摘要：第一图象制造长期假设只介入人类活动和心理学。本文提议人造图象来了，在一个已经相当被完善的自然图象制造的系统和早期的人看了并且收集了这些图象之后。作者建议以下新的假说：(1)化石比较与生存动物和植物的是方式史前人民来了解想法图象做，并且图象可能替代品对于某事，并且这在人造图象的创作之前来了。(2)早期的人在看想法和从看化石的许多可能性以后开发了他们自己的图片和雕塑形式(特别是在岩石媒介)。(3)许多史前艺术图片也许是化石以准确结构和比例。由于化石在世界各地是共同的，假说横跨许多不同的人类文化是合法的。临床研究提供可测性类推潜力。

主题词：图象公认; 图象创作; 史前艺术; 岩石艺术标志; 史前人民收集了许多化石

Feliks, J. 1998. The impact of fossils on the development of visual representation. Rock Art Research 15: 109-34.

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化石冲击提案忍受了一条粗砺的路

化石的冲击在1993年开始了。 tn_fossils.p122.feliks1998.jpg

在1995年在1997年它为出版物递交了和再，但是它由几个匿名评论者沉重攻击了。几位好评论员不是足够，几个匿名评论者顺利地阻拦了它从出版物。以后，它递交了给一本不同的学报在1998年和最后出版了，虽则与伴随嘲笑。然后，在一年它的出版物之内，化石的冲击被复制了然后使用了作为模板由竞争者为为出版物递交的他们自己的纸在非常同一本学报; 没有化石的冲击的适当的信用。作者忍受了许多其他场合的相似的经验。现在闻悉实际纸。您也许想知道它为什么体验了这样事。

更新：化石的冲击站立了地面。虽然促进其他理论的研究员它嘲笑，这些其他理论，即使普遍，由逻辑和与实际物证的没有协会被揭穿了。化石理论的冲击描述的起源的在岩石艺术等等的，由在考古学纪录的实际物证是可测的。很快来：关于化石理论的冲击，其他研究员什么他们真正地认为？秘密，幕后影响论文的许多称赞从民众意识的15年本质上被阻拦。

“Feliks通过化石论据提供一雄伟跨接… 化石看来是唯一的外在现象同时是对象和标志… 这将解决在了解的人类认知发展的重大问题。”

- Robert Bednarik, The Earliest Evidence of Palaeoart (史前艺术的最早的证据), Rock Art Research 2003: 126

因为化石的冲击需要5年被出版，中央理论， " 自然表示法理论， " 在一个戏剧性多媒体节目首先被提出了。剧院程序名是象" 在上古的时期：旧石器时代的旅途通过时间、想法, 并且空间" [象有演员、舞蹈家、周道的图象，主要特点的中国阴影剧院]。剧院节目在Schoolcraft学院， 17， 18， 19， 1996年5月。

Here are a few central themes that were first presented in The Impact of Fossils and/or Sojournus Antiquitus:

1.) The 'natural representations theory' and 'self-contained referent/icons.' The case is made that early peoples 250,000 years ago understood fossils as "representations" of living forms in stone rather than as mere interesting patterns.

Prior to The Impact of Fossils, perception of interesting patterns was the highest ability scientists adhering to the ape-man concept had been willing to attribute to early peoples such as Homo erectus, Homo heidelbergensis, or Neanderthals. The 'natural representations theory' has strong implications not only for understanding the artistic expression and language capabilities of early peoples but also for ideas regarding philosophical abilities. Supported by much archaeological evidence, these theories provide a means by which early people could have learned the basic concept that images of living things can exist in non-living materials such as rock and that one object can represent another. (See Fig. 1 above.)

2.) The earliest iconic image "framed" by a human being. The famous West Tofts handaxe from Norfolk, England had long been known to feature a fossil scallop shell in its center. It was in this paper that the actual degree of the shell's centeredness was first measured in exacting detail in two step-by-step geometric studies. (See Fig. 2 above. Click here for the West Tofts handaxe geometric studies.)

“关于西方Tofts对象或的确整个问题[的史前艺术手斧]，我知道的唯一的科学假说是Feliks提出的那… 他测试了西方Tofts specimens'的中央性和对称; Spondylus spinosus塑象[化石扇贝壳]由是可驳斥的几何平均数。发现的他的安置的确是重大的，并且故意根据是开放的对测试的透明数据，和直到弄虚数据的某人提供或提出一个更加节俭的假说占Feliks数据，他的假说遗骸作为最正确的解释。希望的那些促进其他石人工制品的非功利的方面也许从审查Feliks怎么获取必要接近问题没有复制他的方法学，但是复制他的哲学依据…这也许听起来有点- 严谨，但是由于我们倾斜查出的故意行为的证据它充分地被辩解。”

- Robert Bednarik, The Earliest Evidence of Palaeoart (史前艺术的最早的证据), Rock Art Research 2003: 122-3

3.) The 'fossil depictions theory' and 'race cryptomnesia.' Strange and ambiguous works of prehistoric art have been given many different interpretations over the years from representing nothing whatsoever to representing various man-made objects and even phosphenes (internal experiences similar to hallucinations), e.g., see Fig. 4 to the left. Although heavily-ridiculed by those promoting other theories, the 'fossil depictions theory' is the first and only such theory which is supported by actual physical evidence preserved in the archaeological record and in many cases upon rock in areas that already contain natural images (fossils) resembling the artworks themselves; in other words, in many cases, the artworks can be compared with the paleontology of the areas in which the artworks were created (see, for instance, Fig. 5 and Fig. 6 above right).

作者的其他出版物

Feliks, J. 2006. Musings on the Palaeolithic fan motif. In P. Chenna Reddy (ed.), Exploring the mind of ancient man: Festschrift to Robert G. Bednarik, 249-66. Research India Press, New Delhi. (这里中国版本页)

Feliks, J. 2008. Phi in the Acheulian: Lower Palaeolithic intuition and the natural origins of analogy. In Bednarik, R. G. and D. Hodgson (eds), Pleistocene palaeoart of the world, pp. 11-31. Proceedings of the XV UISPP World Congress (Lisbon, 4-9 September 2006), BAR International Series 1804, Oxford.*

Feliks, J. 2009 (in press). The graphics of Bilzingsleben: Sophistication and subtlety in the mind of Homo erectus. (这里中国版本页) Proceedings of the XV UISPP World Congress (Lisbon, 4-9 September 2006), BAR International Series, Oxford.

Feliks, J. 2009. A Lot of Gold in the Mix: Review of Fragment from a Nonfiction Reader. Pre-publication review of the debut science thriller by Warren Fahy (see quotation on the author's review page under FRAGMENT: Reviews).

*("BAR" 是英国考古学报告)

关于作者和网站前提

约翰Feliks是一位独立学者并且学习早人的认知15年。与科学一起，他提供根据在艺术的一个广泛背景的里面透视。 Feliks最近的工作介入" 拉人erectus" 并且其他早期的人民语言和数学能力。早期的人民的能力他们的史前板刻等等的，由几何分析显示; 也观察找出得这些地理上的地方和石头工具。总计， Feliks研究对比著名标准模型相信长接受的人类智力能力逐渐演变。它建议早期的人民例如" 拉人erectus" (例子：从北京的相似的年龄人)，穴居人的等等，一样可胜任象任何人生活在现代世界上。

化石的冲击对史前艺术发展