“Tis in ourselves that we are thus
or thus. Our bodies are our gardens, to the which
our wills are gardeners: so that if we will plant
nettles, or sow lettuce, set hyssop and weed up
thyme, supply it with one gender of herbs, or
distract it with many, either to have it sterile
with idleness, or manured with industry, why, the
power and corrigible authority of this lies in our
wills. If the balance of our lives had not one
scale of reason to poise another of sensuality, the
blood and baseness of our natures would conduct us
to most preposterous conclusions: but we have
reason to cool our raging motions, our carnal
stings, our unbitted lusts, whereof I take this that
you call love to be a sect or scion.”
Quote by William Shakespeare
“Rock art sites were symbolic vaginas, and entry into the wall of a rock art site was thus akin to intercourse.”
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.”
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.”
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.”
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.”
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.”
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.”
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.”
Source: The Mind in the Cave: Consciousness and the Origins of Art
“Consciousness has evolved biologically and can therefore be explained biologically.”
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.”
Source: The Mind in the Cave: Consciousness and the Origins of Art
