Archive for Methods – metodi

How do we recognise rock art?

Aboriginal engraving

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

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Dating and (up)dating Valcamonica rock art

Valcamonica chronology

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

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Guide of Good Conduct to Prehistoric Art

EuroPreArt logo

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

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Rock Carvings in the Borderlands

Solberg, Østfold

Bohuslän/Dalsland in Sweden and Østfold in Norway. An INTERREG IIA project. Final report.

by Jan Magnusson

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EuroPreArt, the project

Newgrange

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

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The EuroPreArt database system

Data entry form

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

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Establishment of a Global Archive

Global archive

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.

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Recording Symposium

AURA 2000

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.

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Aesthetics and Rock Art II Symposium

AURA 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.

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Simposio de Estética y Arte Rupestre II

AURA 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.

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Recording British Rock Art

Weetwood Moor

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…

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Digital auto-tracing (inline PPT to PDF)

Pera dij Cros

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…

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Digital auto-tracing

Pera dij Cros

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…

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Digital Image Processing

Selva Pascuala

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…

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Quantitative Assessment of Rock Art Recording

Photoshop Split Screen

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

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Petroglyphs dated in Central Bolivia

Bolivia cupmarks

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

DNA in rock art

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

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Proposta di metodologia

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

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