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In this section, the depictions shown are from Tukanoan, South African, Coso, North American, Canadian and Australian art forms. Figure 50 below depicts the San curing dance during a shamanistic ritual (after Lewis-Williams 1987:167, fig. 2). 
Figure 51 below, is a drawing by a Tukanoan, and is said to represent 'yajé flowers' (after Lewis-Williams and Dowson 1993:57, fig. 2). 
Figure 52 below, is a drawing by a Tukanoan, an is said to represent "luminous patterns percieved after one or two cups of yagé" (after Lewis-Williams and Dowson 1993:57, fig. 3). 
Figure 53 below, is an engraved entoptic design from Cape province, South Africa (after Lewis-Williams and Dowson 1993:57, fig. 4). 
Figure 54 below, rock carvings from Stony Lake, eastern Ontario (after Coles 1991:140, fig. 11). 
Figure 55 below, North-west coastal rock carvings, British Columbia (after Coles 1991:141, fig. 12). 
Figure 56 below, from the Coso region of California shows abstract pertroglyphs (after Whitley and Dorn 1987:156, fig. 4). 
Figure 57 below, from the west coast of North America depicting the trance dance and trance images (after Coles 1991:142, fig. 13). 
Figure 58 below left, a Victorian wooden parrying shield, from Victoria, Australia (after Mulvaney 1969: plate 31). Figure 59 below right, a perforated and incised interlocking key design pearl oyster shell ornament from the Kimberley coast (after Mulvaney 1969: plate 41). 
SUMMARY The intention of this chapter was to produce a visual overview of the evidence of entoptics in art forms from the Upper Palaeolithic, Mesolithic, Neolithic and more contemporary periods. Commentary has been kept to a bear minimum, I do not feel that details pertaining to the objects precise provenance and use would be of much value to my argument. Art is a visual phenomena, and the only way to present it is visually. Readers may perceive art in different ways, therefore no strict boundaries have been placed on these examples.
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