Neuroimaging supports the representational nature of the earliest human engravings

A hole in a piece of cardboard and predictive brain: the incomprehension of modern art in the light of the predictive coding paradigm

Incomprehension of and resistance to contemporaneous art have been constant features in the development of modern art. The predictive coding framework can be used to analyse this response by outlining the difference between the misunderstanding of (i) contemporary conceptual/minimalist art and (ii) early modern avant-garde art and by elucidating their underlying cognitive mechanisms. In both of these cases, incomprehension and its behavioural consequences are tied to the failure of the optimal prediction error (PE) minimization that is involved in the perception of such art works. In the case of contemporary conceptual/minimalist art the failure stems from the fact that the encounter results in non-salient visual sensations and generates no PE. In early modern avant-garde art, the occasional inability of viewers to recognize pictorial content using new pictorial conventions reflected the absence of suitable priors to explain away ambiguous sensory data. The capacity to recognize pictorial content in modernist painting, as a prerequisite for a satisfying encounter with such works and ultimately a wider acceptance of new artistic styles, required an updating of a number of expectations in order to optimize the fit between priors and sensations, from low-level perceptual priors to the development of higher-level, culturally determined expectations. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

From fossils to mind

Fossil endocasts record features of brains from the past: size, shape, vasculature, and gyrification. These data, alongside experimental and comparative evidence, are needed to resolve questions about brain energetics, cognitive specializations, and developmental plasticity. Through the application of interdisciplinary techniques to the fossil record, paleoneurology has been leading major innovations. Neuroimaging is shedding light on fossil brain organization and behaviors. Inferences about the development and physiology of the brains of extinct species can be experimentally investigated through brain organoids and transgenic models based on ancient DNA. Phylogenetic comparative methods integrate data across species and associate genotypes to phenotypes, and brains to behaviors. Meanwhile, fossil and archeological discoveries continuously contribute new knowledge. Through cooperation, the scientific community can accelerate knowledge acquisition. Sharing digitized museum collections improves the availability of rare fossils and artifacts. Comparative neuroanatomical data are available through online databases, along with tools for their measurement and analysis. In the context of these advances, the paleoneurological record provides ample opportunity for future research. Biomedical and ecological sciences can benefit from paleoneurology's approach to understanding the mind as well as its novel research pipelines that establish connections between neuroanatomy, genes and behavior.

Neural correlates of perceiving and interpreting engraved prehistoric patterns as human production: Effect of archaeological expertise

It has been suggested that engraved abstract patterns dating from the Middle and Lower Palaeolithic served as means of representation and communication. Identifying the brain regions involved in visual processing of these engravings can provide insights into their function. In this study, brain activity was measured during perception of the earliest known Palaeolithic engraved patterns and compared to natural patterns mimicking human-made engravings. Participants were asked to categorise marks as being intentionally made by humans or due to natural processes (e.g. erosion, root etching). To simulate the putative familiarity of our ancestors with the marks, the responses of expert archaeologists and control participants were compared, allowing characterisation of the effect of previous knowledge on both behaviour and brain activity in perception of the marks. Besides a set of regions common to both groups and involved in visual analysis and decision-making, the experts exhibited greater activity in the inferior part of the lateral occipital cortex, ventral occipitotemporal cortex, and medial thalamic regions. These results are consistent with those reported in visual expertise studies, and confirm the importance of the integrative visual areas in the perception of the earliest abstract engravings. The attribution of a natural rather than human origin to the marks elicited greater activity in the salience network in both groups, reflecting the uncertainty and ambiguity in the perception of, and decision-making for, natural patterns. The activation of the salience network might also be related to the process at work in the attribution of an intention to the marks. The primary visual area was not specifically involved in the visual processing of engravings, which argued against its central role in the emergence of engraving production.

Aristotle's dream: Evolutionary and neural aspects of aesthetic communication in the arts

Art in general perception is something that transcends our notion of reality. In view of the earliest findings in Paleolithic sites, their abstract appearance and sometimes ceremonial context increased their status of a secret language. Even the first figurative cave paintings remained in a context of an encoded semantic whole. The highly symbolic value of art seemed invulnerable. It was just the claim for "mimesis" in Greek antiquity (Plato) that urged artists to "realistically" depict what can be seen-as to stay in track of eternal messages behind. This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles. First, that reality (the phenomenal world) is in general only a pale reflection of what lays behind (Platonic ideas) and second, that the human eye, unlike the human mind, cannot penetrate to more than ephemeral impressions. Moreover, it mixed up reality with what we are able to see (i.e. visual perception), thus supposing a pinpoint representation of the world by our senses. Aristotle was the first to qualify art as picturing more than we usually are meant to see, filling the gap between the sensual and the spiritual world. Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion, thus a summarized view within any performance of poetics or painting. And it took centuries to close the gap between natural and aesthetic perception or art. Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized, concept as emotion-driven and thus, mentally equipped as well. This sets a new approach in our understanding of perception, art, and aesthetics as an ongoing communication in process on common bases. Art may cooperate or disagree, but never can cut the nexus with its perceptual prejudices and substrate.

Portable art from Pleistocene Sulawesi

The ability to produce recognizable depictions of objects from the natural world-known as figurative art-is unique to Homo sapiens and may be one of the cognitive traits that separates our species from extinct hominin relatives. Surviving examples of Pleistocene figurative art are generally confined to rock art or portable three-dimensional works (such as figurines) and images engraved into the surfaces of small mobile objects. These portable communicative technologies first appear in Europe some 40 thousand years ago (ka) with the arrival of H. sapiens. Conversely, despite H. sapiens having moved into Southeast Asia-Australasia by at least 65 ka, very little evidence for Pleistocene-aged portable art has been identified, leading to uncertainties regarding the cultural behaviour of the earliest H. sapiens in this region. Here, we report the discovery of two small stone 'plaquettes' incised with figurative imagery dating to 26-14 ka from Leang Bulu Bettue, Sulawesi. These new findings, together with the recent discovery of rock art dating to at least 40 ka in this same region, overturns the long-held belief that the first H. sapiens of Southeast Asia-Australasia did not create sophisticated art and further cements the importance of this behaviour for our species' ability to overcome environmental and social challenges.

What Early Sapiens Cognition Can Teach Us: Untangling Cultural Influences on Human Cognition Across Time

Evidence of cultural influences on cognition is accumulating, but untangling these cultural influences from one another or from non-cultural influences has remained a challenging task. As between-group differences are neither a sufficient nor a necessary indicator of cultural impact, cross-cultural comparisons in isolation are unable to furnish any cogent conclusions. This shortfall can be compensated by taking a diachronic perspective that focuses on the role of culture for the emergence and evolution of our cognitive abilities. Three strategies for reconstructing early human cognition are presented: the chaîne opératoire approach and its extension to brain-imaging studies, large-scale extrapolations, and phylogenetic comparative methods. While these strategies are reliant on our understanding of present-day cognition, they conversely also have the potential to advance this understanding in fundamental ways.