Academic literature on the topic 'Prehistory art'
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Journal articles on the topic "Prehistory art"
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Robb, John. "Prehistoric Art in Europe: A Deep-Time Social History." American Antiquity 80, no. 4 (2015): 635–54. http://dx.doi.org/10.7183/0002-7316.80.4.635.
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Although many researchers have studied prehistoric European artthere has been virtually no attention paid to the broad prehistory of art as a specialized form of material culture: virtually all studies focus narrowly on single bodies of art. This paper presents a new approach to analyzing prehistoric art: quantitative deep time study. It analyzes a database of 211 art traditions from across Europe and from 40,000 B.C. to 0 AD.to identify changes in the amountnatureand use of prehistoric art. The results reveal clear long-term trends. The amount of art made increased sharply with the origins of sedentary farming and continued to rise throughout prehistory. New forms of art arise in conjunction with new ways of life: “period genres “ are closely tied into patterns of social change. There are also long-term shifts in aesthetics and the uses of art (such as a gradual shift from arts of ritual and concealment to arts of surface and display). These resultsthough preliminaryshow that a deep-time approach familiar from topics such as climate change is applicable to art; the resulting social history can illuminate both art and its social context.
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M.K. "Cuban Prehistory and Art." Americas 54, no. 2 (1997): 275–77. http://dx.doi.org/10.1017/s0003161500026092.
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Abd-EI-Moniem, Hamdi Abbas Ahmed. "Rock art as a source of the history of prehistory (An account to promote the understanding of prehistoric rock art)." Abgadiyat 4, no. 1 (2009): 11–35. http://dx.doi.org/10.1163/2213860909x00019.
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Abstract Some may believe that the history of mankind begins with the appearance of writing only a few several thousands of years ago (cf. 4000-3000 BCE). Our history, however, extends beyond that date millions of years. The history of mankind, indeed, is deeply rooted in the remote past which is called 'prehistory'. With the lacking of any form of writing, this 'prehistoric' period can be examined directly solely by recourse to the study of archaeological remains. The purpose of this account is to introduce rock art to the readers and show the significant role of this sort of archaeological material in studying the history of mankind before the appearance of written records. The current work, therefore, is divided into three main sections: the first deals with definition of rock art and its nature; the second section is devoted to showing the significance of this aspect of material culture in exploring a long and mysterious period of the early history of man characterized by the complete absence of written records or historical documents; the third and last section, which is a vital and integral part of this work, comprises an explanatory pictorial record to promote the understanding of prehistoric rock art as a source of information needed for writing the history of prehistory.
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Barker, G. W. W. "ULVS XVI: Prehistoric Rock Carvings in the Tripolitanian Pre-desert." Libyan Studies 17 (1986): 69–86. http://dx.doi.org/10.1017/s0263718900007068.
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AbstractThis paper discusses three groups of rock art in their local, Tripolitanian, context and in terms of their wider relationship with the known corpus of Saharan prehistoric art. The rock carvings at Maia Dib, Udei el Chel/Caf el-Metchia and el-Tolga are described and some preliminary thoughts advanced as to their date and significance. Some suggestions are also made regarding the possible relationship between these carvings and the climatic and environmental changes which characterised the Sahara in later prehistory.
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Haslam, Michael J. "The Prehistory of Art Therapy Reconsidered." Canadian Art Therapy Association Journal 24, no. 1 (2011): 10–19. http://dx.doi.org/10.1080/08322473.2011.11434788.
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Lawson, A. J. "Proceedings of the Conference on Palaeolithic Art, held in Oxford, 1989: Introduction." Proceedings of the Prehistoric Society 57, no. 01 (1991): 1–2. http://dx.doi.org/10.1017/s0079497x00004837.
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This volume contains papers from twelve authors who were invited to speak at the Prehistoric Society's conference on Palaeolithic Art held at the Oxford University Department for External Studies in November 1989. Such conferences are a regular feature of the Society's activities and are organized to review and debate important themes in prehistory. In this instance interest in Palaeolithic art had already been heightened through the Society's study tours to the Dordogne (in 1980) and Northern Spain (in 1987). Despite this interest, no major conference on the theme had been organized in Britain since the Society's London Conference of April 1967 on ‘Prehistoric Art in the Western Mediterranean to the Second Millennium BC’. Unfortunately, the papers of that conference were not published and it is difficult now to assess their contribution to the subject. By contrast, some of the Society's subsequent conferences have been published by commercial houses (for example, Mellars 1978; Chapman, Kinnes and Randsborg 1981; Champion and Megaw 1985; Coles and Lawson 1987). This volume marks a different approach, namely for the Society to publish the proceedings of its own conference. Hopefully, this will enable members who were unable to participate in the conference to benefit from the expertise of the authors, and encourage others with an interest in prehistory to join the Society.
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Gedo, John E. "Art Alone Endures." Journal of the American Psychoanalytic Association 40, no. 2 (1992): 501–16. http://dx.doi.org/10.1177/000306519204000209.
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Sigmund Freud, a passionate collector of antiquities, often treated these objects as animate beings. He described such blurring of boundaries between persons and things in the protagonist of W. Jensen's novella, Gradiva. Freud began collecting when his father died, but his unusual attitude toward artefacts was established much earlier, presumably as a consequence of repeated early disappointments in human caretakers. It is postulated that this adaptive maneuver was not simply a displacement of love and hate, but a turning away from vulnerability in relationships, toward attachments over which he might retain effective control. The Freud Collection is largely focused on Greco-Roman and Egyptian objects. Freud's profound interest in classical civilization was established in childhood; he was particularly concerned with the struggle between Aryan Rome and Semitic Carthage, a conflict in which he identified with both sides. This ambivalence reflected growing up within a marginal Jewish family in a Germanic environment. Commitment to classical ideals represented an optimal manner of bridging these contrasting worlds. Egyptian artefacts were, for Freud, links to the prehistory of the Jewish people; they also represent an era when maternal deities found their proper place in man's pantheon—an echo of Freud's prehistoric past.
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García-Moreno, Alejandro, Miriam Cubas, Iain Davidson, et al. "El Niño Cave (Aýna, Albacete, Spain): Late Middle Palaeolithic, Rock Art, and Neolithic Occupations from Inland Iberia." Proceedings of the Prehistoric Society 87 (October 20, 2021): 73–81. http://dx.doi.org/10.1017/ppr.2021.14.
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El Niño cave, located on the south-eastern border of the Spanish Meseta, hosts a discontinuous sequence including Middle Palaeolithic and Neolithic levels, along with Upper Palaeolithic and Levantine style paintings. It is a key site for understanding human occupations of inland Iberia during the Palaeolithic and early prehistory. This paper summarises the main results of a multidisciplinary project aimed at defining the prehistoric human occupations at the site.
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Janik, Liliana. "Seeing visual narrative. New methodologies in the study of prehistoric visual depictions." Archaeological Dialogues 21, no. 1 (2014): 103–26. http://dx.doi.org/10.1017/s1380203814000129.
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AbstractThe aim of this paper is to establish how visual narratives can be used in the social context of storytelling, enabling the remembrance of events and those who participated in them in prehistory around the White Sea in the northernmost part of Europe. One of the largest complexes of fisher-gatherer-hunter art is located here, dating from the Neolithic and the Early Bronze Age (ca 6000–4000 B.P.). A number of methodological strands are brought together to aid in the interpretation of the art, combining Western art-historical and non-Western visual traditions that challenge our modern ways of seeing. The paper proposes an unconventional interpretation of this rock art, in which the prehistoric imagery is ‘translated’ via two short films creating the visual link between past and the present.
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Flood, J., and N. Horsfall. "Excavation of Green Ant and Echidna Shelters, Cape York Peninsula." Queensland Archaeological Research 3 (January 1, 1986): 4–64. http://dx.doi.org/10.25120/qar.3.1986.181.
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This paper presents the results of archaeological excavations at Green Ant and Echidna Shelters on the Koolburra Plateau, northwest of Laura in Cape York Peninsula, north Queensland. The work was undertaken as part of a multi-attribute approach to the prehistory of the region. Such an approach to regional prehistory is exemplified by the work of Morwood in the Central Queensland Highlands who used two principal types of evidence in his study, excavated assemblages and rock art, on the basis that "as two strands in the web of evidence documenting the workings of a cultural system, a combined study of art and stone seemed to offer potential for yielding a more detailed account of the processes by which archaeological observations relate to their cultural context" (1981:1). A similar approach seemed well suited to the Koolburra Plateau, which is also extremely rich in rock art sites (Flood 1983b, 1983c).
Dissertations / Theses on the topic "Prehistory art"
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Steeds, Lucy. "Tracing threshold events : across art, psychopathology and prehistory." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7040/.
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The starting point for this thesis is the juxtaposition of two works of art from the 1960s: Study for ‘Skin’ I, a print-drawing from 1962 by Jasper Johns, and the photograph Self-Portrait as a Fountain from 1966 by Bruce Nauman. Viewing these works in conjunction with Palaeolithic hand stencils, the marking of threshold events emerges as a theme. Resonant material is then assembled and studied: Surrealist texts and photography, or the use of photography, by André Breton, Claude Cahun and Man Ray; the medical theses of psychiatrists François Tosquelles and Jean Oury; and works on prehistoric art by Georges Bataille and André Leroi-Gourhan. The marking of threshold events at two nesting scales of analysis – the evolutionary emergence of the human species; and the psychotic onset of hallucination and delusion – is examined. Echoes are found to resound in a third register– in the neurological events that give rise to consciousness and dream experience. Consideration of the Johns drawing and Nauman photograph in these terms is proposed.
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Barry, Marie Porterfield. "Lesson 03: Prehistory - Our Connection to the History of Humankind Before Text." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/4.
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This lesson covers prehistoric art from the Paleolithic and Neolithic Ages. It focuses on cave art (Pech-Merle, Chauvet-Pont-d’Arc, Lascaux) and carved figures (Woman of Willendorf) from the Paleolithic period and megalithic architecture (Stonehenge) from the Neolithic period.
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Heggarty, Paul, and David Beresford-Jones. "Archaeology, Language, and the Andean Past: Principles, Methods, and the New "State of the Art"." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113428.
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This book emerges from the conference Lenguas y sociedades en el antiguo Perú: hacia un enfoque interdisciplinario, a gathering of linguists, archaeologists and anthropologists at the Pontificia Universidad Católica del Perú in August 2009. This chapter sets out first the raison d’être of our enterprise: why it seemed so important to foster a meeting of minds between these disciplines, to converge their disparate but complementary perspectives into a more coherent Andean prehistory.Next, it is asked how linguistics can inform us about prehistory at all, exploring some general methodological principles and how they might be applied specifically in the case of the Andes. The ‘traditional model’ for associating the linguistic and archaeological records in the Andes is then reviewed — but pointing also to various inherent infelicities, which duly call for a far-reaching, interdisciplinary reconsideration of the Andean past.Therefore we attempt to sum up the new state of the cross-disciplinary art in Andean prehistory, as collectively represented by the papers that emerged both from the Lima conference and from the symposium that preceded it, held at the McDonald Institute for Archaeological Research at the University of Cambridge in September 2008. Progress and new perspectives are explored first on key individual questions. Who, for instance, were the Incas, and whence and when did they come to Cuzco? How and when did Quechua, too, reach Cuzco, as well as its furthest-flung outposts in north-west Argentina, Ecuador and northern Peru?Finally, the scope is broadened to overall scenarios for how the main Andean language families might correlate in time and space with the archaeological horizons that in principle might best account for their dispersals. Four basic hypotheses have emerged, whose respective strengths and weaknesses are assessed in turn: a traditional ‘Wari as Aymara’ model, revised and defended; alternative proposals of ‘Wari as both Aymara and Quechua’, a suggestion of ‘both Chavin and Wari as Quechua’; and the most radical new departure, ‘Wari as Quechua, Chavin as Aymara’.<br>El presente volumen resulta del simposio "Lenguas y sociedades en el antiguo Perú: hacia un enfoque interdisciplinario", una reunión de lingüistas, arqueólogos y antropólogos realizada en la Pontificia Universidad Católica del Perú en agosto de 2009. La presente contribución expone primero la razón de ser de nuestra iniciativa: el por qué nos parecía tan importante promover un encuentro entre estas disciplinas, con el objeto de hacer converger sus perspectivas dispares —pero, por lo tanto, complementarias— para avanzar hacia una prehistoria andina más coherente.Seguidamente, preguntamos cómo es que la lingüística está en condiciones de proveernos datos sobre la prehistoria. Primero examinamos algunos principios metodológicos generales a tal fin, antes de examinar como estos se dejan aplicar mejor en el caso específico de los Andes. A continuación, pasamos revista al modelo tradicional de las supuestas asociaciones entre los registros lingüísticos y arqueológicos en la región, señalando al paso varios desaciertos inherentes, los mismos que claman por una reconsideración profunda e interdisciplinaria del pasado andino.Por lo tanto, este artículo prosigue con el propósito de resumir el nuevo estado interdisciplinario de la cuestión de la prehistoria andina, tal como lo representan los artículos que resultaron tanto del encuentro de Lima como del simposio que le precedió, llevado a cabo en el McDonald Institute for Archaeological Research de la University of Cambridge en septiembre de 2008. Se analizan, en primer lugar, los avances y nuevas perspectivas sobre algunos temas específicos, entre ellos: ¿quiénes fueron los incas, de donde procedían y cuando llegaron al Cuzco?, ¿cómo y cuándo alcanzó el quechua el Cuzco, así como sus más alejados puestos de avanzada en el noroeste de Argentina, Ecuador y el norte del Perú?Por último, ampliamos nuestro alcance a escenarios generales que buscan correlacionar, en el tiempo y el espacio, las principales familias lingüísticas de los Andes con los horizontes arqueológicos que, en principio, mejor podrían explicar sus dispersiones. Han surgido cuatro hipótesis básicas, cuyos respectivos puntos fuertes y débiles pasamos a evaluar: el modelo tradicional, ahora revisado y defendido, de "Wari como aimara"; y propuestas alternativas de Wari como aimara y quechua a la vez", "Chavín y Wari como quechua", y —más radical aún respecto al modelo tradicional— "Wari como quechua, Chavín como aimara".
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Buhagar, Saad Abdulla. "L'art rupestre du Sud-Est Libyen (Région de KUFRA)." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00915778.
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À la lumière de l'analyse des animaux rencontrés sur les cinq sites d'art rupestre étudiés dans le Bassin de Kufra, nous pouvons proposer une classification en trois périodes : 1) une première phase bovidienne, observée à Bzima, Rebiana, Bir el-Awadel, ne concernent que des gravures. Le nombre de découvertes est peu important, et les figurations humaines demeurent rares. Dans cette première période, la chasse occupe une place importante. On y rencontre, à côté de bovins, représentés dans un style plutôt réaliste, plusieurs espèces d'antilopes, peut-être un éléphant et d'autres animaux non identifiés. La plupart des gravures de cette période sont localisées en hauteur, sur la paroi verticale de petites falaises ; 2) la période pastorale bovidienne a laissé des traces dans toute la région du Bassin de Kufra, particulièrement dans la région du jebel el-Uweinat, riche en œuvres peintes. Les sujets des gravures sont variés, mais sont largement dominés par les représentations de bovidés, associés à quelques figurations d'hommes et de différents animaux sauvages. Les compositions décrivant un aspect de la vie quotidienne sont rares, à l'exception de quelques représentations de chasse. On note également la présence de nombreuses figurations géométriques et d'empreintes de pattes d'animaux, notamment à Bzima 2. Les dimensions des gravures varient avec le temps, les plus grandes semblant les plus anciennes et l'on ne constate pas de superpositions de gravures, hormis à Bir el-Awadel. Toutes les techniques de réalisation des gravures sont utilisées, l'incision présentant des profondeurs et des largeurs diverses, de même que le piquetage et le bouchardage. Elles sont parfois combinées. Les rares peintures conservées autour de Kufra sont de petites tailles, et seule la couleur rouge a résisté aux dommages causés par les intempéries ; 3) la période cameline est essentiellement représentée à Bzima et Rebiana. Cette période comporte exclusivement des gravures. Les blocs gravés de cette période se situent généralement à proximité des lieux d'habitation et de sépultures. Les camélidés représentent l'essentiel des figurations et apparaissent tantôt en groupes, tantôt individuellement, parfois accompagnés par des chameliers. Les autres espèces animales sont rares, tandis que des figures géométriques apparaissent régulièrement en association avec les camelins incisés. Les mises en scènes sont nombreuses, souvent des caravanes ou troupeaux de dromadaires, et une représentation de conflit armé oppose deux groupes d'hommes à la Gara el-Mekhaze. Quelques gravures camelines recouvrent des gravures bovidiennes, mais le plus souvent ces dernières sont respectées et parfois copiées maladroitement. Les techniques utilisées recouvrent l'incision, le piquetage, le bouchardage et le polissage. Cependant, c'est l'incision - technique très facile à exécuter - qui a été la plus utilisée. La grande variété d'aspect et de maîtrise des tracés indique par ailleurs que les artistes ont été nombreux à se succéder pour graver dans la pierre le fruit de leur imagination. Il n'y a aucune inscription en langue ancienne, mais des inscriptions en arabes souvent récentes. La période cameline semble parfois, dans notre secteur d'étude, en adéquation avec une position de refuge des populations concernées, probablement face à une situation de conflit et rezzous. C'est pourquoi, comme à Rebiana, les sites sont dans les éboulis rocheux au pied des reliefs. A Bzima la situation est plus contrastée, avec des implantation en plaine et dans les éboulis. Aucun des cinq sites étudiés n'a livré jusqu'à présent de représentations de la période cabaline. Le style " Tête-ronde d'el-Uweinat " reste cantonné à ce massif. Une différence très claire se manifeste ainsi entre les cultures du Sud-Est et du Sud-Ouest libyen, de part et d'autre du Waw en-Namus.
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Bonga, Lily Alexandra. "Late Neolithic Pottery from Mainland Greece, ca. 5,300-4,300 B.C." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236215.
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Art History<br>Ph.D.<br>The Late Neolithic (defined here as the LN I of Sampson 1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a "koine." The commonalities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before. In the Late Neolithic, all categories of pottery--monochrome, decorated, and undecorated--are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced. For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age. During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered. The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.<br>Temple University--Theses
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Dudognon, Carole. "Entre chasse et pastoralisme, l'art rupestre de la région d'Arica-Parinacota (Chili)." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20041/document.
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A l’extrême nord du Chili, dans la région d’Arica-Parinacota, ce travail de recherche, axé sur l’étude de trois abris ornés (Vilacaurani, Incani et Anocariri), vise à mettre en évidence les étapes de la transformation culturelle et socio-économiques des populations andines en lien avec le processus de la domestication animale. Entre 2800 et 3800 m dans le piémont andin, l’implantation humaine semble correspondre à l’écosystème de certaines espèces, telles que le guanaco et le taruca, abondamment chassées pendant les périodes les plus anciennes. Les plus importants témoignages, actuellement connus, de cette occupation se retrouvent au cœur d’abris sous roche ou sur de larges panneaux à travers d’imposantes fresques polychromes. Les artistes ont mis l’accent sur la figure animale, principalement les camélidés de genre lama (guanaco et lama) et sur la représentation de scènes variées telles la chasse, le piégeage ou encore la pâture. Ces représentations sont significatives, car elles évoquent des possibles phases de la domestication des camélidés qui a débuté autour de 6000 BP dans les Andes centrales (Wings, 1986 ; Wheeler et al., 1977 ; Lavallée et Julien, 1980 ; Lavallée et al., 1995) débouchant sur le développement des sociétés pastorales et d’une économie de production dans les hautes terres andines. Pourtant, les mécanismes de cette transformation restent encore mal connus. Cette recherche offre une nouvelle lecture des manifestations artistiques comme source première d’information pour comprendre la transition socio-économique et culturelle des populations des hautes terres. A travers l’étude des scènes picturales et l’imposant système de superposition des figures, nous sommes en mesure de décrire le glissement progressif, autant sur le plan technique que symbolique, et les étapes transitoires qui caractérisent le passage d’une économie principalement fondée sur la chasse à une économie pastorale<br>In the far north of Chile, in the region of Arica-Parinacota, this research, centered on the study of three decorated shelters (Vilacaurani, Incani and Anocariri), aim at highlighting the socioeconomic and cultural stages of the transformation of the Andean populations in connection with the process of the animal domestication. Between 2800 and 3800 m in Andean Piedmont, the human settling seems to correspond to the ecosystem of certain species such as the guanaco and the taruca abundantly hunted during the most ancient periods. The most important testimonies of this activity, so far known, are found at the heart of shelters or on wide panels through impressive polychromatic frescoes. The artists put the accent on the animal figure, mainly Camelidae of the genus Lama (guanaco and llama) and on the representation of varied scenes such hunting, capture or grazing. These representations are significant because they evoke possible phases of the Camelid’s domestication which began around 6000 BP in the central Andes (Wings, 1986 ; Wheeler et al., 1977 ; Lavallée et Julien, 1980 ; Lavallée et al., 1995) which result in the development of the pastoral societies and the economy of production in the Andean highlands. Nevertheless, mechanisms working in this transformation remain badly known. This research offers a new reading of the artistic manifestations as first source of information to understand the socioeconomic and cultural transition of the populations in the highlands. Through the study of the pictorial scenes and the impressive system of overlapping of figures, we are capable of describing the progressive sliding, both on the technical plan and the symbolism, and the transitory stages which characterize the passage of an economy mainly based on hunting to a pastoral economy
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Saidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.
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Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.
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Kelley, Caitlin. "Ten Thousand Years of Prehistory on Ocheesee Pond, Northwest Florida| Archaeological Investigations on the Keene Family Land, Jackson County." Thesis, University of South Florida, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535883.
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<p>The purpose of this project was to record the private archaeological collection of the Keene family, which was previously unknown to the professional community. While at the two sites, Keene Redfield site (8Ja1847) and Keene Dog Pond site (8Ja1848), in Jackson County, northwest Florida, USF archaeologists also conducted field investigations to look for prehistoric cultural materials in undisturbed contexts. </p><p> This research was conducted at the request of the Keene family. The field crew systematically documented, cataloged and photographed each artifact in the Keene collection while at the sites. Surface survey and testing were also carried out in order to determine site boundaries, occupation and function. </p><p> ]Over 1,000 artifacts from every time period from the transitional Paleo-Indian/Early Archaic through the Mississippian were documented from the collection. Field investigations resulted in the location and investigation of undisturbed cultural strata below the plow zone, enabling the researchers to obtain radiocarbon dates from these deposits. Evidence of hunting and gathering activities and of tool processing including repair, sharpening and possible re-use was found at both sites. </p><p> This work allowed for the publication of two previously unknown, rich archaeological sites and for a better understanding of the prehistoric activities and functions of this region of the southeast. While participating in this public archaeology project, several other similar opportunities presented themselves, providing USF archaeologists with the ability to maintain a presence in the area to continue public archaeology efforts to engage the community and encourage appropriate participation and good stewardship of these types of private sites. </p>
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Dudognon, Carole. "Entre chasse et pastoralisme, l'art rupestre de la région d'Arica-Parinacota (Chili)." Electronic Thesis or Diss., Toulouse 2, 2016. http://www.theses.fr/2016TOU20041.
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A l’extrême nord du Chili, dans la région d’Arica-Parinacota, ce travail de recherche, axé sur l’étude de trois abris ornés (Vilacaurani, Incani et Anocariri), vise à mettre en évidence les étapes de la transformation culturelle et socio-économiques des populations andines en lien avec le processus de la domestication animale. Entre 2800 et 3800 m dans le piémont andin, l’implantation humaine semble correspondre à l’écosystème de certaines espèces, telles que le guanaco et le taruca, abondamment chassées pendant les périodes les plus anciennes. Les plus importants témoignages, actuellement connus, de cette occupation se retrouvent au cœur d’abris sous roche ou sur de larges panneaux à travers d’imposantes fresques polychromes. Les artistes ont mis l’accent sur la figure animale, principalement les camélidés de genre lama (guanaco et lama) et sur la représentation de scènes variées telles la chasse, le piégeage ou encore la pâture. Ces représentations sont significatives, car elles évoquent des possibles phases de la domestication des camélidés qui a débuté autour de 6000 BP dans les Andes centrales (Wings, 1986 ; Wheeler et al., 1977 ; Lavallée et Julien, 1980 ; Lavallée et al., 1995) débouchant sur le développement des sociétés pastorales et d’une économie de production dans les hautes terres andines. Pourtant, les mécanismes de cette transformation restent encore mal connus. Cette recherche offre une nouvelle lecture des manifestations artistiques comme source première d’information pour comprendre la transition socio-économique et culturelle des populations des hautes terres. A travers l’étude des scènes picturales et l’imposant système de superposition des figures, nous sommes en mesure de décrire le glissement progressif, autant sur le plan technique que symbolique, et les étapes transitoires qui caractérisent le passage d’une économie principalement fondée sur la chasse à une économie pastorale<br>In the far north of Chile, in the region of Arica-Parinacota, this research, centered on the study of three decorated shelters (Vilacaurani, Incani and Anocariri), aim at highlighting the socioeconomic and cultural stages of the transformation of the Andean populations in connection with the process of the animal domestication. Between 2800 and 3800 m in Andean Piedmont, the human settling seems to correspond to the ecosystem of certain species such as the guanaco and the taruca abundantly hunted during the most ancient periods. The most important testimonies of this activity, so far known, are found at the heart of shelters or on wide panels through impressive polychromatic frescoes. The artists put the accent on the animal figure, mainly Camelidae of the genus Lama (guanaco and llama) and on the representation of varied scenes such hunting, capture or grazing. These representations are significant because they evoke possible phases of the Camelid’s domestication which began around 6000 BP in the central Andes (Wings, 1986 ; Wheeler et al., 1977 ; Lavallée et Julien, 1980 ; Lavallée et al., 1995) which result in the development of the pastoral societies and the economy of production in the Andean highlands. Nevertheless, mechanisms working in this transformation remain badly known. This research offers a new reading of the artistic manifestations as first source of information to understand the socioeconomic and cultural transition of the populations in the highlands. Through the study of the pictorial scenes and the impressive system of overlapping of figures, we are capable of describing the progressive sliding, both on the technical plan and the symbolism, and the transitory stages which characterize the passage of an economy mainly based on hunting to a pastoral economy
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Lepiller, Ségolène. "Sortir de la caverne, entrer dans la grotte : étude épistémologique sur l’art paléolithique et la préhistoire, au carrefour des sciences naturelles et humaines." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEE044.
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L’entreprise philosophique est traditionnellement associée depuis Platon à la sortie de la caverne. Nous nous proposons ici d’adopter l’itinéraire inverse, en interrogeant philosophiquement les grottes et les éléments de mobilier ornés par les hommes qui ont vécu en Europe avant la fin de la dernière glaciation. Cet objet singulier invite d’abord à réfléchir sur la définition de la science préhistorique, qui ne peut être assimilée à l’étude de ce qui précède l’histoire, et sur l’unité de ce qui a été nommé « art paléolithique ». Cependant, au-delà de ces considérations conceptuelles, il convient de prendre acte du double défi dont a été porteuse la découverte de cet art au XIXème siècle. Elle a en effet permis de questionner, d’une part l’identité et l’origine de l’homme, et d’autre part l’unité de la discipline préhistorique, ainsi que sa place dans le champ des sciences. Concernant le premier point, si les interrogations autour de l’existence de l’homme fossile avaient progressivement permis, au fil du XIXème siècle, de le penser contemporain d’espèces animales disparues, la découverte de ses œuvres artistiques, initialement controversée, a fait apparaître ses aptitudes esthétiques, ses capacités spirituelles, et finalement sa pleine humanité. Pour ce qui est de la seconde question, l’art paléolithique a radicalisé et rendu tangible la situation instable des études préhistoriques, au carrefour de plusieurs sciences à la fois naturelles et humaines. L’analyse des discours et des pratiques des préhistoriens montre ainsi que ce terrain de recherche peut être considéré comme un laboratoire où se rencontrent différents modèles scientifiques. Cependant, la conception de l’homme et de la science véhiculée par la préhistoire s’est trouvée, dans les dernières décennies du XXème siècle, remise en question par de nouveaux paradigmes d’anthropologie naturalisée. À l’intersection des sciences naturelles et des sciences humaines, les études portant sur l’art paléolithique s’avèrent ainsi offrir un poste d’observation privilégié sur les rapports entre plusieurs manières de voir le monde, de comprendre l’homme, et de définir les principes de la science<br>Ever since Plato’s allegory the practice of philosophy has traditionally been linked to stepping out of a cavern. What this work aims at doing is to go in the very opposite direction, by examining with a philosophical approach the caves and ornamented artefacts which men ventured into and used in Europe before the end of the last ice age. This particular issue cannot be tackled without defining first what the sciences of prehistory consist in, as they can’t be confined to the study of what happened before the beginning of history. Another important issue to address is that of the unity of what has been labelled « Palaeolithic Art ». However, the double challenge laid down by the discovery of that form of art must be reckoned with, beyond all those conceptual considerations. Indeed, it has enabled researchers to ponder about man’s identity and origins on the one hand, and about what makes sciences of prehistory stand out from other scientific fields, and how they relate to those other sciences on the other hand. As regards the first question under scrutiny, the discovery of fossil men made it increasingly possible throughout the 19th century to consider that they lived at the same time as some now extinguished animal species, but the discovery of their artistic work raised initially a lot of controversy. However, it revealed then that those men had a sense of aesthetics, some spiritual abilities, and that they were, in a nutshell, fully-fledged human beings. As for the second issue, Palaeolithic Art has made the blurred status of research on prehistory both more blatant and more tangible, as such research intertwines various sciences, especially those of nature and Humanities. A deeper examination of the approaches and practices of researchers on prehistory shows that that field of studies can be considered as an experimental one, where different scientific model systems are driven to merge. Yet, the scientific approach of prehistory implies an underlying conception of mankind and sciences, which was challenged in the last decades of the 20th century, when new paradigms were introduced by naturalised anthropology. Since they stand at the junction point of sciences of nature and Humanities, the studies on Palaeolithic Art offer the opportunity to get a privileged insight into various ways to see the world, to understand mankind, and to define the principles of sciences
Books on the topic "Prehistory art"
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Carvalho, António Faustino de. Côa Valley: Rock art and prehistory. Parque Arqueologico Vale do Côa, 1996.
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Vavouranakis, Giorgos. The seascape in Aegean prehistory. Danish Institute at Athens, 2011.
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Knight, Vernon J. Iconographic method in new world prehistory. Cambridge University Press, 2013.
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M, Asher Frederick, ed. Art of India: Prehistory to the present. Encyclopaedia Britannica, 2002.
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Labbé, Armand J. Ban Chiang: Art and prehistory of Northeast Thailand. Bowers Museum, 1985.
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1937-, Renfrew Colin, Morley Iain 1975-, Templeton Foundation, and McDonald Institute for Archaeological Research., eds. Image and imagination: A global prehistory of figurative representation. McDonald Institute of Archeological Research, University of Cambridge, 2007.
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Cabau, Agathe. Discovering / uncovering the modernity of prehistory. Deutsches Forum für Kunstgeschichte, Centre Allemand d'Histoire de l'Art, 2020.
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Homan, Potterton, and Sheehy Jeanne, eds. Irish art and architecture from prehistory to the present. Thames and Hudson, 1993.
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Stokstad, Marilyn. Art history: From prehistory to the twenty-first century. Harry N. Abrams, 2000.
Find full textBook chapters on the topic "Prehistory art"
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Hays-Gilpin, Kelley. "Gender and Prehistoric Rock Art." In A Companion to Gender Prehistory. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118294291.ch6.
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Sauvet, Georges. "Why Do Old Dates Fascinate Prehistorians?" In Deep-Time Images in the Age of Globalization. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_9.
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AbstractArchaeologists have always been interested in placing things into chronological sequences. Prior to the discovery of numerical dating techniques, the sequence of prehistoric events was only known relatively within large approximations and with high degrees of uncertainty. From the 1950s onwards, radiocarbon dating appeared as the most important method to obtain the chronometric age of prehistoric materials. Later, accelerator mass spectrometry (AMS) became the prevalent technique and began to be used to date rock art paintings. The precision of this method improved, and the age of much rock art was pushed back. New techniques based on luminescence (e.g., TL, OSL) and the disequilibrium in the U-series (e.g., U/Th) have been developed in the last years. Engaged in an international race toward the oldest dates, prehistorians from all over the world have seemed to move away from their primary objective, which is the understanding of past societies. In rock art studies, research is now shaped by the search for the ‘earliest art’ and the oldest manifestation of ‘symbolic behaviour.’ Through the examination of the different dating techniques developed in the second half of the twentieth century, several examples of this time-driven prehistory will be given. Behind an illusory mathematical rigor, the leaden weights of preconception and ulterior motive reappear in many cases, reminding us that prehistory is not only a ‘human science,’ but a science made by humans.
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Stevenson, Judith. "Shaman Images in San Rock Art: A Question of Gender." In Representations of Gender from Prehistory to the Present. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62331-0_4.
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Labrusse, Rémi. "“… And Those Who Expect to Return to the Source Will Find Fog”: Resonances of Prehistory in Modern Art." In Deep-Time Images in the Age of Globalization. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_13.
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AbstractSince the authentication of Paleolithic cave paintings at the beginning of the twentieth century, modern artists have approached deep-time remnants (including images, tools, and traces of all sorts) in three main ways: they have either represented them, imitated them, or made them resonate conceptually and emotionally in their own artwork. In general, these attitudes—representation (or contextualization), imitation (or reenactment), and resonance (or meditation)—are at the core of modern ‘primitivism’. They have shaped the different ways of dealing with aesthetically-distant artworks and the quest for supposedly authentic origins in them. Within this ‘primitivist’ framework, I argue in this chapter that modern artists have a specific kind of relation with ‘prehistoric art’, one that privileges time rather than space. I suggest that what has attracted them is the “dark abyss of time” and, in particular, the shocking contrast between the sheer materiality of ‘prehistoric art’ (see, for instance, the freshness of a number of rock images) and the immesurable temporal lapse that separates these images from us. To be more precise, I will show how, at least in modern art, the ‘quest for the origins’ (so popular in the field of archaeology) has somewhat been substituted by a fascination for the unaccountability of time. In this context, I argue that modern and contemporary artists did not only react to new discoveries and interpretations in the archeological field but, moreover, they have actively contributed to promoting a relationship to prehistory that is more conceptual than factual and, therefore, producing a globalized concept of ‘prehistoric art’ that has been with us for many decades.
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López-Montalvo, Esther. "War and Peace in Iberian Prehistory: The Chronology and Interpretation of the Depictions of Violence in Levantine Rock Art." In Prehistoric Warfare and Violence. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78828-9_5.
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Gooch, Jan W. "Prehistoric Art." In Encyclopedic Dictionary of Polymers. Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_9392.
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Leon, Elmo. "Andes: Prehistoric Art." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_1684.
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Leon, Elmo. "Andes: Prehistoric Art." In Encyclopedia of Global Archaeology. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51726-1_1684-2.
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Leon, Elmo. "Andes: Prehistoric Art." In Encyclopedia of Global Archaeology. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_1684.
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Durband, Arthur C. "Prehistoric Human Art." In Encyclopedia of Evolutionary Psychological Science. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-16999-6_1839-1.
Full textConference papers on the topic "Prehistory art"
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Yuadi, Imam, Nisak Ummi Nazikhah, Khoirun Nisa’, and Toetik Koesbardiati. "Auto Local Threshold Analysis of Prehistoric Cave Art in Leang-Leang Archaeological Park, South Sulawesi, Indonesia." In 2024 International Conference on Information Technology Research and Innovation (ICITRI). IEEE, 2024. http://dx.doi.org/10.1109/icitri62858.2024.10698828.
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Katsangelou, Smaro, Parker Wilmoth, DimitrisA Pados, and Emmanouil Vermisso. "Latent Petroglyphs: Pattern Extraction From Prehistoric Rock Art Through Generative Workflows for a Design Project in Greece." In CAADRIA 2024: Accelerated Design. CAADRIA, 2024. http://dx.doi.org/10.52842/conf.caadria.2024.1.149.
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Benyon, Margaret. "Prehistory of holographic art: a personal view." In Sixth International Symposium on Display Holography, edited by Tung H. Jeong. SPIE, 1998. http://dx.doi.org/10.1117/12.301466.
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Helskog, K. "ПОЧЕМУ ТАК МАЛО ПТИЦ?" У Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.349-360.
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WHY SO FEW BIRDS This paper consideres the petroglyphs of birds in the inner part of the Alta fjord in northern Norway. During the time 5000 to BC/AD, when the petroglyphs were made, the focus was on water birds, although extremely few in relation to the total number of figures. No bird figures appear to have been made later than 2700 BC. The lack of birds among the late rock art in Alta does not mean that they no longer had a place within human animal relationships, beliefs and rituals, myths, narratives and subsistence, but only that they no longer were depicted in rock art. Ethno-historic information indicates that beliefs associated with birds were important in among Finno-Ugric myths and folklore in late historic times, with roots in prehistory. There might be a link between prehistoric images and ethno-historic information, but to draw a direct connection through four thousand years between prehistoric and historic populations in the region of Alta need more information than I can provide. Статья посвящена изображениям птиц в наскальном искусстве внутренней части фьорда Альта на севере Норвегии. Петроглифы создавались здесь с V тыс. до н. э. до начала н. э. В основном изображались водоплавающие птицы, но их крайне мало по сравнению с общим числом фигур. Судя по всему, птицы не изображались вообще в период после 2700 л. до н. э. Отсутствие этого образа в позднем наскальном искусстве Альты вовсе не означает, что птицы перестали занимать свое место в отношениях человека с животными, в верованиях и ритуалах, мифах и сказаниях, а также в пропитании. Это значит лишь то, что они больше не изображались в наскальном искусстве. Этно-исторические данные свидетельствуют, что верования, связанные с птицами, занимали важное место в финно-угорских мифах и фольклоре в поздние исторические времена, уходя корнями в первобытность. Возможно, существует связь между доисторическими изображениями и этно-историческими данными, но чтобы установить эту связь, протянув ее через четыре тысячелетия, которые разделяют доисторические и исторические племена в районе Альты, требуется гораздо больше информации, чем есть сейчас в нашем распоряжении.
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Bryan, Paul. "RECORDING PREHISTORIC ROCK-ART : A THREE DIMENSIONAL APPROACH." In Electronic Visualisation and the Arts (EVA 2009). BCS Learning & Development, 2009. http://dx.doi.org/10.14236/ewic/eva2009.3.
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Seglins, Valdis, and Agnese Kukela. "THE PLOCHATA DOLMEN NEAR ZLATOSEL, BULGARIA." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s04.05.
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Bulgaria is extremely rich in prehistoric and historic monuments. Among Bulgaria�s outstanding monuments there are not only the well-known Varna Necropolis and Provadia-Solnitsata ancient salt mining and urban center, but also numerous other megalithic prehistoric monuments. Until now, they have been identified and recognized mainly as alone - standing objects. Current paper focuses on the study carried out in the vicinity of Zlatosel village on the prehistoric site of the Plochata Dolmen. The study indicates that this large area consists of a complex of ancient buildings� ruins and fragments of megalithic structures. The most notable fragment of an ancient complex structure is so-called portal dolmen, which has been adapted for sun observation during much later times, when the monuments of the megalithic culture had already lost their significance. This ancient culture is evidenced not only by numerous ruins of megalithic monuments easily recognizable in a large area (including the northern shore of the lake Dondukovo), but also by many signs and symbols still visible on the exposed surfaces of the natural rock walls and several man-made natural rock formations and their groups. The study reveals that closer attention should be paid also to the shapes given to the individual stone material monoliths and the quality of the surface treatment. This is an important indication not only of the quality of the tools used by the ancient craftsmen, but also of their skills and ability to do their job with sufficient precision.
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Palaguta, Il’ya. "On the problem of the methodology of researching works of prehistoric art." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-34-2-207-209.
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Schaich, Martin. "3D-PIT0TI: 3D acquisition, processing and presentation of prehistoric European rock-art." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744814.
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Pozo Antonio, Jose Santiago, Teresa Rivas, Pablo Barreiro, Vera Caetano, Fernando Carrera, and Lara Bacelar Alves. "In situ characterization of prehistoric rock paintings: the Côa Valley (Portugal)." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2023.095.
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Pozo Antonio, Jose Santiago, Teresa Rivas, Pablo Barreiro, Vera Caetano, Fernando Carrera, and Lara Bacelar Alves. "In situ characterization of prehistoric rock paintings: the Côa Valley (Portugal)." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/10.21014/tc4-arc-2023.095.
Full textReports on the topic "Prehistory art"
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Horejs, Barbara, and Ulrike Schuh, eds. PREHISTORY & WEST ASIAN/NORTHEAST AFRICAN ARCHAEOLOGY 2021–2023. Verlag der Österreichischen Akademie der Wissenschaften, 2023. http://dx.doi.org/10.1553/oeai.pwana2021-2023.
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The long-established research of Prehistory and West Asian/Northeast African archaeology (the former Institute for Oriental and European Archaeology, OREA) at the Austrian Academy of Sciences was transformed into a department of the »new« Austrian Archaeological Institute (OeAI) at the Austrian Academy of Sciences in 2021. This merging of several institutes into the new OeAI offers a wide range of new opportunities for basic and interdisciplinary research, which support the traditional research focus as well as the development of new projects in world archaeology. The research areas of the Department of Prehistory and West Asian/Northeast African Archaeology include Quaternary archaeology, Prehistory, Near Eastern archaeology and Egyptology. The groups cover an essential cultural area of prehistoric and early historical developments in Europe, Northeast Africa and West Asia. Prehistory is embedded in the world archaeology concept without geographical borders, including projects beyond this core zone, as well as a scientific and interdisciplinary approach. The focus lies in the time horizon from the Pleistocene about 2.6 million years ago to the transformation of societies into historical epochs in the 1st millennium BC. The chronological expertise of the groups covers the periods Palaeolithic, Neolithic, Chalcolithic, Bronze Age and Early Iron Age. The archaeology of West Asia and Northeast Africa is linked to the Mediterranean and Europe, which enables large-scale and chronologically broad basic research on human history. The department consists of the following seven groups: »Quaternary Archaeology«, »Prehistoric Phenomena«, »Prehistoric Identities«, »Archaeology in Egypt and Sudan«, »Archaeology of the Levant«, »Mediterranean Economies« and »Urnfield Culture Networks«. The groups conduct fieldwork and material analyses in Austria, Hungary, Poland, the Czech Republic, Slovakia, Italy, Croatia, Bosnia and Herzegovina, Serbia, North Macedonia, Bulgaria, Romania, Moldova, Greece, Cyprus, Türkiye, Iran, the United Arab Emirates, Lebanon, Israel, Egypt, Sudan and South Africa.
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Horejs, Barbara, and Julia Budka, eds. NATURWISSENSCHAFTEN & ARCHÄOLOGIE 2019–2022. Austrian Academy of Sciences, 2024. http://dx.doi.org/10.1553/nawi-arch.2019-2022.
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The long-established research of Prehistory and West Asian/Northeast African archaeology (the former Institute for Oriental and European Archaeology, OREA) at the Austrian Academy of Sciences was transformed into a department of the »new« Austrian Archaeological Institute (OeAI) at the Austrian Academy of Sciences in 2021. This merging of several institutes into the new OeAI offers a wide range of new opportunities for basic and interdisciplinary research, which support the traditional research focus as well as the development of new projects in world archaeology. The research areas of the Department of Prehistory and West Asian/Northeast African Archaeology include Quaternary archaeology, Prehistory, Near Eastern archaeology and Egyptology. The groups cover an essential cultural area of prehistoric and early historical developments in Europe, Northeast Africa and West Asia. Prehistory is embedded in the world archaeology concept without geographical borders, including projects beyond this core zone, as well as a scientific and interdisciplinary approach. The focus lies in the time horizon from the Pleistocene about 2.6 million years ago to the transformation of societies into historical epochs in the 1st millennium BC. The chronological expertise of the groups covers the periods Palaeolithic, Neolithic, Chalcolithic, Bronze Age and Early Iron Age. The archaeology of West Asia and Northeast Africa is linked to the Mediterranean and Europe, which enables large-scale and chronologically broad basic research on human history. The department consists of the following seven groups: »Quaternary Archaeology«, »Prehistoric Phenomena«, »Prehistoric Identities«, »Archaeology in Egypt and Sudan«, »Archaeology of the Levant«, »Mediterranean Economies« and »Urnfield Culture Networks«. The groups conduct fieldwork and material analyses in Austria, Hungary, Poland, the Czech Republic, Slovakia, Italy, Croatia, Bosnia and Herzegovina, Serbia, North Macedonia, Bulgaria, Romania, Moldova, Greece, Cyprus, Türkiye, Iran, the United Arab Emirates, Lebanon, Israel, Egypt, Sudan and South Africa.
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Saville, Alan, and Caroline Wickham-Jones, eds. Palaeolithic and Mesolithic Scotland : Scottish Archaeological Research Framework Panel Report. Society for Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.06.2012.163.
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Why research Palaeolithic and Mesolithic Scotland? Palaeolithic and Mesolithic archaeology sheds light on the first colonisation and subsequent early inhabitation of Scotland. It is a growing and exciting field where increasing Scottish evidence has been given wider significance in the context of European prehistory. It extends over a long period, which saw great changes, including substantial environmental transformations, and the impact of, and societal response to, climate change. The period as a whole provides the foundation for the human occupation of Scotland and is crucial for understanding prehistoric society, both for Scotland and across North-West Europe. Within the Palaeolithic and Mesolithic periods there are considerable opportunities for pioneering research. Individual projects can still have a substantial impact and there remain opportunities for pioneering discoveries including cemeteries, domestic and other structures, stratified sites, and for exploring the huge evidential potential of water-logged and underwater sites. Palaeolithic and Mesolithic archaeology also stimulates and draws upon exciting multi-disciplinary collaborations. Panel Task and Remit The panel remit was to review critically the current state of knowledge and consider promising areas of future research into the earliest prehistory of Scotland. This was undertaken with a view to improved understanding of all aspects of the colonization and inhabitation of the country by peoples practising a wholly hunter-fisher-gatherer way of life prior to the advent of farming. In so doing, it was recognised as particularly important that both environmental data (including vegetation, fauna, sea level, and landscape work) and cultural change during this period be evaluated. The resultant report, outlines the different areas of research in which archaeologists interested in early prehistory work, and highlights the research topics to which they aspire. The report is structured by theme: history of investigation; reconstruction of the environment; the nature of the archaeological record; methodologies for recreating the past; and finally, the lifestyles of past people – the latter representing both a statement of current knowledge and the ultimate aim for archaeologists; the goal of all the former sections. The document is reinforced by material on-line which provides further detail and resources. The Palaeolithic and Mesolithic panel report of ScARF is intended as a resource to be utilised, built upon, and kept updated, hopefully by those it has helped inspire and inform as well as those who follow in their footsteps. Future Research The main recommendations of the panel report can be summarized under four key headings: Visibility: Due to the considerable length of time over which sites were formed, and the predominant mobility of the population, early prehistoric remains are to be found right across the landscape, although they often survive as ephemeral traces and in low densities. Therefore, all archaeological work should take into account the expectation of Palaeolithic and Mesolithic ScARF Panel Report iv encountering early prehistoric remains. This applies equally to both commercial and research archaeology, and to amateur activity which often makes the initial discovery. This should not be seen as an obstacle, but as a benefit, and not finding such remains should be cause for question. There is no doubt that important evidence of these periods remains unrecognised in private, public, and commercial collections and there is a strong need for backlog evaluation, proper curation and analysis. The inadequate representation of Palaeolithic and Mesolithic information in existing national and local databases must be addressed. Collaboration: Multi-disciplinary, collaborative, and cross- sector approaches must be encouraged – site prospection, prediction, recognition, and contextualisation are key areas to this end. Reconstructing past environments and their chronological frameworks, and exploring submerged and buried landscapes offer existing examples of fruitful, cross-disciplinary work. Palaeolithic and Mesolithic archaeology has an important place within Quaternary science and the potential for deeply buried remains means that geoarchaeology should have a prominent role. Innovation: Research-led projects are currently making a substantial impact across all aspects of Palaeolithic and Mesolithic archaeology; a funding policy that acknowledges risk and promotes the innovation that these periods demand should be encouraged. The exploration of lesser known areas, work on different types of site, new approaches to artefacts, and the application of novel methodologies should all be promoted when engaging with the challenges of early prehistory. Tackling the ‘big questions’: Archaeologists should engage with the big questions of earliest prehistory in Scotland, including the colonisation of new land, how lifestyles in past societies were organized, the effects of and the responses to environmental change, and the transitions to new modes of life. This should be done through a holistic view of the available data, encompassing all the complexities of interpretation and developing competing and testable models. Scottish data can be used to address many of the currently topical research topics in archaeology, and will provide a springboard to a better understanding of early prehistoric life in Scotland and beyond.
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Young, Allison, Carey Baxter, Joseph Murphey, Karlee Feinen, Madison Story, and Adam Smith. US Air Force Academy Gallagher and Massey ranch houses : Historic American Buildings Surveys CO-237, CO-237-A, and CO-238. Engineer Research and Development Center (U.S.), 2023. http://dx.doi.org/10.21079/11681/47190.
Full textAbstract:
The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. The US Air Force Academy is located at the base of the Front Range within El Paso County. The US Air Force Academy has been used for training US Air Force officers since 1954. The Gallagher Ranch House and its associated garage, erected circa 1953, and the Massey Ranch House, erected 1941, are eligible for the National Register of Historic Places. This report documents the buildings to the standards of the Historic American Buildings Survey and includes a historic context, architectural descriptions, photographs, and measured drawings. This report satisfies Sections 106 and 110 of the National Historic Preservation Act of 1966 as amended and will be used by the US Air Force Academy for mitigation, allowing for the demolition of the three buildings.
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Story, Madison. Fort Riley firing ranges and military training lands : a history and analysis. Engineer Research and Development Center (U.S.), 2023. http://dx.doi.org/10.21079/11681/47744.
Full textAbstract:
The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. Fort Riley is in north-central Kansas within Riley and Geary Counties. It consists of six functional areas, including the Main Post, Camp Funston, Marshall Army Airfield (MAAF), Camp Whitside, Camp Forsyth, and Custer Hill. This report provides a historic context for ranges, features, and buildings associated with the post’s training lands in support of Section 110 of the NHPA.
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BARKHATOV, NIKOLAY, and SERGEY REVUNOV. A software-computational neural network tool for predicting the electromagnetic state of the polar magnetosphere, taking into account the process that simulates its slow loading by the kinetic energy of the solar wind. SIB-Expertise, 2021. http://dx.doi.org/10.12731/er0519.07122021.
Full textAbstract:
The auroral activity indices AU, AL, AE, introduced into geophysics at the beginning of the space era, although they have certain drawbacks, are still widely used to monitor geomagnetic activity at high latitudes. The AU index reflects the intensity of the eastern electric jet, while the AL index is determined by the intensity of the western electric jet. There are many regression relationships linking the indices of magnetic activity with a wide range of phenomena observed in the Earth's magnetosphere and atmosphere. These relationships determine the importance of monitoring and predicting geomagnetic activity for research in various areas of solar-terrestrial physics. The most dramatic phenomena in the magnetosphere and high-latitude ionosphere occur during periods of magnetospheric substorms, a sensitive indicator of which is the time variation and value of the AL index. Currently, AL index forecasting is carried out by various methods using both dynamic systems and artificial intelligence. Forecasting is based on the close relationship between the state of the magnetosphere and the parameters of the solar wind and the interplanetary magnetic field (IMF). This application proposes an algorithm for describing the process of substorm formation using an instrument in the form of an Elman-type ANN by reconstructing the AL index using the dynamics of the new integral parameter we introduced. The use of an integral parameter at the input of the ANN makes it possible to simulate the structure and intellectual properties of the biological nervous system, since in this way an additional realization of the memory of the prehistory of the modeled process is provided.
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Story, Madison, Adam Smith, and Sunny Adams. Fort McCoy firing ranges and military training lands : a history and analysis. Engineer Research and Development Center (U.S.), 2022. http://dx.doi.org/10.21079/11681/45600.
Full textAbstract:
The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires Federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110of the NHPA requires Federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of Federal undertakings on those potentially eligible for the NRHP. Fort McCoy is entirely within Monroe County in west-central Wisconsin. It was first established as the Sparta Maneuver Tract in 1909.The post was renamed Camp McCoy in 1926. Since 1974, it has been known as Fort McCoy. This report provides a historic context for ranges, features, and buildings associated with the post’s training lands in support of Section 110 of the NHPA.
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Martin, Montana, and Megan Tooker. The geophysical survey of Mare Island Naval Cemetery, California. Engineer Research and Development Center (U.S.), 2025. https://doi.org/10.21079/11681/49593.
Full textAbstract:
The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. This project was undertaken to provide the US Department of Veterans Affairs (VA), National Cemetery Administration (NCA), with a geophysical survey of Mare Island Naval Cemetery. The approximately 2.5-acre cemetery is located in Vallejo, California, and contains more than 900 burials. Mare Island Naval Cemetery is part of the Mare Island Naval Shipyard Historic District, which was listed concurrently on the National Register of Historic Places and as a national historic landmark in 1975.
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Adams, Sunny, Madison Story, and Adam Smith. Evaluation of 11 buildings in the Fort McCoy cantonment. Engineer Research and Development Center (U.S.), 2022. http://dx.doi.org/10.21079/11681/45350.
Full textAbstract:
The United States Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. Fort McCoy is in west-central Wisconsin, entirely within Monroe County. It was first established as the Sparta Maneuver Tract in 1909. The post was renamed Camp McCoy in 1926. Since 1974, it has been known as Fort McCoy. This report provides historic context and determinations of eligibility for buildings in the cantonment constructed between 1946 and 1975 and concludes that none are eligible for the NRHP. In consultation with the Wisconsin State Historic Preservation Officer (WISHPO), this work fulfills Section 110 requirements for these buildings.
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Smith, Adam, and Megan Tooker. Character-defining features of the Buffalo south mole (south pier), NY. Engineer Research and Development Center (U.S.), 2023. http://dx.doi.org/10.21079/11681/46743.
Full textAbstract:
The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. The precursor to the Corps of Engineers erected the mole (a.k.a., the south pier) in the early 1820s at the entrance to the Buffalo harbor. The area on top of and surrounding the mole was modified through the past two hundred years, many of the character-defining features remain including the stone retaining walls, talus, stairs, and lighthouse identified in plans and drawings from the period of construction. Notably lost is the stone tow path, or banquette, and the stone incline on the south side of the mole is no longer visible. The researchers recommend a period of significance of c. 1820 through 1972 (50 years) since the mole has continued its original use of keeping the entrance to the Buffalo River open for freight and recreational boating traffic through the present day.