We conducted three studies to investigate how well pictographs communicate medical screening information to persons with higher and lower numeracy skills. In Study 1, we conducted a 2 (probability level: higher vs. lower) × 2 (reference information: yes vs. no) × 2 (subjective numeracy: higher vs. lower) between-subjects design. Persons with higher numeracy skills were influenced by probability level but not by reference information. Persons with lower numeracy tended to differentiate between a higher and a lower probability when there was no reference information. Study 2 consisted of interviews about the mental processing of pictographs. Higher numeracy was associated with counting the icons and relying on numbers depicted in the graph. Study 3 was an experiment with the same design as in Study 1, but, rather than using reference information, we varied the sequence of task type (counting first vs. non-counting first) to explore the role of the focus on numerical information. Persons with lower numeracy differentiated between higher and lower risk only when they were in the non-counting first condition. Task sequence did not influence the risk perceptions of persons with higher numeracy. In sum, our results suggest that pictographs may be useful for persons with higher and lower numeracy. However, these groups seem to process the graph differently. Persons with higher numeracy rely more on the numerical information depicted in the graph, whereas persons with lower numeracy seem to be confused when they are guided towards these numbers.

Archaic period hunter-gatherers of the Lower Pecos Canyonlands of southwest Texas and Coahuila, Mexico, created complex rock art murals containing elaborately painted anthropomorphic and zoomorphic figures. These figures are frequently portrayed with dots or lines emanating out of or into their open mouths. In this article, we discuss patterns in shape, color, and arrangement of this pictographic element and propose that artists used this graphic device to denote speech, breath, and the soul. They communicated meaning through the image-making process, alternating brushstroke direction to indicate inhalation versus exhalation or using different paint application techniques to reflect measured versus forceful speech. The choices made by artists in the production of the imagery reflect their cosmology and the framework of ideas and beliefs through which they interpreted and interacted with the world. Bridging the iconographic data with ethnohistoric and ethnographic texts from Mesoamerica, we suggest that speech and breath expressed in the rock art of the Lower Pecos was tied to concepts of the soul, creation, and human origins.

El Médano-style rock art from the Atacama Desert coast in Chile provides one of the most spectacular and expressive representations of ancient marine hunting and maritime traditions. These red pictographs comprise hundreds of hunting scenes and portray a complex marine hunter-gatherer society. This study presents the discovery of El Médano pictographs from new sites—in particular the Izcuña ravine—and seeks to understand further the processes of marine hunting and the interspecies relationships between hunter and prey. When combined with archaeological evidence, this analysis provides important new information concerning the value and significance of this rock art to those ancient hunter-gatherers.

Samples from three charcoal pictographs at Ignatievskaya Cave, in the southern Ural Mountains of Russia, have been radiocarbon dated. An advanced antiquity was expected, with some paintings thought to be more than 10,000 years old, as suggested by the imagery. One charcoal painting, for example, resembles a mammoth. The radiocarbon date of that motif, however, dates only to 7370±50 BP. If that motif actually represents a live mammoth, it places mammoth extinction in the Urals nearer to the present than is currently accepted. A charcoal pigment sample, a drawing of lines radiating from a central focus, has also been dated; its age was a few hundred years older than the ‘mammoth’: 7920±60 BP. A charcoal line has been dated with an age of 6030±110 BP. Although radiocarbon analysis was attempted on a red-pigmented painting of a woman, there was not enough organic material in the paint sample to obtain a viable date. Radiocarbon dates on pictographs in Ignatievskaya Cave obtained so far suggest that the paintings may be more recent than has been supposed.

The earliest evidence of wheeled vehicles dates to the Funnel Beaker (TRB) culture in Europe and the Late Uruk period in the Near East. Results of excavations and 14C determinations from Poland, Germany, Iraq, Syria and Turkey suggest that the appearance of wheeled vehicles was contemporary in Europe and the Near East.