Archive for TRACCE Onl. RA Bull. WP issues

Rock Art in Jebel Akhdar, Oman

Bilad Sayt

Bilad Sayt

The petroglyphs and pictographs of Oman are little known, but for the last five years I have been involved in a series of surveys of the Jebel Akhdar Mountains that have resulted in the location of several important sites. Recording these in advance of construction projects undertaken to modernize the country’s transportation network has enabled me to study the rock art in considerable detail for the first time. Using superimpositions, cross-dating with known artistic expressions elsewhere in the region, and the known dates for introduction of various objects of material culture, I propose a preliminary chronology consisting of four major phases spanning the last 6,000 years.

by Angelo Eugenio Fossati
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Footprints in the Alps – pediformi nelle Alpi

Pisselerand

Pisselerand

Footprints in the Alpine rock art: diffusion, chronology and interpretation. Abstract and slides of the communication presented on Tuesday 1 September 2015 at the IFRAO 2015 – XIX International Rock Art Conference (Cáceres, Spain). The communication provides a detailed description of the most important cases of alpine rocks bearing footprints, a chronological frame for the corresponding engraving phases, and a discussion about suggested interpretations.
Le impronte di piede nell’arte rupestre Alpina: diffusione, cronologia e interpretazione (abstract in Italiano)

by Andrea Arcà

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Val Meraviglie e Fontanalba – Tavole (Barocelli 1921)

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Barocelli 1921, plates

TRACCE free e-books



Tavole I-X da:
Barocelli P. 1921. Val Meraviglie e Fontanalba (Note di escursioni paletnologiche), Atti della Società Piemontese d’ Archeologia e Belle Arti, vol. X, fasc. 1, 51 pp., X tavv.

| full text-image and PDF (TRACCE 2015 re-editing, public domain) | Italian

[editor’s note: the 1921 paper by Piero Barocelli is enriched by 10 plates – tracings, drawings and pictures – accompanined by very detailed captions]

by Piero Barocelli – 1921

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TRACCE Online Rock Art Bulletin 36 – May 2015

TRACCE36head500# 36 – May 2015

TRACCE Online Rock Art Bulletin 36

––––––––––––––––––> by Footsteps of Man
edited by Le Orme dell’Uomo (Valcamonica – I)

Save Mount Latmos (Turkey) rock art!

Rock paintings dating back to the 6th and 5th millennia B.C. are endangered by exploitation of feldspar. Please sign the online petition to the Turkey Ministry of Forestry and Water Affairs

36: 1 2 3 4 5 6 7 8 9 10

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TRACCE Online Rock Art Bulletin 35 – Mar 2015

TRACE35logo# 35 – Mar 2015 (abstracts of the CAA2015 rock art session)

TRACCE Online Rock Art Bulletin 35

––––––––––––––––––> by Footsteps of Man
edited by Le Orme dell’Uomo (Valcamonica – I)

35: 1 2 3 4 5 6 7 8 9 10 11

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Chile, Photographic recording and digital enhancement

cerillo_cuenca1_150

Tracing

[CAA 2015 – session 3C abstract]

The digital recording of rock art has benefited of an increasing number of software solutions, mostly photogrammetry and the enhancement of pigments from photographs. During the last years we have utilized open source scientific libraries for enhance pigments in a currently under development software code named PyDRA…

by Enrique CERRILLO-CUENCA, Marcela SEPÚLVEDA




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Spanish rock-art documentation, the ARAM project

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ARAM project

[CAA 2015 – session 3C abstract]

In the latest three years, we have applied our own documentation methodology over 45 rock-art shelters from different regions of Spain. We developed a register system that combines the data acquired by 3D scanning technology, photogrammetry, high-resolution spherical images …

by Jorge ANGAS, Manuel BEA


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Biological activity tracking on cave art sites

UVF-MAP_Pakhunov150

UVF

[CAA 2015 – session 3C abstract]

Micro-organisms populating caves produce organic acids that damage and dissolve a calcite substratum. This might have been the primary cause of degradation of numerous Palaeolithic paintings in many caves…

by Alexander PAKHUNOV






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Northern Scandinavia rock paintings: NIR analysis

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NIR analysis

[CAA 2015 – session 3C abstract]

Field based Near Infrared analysis of Rock paintings in northern Scandinavia. Seven different sites have been investigated and generated large amounts of multivariate data requiring multivariate data analysis…

by Johan LINDERHOLM, Paul GELADI, Claudia SCIUTO




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Great Rock of Naquane, digital practices

Naquane vector

Naquane vector

[CAA 2015 – session 3C abstract]

Like archaeology in general, rock art studies need to record, study and share data: a large set of electronic instruments – for graphics and for the data analysis – are to be intended as a fundamental tool box for the careful and up-to-date rock art archaeologist…

by Andrea ARCÀ




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Rock-art photometric Stereo 3D visualizations

Polesini cave

Polesini cave

[CAA 2015 – session 3C abstract]

Traditional 3D recording requires expensive equipment as the laser scanning systems, with complex and highly specialised software. These problems may be partly overcome by applying a consolidate technique generally used in quality controls within manufacturing industrial environments: the photometric stereo…

by Massimo VANZI, Paolo Emilio BAGNOLI,
Carla MANNU, Giuseppe RODRIGUEZ





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Extensive rock-art panels, computer aided recording

Bagnoli_Samueli2_150

Detail map

[CAA 2015 – session 3C abstract]

The communication deals with a method for graphical recording of planar engraved surfaces with wide extension able to maintain a high degree of accuracy and resolution. This method uses digital photography and a dedicated software and produce the map directly in a digital image format…

by Paolo Emilio BAGNOLI, Andrea SAMUELI




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3D scan, a support for Petroglyph analysis

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Züschen I

[CAA 2015 – session 3C abstract]

Processed digital copies of the petroglyphs are visualised in order to enable the user to inspect the processed scans of the objects. By inspecting the scans the application provides a mass of functionality for achieving different views into the petroglyphs and their appearance….

by Frank BOOCHS, Stefanie WEFERS, Burkhard TIETZ, Tobias REICH




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Archaeoacoustics of rock art

3C session abstract

3C session abstract

[CAA 2015 – session 3C abstract]

Archaeoacoustics has made a breakthrough in the field of rock art research, as it represents a completely new way of studying the landscapes in which rock art was made…

by Margarita DIAZ-ANDREU, Tommaso MATTIOLI




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Photogrammetric techniques at Campo Lameiro, Galicia

Campo Lameiro

Campo Lameiro

[CAA 2015 – session 3C abstract]

We propose photogrammetry as a technique that allow us to create a 3D model, oriented to reduce the different problems of subjectivity that are present in the old systems of registry, and furthermore to study the rock surface without touching it…

by Benito VILAS, Alia VÁZQUEZ, Miguel CARRERO




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AaATec, a resource for archaeological communication

The AATEC journal

The AATEC journal

[CAA 2015 – session 3C abstract]

In 2013 a team of researchers from Russia has created an electronic International Journal Archaeoastronomy and Ancient Technologies – AaATec. The results of studies in the field of archeology and ancient technology, including related to the study and interpretation of rock art, are published in the journal…

by Larisa VODOLAZHSKAYA, Artem VODOLAZHSKIY




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TRACCE Online Rock Art Bulletin 34 – Dec 14/Feb 2015

atelier_Tosello500# 34 – Dec 2014 – Feb 2015

TRACCE Online Rock Art Bulletin 34

––––––––––––––––––> by Footsteps of Man
edited by Le Orme dell’Uomo (Valcamonica – I)

34: 1 2 3 4 5 6 7 8 9 10 11

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Chauvet-Pont d’Arc cave, grand opening!

Lion head

Lion head

After only 30 months of work, the opening of the Chauvet-Pont d’Arc cave to the public is scheduled for Saturday 25 April 2015: don’t miss it! It’s the largest cave replica ever built worldwide, ten times bigger than the Lascaux facsimile. All geological and archaeological features, such as paintings and engravings, are reproduced full-size in an underground environment identical to the original one. Visitors’ senses will be stimulated by the same sensations of silence, obscurity, temperature, humidity and acoustics, carefully reproduced.

by Andrea Arcà

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