This paper was stimulated by an on-line discussion with Andrea Arcà (Case example 4: figurative and non-figurative below) about a need for archaeologists to treat figurative and non-figurative rock art differently.
by † John Clegg
This paper was stimulated by an on-line discussion with Andrea Arcà (Case example 4: figurative and non-figurative below) about a need for archaeologists to treat figurative and non-figurative rock art differently.
by † John Clegg
Since the beginning the achievement of a correct chronological attribution has represented an important point of any rock art research. But since the beginning any chronological attribution has been subjected to the risk of being questioned, not accepted or simply updated. So rock art dating is often controversial…
by Andrea Arcà
Prehistoric Art belongs to all of us and above all, to future generations: this document contains important suggestions for visitors and researchers dealing with rock art.
by Mila Simões de Abreu – UTAD, IFRAO Portugal
Bohuslän/Dalsland in Sweden and Østfold in Norway. An INTERREG IIA project. Final report.
by Jan Magnusson
Prehistoric Art is among the most important components of the European Heritage. It stands as an example of the diversity of the cultural memories of the European territories, but it also witnesses a common trend, a radical unity, in the emergence of symbolic behaviour.
by Luiz Oosterbeek, EuroPreArt coordinator
The EuroPreArt database system has been developed by a team of European Institutions and Universities: any comment regarding its structure and organization is welcome.
by Andrea Arcà – Footsteps of Man, EuroPreArt webmaster
TRACCE no. 12 – by B. K. Swartz Jr., John P. Hale
Establishment of a Global Archive of Prehistoric Rock Art Photographs.
The Global Archive of Prehistoric Rock Art Photographs is a web-based depository for rock art images and associated information.
TRACCE no. 12 – by Jane Kolber, Andrea Arcà, Mila Simoes de Abreu
Third AURA Congress. Millennium: a fresh start.
Hosted by the Australian Rock Art Research Association
in Alice Springs, 10 – 14 July 2000.
TRACCE no. 12 – by Thomas Heyd, John Clegg
Third AURA Congress. Millennium: a fresh start.
Hosted by the Australian Rock Art Research Association
in Alice Springs, 10 – 14 July 2000.
TRACCE no. 12 – by Thomas Heyd, John Clegg
Third AURA Congress. Millennium: a fresh start.
Hosted by the Australian Rock Art Research Association
in Alice Springs, 10 – 14 July 2000.
TRACCE no. 11 – by Elizabeth Donnan
Despite the recent upsurge of interest in rock art studies relatively little research has been conducted into the reasons behind the techniques used to record discoveries in the field. At present the techniques in use have been defined and influenced by current issues of interest which focus on interpretation and meaning with little regard to recording methodology…
TRACCE no. 11 – Andrea Arcà
Digital auto-tracing in Rock Art Recording. Applications of computer vectorial design (inline PPT to PDF).
In the same way that we need to have a good reproduction of the scenes depicted or embossed in vases, we have the necessity of recognising perfectly all the figures engraved on a rock surface…
TRACCE no. 11 – Andrea Arcà
Digital auto-tracing in Rock Art Recording. Applications of computer vectorial design.
In the same way that we need to have a good reproduction of the scenes depicted or embossed in vases, we have the necessity of recognising perfectly all the figures engraved on a rock surface…
TRACCE no. 11 – by Phil Clogg, Margarita Díaz-Andreu
Digital Image Processing and the Recording of Rock Art.
Traditional techniques of recording entail a high degree of subjectivity due to the important number of decisions that the specialist has to take. Different recordings on the same motif usually show contradictory interpretations of certain features…
TRACCE no. 11 – by John M. Brayer, Henry Walt, Bruno David
In this paper we report on quantitative measures of comparison of two rock art recordings. We conclude that free hand drawing is very inaccurate and that experts may be no better than beginners at accurate recording
TRACCE no. 10 – by Robert G. Bednarik
While some direct rock art dating methods are facing significant challenges, one of them, the microerosion method, is going from strength to strength. Read more
TRACCE no. 9 – by Joachim Burger & Birgit Grosskopf
2nd International Congress of Rupestrian Archaeology
2-5 October 1997 DARFO BOARIO TERME
Rock art pigments usually contain naturally occurring iron and manganese oxides and hydroxides. Additionally, organic binders/vehicles can be used, such as: animal fats, plantal juices, bone marrow, blood, eggs, urine, and milk. All of these substances contain among other things the DNA of their organism of origin
TRACCE no. 9 – by Carmelo Prestipino
2nd International Congress of Rupestrian Archaeology
2-5 October 1997 DARFO BOARIO TERME
Già dalle prime scoperte, e dalle prime elaborazioni di ricerca dell'”Arte Rupestre”, è emersa la difficoltà di trovare un accordo tra i ricercatori su una metodologia di ricerca e di analisi che permetta di sviluppare una lettura coerente dei vari documenti via via scoperti