The visual primacy of rock-art imagery can sometimes blind researchers to equally important but less obvious, non-visual aspects of rock art. Recent work from southern Africa indicates that certain San rock engravings were hammered, rubbed, cut and flaked in order to produce sound; to touch certain numinous images and rocks; and to possess pieces of potent places. By combining rock art's non-visual appeal with the concepts of questing and desire we may understand how body, landscape and mindscape combined in an aesthetic and sensory articulation.
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Sven Ouzman (2001) studied this question.
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