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The Mind in the Cave: Consciousness and the Origins of Art

Book by James David Lewis-Williams · 35 quotes · Upper Palaeolithic Art, Consciousness, Kundalini

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All Upper Palaeolithic Art Consciousness Kundalini Neanderthal

The Mind in the Cave: Consciousness and the Origins of Art Quotes

“It is the task of San shamans to activate their supernatural potency, to cause it to ‘boil’ up their spines until it explodes in their heads and takes them off to the spirit realms – that is, they enter a state of trance at the far end of the intensified trajectory.”

Consciousness Upper Palaeolithic Art Kundalini

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“According to Martindale’s view, as we drift into sleep we pass through: – waking, problem-oriented thought, – realistic fantasy, – autistic fantasy, – reverie, – hypnagogic (falling asleep) states, and – dreaming.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“In altered states of consciousness, the nervous system itself becomes a ‘sixth sense’ that produces a variety of images including entoptic phenomena.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The behaviour of the human nervous system in certain altered states creates the illusion of dissociation from one’s body (less commonly understood in hunting and gathering shamanistic societies as possession by spirits).”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“San religion is built around belief in a tiered universe. As do other shamanistic peoples throughout the world, the San believe in a realm above and another below the surface of the world on which they live.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“A shaman’s activities as a sorcerer, or his own conscious act of entry into the supernatural world, were a kind of “killing”.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The principal aim of a vision quest is to ‘see’ a spirit animal that will become the quester’s animal-helper and source of his power.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Entering a cave” or rock was a metaphor for a shaman’s altered state; therefore, caves (and rocks more generally) were considered entrances or portals to the supernatural world.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Rock art sites were symbolic vaginas, and entry into the wall of a rock art site was thus akin to intercourse.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Sexual arousal and penal erections are associated with both altered states of consciousness and sleep.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“In southern Africa, a great many figures are ithyphallic. This feature has generally – and rather vaguely – been taken to refer to ‘masculinity’, but the painted contexts of the figures seems to confirm that, as in North America, sexual arousal was a metaphor for altered states of consciousness.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Shamanism is not simply a component of society: on the contrary, shamanism, together with its tiered cosmos, can be said to be the overall framework of society.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Perhaps the most striking feature of the west European Upper Palaeolithic, one on which many writers comment, is a sharp increase in the rate of change. Compared with the preceding Middle Palaeolithic, a great deal happened in a comparatively short time.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The notion that an image is a scale model of something else (say, a horse) requires a different set of mental events and conventions from those that perceive the social symbolism of red marks on someone’s chest.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Around 30,000 years ago, in the Aurignacian, at the beginning of the Upper Palaeolithic, someone or some group in the Eyzies region invented drawing, the representation in two dimensions on the flat of the stone of what appeared in the environment in three dimensions.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Seeing’ two-dimensional images is therefore something that we learn to do; it is not an inevitable part of being human.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Consciousness has evolved biologically and can therefore be explained biologically.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The cerebral cortex, the outer ‘skin’ of the brain, contains as many as ten billion neurons. This complexity is daunting. Yet it is out of complex interactions between the billions of neurons that consciousness arises.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Primary consciousness is a state of being aware of things in the world – of having mental images in the present.But it is not accompanied by any sense of a person with a past and future…”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Primary consciousness is a kind of ‘remembered present’…”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“I believe it is reasonable to assume that higher-order consciousness developed neurologically in Africa before the second wave of emigration to the Middle East and Europe.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Improved memory made possible the long-term recollection of dreams and visions and the construction of those recollections into a spirit world.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Some researchers believe that dreaming is what happens when sensory input to the brain is greatly diminished: the brain then ‘freewheels’, synapses firing more or less at random, and the brain tries to make sense of the resultant stream of images.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Once human beings had developed higher-order consciousness, they had the ability to see mental images projected onto surfaces and to experience afterimages.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The first two-dimensional images were thus not two-dimensional representations of three-dimensional things in the material world, as researchers have always assumed. Rather, they were ‘fixed’ mental images.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“For the makers, the paintings and engravings were visions, not representations of visions.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“In Lascaux and other sites, hoofs are depicted to show their underside, or hoofprint.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Under certain social circumstances, which may have varied from time to time and place to place, certain people (shamans) saw a relationship between the small, three-dimensional, projected mental images that they experienced at the far end of the intensified spectrum and fragments of animals that lay around their hearths.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The portable animal statuettes were therefore far more than decorative trinkets: they were reified three-dimensional spirit animals with all their prophylactic and other powers.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“I now argue that entry into Upper Palaeolithic caves was probably seen as virtually indistinguishable from entry into the mental vortex that leads to the experiences and hallucinations of deep trance.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Certainly, the sensory deprivation afforded by the remote, silent and totally dark chambers, such as the Diverticule of the Felines in Lascaux and the Horse’s Tail in Altamira, induces altered states of consciousness.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“To understand the ‘wounded men’ of Upper Palaeolithic art, I now consider somatic hallucinations; these include attenuation of the body and limbs, polymelia (having extra limbs or digits), and, the one on which I focus, pricking and stabbing sensations.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“Shamans submit to death in order to serve their communities.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The Upper Palaeolithic figures known as ‘wounded men’ occur at Cougnac and Pech Merle, two sites in the Quercy district of France.”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art

“The ‘wounded men’ may, I argue, represent a form of shamanistic suffering, ‘death’ and initiation that was closely associated with somatic hallucinati”

Consciousness Upper Palaeolithic Art

Book:The Mind in the Cave: Consciousness and the Origins of Art

Source: The Mind in the Cave: Consciousness and the Origins of Art