Caves

Alphonso Lingis

pp. 81-105

in: Mats Rosengren, Cave art, perception and knowledge, Basingstoke, Palgrave Macmillan, 2012

Abstract

But this long course of events, leading from André Brouillet who unearths the engraved Chauffaud-bone just after 1834 and the young Maria de Sautuola who noticed the bison of Altamira in 1879 to Emile Cartilhac and his Mea culpa d’un sceptique in 1902, represents the gestation and the birth of a new discipline about which one may say, even at this moment, that it still remains to be constructed in its entirety. Everything must be marked, collected, published and interpreted.3