The image has a "clothes peg" Gwion Gwion superimposed over the thorax, while a "Tassel" Gwion Gwion crosses the forearm of the animal. In 2009, a second image was found that depicts a Thylacoleo interacting with an "elegant action" Gwion Gwion who is in the act of spearing or fending the animal off with a multibarbed spear. Much smaller and less detailed than the 2008 find, it may depict a thylacine, however, the comparative size and morphology indicates a Thylacoleo is more likely, a position supported by palaeontologists and archaeologists who have examined the image. As the Thylacoleo is believed to have become extinct 45,000–46,000 years ago, this suggests a similar age for the associated Gwion Gwion art. Archaeologist Kim Akerman however believes that the megafauna may have persisted later in wetter areas of the continent as suggested by Wells, and has suggested an age of 15,000 to 22,000 years for the paintings. Recent advances in dating methods may shed light on the age of the paintings and gain a more accurate result. Neuroscientist Jack Pettigrew has proposed dating the art by using DNA sequencing extracted from colonies of microorganisms which have replaced the pigment in some paintings. Indigenous knowledge Research undertaken in relation to Aboriginal knowledge has also increased. This has primarily been seen in Aboriginal names being applied to the paintings, reflecting the specific Aboriginal languages used in the areas where they are found. For example, the Ngarinyin name for the art is Gwion Gwion. Other terms include giro giro used by Aboriginal people in the Napier, Broome Bay and Prince Regent River. Australian rock art researcher David Welch notes that these words are probably different regional accents of Kujon, the name of the bird found in the creation story originally heard by Schultz in 1938. Aboriginal people are also more open in telling foreigners stories regarding the images. These stories often relate to spirits who created dances which are still performed today and feature similar apparel found in the paintings, such as headdresses, boomerangs and string. Bradshaws (Gwion Gwion) are also depicted in contemporary art works produced for sale in the Kimberley; one notable Gwion Gwion artist is Kevin Waina. Colonial discovery and study Rock art in the Kimberley region was first recorded by colonial explorer and future South Australian governor, George Grey as early as 1838. This rock art is now known as Wandjina style art.