 and he lived in England, he was not sure that he could be readmitted in Florida to complete his term as research show. He sent us a paper on maps which is very relevant and which is in a little display that we have been available. So we are not going to move to Professor Gervieu from Romania. I just have a quick remark for the rest. There is, I think, two kinds of uncertainty. There is what, to get out of a certainty, we need information. But you have what I call bound information. That is when you are in a situation, for instance, in place of a situation, in a territory, they know there is a bear. It's a territory of a bear. So they ask, is a bear around or not? So it is also the response, all the answers are within a set of possibilities. And then there is unbound information when it's not suddenly it is an elephant, which had never been there before. So that is an uncertainty. That is an information which is completely upsetting. You see what I mean? I understand exactly what you mean. There were a group of people who, including myself, who tried to write on predicting the unpredictable. And what that was about was what happens when you add an unknown variable. Like you have a ground, an area where there's a bear. And then suddenly the question is, what happens if there's an elephant, right? And that's a new variable. It gets added into the situation. And how do you predict that from the known information? There is some people who have tried to do that. It's a very difficult task. OK, we can talk about that later, but to you. Isn't this the discussion point here now? I just wanted to make a point, when I shook my head at you, is that the Kitsen-Witselton had long mythic stories that said that something had happened thousands of years before. Archaeologists went, found it happened. It was accepted in the Canadian courts for land claims. So we must think that sometimes there is long-term memory through the things you talked about and how mythic stories are built for the future. And that actually was a specific location and specifically found and specifically accepted by colonial-based courts into documentation. OK, so maybe we can postpone that to Zia. So I don't want to take the time for that. Although the concept of space-time seems to be a discovery of modern society, some archaeological evidence indicates that it may have existed in prehistoric cultures. I will attempt to demonstrate the age of this concept by discussing the iconography and geometry of the pre-Potterian Neolithic Göbek-Literpe site using a semiotic approach to reveal the representation of space and time. The prehistoric site Göbek-Literpe is located in Upper Mesopotamia, in southeastern Anatolia, on the plain of Haran-Orpha region near the Euphrates River and its tributary is the Balik-Jalab river. The site dated pre-Potterian Neolithic A, pre-Potterian Neolithic B, is made of overlapped layers of dwelling, of which the oldest one, layer three, dating millennium BC, is formed by several stone enclosures. These enclosures are circular. Enclosure D, for example. Quadrangular, large pillars building from layer two, nine millennium BC, or mixed. They're revealing a major change in geometry during the most recent period of this site. The various enclosures contain specific zoomorphic iconographies. Thus, enclosure A, the snake-like animals dominate. In enclosure B, the foxes dominate. In enclosure C, the boars, while in enclosure D, the species are mixed. The present work will be focused only on the description of the complex geometry and iconography of enclosure D from layer three, in which the concept of space time is clearly represented in iconography. The elliptical structure contains 11 perimetre stone pillars embedded in the stone wall and two larger pillars centrally positioned. The T-shaped perimetre pillar display on the side on a narrow side the homomorphic scene that will be discussed further. For the prehistoric populations, the images of the animals represented an index of the biotopes and of the temporality of their migration and their reproduction upon which their life depended. In this semiotic perspective, we can say that animals in the iconography of Göbekli Tepe could represent an indexical way of presenting the space temporality of the surrounding world. To identify exactly the species of animals represented, we shall not see the decontextualized image of an animal, but rather the animal in its relationship with a specific place, which is its habitat. And consequently, the iconography would be not zoomorphic, but topomorphic. Therefore, an analysis of the images of the animal species should be done in the biotic context of the area, taking into account the local biotopes and their behavior in these biotopes. In this perspective, for example, compact groups of snake-like animals identified by archaeologists as big vipers might belong to the family of Angeliidae, such as Mesopotamian spiny eel, Mastachemberus Mastachemberus, which lives in southeastern Anatolia and could reach almost one meter length. Other snake images with different body proportion could signify fishes of different species. The fish with a short body and a big head could be a catfish. And the arachnid on pillar 33 could be the narrow-cloth crayfish astakus leptodactylus, native species in Turkey, or young crayfish with not yet developed kele. Water flow is represented on pillar 33 in the form of two chevron pattern, which evokes the shape of water waves when it encounters obstacles, such as aquatic plant flames. These images of a flowing water frame an active aquatic life constituting of school of fish and crayfish. Those semiotic iconography is primarily toposemiotic because it allows the identification of local form of landscape, as suggested also by Petters and Schmitt. Those semiotic iconography is also chronosemiotic and allows the identification of certain moments related to the migration or reproduction of some species. Thus, large migration of fish for spawning in the Euphrates River occur in late spring. And similarly, the young crayfish with underdeveloped kele are an indication of the warmer temperature of late spring. Joining terrestrial animals such as bovid with necrophagic aquatic animals such as catfish, crayfish, or eels could illustrate the devastating result of spring floods. One conclusion of the interpretation of the iconography would be that enclosure D represents the geographical space time of Göbekli Tepe area that borders the Euphrates River in which the geographic element and biota are representing at a certain times of the year. Enclosure D is therefore characterized by two types of representation. The first one is figurative and geometric. Since geometry has no visual correspondent in nature, it imposed an additional mental effort to conceptualize. It is likely that such a non-figurative representation of the space that would be a support for different rituals would have had a spiritual or magic role. One could infer that a relation between geometry and spirituality or magic, such as one identified in antiquity, could also be inferred for prehistoric times as different contemporary archaeological approaches support this idea. Analyzing the enclosure of Göbekli Tepe, it can be observed that geometry works as a magical tool for structuring space, creating mandalas. Acting as a mental map, a mandala becomes an instrument of domestication of the space and positioning of the being in the world. The elliptical round shape of the oldest enclosure, B, C and D, together with that of the surrounding walls dating from the 10th millennium BC, impose a perception of the build space analogous to that resulting when one wants to have a full image of a landscape and the body rotates to 330 degrees. Even the radial structuring of the round space with decorated pillars imposes such a movement of the body. Also, the radial positioning of the spatial temporal narratives also allows the receiver to mentally recompose the landscape from the perspective of prehistoric people. Klaus Schmidt, the excavator of Göbekli Tepe, even tried to draw a parallel between the narratives of the pillars and the song lines or the maps stored into songs of the Aboriginal Australians as a way of orientation, communication and storing the myth. The 360 perspective of the space, however, does not seem to have been intended solely for the human receiver. Century position are two very tall pillars that exhibit anthropomorphic features. By their dimension in geometric position, the characters represented with the hands on their hips and with the verse decorated with accessories in the form of the letter H and which supports the skin of animals have a special status of a supernatural nature. The same type of H-shaped accessory also appears on the river scene on pillar 33 which also present another analogy with the central pillars. The group of hills on each side have the same position as the card hands on the two anthropomorphic pillars. The dominant anthropomorphic images in the middle of a suite of zomorphic images can be considered as representing the beginning of the revolution of symbols, respectively the moment of passage from the animistic worldview of the hunter-gatherer population to the neolithic worldview with anthropomorphic deities. It can be concluded that enclosure D from Gebe-Pri-Tepe dating from pre-pottery neolithic A could be the result of a cognition of space in transition that illustrates that mental mutation as mentioned by Jacobin, representing the replacement of the epipaleolithic special temporal conception with another one in which anthropomorphic symbolism dominates and which will bring it with it a new geometry. In time, the pre-pottery neolithic A circular spaces from Leslie will be replaced in pre-pottery neolithic B with some rectangular ones like the Lyos building. For reason of efficiency of the constructive technique of covering large spaces and using a much easier mentally controlled geometry. Thank you very much for your attention. Thank you.