Showing posts with label portable rock art. Show all posts
Showing posts with label portable rock art. Show all posts

Monday, 2 November 2026

Richard Wilson's Figurative Constraint: A Critical Review

Richard Wilson's Figurative Constraint: A Critical Review

Updates to this post now continue on my forum: Richard Wilson Fontmaure

Iconic affordance, anatomical convergence, stacked constraints, pareidolia and the statistical questions left unanswered by the 2026 Fontmaure presentation.

In January 2026, Richard Wilson wrote to me:

I have spent some time reading through your site and blog material

He proceeded to explain that much of what I had presented as pioneering research had already been discussed for more than a century.

Interesting.

On 6 June 2026, Wilson delivered Bear-like Forms at Fontmaure? Testing Figurative Constraint in Neanderthal Lithics at the Prehistoric Society's York conference.

His presentation introduced a six-component assessment of what he calls "iconic affordance", incorporating anatomical convergence, modification, orientation, recurring patterns and material properties.

These are closely related to the methodological questions I have been investigating and publishing for years.

Wilson's familiarity with my work is not speculation. He acknowledged reading it.

So what exactly is new about his latest methodology, what was already established, and where did the individual components originate?

1. Figurative Constraint versus Image Logic and Stacked Constraints

My research distinguishes two related evidential problems.

Tool Logic: Does the physical evidence demonstrate human modification, including coherent flake removals, fracture characteristics and technological organisation?

Image Logic: Do physically grounded features form anatomically coherent, recurring and recognisable representations?

My Stacked Constraints approach examines the combined significance of these observations, rather than relying on any single resemblance or modification.

Now compare this with Wilson's six iconic affordance criteria on slide 8 of his 2026 presentation.

Wilson's 2026 terminologyClosely corresponding elements of my research
Consistency of perceived formCoherent Image Logic and anatomical consistency
Anatomical convergenceAnatomical topology, proportions and related visual features
Modification–affordance alignmentTechnical grounding; flaking and modifications corresponding to figurative features
Orientation stabilityNatural presentation, hand-fit and orientation
Patterned/composite complexityRecurring motifs, combinations of features and assemblage repetition
Material saliencePatina, surface properties, inclusions and other material evidence

These are not identical frameworks, and the criteria do not appear in precisely the same order.

Nevertheless, the correspondence in their analytical functions is substantial.

My May 2017 publication Eoliths, flint tools and figure stones, examined the combined probability of anatomically related features, flake removal, repeated topology and perceived imagery.

I specifically considered the significance of eye-like features occurring alongside correctly positioned mouths, ears, noses and other details.

My 2021 portable rock art article explored visual triggers, partial recognition, multiple imagery and orientation.

My subsequent Flint Flake Mechanics and Stacked Constraints work formalised the physical agency argument, while my Eoliths.org identification methodology brings the mechanical and visual assessments together.

The important similarity is not any single criterion. It is the combination of criteria into an assessment intended to distinguish accidental resemblance from physically supported figuration.

2. The Statistical Problem: Counting Bears Is Not Testing Their Anatomy

Wilson's 2018 Fontmaure paper, Eschewing Bear Tracks, examined 501 lithic specimens (he claims, as there are not 501 different 'bear' items in the paper).

His principal statistical tables classified the perceived imagery and recorded 467 specimens as apparently iconographic.

But where was the systematic statistical examination of the actual anatomical features?

How many specimens possessed recognisable eyes, ears, noses and muzzles?

How frequently did these occur in appropriate anatomical relationships?

How many features coincided with demonstrable flake removals or retouch?

How many specimens displayed corresponding imagery on opposite faces or through rotation?

And how did these combinations compare with a properly selected natural control sample?

These are the questions that test whether combinations of physical and anatomical features provide evidence beyond subjective resemblance.

Wilson was already observing such features in 2018. Indeed, his published reply reported that 86 of 483 modified specimens, approximately 18%, exhibited related bear interpretations following rotation.

Yet his main statistical tables did not systematically present joint frequencies for the anatomical and mechanical features supporting those interpretations.

The comparison also encountered a serious sampling problem.

His Table 1 recorded perceived iconography in 93.2% of modified specimens and 94.4% of the unmodified specimens.

Wilson subsequently acknowledged that the unmodified stones had been selected for their apparent imagery and were therefore not directly comparable.

He reported a further comparison using 100 unmodified stones, but that did not supply the missing feature-by-feature model.

If anatomical convergence and modification alignment are central to the 2026 framework, why were these relationships not comprehensively quantified in the 2018 study?

3. From Cumulative Observations to Probability: Where Is the Actual Test?

Wilson's 2010 paper, Cultural Cobbles or a Load of Cobblers?, already discussed multiple visual cues, possible modification and the cumulative significance of features suggestive of intentionality.

That is an important precedent.

But the paper did not publish a calibrated probability model for combined anatomical and mechanical constraints. Wilson stated that the detailed results of one visual-cue assessment were omitted.

In my 2017 article, I explicitly explored a hypothetical probability problem: a spot and curved feature combining to form an apparent eye, followed by the additional conditions required for anatomically appropriate ears, mouth, nose and other features.

The point was that several coordinated physical conditions present a different chance problem from an isolated resemblance.

That was an illustrative probability argument, not a completed statistical model. A rigorous test would also need to account for dependence between features.

Interestingly, in his 2018 published response, Wilson expressed the ambition to develop an attribute-based system producing realistic probability ratings.

Now, eight years later, his 2026 presentation offers six descriptive criteria.

But where are their empirically established weights, combined probabilities, control distributions or demonstrated likelihood ratios?

Slide 18 still identifies independent observer validation as a future step.

In 2018 he proposed probability ratings. In 2026 he presents a more formal vocabulary. Where are the probabilities?

A graded rubric may be useful, but assigning criteria and calculating their evidential significance are not the same achievement.

4. If It Was Established a Century Ago, Identify the Method

Wilson's January 2026 email dismissed claims of pioneering work by invoking historical archaeological research, including Boucher de Perthes, Rutot, Commont, Boule, Breuil and Bednarik.

In our later exchange, he pointed to Raymond, Hervé and Dharvent.

Brett: Well Richard, there are certainly some rather shocking similarities between your presentation and my own published work on flint flake mechanics, stacked constraints, recurring anatomical patterns, portable rock art and pareidolia. Repackaging these ideas under terms such as "figurative constraint" and "iconic affordance" doesn't make those parallels disappear. Given your prior familiarity with my research, I would like a direct explanation from you as to how you arrived at these remarkably similar arguments and methodologies without any acknowledgement of my work. Are you claiming these ideas were developed entirely independently, or has my research influenced your approach? I would appreciate a clear, specific answer rather than a general dismissal of the similarities. What I find particularly remarkable is the reliance on arguments about repetition, probability and coincidence from someone who appears to struggle with even the basics of statistical reasoning.  

Richard: And this is the point where my limited patience runs dry, I've referenced the original people Raymond, Herve, and Dharwent.

Their historical relevance to the study of eoliths, lithic modification and figure stones is not disputed.

But a historical discussion of suggestive stones does not, by itself, establish the origin of a particular modern analytical framework.

Which specific publications established the combined tests now described as anatomical convergence, modification–affordance alignment, orientation stability and patterned complexity?

Where were their operational definitions and statistical relationships demonstrated?

Wilson has earlier published work of his own, and his 2018 paper includes relevant methodological contributions and commentary from other researchers. Those are legitimate sources that need to be considered.

But citations should explain the development of the actual method, not simply establish that the general subject is old.

There is another relevant fact.

Wilson acknowledged reading my published research in January 2026, before delivering his June presentation.

That establishes familiarity, although it does not establish when he first developed the six criteria or prove that he adopted them from my work.

But where is he saying he had already developed something very similar to my work, and pointing to it? He doesn't, because he hadn't no doubt. Very suspicious isn't it?

Nevertheless, the methodological parallels and that documented familiarity make the question of acknowledgement reasonable.

If the framework was developed independently, its intellectual history should be traceable.

If my research influenced its later formulation, that contribution deserves recognition.

So to conclude, where, precisely, has Richard previously published this particular methodology? Not scattered observations about eyes, ears, flake scars or pareidolia, but the systematic combination of anatomical, mechanical and perceptual constraints he now presents as a formal framework. He has not identified an earlier publication establishing that complete method. Given his acknowledged familiarity with my research, and his insistence that my ideas offered nothing new, the absence of a clear explanation of his methodology's development is conspicuous, to say the least.

5. What Does "Iconic Affordance" Actually Add?

The test of a new scientific method is not the sophistication of its terminology.

It is whether the method produces better, more reproducible results.

Wilson's 2026 presentation proposes an analytical sequence beginning with pareidolia, proceeding through lithic organisation and iconic affordance, and ultimately requiring observer-level testing.

That may be a useful development.

But does it distinguish intentionally modified figurative stones from convincing natural mimics more successfully than the earlier approaches?

Does its scoring reliably separate stronger from weaker examples?

Can independent observers reproduce the assessments?

And does it demonstrate a meaningful cumulative effect when mechanical and anatomical criteria converge?

These questions require data.

The presentation does not provide completed validation establishing those outcomes.

Until then, iconic affordance remains a proposed evaluative framework, not a demonstrated statistical solution to the figure-stone problem.

Conclusion: New Terminology Is Not New Evidence

I have no objection to Richard Wilson improving his methods. I welcome serious attempts to investigate possible prehistoric imagery.

But the correspondence between his latest framework and the questions and methodologies I have publicly developed is considerable.

My own publications establish that I independently developed specific anatomical, topological, physical and probabilistic arguments before his 2018 Fontmaure study.

And his January 2026 email confirms that he had read my work.

The important question is how these lines of research relate to one another.

What is genuinely new in the 2026 framework? Which earlier publications supply its methods? What has been statistically validated? And what acknowledgement, if any, is due to contemporary research Wilson knew about?

I raised the issue directly. The explanation I received relied on historical authorities rather than a specific comparison of the modern methodologies.

That leaves the question unresolved.

There is an irony in demanding rigorous evidence for the origins of physical features while leaving the intellectual development of the interpretative method insufficiently explained.

I recognise that Wilson published on related subjects in 2010 and 2018. However, there is a significant distinction between discussing possible figure stones and developing targeted analytical methodologies and structured evidential tests intended to distinguish genuine artefacts and intentional figuration from natural coincidence and pareidolia. My published research demonstrates a sustained history of constructing precisely these kinds of proof structures, combining flint fracture mechanics, anatomical topology, patina logic, cumulative probability, Image Logic and Stacked Constraints. By contrast, I have not identified an equivalent, fully articulated and systematically applied methodology in Wilson's earlier published work. His 2026 framework represents a notable move towards the very approach I have been developing and publishing for years. Given his documented familiarity with that research, the absence of acknowledgement warrants a specific explanation, not merely references to earlier discussions of figure stones.

So, let me get this straight. Richard tells me my research offers nothing new because it was all done over a century ago, yet months later presents a strikingly similar methodology under the shiny new labels of “figurative constraint” and “iconic affordance”. Apparently, these ideas are century-old irrelevancies when I publish them, but worthy of a conference presentation when Richard does. Perhaps he could spare us the historical name-dropping and simply show us where this supposedly century-old methodology actually exists? Not the general ideas, Richard. The method.


This is a critical review of published methodologies, statistical arguments and documented correspondence. Similarity between approaches does not, by itself, prove plagiarism or intentional misattribution.

Sources and methodological comparisons

My published research

Publications examined in this review

  • Wilson, R. (2010). Cultural Cobbles or a Load of Cobblers?

  • Wilson, R. (2018). Eschewing Bear Tracks: Fallacies, Figure-Stones and Fontmaure.

  • Wilson, R. (2026). Bear-like Forms at Fontmaure? Testing Figurative Constraint in Neanderthal Lithics. Prehistoric Society conference, University of York.

References to Wilson's publications are included for scholarly identification and verification, not as endorsements of their conclusions.

Saturday, 24 October 2026

Comparing Prehistoric Art in 3D: A New Archaeology Tool

Comparing Prehistoric Art in 3D: A New Archaeology Tool

I've spent years examining flint tools and other prehistoric stones for signs of intentional imagery. One problem has always stood out: photographs can only show so much.

elephant handaxe
There is so much to see in this palaeolithic handaxe, but I thought I would just show you the elephant front half, a glyph I've been banging on about for almost 15 years.

You might see an animal's head in one photograph, a facial profile in another, or a particularly interesting arrangement of flake scars. But how do you compare those features properly when the objects are in different collections, photographed from different angles, or located hundreds of miles apart?

And what if you want to examine the other side of the stone?

This is something I've wanted to address for some time. I've now developed a 3D archaeological artefact comparison workspace on Eoliths.org, bringing several interactive models together on one screen.

It's a fairly simple idea, but I think it has considerable potential for research into prehistoric figuration, stone-working techniques, portable rock art and the possible origins of visual communication.

Try the 3D Archaeological Comparison Workspace on Eoliths.org

Six 3D models, side by side

The workspace opens with six archaeological objects displayed in a grid of three across and two down on a desktop computer.

These aren't just photographs. They're interactive 3D scans that you can turn, tilt and zoom in on.

Each window has its own model selector, allowing you to replace the object with another from the available collection. You can compare two different handaxes or, just as usefully, display the same handaxe in two windows and examine different faces or viewing angles at the same time.

I've also included a small control to fold away the descriptive text beneath each model. That leaves a much cleaner screen when you want to concentrate on the actual stones.

The starting collection consists of Lower Palaeolithic flint artefacts digitised by James M. Hicks and published by 3Djimmetry on Sketchfab. I've retained the links and attribution to the original scans.

But the important development isn't simply having six models on the page. It's being able to choose which objects to compare and then examine them independently.

Why this could matter for prehistoric art research

Imagine finding what appears to be an elephant's head worked into a flint tool.

You can see a trunk, an eye and perhaps a distinctive bump above the forehead. The boundaries of flake removals appear to form parts of the anatomy.

You might be convinced that the image was intentional. Someone else might dismiss it as coincidence.

A photograph alone isn't necessarily going to settle that disagreement.

Now imagine finding several more artefacts with similar arrangements. Perhaps the head shape recurs. Perhaps the eyes occupy corresponding positions. Perhaps the same anatomical divisions are formed by intersecting flake scars, with small pecked details appearing in similar places.

At that point, we're no longer talking about one stone that happens to resemble an animal. We're investigating a recurring combination of visual and technological features across an assemblage.

That is potentially much stronger evidence.

My research has led me to propose that some prehistoric people incorporated recognisable subjects and repeated visual devices into their stone-working. These include animal profiles, human and ape-like faces, hands, fingers and geometric marks.

I have described this possibility as a form of prehistoric visual communication.

The challenge has always been demonstrating that the patterns are genuinely repeated and physically constructed, rather than simply recognised by an observer.

Being able to put several artefacts together and examine their actual three-dimensional surfaces offers a useful way forward.

Looking beyond the outline

One of the things I find particularly important is how an image has been made.

If a proposed animal figure is present, what actually defines it?

Is the line of the back formed by a deliberate flake removal? Does an intersecting scar form the jaw or neck? Is a small indentation positioned where an eye would be expected? Is there a relationship between the working sequence and the final appearance?

These are questions that deserve more attention than they usually receive.

A recognisable outline is a starting point. But when an outline is supported by consistent anatomical details, repeated technical interventions and comparable examples from other stones, the argument becomes much more substantial.

This is closely related to the Stacked Constraints approach I've described elsewhere on Eoliths.org. Rather than depending on one striking resemblance, I look for several independent lines of evidence that support the same interpretation.

The new workspace makes it easier to study those relationships directly.

It can also expose weaknesses in an interpretation. A feature that looks persuasive from the front might turn out to be a normal fracture boundary when viewed from the side. Another feature might become clearer once the model is rotated.

Either result is useful.

Try comparing the same stone from two angles

This is one of my favourite uses of the workspace.

Choose the same artefact in two adjacent windows. Rotate one model to show its broad face, then turn the other to reveal the opposite face or an edge-on view.

You can examine how the flake scars relate to one another, whether a proposed figure has any depth, and whether a particular feature belongs to the original stone surface or a later removal.

Then try a second artefact displaying a similar feature.

Do the anatomical relationships correspond? Are the same kinds of marks involved? Does the image depend on a very particular angle, or is its structure still understandable as the stone is turned?

These are the sorts of comparisons I want to encourage.

There are perfectly ordinary technological questions to investigate as well: edge preparation, bifacial working, cortex retention, symmetry, tool thickness and possible differences between manufacturing traditions.

The workspace isn't restricted to figurative interpretations.

You can bring your own artefacts into the comparison

This is where I think the project could become particularly interesting.

Suppose you've found an unusual worked stone or you're studying a museum object that appears to contain deliberate imagery.

If you can obtain a suitable 3D scan, you may be able to compare it directly with archaeological models already available online.

There are several ways of recording an object in three dimensions. Photogrammetry uses overlapping photographs to reconstruct its surface, while structured-light scanners can capture detailed shape and texture information.

Once your model is prepared and uploaded to Sketchfab with embedding enabled, its model link can be added to the Eoliths.org comparison workspace.

You could then place your own find alongside another artefact and examine both independently.

Of course, the quality of the scan matters. Poor lighting, missing surface detail or inaccurate textures can be misleading, particularly when you're investigating fine pecking, possible pigment or subtle flake boundaries. A recorded scale is also important for meaningful measurements.

And naturally, anyone scanning or publishing an archaeological object needs the appropriate permission.

But the basic possibility is there: researchers and collectors could compare their own documented artefacts with material held elsewhere, without needing the physical objects together in one place.

The workspace does not identify motifs automatically. That's not its purpose. It gives people the means to inspect and compare the evidence themselves.

The Goodwood handaxe and a possible elephant figure

One example I've included on the Eoliths.org page is a Goodwood handaxe with unusually thick white patination.

I see what appears to be an elephant front half figure worked into this object. The interpretation involves the arrangement of flake scars, the lines where those scars meet, and small details that appear to help define the anatomy, no surprises here with this glyph, it's on my chart, just like other things visible here.

I've drawn around the proposed figure in an illustration so visitors can see exactly what I'm referring to.

A feature I find especially interesting is the distinctive bump on the animal's head. I've observed comparable shapes in other stones discussed in my research on prehistoric manuports.

Is this a recurring convention? Is the similarity significant? Are the apparent anatomical features deliberately constructed?

These are precisely the questions that comparative 3D examination can help us investigate.

Rather than asking readers simply to accept my interpretation, I want them to look at the surfaces and decide which features they can independently recognise and verify.

Not just handaxes

Although the first models come from a collection of ancient flint tools, I see no reason why the same approach couldn't be used much more widely.

Possible figure stones, selected natural objects, portable sculptures, engraved artefacts, worked pebbles and other archaeological materials could all be examined in this way, provided suitable scans are available.

For researchers interested in prehistoric cognition, that opens an intriguing possibility.

Could certain subjects or visual conventions have appeared repeatedly across different assemblages? Could some of the same methods of constructing imagery be recognised in objects made in different places or periods?

Those are big questions, and I wouldn't expect a single comparison to answer them.

But a growing body of accessible, well-documented 3D material could make them much easier to investigate systematically.

It would also make it easier for researchers to disagree constructively. Instead of arguing over a single photograph, they could identify the exact physical feature under discussion, rotate the same specimen and compare it with other examples.

An invitation to look for yourself

I've been documenting what I consider to be recurring imagery and visual conventions in prehistoric stone artefacts for many years.

This new comparison workspace is another step in that research. It gives me a better way to examine the material, but just as importantly, it allows other people to look for themselves.

Perhaps you'll recognise an animal figure I haven't noticed. Perhaps you'll identify a repeated arrangement of flake scars that deserves closer attention. Or perhaps you'll find a perfectly ordinary technological explanation for something that initially appeared figurative.

All of those observations could contribute to a better understanding of the material.

What matters is whether we can identify repeated, recognisable features and demonstrate how they were formed.

If you're interested in prehistoric art, ancient technology, portable rock art or the beginnings of human visual communication, I hope you'll give it a try.

Open the Eoliths.org 3D Archaeological Artefact Comparison Workspace

You can also read more about my approach to identifying intentional imagery on the Portable Rock Art Identification page, or explore the wider evidence on Science and Methods.

Brett Martin - Eoliths.org

The comparison workspace and associated interpretations are part of my independent research. Original 3D archaeological scans remain credited to their respective creators and publishers.

Sunday, 9 August 2026

Chimpanzee Faces in Stone

Chimpanzee Faces in Stone: Eoliths, Fossil Absence and the Archaeology of Agency

What happens when archaeological evidence appears to contradict the accepted archaeological timeline?

That question is at the heart of two remarkable stone finds presented here.

One is a recently recovered frontal ape-like face in an unidentified, extremely tough grey stone from Hampshire, southern England. It is not ordinary flint or chert and may eventually prove to be geologically unusual or non-local, although that requires proper identification.

The second is a separate gravel find in orange-stained flint, displaying what I interpret as an extraordinarily similar frontal ape subject, together with apparent ochre staining, incised or etched detailing and a complex organisation of facial features.

The significance is not merely that both stones “look like faces”.

The claim is that both independently recovered objects reproduce a highly specific visual subject: a frontal ape or chimpanzee-like face, organised around corresponding eyes, muzzle, mouth, tongue or oral detail, ear and facial structure.

And these are not isolated examples.

Across my wider South Downs assemblage, functional lithic forms and figure stones repeatedly incorporate ape-like heads, faces and composite imagery. Historical eolith collections recorded in antiquarian literature may contain comparable forms from geological contexts reported to extend astonishingly far into antiquity.

This creates a scientific problem that cannot honestly be solved by simply saying:

“The accepted timeline says this should not exist.”

A timeline is a model constructed from evidence.

Evidence is not required to obey the model.


The Same Ape Face Twice

If one ambiguous stone resembles an animal, chance resemblance must be considered.

If independently recovered objects in different raw materials repeatedly organise the same subject using corresponding anatomical features, the question changes.

It is no longer sufficient to ask:

“Can somebody imagine a face in this stone?”

The relevant question becomes:

Why do specific anatomical relationships recur, and what physical processes best explain them?


Find A: frontal ape-like face in unidentified tough grey stone, Hampshire.

Find B: orange-stained flint/gravel find with corresponding ape-like facial structure and apparent fine detailing.
Observed Feature Grey Hampshire Find Orange Flint Find
Frontal head composition Apparent Apparent
Paired eye organisation Apparent detailing Apparent detailing
Projecting ape-like muzzle Present in interpretation Present in interpretation
Mouth / oral division Apparent Apparent
Tongue / internal oral feature Apparent Apparent
Ear / lateral facial detail Apparent Apparent
Possible intentional modification Requires microscopic documentation Apparent incisions / pigment require analysis

The point is not to substitute a visual impression for analysis.

The point is that repetition allows analysis.

Repeated form, repeated anatomical placement, repeated modification and repeated association with lithic technology are precisely the kinds of observations that can move a claim beyond an isolated resemblance.

Stone Chimp Rock Art Comparison

What is particularly striking in comparing these two finds is not simply the shared frontal chimpanzee-like form, but the recurrence of fine details that are not necessary merely to make a stone read as an ape face. In both objects the eye areas appear unusually elaborated. There are possible eyeball forms within the sockets, apparent pupil details, and indications that the eyes may be deliberately crossed or directed inward. On the orange-stained flint pebble this is especially conspicuous: partial or semicircular forms appear to emphasise the pupils, while the right eye also incorporates what appears to be an ochre-etched diamond-shaped element. Such additions go beyond the minimum visual information needed to suggest “chimpanzee”.  They imply not crude representation but a surprisingly sophisticated visual language in which individual anatomical features were being manipulated, emphasised and perhaps encoded with additional meaning.

The protruding tongue may belong to the same system. I have observed this feature on other locally recovered figure stones, including at least one further object presenting a strongly ape-like frontal face, and another strong chimp-like, although the tongue motif is not confined exclusively to chimpanzee-like subjects. Its recurrence is therefore important. Eyes, pupils, crossed-eye arrangements, surrounding arcs, geometric eye forms and protruding tongues are not required simply to produce a recognisable ape likeness. Their repeated appearance suggests that these details were carrying information beyond identification of the subject itself. In other words, the maker may not merely have been depicting an ape, but using the ape image as a structured vehicle for additional visual meaning. I believe the wider assemblage provides further clues to how this system operated, and to how such details may have been deliberately employed by Palaeolithic, and potentially much earlier stone-working populations. That possibility deserves to be investigated as a problem in prehistoric cognition and visual communication, rather than dismissed as merely decorative.


The Fossil Record Is Not a Census

One of the most damaging habits in popular accounts of evolution and prehistory is the quiet conversion of:

“We have not found it”

into:

“It was not there.”

These statements are not scientifically equivalent.

Fossilisation is selective. Survival is selective. Geological exposure is selective. Excavation is selective. Recognition is selective.

The fossil record is evidence of presence; absence from it is not, by itself, proof of absence. Yet this elementary distinction is repeatedly violated across archaeology, palaeoanthropology and popular accounts of human evolution, where “no fossil has been found” quietly becomes “it was not there”, or “this was before Homo sapiens” is treated as sufficient reason to dismiss contradictory evidence. That is not rigorous science. It is circular reasoning: the accepted record is used to reject anomalous evidence, and the resulting absence of accepted anomalous evidence is then used to defend the record.

Worse still, potentially important evidence can remain unexamined or be misclassified precisely because the prevailing narrative has already declared its implications impossible. At that point, the model is no longer simply being tested by the evidence; it is being used to decide in advance what is permitted to count as evidence.

This is not an attack on palaeontology. It is basic palaeontological logic, that commonly fails to occur even at professional and graduate level.

The Chimpanzee Fossil Record Proved the Point

In 2005, Sally McBrearty and Nina Jablonski published the first recognised fossil chimpanzee remains in Nature.

The remarkable opening problem of that paper was simple: thousands of hominin fossils were known, yet no fossil chimpanzee had previously been reported.

Chimpanzees obviously existed before 2005.

Finding their first recognised fossils did not create their past existence. It corrected an incomplete record.

The discovery was important precisely because the previous geographical absence of fossil chimpanzees had influenced ideas about chimpanzee and hominin evolutionary history.

Source: McBrearty & Jablonski, “First fossil chimpanzee”, Nature 437 (2005) .

Archaeology Already Accepts Presence Without Human Bones

British archaeology itself demonstrates that skeletal remains are not required before the presence and behaviour of an ancient maker can be recognised.

At Pakefield in Suffolk, flint artefacts from deposits dating to approximately 700,000 years ago were described in Nature as the earliest unequivocal evidence then known for human presence north of the Alps. Yet no human fossil from Pakefield identifies who made them. The artefacts themselves establish the presence of a tool-making population.

Source: Parfitt et al., “The earliest record of human activity in northern Europe”, Nature 438 (2005) .

Happisburgh makes the point even more clearly. Flint artefacts from deposits more than 780,000 years old established the presence of Early Pleistocene hominins in northern Europe, again without the discovery of their skeletal remains. Later, ancient footprints provided direct trace evidence of individuals walking across the landscape.

Sources: Parfitt et al., Nature 466 (2010) ; Ashton et al., PLOS ONE (2014) .

Crucially, the researchers themselves state that there are no Early Pleistocene human fossils from the UK. The footprint makers therefore cannot be identified to species from British skeletal evidence. Homo antecessor is discussed because it is the only known western European hominin species of comparable age and because the estimated body dimensions are compatible with it. That is a comparison and possible attribution, not the identification of the actual Happisburgh population.

This distinction is extremely important.

At Pakefield and Happisburgh, archaeology accepts that somebody was there, that they made tools, occupied a landscape and, at Happisburgh, physically walked across it, even though we do not possess their bones and cannot securely identify the species responsible.

So archaeology already accepts the principle:

NO BONE DOES NOT MEAN NO MAKER.

Material evidence can demonstrate presence independently of skeletal evidence.

The scientifically defensible question must therefore be:

WHAT MATERIAL EVIDENCE OF A MAKER SURVIVES?

This exposes a serious inconsistency whenever anomalous lithic evidence is dismissed merely because the currently accepted fossil record says that a particular species, technology or cognitive capacity was “not there” or “did not yet exist”. The Pakefield and Happisburgh evidence shows that the identity of a maker can remain unknown while their presence and behaviour are nevertheless accepted from the surviving material record.

The artefact comes first. Identification of its maker is a separate question.

That distinction should apply whether the evidence comfortably fits the existing evolutionary timeline or seriously challenges it.


Does a Chimpanzee Image Prove Chimpanzees Lived in Britain?

No, not by itself.

This distinction matters, it's logical to assume they did, but it's not proof.

If these stones are demonstrated to contain intentional representations of a chimpanzee-like ape, they would establish evidence concerning the knowledge, memory, conception or representation of that subject by a maker.

That is not automatically the same thing as proving that a living chimpanzee population occupied Hampshire.

The subject could theoretically derive from direct observation, geographical movement, inherited cultural knowledge, memory, another ape morphology, symbolic convention or some currently unknown source.

Those become secondary research questions.

The first question is simpler:

Is the image intentionally organised?

Rejecting that question because no recognised chimpanzee fossil exists in Britain would be circular reasoning.


The Eolith Problem: A Natural Mechanism Is Not a Universal Diagnosis

The word eolith has acquired extraordinary historical baggage.

The current Wikipedia entry summarises the category by saying that eoliths were once considered artefacts but are “now believed to be geofacts”.

See: Wikipedia: Eolith .

That wording compresses a complicated scientific controversy into something dangerously close to a universal verdict.

There was legitimate scientific work demonstrating that natural forces can fracture flint in ways resembling crude human retouch.

Marcellin Boule discussed experimentally produced eolith-like forms in 1905. Samuel Hazzledine Warren likewise investigated naturally fractured flints and later described a “natural eolith factory”.

Historical source: “On the Origin of Eoliths”, Nature 72 (1905) .

That work established an important proposition:

Nature can produce lithic fractures that resemble elementary human workmanship.

It does not logically establish:

Every object ever called an eolith was therefore produced naturally.

Those are different propositions.

A demonstrated mechanism is not a diagnosis of every specimen.

If a Victorian collector placed ten naturally fractured stones, five genuine artefacts and three uncertain objects into a drawer labelled Eoliths, no experiment demonstrating natural fracture could magically convert every object in that drawer into a geofact.

Each object would still require examination.

If all eoliths can be dismissed as products of nature simply because nature can fracture flint, then the same logic can be used to dismiss accepted stone tools in museums throughout the world. Nature can fracture those too. The question has never been whether nature can break stone; the question is whether the surviving pattern demonstrates intentional working.

In a substantial proportion of the antiquarian eolith assemblages, the evidence goes far beyond isolated fractures. There is design logic, working logic, organised flaking strategy, targeted edge and blade sharpening, repeated exploitation of predictable flint fracture, deliberate-looking modification of particular functional areas, and coherent tool forms. These are precisely the kinds of relationships from which intentional manufacture and cognition are inferred in accepted lithic industries. In some specimens there is an additional layer: apparent ape, animal and other figurative organisation integrated into the tool form itself, exactly as in my discovery from my UK site.

This creates an unavoidable double standard. If organised fracture, selective edge preparation, repeated technological strategy and coherent morphology demonstrate agency in an accepted Palaeolithic assemblage, the same evidence cannot suddenly become meaningless when it occurs in an “eolith” from a geological context measured in millions or tens of millions of years. The workmanship does not cease to exist because its implications are inconvenient.

Calling such assemblages “geofacts” on the basis of age or historical classification is not an explanation of the evidence. It is an avoidance of it. The design logic, fracture strategy and evidence of cognition have to be explained. If nature is claimed as the maker, then nature must account for the complete technological pattern, not merely demonstrate that rocks can break.

The evidence must determine the chronology. The chronology cannot be allowed to determine, in advance, what counts as evidence.

See my Eolith Atlas, and think for yourself. 

Modern Historians of Archaeology Recognise the Debate Was More Complicated

Anne O'Connor's history of the eolith controversy describes a genuine multidisciplinary dispute involving archaeologists, geologists, professionals and amateurs rather than a simple story of foolish collectors being corrected by obvious science.

Reference: O'Connor, “Geology, archaeology, and ‘the raging vortex of the eolith controversy’”, Proceedings of the Geologists' Association (2003) .

Roy Ellen's later historical analysis similarly notes that although the historical eolith debate eventually collapsed, the technical problem of distinguishing artefacts from geofacts remains a current archaeological issue.

Reference: Ellen, “The Eolith Debate, Evolutionist Anthropology and the Oxford Connection Between 1880 and 1940” (2011) .

That is very different from pretending that one early twentieth-century experiment scientifically diagnosed every historical eolith collection on Earth.


When the Narrative Becomes Circular

There is a serious methodological danger when chronology is allowed to police evidence instead of being tested by evidence.

The circular form looks like this:

  1. The accepted chronology says a particular maker, technology or cognitive ability did not exist at date X.
  2. An anomalous object apparently contradicts that chronology.
  3. The object is rejected because the proposed maker, technology or cognition “could not” exist at date X.
  4. The absence of accepted objects at date X is then cited as confirmation of the original chronology.

That is a self-protecting argument.

It is not good science.

Current evolutionary chronology is a scientific model constructed from fossils, genetics, geology and archaeology. It is enormously informative but it remains a model capable of revision when sufficiently strong evidence requires it.

We know this because revision has happened repeatedly.


Stone Tools Already Broke One “Impossible” Timeline

For decades, stone-tool manufacture was closely associated with the genus Homo.

Then the Lomekwi 3 assemblage in Kenya pushed recognised intentional stone technology back to approximately 3.3 million years ago, predating the earliest currently recognised members of Homo.

Source: Harmand et al., “3.3-million-year-old stone tools from Lomekwi 3”, Nature 521 (2015) .

The evidence changed the timeline.

The timeline did not get to veto the evidence.

Engraving and Cognition Have Also Moved Backwards in Time

A geometric engraving associated with Homo erectus at Trinil, Java, was dated to roughly 380,000–640,000 years ago, dramatically extending discussion of intentional geometric marking beyond the conventional association with recent modern humans.

Source: Joordens et al., “Homo erectus at Trinil on Java used shells for tool production and engraving”, Nature 518 (2015) .

And in 2024, research in Sulawesi dated the oldest currently widely recognised surviving representational scene to at least 51,200 years ago.

Source: Oktaviana et al., “Narrative cave art in Indonesia by 51,200 years ago”, Nature 631 (2024) .

Again and again, apparently secure boundaries surrounding technology, cognition and art have moved when new material evidence survived scrutiny.

That history should produce intellectual humility, not chronological dogma.


The 10, 20 and 30 Million Year Problem

This is where the eolith question becomes genuinely uncomfortable.

My Eolith & Tertiary Tools Atlas brings together more than 200 historical records involving eoliths, proposed early stone tools, figure stones and related material from classic sites and collections.

Explore the database: Eolith & Tertiary Tools Atlas .

Some historical specimens were reported as recovered in situ from stratified geological deposits assigned to parts of the Miocene, Oligocene, Eocene and other remarkably ancient contexts.

In some cases this means claimed geological ages measured not in hundreds of thousands of years but in tens of millions of years.

That does not mean every such specimen is thereby proven to be a 10, 20 or 30 million year old manufactured tool.

Geological age of a reported deposit and demonstrated age of manufacture are not automatically identical.

Historical provenance must be checked. Reworking must be considered. Old stratigraphic terminology must be translated into modern geology. Original descriptions, plates and collection histories must be reassessed.

But neither should these objects disappear merely because their reported ages are inconvenient.

The scientifically responsible response to extraordinary provenance is:

CHECK IT.

Not:

IGNORE IT BECAUSE IT CANNOT BE TRUE.


Ape Faces in Ancient Tool Forms

The present chimpanzee-like faces matter because they may not be an isolated modern observation.

Across my own assemblage I have repeatedly documented ape-like subjects incorporated into:

  • flint tools;
  • scrapers and cutting forms;
  • figure stones;
  • composite or anamorphic objects;
  • pigmented and apparently engraved surfaces;
  • objects combining utility and imagery.

Comparable ape-like morphology also appears, in my interpretation, among historical specimens recorded in old eolith literature.

This is precisely why the argument cannot be reduced to one photograph and the word pareidolia.

If the same iconographic organisation genuinely recurs across independently recovered material, different raw materials, different collectors and historical collections, then recurrence itself becomes part of the evidence requiring explanation.


Comparative plate: independently recovered ape-like motifs in lithic tools and figure stones. Individual provenance and interpretation should be assessed specimen by specimen.

Pareidolia Is a Hypothesis, Not an Explanation

Pareidolia exists.

Humans perceive meaningful forms in clouds, rocks, bark, stains and random visual noise.

Therefore any proposed figure stone must survive the possibility of accidental resemblance.

But saying the word pareidolia does not explain a specimen.

It does not identify how a particular scar formed.

It does not explain an incision.

It does not explain pigment.

It does not explain sequencing of removals.

It does not explain repeated placement of particular anatomical features.

And it certainly does not explain a whole assemblage merely by being repeated loudly enough.

“Pareidolia” is an alternative perceptual hypothesis. “Geofact” is a proposed physical diagnosis. Neither word removes the obligation to examine the object.

A critic who proposes natural formation should be able to identify the relevant natural processes and show how those processes account for the complete observed morphology better than intentional modification does.

That is a scientific argument.


Search Engines, Wikipedia and AI Do Not Decide Archaeology

There is a further modern problem.

A simplified statement can now be copied between websites, search results, encyclopedia summaries and machine-generated answers until repetition itself creates the appearance of authority.

But a thousand repetitions of:

“Eoliths are geofacts.”

do not constitute a thousand scientific examinations.

They may ultimately trace back to the same tiny group of historical arguments.

Search ranking is not experimental archaeology. Wikipedia consensus is not microscopy. AI output is not provenance analysis.

If a modern summary says a particular object is naturally fractured, the obvious scientific question remains:

Which object was examined, by whom, by what method, and what observations establish that diagnosis?

Without that chain, a categorical statement risks becoming inherited narrative rather than demonstrated science.


The Hypocrisy That Must Be Avoided

Archaeology correctly accepts stone artefacts as evidence of ancient hominin presence where no human skeleton is available.

It correctly recognises that technological and cognitive chronologies can move when better evidence appears.

It correctly recognises that distinguishing artefacts from naturally fractured stone requires analysis.

Therefore it would be methodological hypocrisy to celebrate lithic evidence when it comfortably extends an accepted chronology, but automatically downgrade lithic evidence to “nature” when its implications become too old or too disruptive.

The standard must remain the same:

Examine the evidence.

Not the comfort of the conclusion.


Why These Finds Matter to Evolution, Art and Cognitive Science

If intentionality can be demonstrated in these objects, their importance extends far beyond the classification of a few stones.

A figurative representation is evidence of more than manual fracture.

It potentially requires a maker capable of:

  • recognising a living form as a coherent visual category;
  • selecting diagnostic anatomical features;
  • holding or recalling a visual concept;
  • mapping that concept onto irregular stone;
  • using existing natural morphology strategically;
  • adding or removing material selectively;
  • understanding how another viewer might recognise the result;
  • possibly repeating a conventional visual motif.

That concerns visual cognition, memory, abstraction, representation, communication, planning and the externalisation of mental imagery.

If such behaviour can be securely demonstrated at dates substantially earlier than currently accepted figurative traditions, then major accounts of the evolution of art and cognition would require revision.

If comparable intentionally manufactured imagery were ever securely established in genuinely Tertiary contexts, the implications would be vastly larger still.

Extraordinary implications demand extraordinary testing.

They do not justify refusing to test.


A Scientific Programme for Testing These Claims

I am not asking archaeology to accept these objects because I say they are important.

I am asking that the strongest specimens be subjected to the same seriousness routinely applied to discoveries that already fit accepted expectations.

Useful investigation should include:

  • Petrological identification of the unusual grey Hampshire stone.
  • Geological sourcing to determine whether the material is local or exotic.
  • High-resolution microscopy of suspected incisions, percussion scars, abrasion and retouch.
  • Fracture sequencing to determine relationships between removals and later surface alteration.
  • Residue and pigment analysis where ochre or other colouring material is suspected.
  • Patina and weathering comparison across modified and unmodified surfaces.
  • 3D surface recording to document morphology independently of lighting and photography.
  • Blind comparative assessment of repeated anatomical landmarks across proposed imagery.
  • Experimental replication comparing humanly produced marks with plausible geological processes.
  • Assemblage-level study rather than cherry-picking isolated objects.
  • Historical provenance reassessment of the strongest antiquarian eolith records.
  • Modern geological review of claimed stratigraphic ages and possible reworking.

This is where the argument belongs.

Not in ridicule.

Not in authority.

Not in the automatic assertion that something “cannot” exist because a textbook timeline currently has nowhere to put it.


The Challenge

I have spent years documenting an assemblage from one relatively small area of southern England containing an extraordinary quantity of apparently worked stone, tool forms, repeated figurative subjects, pigment, unusual iconography and recurrent visual conventions.

The chimpanzee-like or ape-like subject is only one part of that evidence.

Historical collections and antiquarian literature suggest that the wider problem may extend far beyond my own site.

So here is the challenge:

Do not tell me the object cannot be worked because its implications are too old.

Identify the stone.
Examine the scars.
Analyse the pigment.
Test the provenance.
Compare the repeated forms.
Propose the natural mechanism.
Attempt to falsify intentional agency.

If the evidence fails, demonstrate why.

If it survives, change the narrative.

That is how science is supposed to work.


Conclusion: Evidence Does Not Owe Allegiance to a Timeline

The fossil record is indispensable.

It is not complete.

Archaeological chronology is indispensable.

It is not infallible.

Natural fracture is real.

It does not make every disputed stone a geofact.

Pareidolia is real.

It does not automatically explain repeated structured imagery.

And the word eolith must not be used as a convenient intellectual dustbin into which uncomfortable objects can be thrown without individual examination.

The two chimpanzee-like faces shown here are important not because they instantly prove a complete alternative history of Britain, chimpanzees or human evolution.

They are important because, together with the wider assemblage and historical record, they raise testable questions that the conventional narrative does not presently answer.

Science has no right to demand that evidence remain ordinary.

It only has the right to demand that extraordinary evidence be tested extraordinarily well.

That examination is overdue.

A quick look at what else appears in that Stone. 

Here are a few other standard lithic language subjects that can be found in that Gray chimpanzee like face stone:

This composite shows several of the recurring conventions I have been documenting in figure stones and worked lithics since at least 2012 found in the same Chimp-like face stone: the same economical use of outline, fracture, internal line and geometric feature to carry more than one recognisable subject within a single stone. The convention can be loose, but in the strongest examples it is remarkably concise. Here I interpret the first image as an elephant head, including the familiar diamond-shaped eye motif; the second as a bird with the head turned backwards in the characteristic preening posture, more goose-like than swan in this particular example. That reading is especially interesting alongside my work on ovate tools as deliberately egg-shaped forms and the close geometric correspondence I have demonstrated between ovate handaxes and goose eggs. [See: “Ovate Handaxes and the Symbolism of the Egg”.]

The third interpretation is more challenging, but it belongs to another motif that is strongly represented across my wider assemblage: a pterosaur-like profile or partial figure. Look carefully at how the thicker line defines the neck and body. The same geometry can also be read through another recurring convention: reinterpret the apparent wing-tip area as the diamond-shaped fin or flipper of a mosasaur-like marine reptile, and another coherent animal form emerges. That type of deliberate visual switching where the same worked lines, edges and geometric features participate in more than one image
is central to what I have been arguing for years. These are not simply pictures imposed on random stones; they appear to use a repeatable visual language in which outline, orientation, shared anatomical features and transformation between subjects were deliberately built into tools and artefacts.

Further Research

Selected Scientific & Historical References


FAQ

Are these stones proven chimpanzee carvings?
I interpret them as intentionally worked representations of a chimpanzee-like or ape-like frontal face. Their significance lies in the repeated anatomical organisation and apparent modification, but independent microscopic, geological and comparative examination would strengthen or falsify that interpretation.

Does the absence of chimpanzee fossils in Britain prove chimpanzees were never present?
No. Fossil absence alone is not proof of biological absence because fossilisation and discovery are incomplete processes. However, an intentional chimpanzee-like representation would not by itself prove a living chimpanzee population in Britain either; it would first demonstrate knowledge or representation of an ape-like subject.

Why is the first fossil chimpanzee discovery important to this argument?
Until 2005 no recognised fossil chimpanzee had been reported despite thousands of known hominin fossils. The later discovery demonstrates how an empty fossil record can reflect preservation, geography and sampling rather than actual historical non-existence.

Do archaeologists require human bones to prove ancient human presence?
No. Pakefield and Happisburgh in Britain show that stone artefacts, stratigraphy and trace evidence such as footprints can establish hominin presence without a corresponding human skeleton.

Are all eoliths natural geofacts?
Natural processes can unquestionably create eolith-like fractures, and some historical specimens may be natural. But demonstrating a natural mechanism does not scientifically diagnose every individual specimen ever labelled an eolith. Artefact or geofact status must be assessed from the evidence of the particular object and its context. Many historical eoliths look exactly like accepted ancient flint tools.

What is wrong with simply calling an unusual stone pareidolia?
Pareidolia describes the human tendency to perceive familiar forms in ambiguous stimuli. It is a legitimate alternative hypothesis for apparent imagery, but it does not explain physical incisions, pigment, fracture sequence, repeated anatomical placement or assemblage-level recurrence unless those observations are also accounted for.

Are the claimed 10-, 20- or 30-million-year-old eoliths proven artefacts?
No universal claim should be made from geological labels alone. Some historical eoliths were reported from deposits assigned remarkable Tertiary ages, but their provenance, possible reworking, geology and workmanship require modern specimen-level reassessment before a manufacture date can be considered secure. Current evidence suggests they are incredibly ancient stone tools.

Why would ancient figure stones matter to cognitive science?
Intentional representation potentially records visual memory, categorisation, planning, abstraction, communication and the ability to externalise a mental image. Demonstrating such behaviour at unexpectedly early dates would directly affect models of cognitive and artistic evolution.

How can an artefact be distinguished from a geofact?
Useful evidence includes fracture mechanics, percussion features, repeated retouch, technological sequence, microscopic wear, residues, pigment, patination, geological context, refitting, replication experiments and comparison with the wider assemblage. No single visual characteristic should carry the entire interpretation.

What is the Eolith & Tertiary Tools Atlas?
It is a searchable research database at Eoliths.org bringing together more than 80 historical records of eoliths, proposed early stone tools, figure stones and related finds, including links to antiquarian publications, plates, locations and reported geological contexts.

What should happen next with the Hampshire grey stone?
The raw material should first be identified petrologically and compared with local geology. High-resolution microscopy and 3D recording should then document suspected working, while any unusual residues, staining or pigment should be independently analysed.

Sunday, 25 January 2026

A Peer Review of Richard Wilson: Bearly Figurable (and “BULLSHIT”)

A Peer Review of Richard Wilson: Bearly Figurable (and “BULLSHIT”)

A Peer Review of Richard Wilson: Bearly Figurable (and “BULLSHIT”)

Key terms: Figure Stones, Richard Wilson, Erschwing bear tracks, bear effigy stone, portable rock art

A recent email from Richard has prompted this post. In it, he calls for “rigour,” insists on tighter evidential standards, and complains about citation gaps — while also implying that “much of this was established decades ago” and that what I’m doing is simply re-running old ground without the proper intellectual framework.

My view is that this is utter hypocrisy, and it’s hard not to notice the timing. These objections could have been raised constructively 14 years ago, when my material first went public. Instead they arrive now, right as the work is presented in a far more coherent way — through my new site, the Eolith Atlas structure, the portable rock art gallery, the organised material, the comparisons, and the overall clarity of the case. In other words: the “rigour” lecture looks less like a neutral methodological concern, and more like a reaction to the project becoming harder to casually dismiss.

If “the standards” and “the established work” are really the point, then the obvious question is simple: where are the citations, and where is the established framework, specifically, for figurative lithics and figure-stones — and why does it get invoked as a rhetorical shield rather than demonstrated in detail?

Face Effigy Stone
Richard Wilson's Scientific Rigor: “You seriously think that this is worked by hominins? This just shows that you do not understand flint fracture mechanics or geology.” No, Richard — it shows a double standard: dismissing visible agency and possible ochre here, while later demanding “rigour” from me, but not in your own paper.

In 2013 I posted my “face effigy” stone with photos and a plain-language description of what I could see: deliberate-looking modification/figuration and iron-oxide staining consistent with applied ochre. Richard’s immediate reaction was outright trolling and a competence attack: “You seriously think that this is worked by hominins? This just shows that you do not understand flint fracture mechanics or geology.” Fast-forward to his recent emails and he’s suddenly posturing about “scientific rigor” and “standards,” yet the only “rigor” he applied to my 2013 piece was dismissal-by-insult, even though the photo shows clear evidence of cognition/agency cues and the red/iron-oxide emphasis in a way that is at least legitimate to flag as possible pigment. What makes it worse is the double standard: even Alan Day — despite disagreeing with me on plenty — accepts that 2013 object as an artefact, while Richard’s own paper is happy to call other people’s examples “figure-stones” (i.e., artefacts rather than geofacts) without demanding the same explicit evidential package from him or those original finders that he retrospectively demands from me.

A Bear Faced Pie?

In Richard Wilson’s Erschwing “bear tracks” paper (2018), he suddenly attempts a “statistical proof” approach to figuration — the very kind of move he’d already sneered at when it came from me. About seven months earlier, I emailed him saying I’d worked out a methodology for statistically testing figuration claims, and I sent him the link; his reply wasn’t a critique, it was pictorial and the only reasonable reading was “BULLSHIT.” Yet later that same year he’s doing the same basic thing in print — badly — and without so much as acknowledging where the idea had been put to him first. If this kind of statistical control-test framing was genuinely “established decades ago,” he should be able to cite who established it in the specific context of figurative lithics; and if it wasn’t established, then the omission is simple: he used the method when it suited him, while dismissing it as “bullshit” when I proposed it.

Richard Wilson’s “bear” test is basically this: he compares two sets of stones — (1) a set treated as “figure-stones” with recognisable bear-like forms, and (2) a “randomly selected” control set of naturally fractured rocks — and argues that if bear-like “iconography” appears far more often in (1) than (2), that supports agency/figuration rather than chance fracture. He sells it as “bear-selected stones vs random stones”.

Even at face value it’s circular: picking stones that “look like bears” and contrasting them with random stones only proves you picked stones you think look like bears — it doesn’t demonstrate sculpting or intention.

Mathijs Vos highlights the fatal contradiction using Wilson’s own stated “required” evidence:

“Now, careful examination of Table 1 shows that the author detected iconography in 17 out of 18 unmodified stones. That means the author finds 94.4% of iconographic items in a sample of rocks fractured only by natural forces… case closed by the author’s own criteria.”

So the “control” does the opposite of what it’s meant to do: if the natural/unmodified set produces “iconography” at essentially the same (or higher) rate as the “modified” set, then by Wilson’s own stated logic the result isn’t meaningful — it undercuts the claim rather than proving it.

Worse, after that criticism, the story shifts: the supposed “random” rocks are now effectively treated as bear-like too, and the comparison drifts from “selected bears vs random rocks” toward “bears vs bears.” That’s changing the buckets after the fact — which reeks either of total incompetence or a deliberate attempt to protect the headline claim.

Because this is such a small niche, it’s hard not to notice how “standards” language can function like club membership: some claims are waved through as “figure-stones,” while others are met with trolling, dismissal, and zero credit — even when the methodology later reappears in print without citation.

If Richard is operating within IFRAO-adjacent circles (as far as I know), it’s fair to ask whether this is a network problem: a closed loop that amplifies certain voices, shields insiders from the scrutiny they demand of outsiders, and quietly erases prior innovations. If that’s wrong, then prove it the scientific way: publish clear thresholds, run blinded tests, cite origins of methods, and stop substituting status for analysis. I wonder if Alan Day and James Harrod are members of the IFRAO?

What I Was Actually Saying in 2012

When Revelation in Stone went live in 2012, the background noise online was strangely thin. The wikis and popular encyclopaedias weren’t confidently talking about “Palaeolithic elephant art”, and for good reason: it was not proven in any robust, settled way. What I was doing felt different in kind. I wasn’t waving a single curiosity and calling it a masterpiece. I was laying out a small, coherent run of objects from one tight patch of ground, with the same white patina and the same chalkland context, and saying: look at this as an assemblage, not as a one-off. Not only that, I was saying this can be seen world wide, it's much bigger than what I have here.

Some of those pieces were plainly tools first. You could see the working edges, the functional geometry, the scars you expect when a flint has been driven, held, and used. And yet, within that tool language, there were faces, animal forms, and those ambiguous optical flips I’d started calling poly-iconography. Not a hundred “maybe” stones, but at least ten that held their ground under a photograph and still held it when you handled them. That mattered, because a repeated pattern in a consistent group is a different kind of claim than a single pleasing resemblance.

The reaction split fast. A few of the small number of people who were active in figure-stones or portable rock art at the time were immediately hostile. But Ursula Benekindorf stood out because she did what honest workers do: she looked, and she acknowledged that what I had was not random, and that in places it was clearer and more complex than her own finds. That sort of response does not require agreement with every interpretation. It just requires integrity.

What still grates is this: if there really was a paper by “Big Bob Cahunas”, as Richard later insisted, setting out the same ground decades earlier, then why wasn’t it simply put in my hands? Not as a weapon, not as a gotcha, but as basic scholarly decency. Here is the precedent, here is the framework, here are the arguments, now test your material against it. Instead, the implication was that I was reinventing something I should already have known, while no one actually produced the supposed map.

If that paper existed in a form that genuinely matched what I was seeing and publishing, then yes, it could have saved me years of lonely work and the need to build a whole website just to make the case visible. But that is precisely the point: I did build it, because the objects were there, and because the mainstream summaries were not doing the careful, assemblage-level looking that this subject demands. The stones forced the issue. The least others could have done was send the paper and argue from evidence, rather than from insinuation.


FAQ

What is a “bear effigy stone”?

It’s a practical label for the claimed bear-like figure-stones discussed in the “bear tracks” argument, and a useful term for this debate.

Why is the “bear” identification controversial?

Because without fixed, objective criteria, “bear-likeness” is subjective pattern-spotting — and subjective pattern-spotting is exactly what a control test is supposed to guard against.

What’s the core issue raised by Vos?

That Wilson’s own table implies the unmodified/natural set produces “iconography” at a rate that defeats the central claim on Wilson’s own stated terms.