UID:
almahu_9949767294002882
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.
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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.
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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.
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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.
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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.
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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
Keywords:
Electronic books.
