Storytelling: From Cave Art to Digital Media

نویسندگان

  • George F. Hurlburt
  • Jeffrey M. Voas
چکیده

O nce upon a time, about 6,000 years ago, early tribesmen drove a herd of gazelles into a dead-end canyon in Syria and slaughtered them. All that remained for modern anthropologists were bones from the animals’ lower limbs.1 A copious amount of meat must have been harvested and rapidly consumed—perhaps as part of a religious ceremony with numerous participants—given that era’s lack of refrigeration or preservatives for keeping such a large amount of meat from spoiling. Anthropologists have found support for this theory not only from the scant gazelle remains but also through nearby carvings depicting the slaughter and suggesting subsequent ceremonies.2 Pictorial histories on cave and other dwelling walls constitute the earliest forms of preserved prehuman and early-human communications. Such visual delights, depicting gazelles and mastodons, represent the essence of the storyteller’s art. As civilizations grew, so did the iconic nature of their storytelling. Anthropologists still struggle to fully appreciate the significance of early Egyptian hieroglyphics. Even colorful knotted strands of string in early Peruvian culture served to transmit information within the preliterate society. These depictions all served a useful purpose, from showing where best to plunge a spear into hapless prey to conveying accepted cultural norms.3 Ironically, we’re not much different today, except our walls are more likely to be on Facebook than deep inside canyons or dark caves. We remain a highly complex, visually oriented species,4 but humankind took an interesting deviation along the path to modern storytelling, and we’re only beginning to reemerge as visual storytellers.

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عنوان ژورنال:
  • IT Professional

دوره 13  شماره 

صفحات  -

تاریخ انتشار 2011