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Series Statement: Interdisciplinary contributions to archaeology

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DOI: 10.1007/978-3-031-54638-9

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Format: 1 online resource (308 pages)

Edition: 1st ed. 2024.

ISBN: 3-031-54638-5

Series Statement: Interdisciplinary Contributions to Archaeology,

Content: This open access volume explores the impact of globalization on the contemporary study of deep-time art. The volume explores how early rock art research’s Eurocentric biases have shifted with broadened global horizons to facilitate new conversations and discourses in new post-colonial realities. The book uses seven main themes to explore theoretical, methodological, ethical, and practical developments that are orienting the study of Pleistocene and Holocene arts in the age of globalization. Compiling studies as diverse as genetics, visualization, with the proliferation of increasingly sophisticated archaeological techniques, means that vast quantities of materials and techniques are now incorporated into the analysis of the world’s visual cultures. Deep-Time Images in the Age of Globalization aims to promote critical reflection on the multitude of positive – and negative – impacts that globalization has wrought in rock art research. The volume brings new theoretical frameworks as well as engagement with indigenous knowledge and perspectives from art history. It highlights technical, methodological and interpretive developments, and showcases rock art characteristics from previously unknown (in the global north) geographic areas. This book provides comparative approaches on rock art globally and scrutinises the impacts of globalization on research, preservation, and management of deep-time art. This book will appeal to archaeologists, social scientists and art historians working in the field as well as lovers of rock art. .

Note: Introduction. Deep-Times Images And The Challenges Of Globalization (Oscar Moro Abadía, Margaret Conkey, Jo McDonald) -- Part I. Recentering Rock Art -- Chapter 1. ‘Out Of Franco-Cantabria’: The Globalization of Pleistocene Rock Art (Aitor Ruiz-Redondo) -- Chapter 2. Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia (Adam Brumm, Adhi Agus Oktaviana, Maxime Aubert) -- Chapter 3. Rock Art, Modes Of Existence, And Cosmopolitics: A View From The Southern Andes (Andrés Troncoso) -- Chapter 4. Regional Reponses to Global Climate Change: Exploring Anthropomophic Depictions in Rock and Mobiliary Art Expressions from the Kimberley and Europe during the Late and Terminal Pleistocene (Peter Veth, Sam Harper, and Martin Porr) -- Part II. Comparative Views on Global Art -- Chapter 5. The Divide Between ‘European’ And ‘Indigenous’ Rock Arts: Exploring A Eurocentic Bias In The Age Of Globalization (Oscar Moro Abadía, Amy C. Chase) -- Chapter 6. Rock Art Research and Knowledge-Production in the Context of Globalisations. A Comparative Approach to the Cases of Patagonia-Argentina and Eastern Canada (Danae Fiore, Bryn Tapper, Dagmara Zawadzka, Agustín Acevedo) -- Chapter 7. The Framework for Ochre Experiences (Foes): Towards A Transdisciplinary Perspective on the Earth Material Heritage of Ochre (Elizabeth C. Velliky, Tammy Hodgskiss, Larissa Mendoza Straffon, Heidi Gustafson, Ann Gollifer, Magnus Haaland) -- Chapter 8. Why Do Old Dates Fascinate Prehistorians? (Georges Sauvet) -- Part III. Interdisciplinary Global Rock Art -- Chapter 9. What Were Rock Art Sites Like In The Past? Reconstructing the Shapes of Sites as Cultural Settings (Jean-Jacques Delannoy, Bruno David, Kim Genuite) -- Chapter 10. The Earliest Dated Pictures in the Dispersal of Psychologically Modern Humans: A Middle Paleolithic Painted Rock Shelter (C. 45ka) At Wadi Defeit, Egypt (Whitney Davis) -- Chapter 11. Understanding Rock Art: What Neuroscience Can Add (John Onians) -- Chapter 12. “… And Those Who Expect To Return To The Source Will Find Fog”: Resonances of Prehistory in Modern Art (Rémi Labrusse) -- Part IV. Tensions in Rock Art Management: Local Vs Global -- Chapter 13. The Unesco World Heritage List In A Globalized World: The Case Of The Paleolithic Caves Of Northern Spain (1985 - 2008) (Eduardo Palacio-Pérez) -- Chapter 14. Local – National – Global: Defining Indigenous Values of Murujuga’s Cultural Landscape in the Frame of International Patrimony (Amy Stevens and Jo McDonald) -- Chapter 15. Out of Place: Postcolonial Legacy and Indigenous Heritage in South Africa (Silvia Tomášková) -- Chapter 16. Graffiti, Vandalism and Destruction: Preserving Rock Art in a Globalized World (Paul S.C. Taçon) -- Part V. Rock Art and the Challenges of the Global Now -- Chapter 17. Translation and Transformation: The Materiality of Rock Art in a World of Bytes (John Robb) -- Chapter 18. Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation (Jamie Hampson, Sam Challis) -- Chapter 19. Replicated Temporality. Time, Originality, and Rock Art Replicas (Laura Mayer, Martin Porr) -- Chapter 20. Slow Science but Fast Forward: The Political Economy of Rock Art Research in a "Globalized" World (Margaret W. Conkey) -- Index.

Additional Edition: ISBN 3-031-54637-7

Language: English

DOI: 10.1007/978-3-031-54638-9

UID:

Format: 1 online resource (308 pages)

Edition: 1st ed.

ISBN: 3-031-54638-5

Series Statement: Interdisciplinary Contributions to Archaeology Series

Additional Edition: ISBN 3-031-54637-7

Language: English

UID:

Format: VII, 317 p. 97 illus., 85 illus. in color. , online resource.

Edition: 1st ed. 2024.

ISBN: 9783031546389

Series Statement: Interdisciplinary Contributions to Archaeology,

Content: This open access volume explores the impact of globalization on the contemporary study of deep-time art. The volume explores how early rock art research's Eurocentric biases have shifted with broadened global horizons to facilitate new conversations and discourses in new post-colonial realities. The book uses seven main themes to explore theoretical, methodological, ethical, and practical developments that are orienting the study of Pleistocene and Holocene arts in the age of globalization. Compiling studies as diverse as genetics, visualization, with the proliferation of increasingly sophisticated archaeological techniques, means that vast quantities of materials and techniques are now incorporated into the analysis of the world's visual cultures. Deep-Time Images in the Age of Globalization aims to promote critical reflection on the multitude of positive - and negative - impacts that globalization has wrought in rock art research. The volume brings new theoretical frameworks as well as engagement with indigenous knowledge and perspectives from art history. It highlights technical, methodological and interpretive developments, and showcases rock art characteristics from previously unknown (in the global north) geographic areas. This book provides comparative approaches on rock art globally and scrutinises the impacts of globalization on research, preservation, and management of deep-time art. This book will appeal to archaeologists, social scientists and art historians working in the field as well as lovers of rock art. .

Note: Introduction. Deep-Times Images And The Challenges Of Globalization (Oscar Moro Abadía, Margaret Conkey, Jo McDonald) -- Part I. Recentering Rock Art -- Chapter 1. 'Out Of Franco-Cantabria': The Globalization of Pleistocene Rock Art (Aitor Ruiz-Redondo) -- Chapter 2. Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia (Adam Brumm, Adhi Agus Oktaviana, Maxime Aubert) -- Chapter 3. Rock Art, Modes Of Existence, And Cosmopolitics: A View From The Southern Andes (Andrés Troncoso) -- Chapter 4. Regional Reponses to Global Climate Change: Exploring Anthropomophic Depictions in Rock and Mobiliary Art Expressions from the Kimberley and Europe during the Late and Terminal Pleistocene (Peter Veth, Sam Harper, and Martin Porr) -- Part II. Comparative Views on Global Art -- Chapter 5. The Divide Between 'European' And 'Indigenous' Rock Arts: Exploring A Eurocentic Bias In The Age Of Globalization (Oscar Moro Abadía, Amy C. Chase) -- Chapter 6. Rock Art Research and Knowledge-Production in the Context of Globalisations. A Comparative Approach to the Cases of Patagonia-Argentina and Eastern Canada (Danae Fiore, Bryn Tapper, Dagmara Zawadzka, Agustín Acevedo) -- Chapter 7. The Framework for Ochre Experiences (Foes): Towards A Transdisciplinary Perspective on the Earth Material Heritage of Ochre (Elizabeth C. Velliky, Tammy Hodgskiss, Larissa Mendoza Straffon, Heidi Gustafson, Ann Gollifer, Magnus Haaland) -- Chapter 8. Why Do Old Dates Fascinate Prehistorians? (Georges Sauvet) -- Part III. Interdisciplinary Global Rock Art -- Chapter 9. What Were Rock Art Sites Like In The Past? Reconstructing the Shapes of Sites as Cultural Settings (Jean-Jacques Delannoy, Bruno David, Kim Genuite) -- Chapter 10. The Earliest Dated Pictures in the Dispersal of Psychologically Modern Humans: A Middle Paleolithic Painted Rock Shelter (C. 45ka) At Wadi Defeit, Egypt (Whitney Davis) -- Chapter 11. Understanding Rock Art: What Neuroscience Can Add (John Onians) -- Chapter 12. "... And Those Who Expect To Return To The Source Will Find Fog": Resonances of Prehistory in Modern Art (Rémi Labrusse) -- Part IV. Tensions in Rock Art Management: Local Vs Global -- Chapter 13. The Unesco World Heritage List In A Globalized World: The Case Of The Paleolithic Caves Of Northern Spain (1985 - 2008) (Eduardo Palacio-Pérez) -- Chapter 14. Local - National - Global: Defining Indigenous Values of Murujuga's Cultural Landscape in the Frame of International Patrimony (Amy Stevens and Jo McDonald) -- Chapter 15. Out of Place: Postcolonial Legacy and Indigenous Heritage in South Africa (Silvia Tomášková) -- Chapter 16. Graffiti, Vandalism and Destruction: Preserving Rock Art in a Globalized World (Paul S.C. Taçon) -- Part V. Rock Art and the Challenges of the Global Now -- Chapter 17. Translation and Transformation: The Materiality of Rock Art in a World of Bytes (John Robb) -- Chapter 18. Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation (Jamie Hampson, Sam Challis) -- Chapter 19. Replicated Temporality. Time, Originality, and Rock Art Replicas (Laura Mayer, Martin Porr) -- Chapter 20. Slow Science but Fast Forward: The Political Economy of Rock Art Research in a "Globalized" World (Margaret W. Conkey) -- Index.

In: Springer Nature eBook

Additional Edition: Printed edition: ISBN 9783031546372

Additional Edition: Printed edition: ISBN 9783031546396

Additional Edition: Printed edition: ISBN 9783031546402

Language: English

DOI: 10.1007/978-3-031-54638-9

URL: https://doi.org/10.1007/978-3-031-54638-9

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Format: 1 Online-Ressource(VII, 317 Seiten) , Illustrationen, Karten

Edition: 1st ed. 2024.

ISBN: 9783031546389

Series Statement: Interdisciplinary contributions to archaeology

Content: Introduction. Deep-Times Images And The Challenges Of Globalization (Oscar Moro Abadía, Margaret Conkey, Jo McDonald) -- Part I. Recentering Rock Art -- Chapter 1. ‘Out Of Franco-Cantabria’: The Globalization of Pleistocene Rock Art (Aitor Ruiz-Redondo) -- Chapter 2. Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia (Adam Brumm, Adhi Agus Oktaviana, Maxime Aubert) -- Chapter 3. Rock Art, Modes Of Existence, And Cosmopolitics: A View From The Southern Andes (Andrés Troncoso) -- Chapter 4. Regional Reponses to Global Climate Change: Exploring Anthropomophic Depictions in Rock and Mobiliary Art Expressions from the Kimberley and Europe during the Late and Terminal Pleistocene (Peter Veth, Sam Harper, and Martin Porr) -- Part II. Comparative Views on Global Art -- Chapter 5. The Divide Between ‘European’ And ‘Indigenous’ Rock Arts: Exploring A Eurocentic Bias In The Age Of Globalization (Oscar Moro Abadía, Amy C. Chase) -- Chapter 6. Rock Art Research and Knowledge-Production in the Context of Globalisations. A Comparative Approach to the Cases of Patagonia-Argentina and Eastern Canada (Danae Fiore, Bryn Tapper, Dagmara Zawadzka, Agustín Acevedo) -- Chapter 7. The Framework for Ochre Experiences (Foes): Towards A Transdisciplinary Perspective on the Earth Material Heritage of Ochre (Elizabeth C. Velliky, Tammy Hodgskiss, Larissa Mendoza Straffon, Heidi Gustafson, Ann Gollifer, Magnus Haaland) -- Chapter 8. Why Do Old Dates Fascinate Prehistorians? (Georges Sauvet) -- Part III. Interdisciplinary Global Rock Art -- Chapter 9. What Were Rock Art Sites Like In The Past? Reconstructing the Shapes of Sites as Cultural Settings (Jean-Jacques Delannoy, Bruno David, Kim Genuite) -- Chapter 10. The Earliest Dated Pictures in the Dispersal of Psychologically Modern Humans: A Middle Paleolithic Painted Rock Shelter (C. 45ka) At Wadi Defeit, Egypt (Whitney Davis) -- Chapter 11. Understanding Rock Art: What Neuroscience Can Add (John Onians) -- Chapter 12. “… And Those Who Expect To Return To The Source Will Find Fog”: Resonances of Prehistory in Modern Art (Rémi Labrusse) -- Part IV. Tensions in Rock Art Management: Local Vs Global -- Chapter 13. The Unesco World Heritage List In A Globalized World: The Case Of The Paleolithic Caves Of Northern Spain (1985 - 2008) (Eduardo Palacio-Pérez) -- Chapter 14. Local – National – Global: Defining Indigenous Values of Murujuga’s Cultural Landscape in the Frame of International Patrimony (Amy Stevens and Jo McDonald) -- Chapter 15. Out of Place: Postcolonial Legacy and Indigenous Heritage in South Africa (Silvia Tomášková) -- Chapter 16. Graffiti, Vandalism and Destruction: Preserving Rock Art in a Globalized World (Paul S.C. Taçon) -- Part V. Rock Art and the Challenges of the Global Now -- Chapter 17. Translation and Transformation: The Materiality of Rock Art in a World of Bytes (John Robb) -- Chapter 18. Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation (Jamie Hampson, Sam Challis) -- Chapter 19. Replicated Temporality. Time, Originality, and Rock Art Replicas (Laura Mayer, Martin Porr) -- Chapter 20. Slow Science but Fast Forward: The Political Economy of Rock Art Research in a "Globalized" World (Margaret W. Conkey) -- Index.

Content: This open access volume explores the impact of globalization on the contemporary study of deep-time art. The volume explores how early rock art research’s Eurocentric biases have shifted with broadened global horizons to facilitate new conversations and discourses in new post-colonial realities. The book uses seven main themes to explore theoretical, methodological, ethical, and practical developments that are orienting the study of Pleistocene and Holocene arts in the age of globalization. Compiling studies as diverse as genetics, visualization, with the proliferation of increasingly sophisticated archaeological techniques, means that vast quantities of materials and techniques are now incorporated into the analysis of the world’s visual cultures. Deep-Time Images in the Age of Globalization aims to promote critical reflection on the multitude of positive – and negative – impacts that globalization has wrought in rock art research. The volume brings new theoretical frameworks as well as engagement with indigenous knowledge and perspectives from art history. It highlights technical, methodological and interpretive developments, and showcases rock art characteristics from previously unknown (in the global north) geographic areas. This book provides comparative approaches on rock art globally and scrutinises the impacts of globalization on research, preservation, and management of deep-time art. This book will appeal to archaeologists, social scientists and art historians working in the field as well as lovers of rock art. .

Note: Open Access

Additional Edition: ISBN 9783031546372

Additional Edition: ISBN 9783031546396

Additional Edition: ISBN 9783031546402

Additional Edition: Erscheint auch als Druck-Ausgabe ISBN 9783031546372

Additional Edition: Erscheint auch als Druck-Ausgabe ISBN 9783031546396

Additional Edition: Erscheint auch als Druck-Ausgabe ISBN 9783031546402

Language: English

Subjects: History

DOI: 10.1007/978-3-031-54638-9

URL: kostenfrei

UID:

Format: 1 online resource (311 pages)

Edition: 1st ed.

ISBN: 9783031546389

Series Statement: Interdisciplinary Contributions to Archaeology Series

Note: Intro -- Contents -- About the Editors -- 1: Deep-Time Images and the Challenges of Globalization -- 1.1 Introduction -- 1.2 Eurocentrism: A Long-Standing Bias in Rock Art Research -- 1.3 Globalization and Rock Art Research -- 1.4 The Pitfalls of Globalization -- 1.5 Organization and Relevance of This Volume -- References Cited -- Part I: Recentering Rock Art -- 2: 'Out of Franco-Cantabria': The Globalization of Pleistocene Rock Art -- 2.1 'Ex occidente lux': Southwestern Europe as the Spiritual Reservoir of Paleolithic Societies -- 2.2 First Discoveries Beyond the 'Cynosure' -- 2.3 Europe Becomes Larger: Systematic Research in Eastern Europe and the British 'Exception' -- 2.4 Beyond Europe -- 2.5 Conclusion: Global Research for a Global Phenomenon? -- References -- 3: Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia -- 3.1 Introduction -- 3.2 Current Rock Art Dating Evidence from Indonesia -- 3.2.1 Sulawesi -- 3.2.2 Kalimantan -- 3.2.3 Figurative Animal Art in Maros-Pangkep -- 3.3 Early Figurative Animal Art in Northern Australia -- 3.3.1 Early NASI-Like Animal Art in Arnhem Land -- 3.3.2 Early NASI-Like Animal Art in the Kimberley -- 3.4 Discussion -- 3.5 Conclusion -- References -- 4: Rock Art, Modes of Existence, and Cosmopolitics: A View from the Southern Andes -- 4.1 Introduction -- 4.2 From Rock Art to Modes of Existence and Cosmopolitics -- 4.2.1 Case 1: El Médano Rock Paintings -- 4.2.2 Case 2: Inka Models -- 4.3 Discussion -- 4.4 Concluding Remarks -- References -- 5: Regional Reponses to Global Climate Change: Exploring Anthropomorphic Depictions in Rock and Mobiliary Art Expressions from the Kimberley and Europe During the Late and Terminal Pleistocene -- 5.1 Introduction -- 5.2 Art, Regionalisation, Globalization, and Networks -- 5.3 Europe. , 5.3.1 Environment and Palaeo-Climate -- 5.3.2 Archaeology -- 5.3.3 Rock Art and Mobiliary Art -- 5.4 Northern Australia and Sahul -- 5.4.1 Environment and Paleoclimate -- 5.4.2 Archaeology -- 5.4.3 Rock Art -- 5.5 Discussion -- 5.6 Conclusion -- References -- Part II: Comparative Views on Global Art -- 6: The Divide Between 'European' and 'Indigenous' Rock Arts: Exploring a Eurocentic Bias in the Age of Globalization -- 6.1 Introduction -- 6.2 Rock Art Divided: Palaeolithic Art Versus Indigenous Arts -- 6.3 Beyond the Divide Between European and Indigenous Arts -- 6.4 Conclusion -- References -- 7: Rock Art Research and Knowledge-Production in the Context of Globalizations. A Comparative Approach to the Cases of Patagonia-Argentina and Eastern Canada -- 7.1 Introduction: Exploring Rock Art from the Peripheries of the Globalised World -- 7.2 Theoretical Framework: Rock Art Research in Globalised Academia -- 7.3 Eastern Canada: Idolatry, Picture-Writing, Landscapes and Ontologies -- 7.3.1 17th-18th Centuries: 'Devilish' Rock Art in the Early Colonies -- 7.3.2 1800-1950s: 'Picture-Writing' and 'Othering' in the Time of Nation-Building -- 7.3.3 1960s Onward: The Emergence of an Archaeology of Rock Art -- 7.4 Patagonia: Inscriptions, Styles, Communication and the Materiality of Art -- 7.4.1 Walichus and Inscriptions in the Nineteenth Century -- 7.4.2 Modernity in the Periphery: The Stylistic Era in Patagonia and its Links with Post-World War II -- 7.4.3 From Theory Importation to Theory Creation: Adapting processualism and Addressing Materiality -- 7.4.4 Originality Also Emerges from the Periphery -- 7.5 Discussion: Deconstructing Invisibility from the Peripheries -- References -- 8: The Framework for Ochre Experiences (Foes): Towards a Transdisciplinary Perspective on the Earth Material Heritage of Ochre -- 8.1 Introduction. , 8.2 The Limitation of the Current Ochre Discourse -- 8.3 Creating an Experiential Ochre Framework -- 8.4 The Framework of Ochre Experiences (FOES) -- 8.4.1 Active and Undefined: The Intuitive Ochre Actor -- 8.4.2 Active and Defined: The Cognizant Ochre Actor -- 8.4.3 Passive and Defined: The Observant Ochre Actor -- 8.4.4 Passive and Undefined: Unaware Ochre Use -- 8.5 The Function of the FOES: An Ongoing Transdisciplinary Discussion -- 8.6 Through the Eyes of the Ochre Actors: Thematic Reflections on the FOES -- 8.6.1 The Observers - Archaeologists, Scientists and Museum Specialists -- 8.6.1.1 Tammy Hodgskiss - Museum Curator, Archaeologist -- 8.6.1.2 Larissa Mendoza Straffon - Cognitive Archaeologist -- 8.6.1.3 Magnus Mathisen Haaland - Geoarchaeologist -- 8.6.2 The Active: Artists, Teachers, Ochre Workers -- 8.6.2.1 Heidi Gustafson - Artist, Ochre Worker -- 8.6.2.2 Ann Gollifer - Visual Artist, Writer -- 8.7 Discussion -- 8.7.1 Evaluating the FOES Through the Actors -- 8.7.2 In Light of a Humanistic Approach -- 8.8 Conclusion -- References -- 9: Why Do Old Dates Fascinate Prehistorians? -- 9.1 Introduction -- 9.2 The Race to Discover the Oldest Art in the World: A Global Competition -- 9.3 Numerical Dating Techniques and Rock Art: A Brief Survey -- 9.3.1 Radiocarbon Dating -- 9.3.2 Indirect Radiocarbon Dating of Overlying Crusts -- 9.3.3 Uranium Series Disequilibrium -- 9.3.4 Thermoluminescence -- 9.3.5 Optically Stimulated Luminescence -- 9.3.6 Amino-Acids Racemization -- 9.3.7 Cation Ratio and Varnish Microlamination -- 9.4 Discussion -- 9.4.1 Preconceptions in Archaeology -- 9.4.2 Cognition, Symbol, and Art -- 9.5 Conclusion -- References -- Part III: Interdisciplinary Global Rock Art -- 10: What Were Rock Art Sites Like in the Past? Reconstructing the Shapes of Sites as Cultural Settings -- 10.1 Introduction. , 10.2 Reconstituting Site Landscapes at the Time of Occupation -- 10.3 Determining the Location, Shape and Size of Ancient Cave and Rock Shelter Entrances -- 10.4 Reconstructing Past Passage-Ways in Underground Sites -- 10.5 Reconstructing Rock Walls and Determining the Age of Their Paintings -- 10.6 Conclusion -- References -- 11: The Earliest Dated Pictures in the Dispersal of Psychologically Modern Humans: A Middle Paleolithic Painted Rock Shelter (C. 45KA) at Wadi Defeit, Egypt -- References -- 12: Understanding Rock Art: What Neuroscience Can Add -- 12.1 Introduction -- 12.2 Three Hominin Types: Three Types of Art -- 12.2.1 Australopithecus: The Makapansgat Pebble -- 12.2.2 Homo Neanderthalensis: The Bruniquel Cave -- 12.2.3 Homo sapiens: The Cave of Chauvet/Grotte Pont d'Arc -- 12.3 Why Is There Such Art at Chauvet? The Role of Neural Mirroring -- 12.4 Why the Life-Likeness? Neural plasticity and Admiration -- 12.5 Neurography? -- 12.6 Admiration and the Reward System -- 12.7 Why Here? The Rock Arch -- 12.8 The Mind in the Skull -- 12.9 Conclusion -- References -- 13: "… And Those Who Expect to Return to the Source Will Find Fog": Resonances of Prehistory in Modern Art -- 13.1 Conceptualizing Deep-Time Art: 'Archaeologism' Versus 'Primitivism' -- 13.2 Representation, Imitation, Resonance -- 13.3 Overlappings -- 13.4 'Prehistory' and the Immemorial Present -- References -- Part IV: Tensions in Rock Art Management: Local vs Global -- 14: The UNESCO World Heritage List in a Globalized World: The Case of the Paleolithic Caves of Northern Spain (1985-2008) -- 14.1 History of the Inscription of "Cave of Altamira and Paleolithic Cave Art of Northern Spain" on UNESCO's World Heritage List -- 14.2 Archaeological and Heritage Narratives About Cantabrian Cave Art. , 14.3 Research, Conservation, and Dissemination of Paleolithic Art in Cantabria: A Long Road Towards World Heritage Status -- 14.3.1 A Long History -- 14.3.2 Ongoing Debates -- 14.4 Conclusions -- References -- 15: Local-National-Global: Defining Indigenous Values of Murujuga's Cultural Landscape in the Frame of International Patrimony -- 15.1 Introduction -- 15.2 National Heritage Instruments -- 15.2.1 National Heritage Assessment Processes -- 15.3 Defining Outstanding Universal Value for World Heritage List -- 15.3.1 World Heritage Nomination -- 15.3.2 Murujuga Cultural Landscape-Translating Local Significance Into International Values -- 15.4 Challenges for Indigenous Custodians to 'Fit' Knowledge Into UNESCO's Criteria and Thematic Frameworks -- 15.4.1 Cultural Values: An Indigenous Perspective -- 15.4.2 The Protection and Management of Tangible and Intangible Values -- 15.4.3 Continuity of Law Rather than a Static Snapshot of Traditional Practices -- 15.4.4 Resourcing -- 15.5 Conclusion -- References -- 16: Out of Place: Postcolonial Legacy and Indigenous Heritage in South Africa -- 16.1 Introduction: Degrees of Separation -- 16.2 The Land, the People, the Past -- 16.3 Prehistoric Images -- 16.4 The Ancient Past and Postcolonial Liberation Struggles -- 16.5 The Heritage Conundrum: Ancestral Links and Stewardship -- References -- 17: Graffiti, Vandalism and Destruction: Preserving Rock Art in a Globalized World -- 17.1 Introduction -- 17.2 Why Rock Art Is Important for Indigenous Australians -- 17.3 Is There Indigenous 'Graffiti'? -- 17.3.1 Rock Art Superimpositions -- 17.4 Motivations for Non-indigenous Rock Art Vandalism and Graffiti at Sites -- 17.4.1 Gray Rock -- 17.5 Discussion and Ways Forward -- References -- Untitled -- Part V: Rock Art and the Challenges of the Global Now. , 18: Translation and Transformation: The Materiality of Rock Art in a World of Bytes.

Additional Edition: Print version: Abadía, Oscar Moro Deep-Time Images in the Age of Globalization Cham : Springer International Publishing AG,c2024 ISBN 9783031546372

Language: English

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