Abstract
Virtual Reality (VR) has vast potential for developing systematic, interdisciplinary studies to understand ephemeral behaviours in the archaeological record, such as the emergence and development of visual culture. Upper Palaeolithic cave art forms the most robust record for investigating this and the methods of its production, themes, and temporal and spatial changes have been researched extensively, but without consensus over its functions or meanings. More compelling arguments draw from visual psychology and posit that the immersive, dark conditions of caves elicited particular psychological responses, resulting in the perception-and depiction-of animals on suggestive features of cave walls. Our research developed and piloted a novel VR experiment that allowed participants to perceive 3D models of cave walls, with the Palaeolithic art digitally removed, from El Castillo cave (Cantabria, Spain). Results indicate that modern participants' visual attention corresponded to the same topographic features of cave walls utilised by Palaeolithic artists, and that they perceived such features as resembling animals. Although preliminary, our results support the hypothesis that pareidolia-a product of our cognitive evolution-was a key mechanism in Palaeolithic art making, and demonstrates the potential of interdisciplinary VR research for understanding the evolution of art, and demonstrate the potential efficacy of the methodology.