Robert Kentridge
Biographic Data
| ID | 1418775 |
|---|---|
| NAME | Robert Kentridge |
| GIVEN NAMES | Robert |
| FAMILY NAME | Kentridge |
| SIGNATURE | KENTRIDGE R |
| AFFILIATIONS | Canadian Institute for Advanced Research |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 21 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
Tracing individuality and hand preference in Upper Palaeolithic engraving
In the context of Palaeolithic archaeology, identifying traits of individual creators of prehistoric art remains a formidable challenge. This study introduces innovative traceological methods employed to analyze engraved stone plaquettes from the 15,800-year-old Late Upper Palaeolithic site of Gönnersdorf, Germany. Utilizing advanced techniques such as confocal microscopy, alongside manual and robotic experimentation, we investigate the hand pref…
Conversations with Caves
The influence of pareidolia has often been anecdotally observed in examples of Upper Palaeolithic cave art, where topographic features of cave walls were incorporated into images. As part of a wider investigation into the visual psychology of the earliest known art, we explored three hypotheses relating to pareidolia in cases of Late Upper Palaeolithic art in Las Monedas and La Pasiega Caves (Cantabria, Spain). Deploying current research methods …
An Upper Palaeolithic Proto-writing System and Phenological Calendar
In at least 400 European caves such as Lascaux, Chauvet and Altamira, Upper PalaeolithicHomo sapiensgroups drew, painted and engraved non-figurative signs from at least ~42,000bpand figurative images (notably animals) from at least 37,000bp. Since their discovery ~150 years ago, the purpose or meaning of European Upper Palaeolithic non-figurative signs has eluded researchers. Despite this, specialists assume that they were notational in some way.…
The visual psychology of European Upper Palaeolithic figurative art
How have our visual brains evolved, and exactly how did this constrain the specific way that animals were depicted in Upper Palaeolithic art? Here, we test predictions derived from visual neuroscience in this field. Using the example of open-air Upper Palaeolithic rock art of Portugal’s Côa Valley, we point out the frequently recurring outline strategies that past artists utilized to depict the prey animals upon which they were dependent for surv…
Bringing science to the study of ancient senses - archaeology and visual psychology
One cannot overemphasize the centrality of the visual brain to human evolution, perception, behaviour, identity and culture. We are visually-centric beings: it is estimated that more than half of o
Opportunities and challenges for a maturing science of consciousness
An Upper Palaeolithic Proto-writing System and Phenological Calendar
In at least 400 European caves such as Lascaux, Chauvet and Altamira, Upper PalaeolithicHomo sapiensgroups drew, painted and engraved non-figurative signs from at least ~42,000bpand figurative images (notably animals) from at least 37,000bp. Since their discovery ~150 years ago, the purpose or meaning of European Upper Palaeolithic non-figurative signs has eluded researchers. Despite this, specialists assume that they were notational in some way.…
The visual psychology of European Upper Palaeolithic figurative art
How have our visual brains evolved, and exactly how did this constrain the specific way that animals were depicted in Upper Palaeolithic art? Here, we test predictions derived from visual neuroscience in this field. Using the example of open-air Upper Palaeolithic rock art of Portugal’s Côa Valley, we point out the frequently recurring outline strategies that past artists utilized to depict the prey animals upon which they were dependent for surv…
Conversations with Caves
The influence of pareidolia has often been anecdotally observed in examples of Upper Palaeolithic cave art, where topographic features of cave walls were incorporated into images. As part of a wider investigation into the visual psychology of the earliest known art, we explored three hypotheses relating to pareidolia in cases of Late Upper Palaeolithic art in Las Monedas and La Pasiega Caves (Cantabria, Spain). Deploying current research methods …
Bringing science to the study of ancient senses - archaeology and visual psychology
One cannot overemphasize the centrality of the visual brain to human evolution, perception, behaviour, identity and culture. We are visually-centric beings: it is estimated that more than half of o
Opportunities and challenges for a maturing science of consciousness
Opportunities and challenges for a maturing science of consciousness
The visual psychology of European Upper Palaeolithic figurative art
How have our visual brains evolved, and exactly how did this constrain the specific way that animals were depicted in Upper Palaeolithic art? Here, we test predictions derived from visual neuroscience in this field. Using the example of open-air Upper Palaeolithic rock art of Portugal’s Côa Valley, we point out the frequently recurring outline strategies that past artists utilized to depict the prey animals upon which they were dependent for surv…
Bringing science to the study of ancient senses - archaeology and visual psychology
One cannot overemphasize the centrality of the visual brain to human evolution, perception, behaviour, identity and culture. We are visually-centric beings: it is estimated that more than half of o
An Upper Palaeolithic Proto-writing System and Phenological Calendar
In at least 400 European caves such as Lascaux, Chauvet and Altamira, Upper PalaeolithicHomo sapiensgroups drew, painted and engraved non-figurative signs from at least ~42,000bpand figurative images (notably animals) from at least 37,000bp. Since their discovery ~150 years ago, the purpose or meaning of European Upper Palaeolithic non-figurative signs has eluded researchers. Despite this, specialists assume that they were notational in some way.…
Conversations with Caves
The influence of pareidolia has often been anecdotally observed in examples of Upper Palaeolithic cave art, where topographic features of cave walls were incorporated into images. As part of a wider investigation into the visual psychology of the earliest known art, we explored three hypotheses relating to pareidolia in cases of Late Upper Palaeolithic art in Las Monedas and La Pasiega Caves (Cantabria, Spain). Deploying current research methods …
Tracing individuality and hand preference in Upper Palaeolithic engraving
In the context of Palaeolithic archaeology, identifying traits of individual creators of prehistoric art remains a formidable challenge. This study introduces innovative traceological methods employed to analyze engraved stone plaquettes from the 15,800-year-old Late Upper Palaeolithic site of Gönnersdorf, Germany. Utilizing advanced techniques such as confocal microscopy, alongside manual and robotic experimentation, we investigate the hand pref…
Archaeology (4 works) · History (4 works) · Aesthetic Perception and Analysis (3 works) · Art (3 works) · History (3 works) · Linguistics (3 works) · Literal and figurative language (3 works) · Philosophy (3 works) · Rock art (3 works) · Cave (2 works)