The Return of the Bricoleur? Emplotment, Intentionality, and Tradition in Paleolithic Art

In this paper, we want to re-visit some of the core assumptions about the making of the images we call Paleolithic art. We propose that not all images were made as derived from a long standing and formal system of image-making guidelines, and that many can be more likely accounted for as a part of bricolage processes.As well, our current emplotment of the "story" of Paleolithic art depends too much on the concept that it was a long-standing tradition, rather than thinking that perhaps the apparent similarities are the result of contiguous rather than continuous practices.