts is an index of navigational ability, could be further explored by an analysis of lithic transport patterns.

Usual narratives among prehistoric archaeologists consider typological approaches as part of a past and outdated episode in the history of research, subsequently replaced by technological, functional, chemical, and cognitive approaches. From a historical and conceptual perspective, this paper addresses several limits of these narratives, which (1) assume a linear, exclusive, and additive conception of scientific change, neglecting the persistence of typological problems; (2) reduce collective developments to personal work (e.g. the “Bordes’” and “Laplace’s” methods in France); and (3) presuppose the (...) coherence and identity of these “methods” over time. It explores the case of the “Structural and analytical typology” method, developed in France, Spain, and Italy from the 1950s to the 2000s by Georges Laplace and his collaborators for lithic implements. This paper (1) provides a detailed historical account of the evolving content of this collective endeavour over five decades; (2) it addresses the epistemological question of what makes the identity and unity of a scientific method, demonstrating that the core component of the “analytical typology” lies in its particular way to represent real-world phenomena through its notation system; and (3) it reveals how this little known but significant episode of advances in the methods and theory of archaeology, contemporary but independent of the “New Archaeology” trend in English-speaking archaeology, was instrumental in the continuation of evolutionary perspectives in France and in the development of quantitative and formal methods in archaeology in southwestern Europe, foreseeing crucial knowledge representation issues raised today by digital methods in archaeology and data curation. (shrink)

In the last decades, many changes have occurred in scientific publishing, including online publication, data repositories, file formats and standards. The role played by computers in this process rekindled the argument on forms of technical determinism. This paper addresses this old debate by exploring the case of publishing processes in prehistoric archaeology during the second part of the twentieth century, prior to the wide-scale adoption of computers. It investigates the case of a collective and international attempt to standardize the typological (...) analysis of prehistoric lithic objects, coined typologie analytique by Georges Laplace and developed by a group of French, Italian, and Spanish researchers. The aim of this paper is to: 1) present a general bibliometric scenario of prehistoric archaeology publishing in continental Europe; 2) report on the little-known typologie analytique method in archaeology, using publications, archives, and interviews; 3) show how the publication of scientific production was shaped by social (editorial policies, support networks) and material (typography features and publication formats) constraints; and 4) highlight how actors founded resources to control and counterbalance these effects, namely by changing and improving publishing formats. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Breathing with Mountains1Paul A. Harris (bio)For Sydney Levy, who brought me on board.Geologic AspirationsStone breathes within nature's time cycle…. It begins before you and continues through you and goes on. Working with stone is not resisting time but touching it.—Isamu NoguchiUnder the suffocating circumstances of lockdown, COVID conditions inevitably wafted their way into the stoned thinking of Pierre Jardin.2 The pandemic atmosphere made air apparent, and breathing became personal, (...) political, and planetary. People sought perspective in sometimes surprising ways. While many turned to the Stoics, Jardin turned to stone. Suspending his disbelief in "The Hammock of Relaxation" (fig. 1), Jardin stretched his imagination, and set himself adrift in diffuse reveries of rocky respiration. Click for larger view View full resolutionFigure 1.The Hammock of Relaxation. Pebble on book cover.Photo by author.Jardin composes a life centered in absorbing stone(s), encompassing both a physical process of soaking in a substance slowly and psychological experience of becoming engrossed in it. He feels alive with stone and stone alive in him; literally and metaphorically, he has spent hours looking at stone, listening to stone, and touching/being touched by stone. But he had never seriously considered breathing stone. Immediately, a slew of questions arose: Do rocks breathe? Do mountains? Does the Earth? What would it mean to breathe with a stone, or with the planet? Jardin's pursuit of lithic and lithospheric respirations came to comprise his geologic aspirations, which are set out here. [End Page 261]Aerial ImaginationPierre Jardin's geologic aspirations took inspiration from Gaston Bachelard's aerial imagination, as described in Air and Dreams. Accepting Bachelard's invitation to "listen to nothing but our own breathing…, to become as aerial as our breath…" (Bachelard, Air 241), Jardin set about inventing a regimen of contemplative breathing exercises. To do so, he took up what Bachelard terms the "search for a thought hidden under expressive sedimen,ts, [in which] a geology of silence is developed" (Bachelard Air, 251). The question was, what "expressive sediments" should Jardin mine in this quixotic quest? What materials and mental modalities would precipitate a "geology of silence"?In order to meld minds with Bachelard, Jardin placed a pebble on Robert Lapoujade's pencil portrait that graces the book's cover (fig. 2). The results were alchemical: the cobble transmuted into a philosopher's stone, opening Bachelard's third eye; the rock launched a basalt on Jardin's senses that produced an "intoxication of aerial imagination raised to its cosmic role" (Bachelard, Air 241). A gesture as simple as placing a rock on a book crystallized new quartz-veins of thought. What follows are Jardin's experiments with a variety of "expressive sediments," a series of multi-scalar meditations and various instantiations of lithic respiration. Click for larger view View full resolutionFigure 2.Aerial Basalt on the Senses. Pebble on book cover.Photo by author.Atmospheric CompositionsPierre Jardin's geologic aspirations began with a Composition of Place, a meditative technique deployed in the Spiritual Exercises of Ignatius of Loyola. Loyola stipulates that "for contemplation or meditation about visible things… the 'composition' will consist in seeing through the gaze of the imagination the material place where the object I want to contemplate is situated" (Ganss 47). Taking "Breathing with Mountains" as the "object" of contemplation stretches Jardin's imagination to a geologic scale; its "material place" is the Earth's atmosphere, or more specifically, its lowest layer, the troposphere. [End Page 262]To facilitate his meditation, Jardin scales Earth down to a stunning serpentine stone, which he has mounted like a globe. Holding the stone and breathing slowly, Jardin can visualize the troposphere as the thinnest of films on the rock's surface. In his active imagination, the bumps, furrows, and ridges in the rough rock texture evoke the constant crumpling of the lithosphere caused by drifting and crashing tectonic plates.With the stone standing in for Earth, Jardin suddenly becomes a geologic giant representing Anthropocene humanity. As his exhalations cloud the stone, Jardin considers how Anthropogenic expirations are changing the composition of the Earth's atmosphere. An index of human impact is provided... (shrink)

Rock Records explores the intricate entanglements between Anthropos and Geos through a wide range of writings about stone, from media theory and ecophilosophy to the role of stones in art and the aesthetics of viewing stones. Authors engage the activity, vitality, and relationality of lithic matter and articulate multiple modalities of 'geo-affection,' as well as forms of geo-mythology, geo-sociality, and occult lithography. As the initial issue in a new digital/intermedial series of SubStance aimed at interweaving creative and critical work, Rock (...) Records also features digital versions of essays with photo-rich content, as well as a virtual exhibition of viewing stones and a series of speculative studies in... (shrink)

Corballis suggests that fully vocal communication was invented by modern humans between 170,000 and 50,000 years ago. Because this new form of communication did not require hand gestures, he wondered whether this may have facilitated the development of lithic manufacture. I cast doubt on this interesting notion but offer an enhanced version that may have more potential.

To know the shape is to enjoy the information it embodies.In his classic work of lithic scrying, The Writing of Stones, Roger Caillois suggests that the pareidoliac's interpretation of a stone's pattern depends upon her own personal internalized database of stored images, a database defined by the cultural stock of mediated imagery forged and embellished by personal memory, emotion and psychical topography. For Caillois, "the vision the eye records is always impoverished and uncertain. Imagination fills it with the treasures of (...) memory and knowledge." Caillois's own database was one defined in a pre-digitized, barely computerized world. His meditations on Agates, Jaspers and Septaria evoked for him a world of... (shrink)