NOTES

  1. For a more detailed analysis of recording techniques and digital image processing see Donnan 1998.
  2. Tate 1865.
  3. in Beckensall 1983.
  4. Hadingham 1974.
  5. Morris 1970-71.
  6. Hedges 1986.
  7. Beckensall 1983, 1991.
  8. Mark & Newman 1994.
  9. Clogg & Díaz-Andreu 1998.
  10. Mitchell (1992, 7-8) emphasises the post-modern principles in DIP. This includes the possibility of image manipulation leading to a greater isolation of motif from surface than that which already exists, thus allowing for endless interpretations of the same motif or site.
  11. Bradley (1997, 7) highlights the fact that rock art in Britain is confined to the margins of prehistoric studies.