By Jo McDonald, Peter Veth
This precise advisor offers a creative and archaeological trip deep into human historical past, exploring the petroglyphic and pictographic different types of rock artwork produced by means of the earliest people to modern peoples round the world.
-Summarizes the variety of perspectives on old rock artwork from best overseas scholars
-Includes new discoveries and learn, illustrated with over one hundred sixty photos (including 30 colour plates) from significant rock artwork websites round the world
-Examines key paintings of famous experts (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and descriptions new instructions for rock paintings research
-Is greatly overseas in scope, picking rock artwork from North and South the US, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new techniques within the archaeological research of rock paintings, exploring concerns that come with gender, shamanism, panorama, id, indigeneity, history and tourism, in addition to technological and methodological advances in rock artwork analyses
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Additional resources for A Companion to Rock Art
In America, the SHUMLA School, in Comstock, Texas, is actively engaged in national and international research projects, education, and community outreach programs, taking annual ﬁeld schools in recording techniques; and across Europe (Wales, Italy, and Spain, to name a few) there are annual ﬁeld schools for rock art enthusiasts most of which can be accessed online. The time was ripe for the conception of this volume. Rock art research has gained a level of theoretical maturity and disciplinary recognition that allows us to anticipate that the upsurge in good research will continue, while public interest in, and recognition of, rock art as a universal insight into humanity will only increase as more research is published.
Many of the authors in this Companion perhaps cannot relate to the tensions over marginality and mainstreaming. , South African) rock art research traditions and communities. But most research communities have their own version of such tensions. In France, for example, where the Paleolithic cave art heritage is among the most highly valued and widely known, only one researcher primarily working with cave art holds a position in the prestigious Centre National de la Recherche Scientiﬁque. Here, perhaps, the study of “art” remains at the margins of science – despite (again, as the chapters herein demonstrate) the increasing and sophisticated development of forensic and scientiﬁc methods within the cadre of rock art research.
Liam M. Brady and Robert G. Gunn (Chapter 35) RESEARCH ISSUES AND NEW DIRECTIONS 13 discuss image enhancement and identify how superimposition sequences can be disentangled. Affordable digital photography and the application of mathematical sequencing and light diffraction techniques can result in digital representations of rock art using 3D measurements, relighting, and enhancement of surfaces. These methods are described by Mark Mudge, Carla Schroer, Tommy Noble, Neffra Matthews, Szymon Rusinkiewicz, and Corey Toler-Franklin (Chapter 36) with examples from deep Paleolithic caves in France, and on specimens in the laboratory.
A Companion to Rock Art by Jo McDonald, Peter Veth