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Finding a Common Bandwidth: Causes of Convergence and Diversity in Paleolithic Beads

  • Thematic Issue Article: Symbols, Signals, and the Archaeological Record
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Abstract

Ornaments (aka beads) are the most common and ubiquitous art form of the Late Pleistocene. This fact suggests a common, fundamental function somewhat different to other kinds of Paleolithic art. While the capacity for artistic expression could be considerably older than the record of preserved (durable) art would suggest, beads signal a novel development in the efficiency and flexibility of visual communication technology. The Upper Paleolithic was a period of considerable regional differentiation in material culture, yet there is remarkable consistency in the dominant shapes and sizes of Paleolithic beads over more than 25,000 years and across vast areas, even though they were made from diverse materials and, in the case of mollusc shells, diverse taxonomic families. Cultural and linguistic continuity cannot explain the meta-pattern. The evidence indicates that widespread adoption of beads of redundant form was not only about local and subregional communication of personal identity or group affinity, but also an expansion in the geographic scale of social networks. The conformity of the beads grew spontaneously and in a self-organizing manner from individuals’ interest in tapping into the network as a means for spreading social and environmental risk.

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Notes

  1. Riparo Mochi preserves five major UP cultural horizons—early or proto-Aurignacian (layer G, ca. 36 kya), classic Aurignacian (layer F), Gravettian (layer D), early Epigravettian (layer C), and late Epigravettian (layer A, ca. 9 kya; Kuhn and Stiner 1992, 1998). Klissoura Cave 1 contains an early UP phase known as the Uluzzian (layer V, >39 kya), followed by several Aurignacian (IV–IIIa–g) and Gravettoid (III–III′) components, and Mesolithic (ca. 9 kya; Koumouzelis et al. 2001; Kuhn et al. 2010). Üçağızlı Cave I contains several Initial Upper Paleolithic layers (I–F) followed by several pre-Ahmarian and Ahmarian layers (E–B), capped by an Epipaleolithic deposit (ca. 17 kya; Kuhn et al. 2009).

  2. As an epilogue to the UP pattern, it is interesting to note that bead “madness” shifts in the Epipaleolithic, when tube beads made from the long bones of birds and small mammals and Dentalium (tusk) shells hit the height of fashion and were used in great numbers alongside basket-shaped types (e.g., Bar-Yosef 1989).

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Acknowledgments

Warm thanks for the help and support of my Italian colleagues while studying the shell collections of Riparo Mochi in Rome, especially A. Bietti, A. Segre, and E. Segre-Naldini; to my Turkish colleagues in the Üçağızlı Cave I excavation project, especially E. Güleç, I. Özer, I. Baykara, A. Açikkol; and to my Greek colleagues in the Klissoura Cave excavation project, especially M. Koumouzelis, P. Karkanas, and B. Starkovich. I am also particularly grateful to Steve Kuhn, sometimes co-author and inspiring discussant on the evolution of human communication systems. Much thanks to Kim Sterelny and Peter Hiscock for their pithy comments on an earlier draft of this paper. Parts of this research were funded by the National Science Foundation and the L. S. B. Leakey Foundation.

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Stiner, M.C. Finding a Common Bandwidth: Causes of Convergence and Diversity in Paleolithic Beads. Biol Theory 9, 51–64 (2014). https://doi.org/10.1007/s13752-013-0157-4

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