This line of research studies the perceptual and cognitive mechanisms involved in the creation and perception of images in prehistoric visual culture, from an interdisciplinary perspective that articulates the contributions of cognitive neuroscience, the anthropology of the image and digital technologies. This interdisciplinary approach combines digital tools such as photogrammetry, 3D modelling, artificial intelligence and virtual reality to recreate archaeological environments in conditions similar to the original ones, integrating factors such as lighting, geomorphology and texture of rock surfaces Translated with DeepL.com (free version)

The review of rock art studies, together with the incorporation of digital tools and interdisciplinary approaches, has allowed for a theoretical renewal that has shifted the focus from the isolated interpretation of figures to the sensory experience and the environment in which these images were produced and perceived (Renfrew, 2008; Conkey, 2007; Davis, 1986; White, 1992; Moro Abadia and González, 2006; Lewis-Williams, 2002; Alpert, 2009; Cook, 2013; Davis, 2011; Onians, 2024; Garate, 2007; Forte, 2023; Cometa, 2024). These studies propose to examine the complex relationship between groups, spaces and the environment, considering both the ecology and epistemology of prehistoric visual manifestations (Fowles and Alberti, 2018), and the re-evaluation of the relationships between people, bodies and materials (Ingold, 2013; Jones and Cochrane, 2018). The convergence between virtual reality and neuroscience opens up new perspectives for a deeper understanding of how materiality and space played key roles in shaping the visual practices of early human communities Translated with DeepL.com (free version)

Studies from the field of cognitive neuroscience in archaeology offer a new perspective for understanding prehistoric visual manifestations (Renfrew, 2008; Lewis-Williams, 2002; Alpert, 2009; Cook, 2013; Davis, 2011; Onians, 2024; Forte, 2023). Neuroscience can play a key role, offering a biological understanding of human mental activity and image-making from a relational perspective. Recent advances in the knowledge of how the brain is affected by the environment to which it is exposed allow us to investigate how the environment and its resources may influence the fabrication of these images, based on motor inclinations and visual preferences, based on neural plasticity and mirror neurons (Onians, 2024). This approach allows new questions and hypotheses to be formulated about the mental activities behind the similarities and differences in the marks left by different groups at different historical times on rock surfaces. Translated with DeepL.com (free version)

This new interdisciplinary perspective allows the phenomenon of prehistoric visuality to become more complex, assuming that the experience is a multisensory event (Garate, 2007) that goes beyond the figures represented on the rock walls or objects and is related to the cognitive aspects, the space, the type and surface of the rocks, the lighting and the difficulties of the geomorphology of the cave. An interdisciplinary approach to prehistoric visual manifestations in articulation with the contributions of new digital technologies makes it possible to reconstruct the original environments by offering immersive and interactive experiences for their study. As Torres et al (2024) point out, this type of recreation makes it possible to examine Palaeolithic representations in conditions very similar to the original ones, including spatial and lighting aspects and the original state of the graphics (Hoffmeister, 2017; Wisher & Needham, 2023; Gutierrez De Angelis and López de Munain, 2021)

By analysing the incisions and paintings, as well as the surfaces where they were made, we can explore how their shapes, sizes and textures may have suggested different modes of use, such as cutting, carving or painting. In particular, the study of rock art in karst caves opens up new avenues of research. The unique spatiality, acoustic and lighting conditions of these natural environments may have profoundly influenced the creation and perception of visual manifestations. The use of advanced technologies such as photogrammetry, laser scanning and Virtual Reality (VR), makes it possible to simulate these environments with remarkable accuracy, allowing researchers to experiment and analyse how prehistoric artists may have interacted with the spatial dynamics of the caves. These technologies also make it possible to investigate the sensory experience associated with these works, revealing how environmental factors such as darkness, echo or natural light sources may have influenced the perception of the images.

Furthermore, by studying the layout of ancient settlements, digital reconstructions allow us to examine how the organisation of structures and natural resources may have influenced the daily activities and social interactions of the people who lived there. The neurocognitive approach extends this understanding, offering a more complete picture of how ancient humans interacted with their material environment, adapting to their physical needs and abilities. This contributes significantly to our interpretation of the visual culture of prehistoric societies, providing clues as to how environmental and neurological factors shaped both the creation and reception of their artistic expressions. The integration of new technologies and neuroscience in the study of these ancient sites opens the door to a deeper understanding of how materiality and space played key roles in shaping the visual practices of early human communities.