Richard Leakey Quotes

The French archeologists Iégor Reznikoff and Michael Dauvois conducted detailed surveys of three decorated caves in the Ariège region of southwest France. ...they moved slowly through the caves, stopping repeatedly to test the resonance of each section... spanning three octaves... those areas with highest resonance were also those most likely to harbor a painting or engraving. ...a fascinating discovery that... Chris Scarre commented at the time, draws "new attention to the likely importance of music and singing in the rituals of our early ancestors."

The question... is whether Upper Paleolithic art bears the telltale signs of Lewis-Williams' three stage neuropsychological model, and could thus be shamanistic art.

Leroi-Gourhan surveyed more than sixty caves and saw order in the distribution of their images. Deer... often appeared in entranceways but were uncommon in main chambers. Horse, bison, and ox were the predominant creatures of the main chambers. Carnivores mostly occurred deep in the cave system.

I'm known for speaking my mind, a trait I probably inherited from my parents, Louis and Mary Leakey—neither of whom was renowned for tact.

Protecting elephants and conserving natural ecosystems remain my personal priorities. But I am not so sure this would be so were I ill, hungry, and living in dispair. ...We must somehow find a way to provide for our own species if we are also to preserve others.

We are justified in calling all species of bipedal ape "human." ...the adaptation of bipedalism was so loaded with evolutionary potential—freeing the upper limbs to be free to become manipulative implements one day—that its importance should be recognized in our nomenclature. These humans were not like us, but without the bipedal adaptation they couldn't have become us.

I do not believe in a god who has or had a human form and to whom I owe my existence. I believe it is the man who created God in his image and not the other way round.

Rather than living as aggregations of families in nomadic bands, as modern hunter-gatherers do, the first humans probably lived like savanna baboons.

When a San Shaman goes into a trance, he harnesses that power, becomes part of the world beyond, becomes invisible to the singers and dancers around him, and draws images on the rock face. Ask the San who drew the images, and they say the spirits. And the rock face is more than a surface for the paint; it is the boundary of this world and the world beyond. ...part of the meaning of it all, and the rock shelter itself assumes a special status, a place of veneration.

Where Breuil has seen chaos—or at least, randomness—in wall art, Leroi-Gourhan sought and found order.

A vital leap in the evolution of intellectual capacity would have been the ability to form concepts, to conceive of individual objects as belonging to distinct classes, and thus do away with the almost intolerable burden of relating one experience to another. Concepts, moreover, can be manipulated and this is the root of abstract thought and of invention. The formation of concepts is also a necessary, but apparently not sufficient, condition for the emergence of language.

[Fred] Spoor's observations are truly startling, In all species of the genus Homo, the inner ear structure is indistinguishable from that of modern humans. Similarly, in all species of Australopithecus, the semicircular canals look like those of apes. Does this mean that the australopithecines moved about as apes do—that is, quadrupedally? The structure of the pelvis and lower limbs speaks against this conclusion. So does a remarkable discovery my mother made in 1976: a trail of very humanlike footprints made in a layer of volcanic ash some 3.75 million years ago.

Because the art of Africa was on rock shelters, not deep in caves, as in Europe, the ravages of time have eroded most of a rich expression. What we now see is the merest glimpse of what was on the minds of these people.

The Abbé Breuil died in 1961, and with him died the all-encompassing hunting magic hypothesis. By this time another French archeologist, André Leroi-Gourhan, had been developing his own interpretation, one based on the emerging ideas on structuralism.

The first major discovery of prehistoric art was the Spanish cave of Altamira, which, like Lascaux, is one of the most spectacular examples of Upper Paleolithic art yet known.