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Rock Art in the Landscapes of Motion: Proceedings of a session of the 20th International Rock Art Congress IFRAO 2018 in Valcamonica, Italy
Paweł L. Polkowski and Frank Förster
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This volume presents a collection of papers focusing on the dynamic relationship between rock art, movement and the surrounding landscape. The contributors offer a wide range of theoretical perspectives from broad geographical and chronological contexts, encompassing case studies from three continents, and spanning a timeline from the European Palaeolithic to the Colonial Period of South America. The diverse approaches and contexts converge over themes of movement, motion and mobility - all inherent to rock art and its production.
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Front cover
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Title page
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Copyright page
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Of Related Interest
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Contents
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Foreword
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1. Of Theoretical Trains and Moving Stations:
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1.1. Raison d’être, or an introduction to the introduction
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1.2. Theoretical landscape, or landscape theorised
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1.2.1. Towards a landscape paradigm?
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1.2.2. Many landscapes, manifold approaches. . .
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1.2.3. A place for ‘place’
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1.2.4. Landscape: what is next?
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1.3. Archaeologies of movement, mobility, and motion
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1.3.1. The notion of motion
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1.3.2. Archaeologies of movement
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1.3.3. General mobilisation
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1.3.4. Moving landscapes
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1.4. Rock art in the landscapes of motion
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1.4.1. Making landscapes
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1.4.2. “Drawings on rocks, the most enduring monuments”
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1.4.3. Fixed, but truly immobile?
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1.4.4. Epilogue: rock art in the landscapes of motion
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1.4.5. A short outline of the contributions to this volume
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Acknowledgements
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Bibliography
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2. Between Arrest and Movement: ‘Mobile’ and ‘Stationary’ People and Their Rock Art in the Western Desert of Egypt (Third Millennium BC)
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2.1. Introduction
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2.1.1. Rock art and epigraphy in Egypt
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2.1.2. Scope and range of the studied material
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2.1.3. The Western Desert of Egypt: selected aspects
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2.1.4. The Dakhla region and the far south-west
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2.2. Case study 1: Dakhla Oasis
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2.3. Case study 2: Abu Ballas Trail
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2.4. Recapitulation and final discussion
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Acknowledgements
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References
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3. Off the Move: On the Phenomenon of Rock Images
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3.1. Introduction
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3.2. Confronting the phenomenon of rock images
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3.3. Things to do with rock images
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3.4. Paradox of frozen movement
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3.5. Sedentary images
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3.6. Conclusion
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Acknowledgements
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References
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4. Movement, Time and Rhythm Among Hunter-Gatherers:
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4.1. Introduction
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4.2. Analysis of rock art and rhythm
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4.3. Body and space
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4.3.1. Participants and chronology
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4.3.2. Interaction and social organisation
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4.3.3. Settlement patterns
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4.4. Environment: site, size, configuration, connection, and setting
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4.5. Development of action: flow of movement, progression, energy and pauses in moving along Calabozos
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4.6. ‘Rhythms’ of making petroglyphs at Calabozos: body structure, position in space, space of action, movement path, time and energy
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4.7. Movement, rhythm and time among hunter-gatherers
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4.8. Difference and commonality: a rhythmical interpretation of Guaiquivilo rock art
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Acknowledgments
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References
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5. Post-Paleolithic Rock Art and Landscape: A Case Study of Mount Coto de Sabroso, Guimarães (Northwest Portugal)
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5.1. Introduction
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5.2. Location and environment
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5.3. History of research at Mount Coto de Sabroso
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5.4. Archaeological context
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5.5. Theoretical approach and praxis
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5.5.1. Praxis
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5.5.1.1. Survey and study of the rock art engravings
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5.5.1.2. Photography
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5.5.1.3. Geographical survey
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5.5.1.4. Photogrammetry and 3D modeling
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5.6. Data
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5.7. Discussion of data and interpretation
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5.7.1. The engravings at the top of the mount
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5.7.2. The engravings at the base of the mount
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5.8. Iconography and chronology
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5.9. Final considerations
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Acknowledgments
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References
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6. In the Middle of Nowhere: Geoglyphs, Caravan Routes, Social Conflict, and the Visual Demarcation of Travel Routes Across the Northern Chilean Atacama Desert
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6.1. Introduction
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6.2. Conceptual framework
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6.3. Study area
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6.4. Materials and methods
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6.4.1. Formal analysis of the motifs
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6.4.2. Survey techniques and spatial analysis
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6.5. Results: geoglyphs in the Lluta Valley of northern Chile
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6.5.1. Locational characteristics of geoglyphs
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6.5.2. Technical and formal characteristics of motifs
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6.5.2.1. Anthropomorphs
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6.5.2.2. Zoomorphs
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6.5.2.3. Objects
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6.5.2.4. Non-iconic motifs
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6.6. Discussion
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6.7. Conclusions
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Acknowledgements
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References
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7. Patterns of Movement. Rock Art, Rough-Outs,
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7.1. Introduction
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7.2. New rock art in Lakeland
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7.3. Dating and context
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7.4. Rock art and movement
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7.5. Rock art and rough-outs
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7.6. The axe factor: moving mountains
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7.7. Routeways in a mountain landscape
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7.8. Discussion
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Acknowledgements
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References
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8. Bronze Age Footprints and Shoeprints, Celestial Cults and Pilgrimages in the Northwest Iberian Peninsula
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8.1. Introduction
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8.2. Geographical setting
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8.3. Data
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8.4. Chronology
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8.5. Interpretation
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Acknowledgements
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References
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9. Rock Art on the Inka Pilgrimage Route in the Titicaca Basin
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9.1. Introduction and historical background
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9.1.1. Inka history through the lens of archaeology
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9.1.2. Inka history through the lens of ethnohistory
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9.1.3. Inka arrival in the Titicaca Basin
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9.1.4. Inka rock art as wak’as
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9.2. The rock art sites
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9.3. Discussion
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9.3.1. Rock art among the Lupaqa and Inka
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9.3.2. Rock art today
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9.4. Conclusions
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References
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Contributors
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Back cover
Citable Link
Published: 2022
Publisher: BAR Publishing
- 9781407359892 (paper)
- 9781407359908 (ebook)
BAR Number: S3092
- Ethnoarchaeology / Anthropology
- Landscape Archaeology
- Central and South America and the Caribbean
- Western Europe and Britain
- Africa
- Central and Eastern Europe
- Egypt and Sudan
- Rock-Art / Semiotics
- Prehistory (general titles only)
- Hunter-Gatherers / Hunting
- Neolithic / Chalcolithic
- Multiperiod
- Bronze Age and Iron Age
- British Isles
- Late Antiquity and Byzantium
- Central and South Asia
- Excavation / Fieldwork / Survey
- Art / Sculpture / Gems / Seals