THE 3 ages OF THE PALEOLITHIC AND ITS ART.

The 3±1 ages of Paleolithic art portray the 3±1 ages of the earlier collective human mind:
- Youth, Upper Paleolithic; First Homos: lineal art, flints and stones.
- Maturity: Middle Paleolithic: Homo Erectus and Neanderthal: pebbles and cyclical forms.
- 3rd age: Middle-Lower Paleolithic, Homo Sapiens Neanderthal: Complex stones.
+1: The arrival of verbal symbolic forms with the Homo Sapiens Sapiens creates the first visual energetic images that ‘reduce’ 3-dimensional space into bidimensional information .

In the Paleolithic, the very youth of mankind, man is pure energy and so his art is mainly lineal in form, even in the 3rd age when painting appears, full of movement and energy.
Max. E: In the Upper Paleolithic men can’t talk or represent symbolic images in bidimensional space, due to their reduced –1000 c.c. brains. So art is simple, lineal technology created through the manipulation of stones. On the first photograph, we see some of those stones from an archaeological site in Eastern Africa, the cradle of mankind. Men design lineal forms and make axes with stones.
Max. T: However as men evolve, stones are crafted with precise forms that have specialized functions. There are not only weapons, but also stones to prepare skins, to cut, even decorative gems. It is the classic age of the stone craft, the age of Homo Erectus.
E=T: Finally, with the arrival of the Homo Neanderthal, we find all kind of complex, stone forms.
Earlier Paleolithic art, before the arrival of symbolic, verbal thought, is stable because it followed the e-t = et ternary arrow that creates a ‘reproductive, stable space’ ..13-15), evolving from lineal, to cyclical to organic, stable forms. It doesn’t follow the 3 e->et->t ages of time that end up in an extinctive excess of technological information, as it will happen with all the animetal civilizations of history. History could be immortal if technological information wouldn’t evolve so fast as it does.
+1: Homo Sapiens however will bring languages and symbolic imagination, still in perfect harmony with Nature as the top predator species of an animal world. Now culture dissociates between visual, spatial art and verbal, temporal literature.

25. The language of images.
‘Artists act as the neurons that carry the collective consciousness of Social Organisms.’

We say: ‘I see more with my eyes; I think better with my words, therefore I am an artist.’

Knowledge is the accumulation of information about reality with the human mind that perceives space and time with 2 languages of perception: sight and sounds, from where the 2 languages of social culture derive, images and words. Culture is to a civilization what the mind is to a human being: its informative network. Thus the collective human mind, the literary words that explain the life in time of a culture and its individuals, and its visual, spatial perception through artistic images, is the essence of a culture. Once this is clear it is easy to understand why ethic words, religious and literary texts, and spatial art are essential in the process of existence of human cultures. Since in a healthy organism of history, verbal masters (religious prophets, writers, legislators), and visual artists, are in charge of creating the collective information that regulates societies and creates a world to the image and resemblance of man. For that reason throughout history art has been sacred and artists and verbal masters have had the highest status. Since, as it happens in our organism with informative neurons, information cells are always the most important cells of any healthy system.
We have already studied the verbal culture of that age: animist cults to the living World of Gaia, which still exist today among modern Paleolithic tribes. They are the dominant element of the Paleolithic culture that explain its visual images, the cave paintings, which worship the ‘living spirit’ of those animals, ‘translated’ and ‘fixed’ from 4-dimensional space-time into bidimensional information, a memetic memory that the hunter thought would bring the real animal species, as today bidimensional information brings back to life industrial machines in industrial factories…
Man in this age is at the beginning of its mental development. He is like a child, ‘impressionistic’, full of force, as those paintings show. Not surprisingly this earlier age is similar to our neo-Paleolithic, or third age of history, when again visual images overpower verbal thought. The difference of course, is that the mental machines of the Metal-Earth, impose our visual 3rd age upon us after an age of mature, verbal thought; and so it is a devolution not an evolution as the first bidimensional paintings were. Further on no longer man, but computers and televisions, ‘metal minds’, make those images. They are the first species of a new visual, hunting, killing species, the Chip Homoctonos, the Robotic weapon which thinks with ‘images’ and so it will kill as the Paleolithic man did with animal life, the ‘previous species’, the human being.
The intelligence of images is common to all animal species, since the age of the squid. Its Universal grammar is simple: images have 2 dimensions, one dominant on information called precisely ‘form’, and one dominant on energy called ‘colour’. Each one can be subdivided again into S-T fields: lineal images are energetic and cyclical images are informative. While blue colors are informative and red is the most energetic of those colors . So hunters used red colors and lineal traces in those paintings (fig.). Are the colors and forms of the first robotic minds also lineal, energetic, destructive? Yes. They are. Today scientists make race contests with their robots. Yet American Universities have imposed a restriction to the marks that trace the circuits: red colors, the colour of blood, are not permitted for eye-recognition purposes. Since computers tendencially perceive=like more that colour, the colour of energy, of murder.  Red is the colour of blood, your energy network, of meat, the food that gives you better nutrients. Your eye or the robotic eye or the bull's eye in bullfighting moves towards red, yellow, clear, bright colors, which are the natural colors of the sun, the mother of your eye-energy. So visual species, who follow the intelligence of the light, tend to be ‘violent hunters’, that search for blood. The first men were Paleolithic hunters; the first robots and the last men are Neo-Paleolithic warriors. Today under the influence of digital images we have returned to that first, impressionist, violent age. Now digital, television images, which are the first deconstructed parts of the futuremind of robots, are the equivalent to the Altamira paintings, and transmit violent information to mankind. They show that for a robotic mind, humans will be targets for killing, jumping images that run and hide and explode into satisfying red colors when they die. They also have converted through their evil=antilive messages of death, evolved verbal humans back into neo-paleolithic, selfish, ‘Homo Bacteria’, whose mind is dramatic, violent, unable to make sacrifices for the collective social body of history. Yet paradoxically, as it happened in the Paleolithic of big 6-footer men, according to the Max.E=Min. T inversion, modern men have bigger bodies, love sports and energetic movement, because they have reduced their mental, still, informative minds. As dinosaurs grew in size before becoming extinct, as bacteria grow in size compared to organic cells, belonging to a super-organism, humans, Homo Bacteria, have grown in size because their minds are simpler. A tendency, which is obvious in the country at the Head of metal-History, America, the land of big, energetic bodies and simple, lineal minds, and now extends to all other cultures through the process of globalization ..4-7). This age now returns at the end of human history, extinguishing verbal thought into fiction that nobody believes. Yet words carry the temporal, ethic survival mind of man. So neo-Paleolithic men have no temporal depth or ‘sense’ of social survival, they no longer understand the ‘ethic sins’ against mankind that industrial societies commit, as he did in his mature age, when he built up the social super-organisms, the summit of human evolution, in the Neolithic…

  26. The 3 ages of Neolithic art.

In the Neolithic, art ‘fixes’ the space-time of wor(l)ds into writing, after 3 ages:
- Max. E: A young age of energetic crafts, with obsidian and copper flints and axes.
-E=T: A reproductive age of fertility goddesses and figurative images of Gaia.
–Max.T: A 3rd age of ceramics with complex symbols that ended up creating writing.
In the graph, we can see works of the 3 ages of Art in the Neolithic:
- Energetic Youth. The age of Archers. The first age, still owes to the stone crafts of the Paleolithic, its forms, though now it uses different materials, copper, clay, bones to construct weapons that extinguish the Paleolithic culture. Thus the first age of epic, Neolithic warriors coincides with the last age of Paleolithic baroque artists, as the old grandfather coincides with the young child, in an overlapping trend that repeats once and again in History. The extinction of the Cave man is a fast process that leaves their final swan song in painted caves in the extreme of the Eurasian steppe, in Spain. It is the first ‘baroque angst’ that precedes the death of any civilization in the history of art, the mind of civilizations. In Spain, at the end of the Eurasian steppe, where both the last cave paintings and the first bow paintings were found (Altamira, XIX C.) the extinctive age is crystal clear: In the Basque region, still occupied by strong, energetic men, like the Paleolithic ‘Morin man’ of 6’3 feet tall, those cave painting invoked a dwindling supply of hunt through magic methods. Yet there are no signs of war between human tribes in those paintings. But a few thousand years latter, to the East, in the Mediterranean coast, it appears a new civilization of smaller men with arrows and a new kind of painting, which shows for the first time in History men killing other men, feasting on war: Hordes of archers throw their arrows against other human beings. Archers start a new civilization, shown in a young lineal age of schematic paintings, in which arrogant humans are the main characters, leaving handprints on those walls. No longer the beauty of the bison, the colors of Nature revered by the Homo Pictor matter. The I-man appears now. Even if those first arrows, till the discovery of copper, had stone points, they were already machines of war that provoked the same biological effects of extinction of other human beings that more sophisticated weapons provoke today. Cruelty and war increased geometrically with the arrival of long-reaching weapons. Now evil=anti-live behavior is recalled by artists, who are proud of their warriors.
- E=T: But once, Neolithic warriors settle down, art evolves into a second figurative, realistic age, dominated by agriculture. We find in the same Spanish Levante, groups of women dancing, recollecting food, the first self-portrait of History, the ‘Brujo’, a painter with brushes on his hand…
 - Max. T: Those signs will evolve into a formal baroque, in which symbols dominate the description of reality and bring finally the age of writing thought. It is a symbolic language, since man through words is now able to speak and understand with words all universal organisms, not only with images. Thus if the Neolithic builds the mature, creative energetic networks of agriculture, in the linguistic informative scale the Neolithic is the age of verbal thought, as the Paleolithic is the age of images, and the 3rd age of history, the Age of Metal is the age of digital languages. What writing implies is clear: the language of human social organization the words now transcends beyond the individual time of a human being, elongating its span both in time and space, as it can reach further, transported in words, and it can lasts longer, stored in clay. So words reach its full potential, precisely when at a conceptual level the religions of the living Universe mature in Taoism and the cults to fertility of the Western agricultural world. Yet that harmonic paradise of agricultural networks of energy, informative religions and verbal art ended with the arrival of weapons. It will be the age of extinction of Neolithic art, the Neolithic baroque, the first of the cyclical ages that dissociate the lineal arrow of ‘future evolution of weapons’ from the baroque cycles of destruction of human cultures, which produced the oldest text of mankind, the parable of Genesis.