Patricia Dobrez
Biographic Data
| ID | 3654005 |
|---|---|
| NAME | Patricia Dobrez |
| GIVEN NAMES | Patricia |
| FAMILY NAME | Dobrez |
| SIGNATURE | DOBREZ P |
| AFFILIATIONS | IP Australia |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
The body as intelligent tool
My focus in this article is on the primary perceptual, or universal, apprehension of rock art marks, as distinct from ways in which this apprehension may subsequently be made to serve culture-specific symbolic ends. A major aim is to give a new, body-centred and biology-based explanation of the way we read traces, especially trails, in life and in art. Trace images of the kind found in the rock art record as stencils and prints constitute a key c…
Hand Traces
Affordances necessary for the making of hand traces in the form of stencils and prints-primarily the availability of pigment and a suitable surface-bear on our understanding of their emergence as early exograms. Matters relating to the question of how pigment was/is applied, the placement and embellishment of images, the procurement and preparation of ochre, and the selecting and priming of surfaces, are discussed here-as well as the intriguing o…
Canonical Figures and the Recognition of Animals in Life and Art
Is there a particular perceptual modality, i.e., a way of seeing rock art figures (zoomorphs and anthropomorphs) which involves simple recognition and is distinguishable from the recognition of these same figures in other contexts? Such a modality would be prioritized by evolution and would depend on elements of a figure and/or of perception which make preliminary identification easy and rapid, for example, typical or dominant views, salient feat…
Hand Traces
Affordances necessary for the making of hand traces in the form of stencils and prints-primarily the availability of pigment and a suitable surface-bear on our understanding of their emergence as early exograms. Matters relating to the question of how pigment was/is applied, the placement and embellishment of images, the procurement and preparation of ochre, and the selecting and priming of surfaces, are discussed here-as well as the intriguing o…
Canonical Figures and the Recognition of Animals in Life and Art
Is there a particular perceptual modality, i.e., a way of seeing rock art figures (zoomorphs and anthropomorphs) which involves simple recognition and is distinguishable from the recognition of these same figures in other contexts? Such a modality would be prioritized by evolution and would depend on elements of a figure and/or of perception which make preliminary identification easy and rapid, for example, typical or dominant views, salient feat…
Hand Traces
Affordances necessary for the making of hand traces in the form of stencils and prints-primarily the availability of pigment and a suitable surface-bear on our understanding of their emergence as early exograms. Matters relating to the question of how pigment was/is applied, the placement and embellishment of images, the procurement and preparation of ochre, and the selecting and priming of surfaces, are discussed here-as well as the intriguing o…
Canonical Figures and the Recognition of Animals in Life and Art
Is there a particular perceptual modality, i.e., a way of seeing rock art figures (zoomorphs and anthropomorphs) which involves simple recognition and is distinguishable from the recognition of these same figures in other contexts? Such a modality would be prioritized by evolution and would depend on elements of a figure and/or of perception which make preliminary identification easy and rapid, for example, typical or dominant views, salient feat…
The body as intelligent tool
My focus in this article is on the primary perceptual, or universal, apprehension of rock art marks, as distinct from ways in which this apprehension may subsequently be made to serve culture-specific symbolic ends. A major aim is to give a new, body-centred and biology-based explanation of the way we read traces, especially trails, in life and in art. Trace images of the kind found in the rock art record as stencils and prints constitute a key c…
Art (2 works) · Philosophy (2 works) · Pleistocene-Era Hominins and Archaeology (2 works) · Action Observation and Synchronization (1 works) · Aesthetic Perception and Analysis (1 works) · Aesthetics (1 works) · Affordance (1 works) · Apprehension (1 works) · Archaeology (1 works) · Archaeology and Rock Art Studies (1 works)