About this book
This volume explores the impact of globalisation on the contemporary study of deep-time art. The volume explores how early rock art research's Eurocentric biases have shifted with broadened global horizons to facilitate new conversations and discourses in new post-colonial realities. The book uses seven main themes to explore theoretical, methodological, ethical, and practical developments that are orienting the study of Pleistocene and Holocene arts in the age of globalisation. Compiling studies as diverse as genetics and visualisation, with the proliferation of increasingly sophisticated archaeological techniques, means that vast quantities of materials and techniques are now incorporated into the analysis of the world's visual cultures.
Deep-Time Images in the Age of Globalization aims to promote critical reflection on the multitude of positive and negative impacts that globalisation has wrought in rock art research. The volume brings new theoretical frameworks as well as engagement with indigenous knowledge and perspectives from art history. It highlights technical, methodological and interpretive developments, and showcases rock art characteristics from previously unknown (in the global north) geographic areas. This book provides comparative approaches to rock art globally and scrutinises the impacts of globalisation on research, preservation, and management of deep-time art. This book will appeal to archaeologists, social scientists and art historians working in the field as well as lovers of rock art.
Contents
Introduction. Deep-Times Images And The Challenges Of Globalization / Oscar Moro Abadia, Margaret Conkey, Jo McDonald
Part I. Recentering Rock Art
Chapter 1. 'Out Of Franco-Cantabria': The Globalization of Pleistocene Rock Art / Aitor Ruiz-Redondo
Chapter 2. Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia / Adam Brumm, Adhi Agus Oktaviana, Maxime Aubert
Chapter 3. Rock Art, Modes Of Existence, And Cosmopolitics: A View From The Southern Andes / Andres Troncoso
Chapter 4. Regional Reponses to Global Climate Change: Exploring Anthropomophic Depictions in Rock and Mobiliary Art Expressions from the Kimberley and Europe during the Late and Terminal Pleistocene / Peter Veth, Sam Harper, and Martin Porr
Part II. Comparative Views on Global Art
Chapter 5. The Divide Between 'European' And 'Indigenous' Rock Arts: Exploring A Eurocentic Bias In The Age Of Globalization / Oscar Moro Abadia, Amy C. Chase
Chapter 6. Rock Art Research and Knowledge-Production in the Context of Globalisations. A Comparative Approach to the Cases of Patagonia-Argentina and Eastern Canada / Danae Fiore, Bryn Tapper, Dagmara Zawadzka, Agustin Acevedo
Chapter 7. The Framework for Ochre Experiences (Foes): Towards A Transdisciplinary Perspective on the Earth Material Heritage of Ochre / Elizabeth C. Velliky, Tammy Hodgskiss, Larissa Mendoza Straffon, Heidi Gustafson, Ann Gollifer, Magnus Haaland
Chapter 8. Why Do Old Dates Fascinate Prehistorians? / Georges Sauvet
Part III. Interdisciplinary Global Rock Art
Chapter 9. What Were Rock Art Sites Like In The Past? Reconstructing the Shapes of Sites as Cultural Settings / Jean-Jacques Delannoy, Bruno David, Kim Genuite
Chapter 10. The Earliest Dated Pictures in the Dispersal of Psychologically Modern Humans: A Middle Paleolithic Painted Rock Shelter (C. 45ka) At Wadi Defeit, Egypt / Whitney Davis
Chapter 11. Understanding Rock Art: What Neuroscience Can Add / John Onians
Chapter 12. "... And Those Who Expect To Return To The Source Will Find Fog": Resonances of Prehistory in Modern Art / Remi Labrusse
Part IV. Tensions in Rock Art Management: Local Vs Global
Chapter 13. The Unesco World Heritage List In A Globalized World: The Case Of The Paleolithic Caves Of Northern Spain (1985 - 2008) / Eduardo Palacio-Perez
Chapter 14. Local - National - Global: Defining Indigenous Values of Murujuga's Cultural Landscape in the Frame of International Patrimony / Amy Stevens and Jo McDonald
Chapter 15. Out of Place: Postcolonial Legacy and Indigenous Heritage in South Africa / Silvia Tomaskova
Chapter 16. Graffiti, Vandalism and Destruction: Preserving Rock Art in a Globalized World / Paul S.C. Tacon
Part V. Rock Art and the Challenges of the Global Now
Chapter 17. Translation and Transformation: The Materiality of Rock Art in a World of Bytes / John Robb
Chapter 18. Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation / Jamie Hampson, Sam Challis
Chapter 19. Replicated Temporality. Time, Originality, and Rock Art Replicas / Laura Mayer, Martin Porr
Chapter 20. Slow Science but Fast Forward: The Political Economy of Rock Art Research in a "Globalized" World / Margaret W. Conkey
Index
Customer Reviews
Biography
Oscar Moro Abadía is a Professor at Memorial University of Newfoundland (Canada). He specialises in the study of Pleistocene art. In 2020, he co-edited, with Professor Manuel R. Gonzalez Morales, a special issue on Pleistocene and Holocene arts for the Journal of Archaeological Method and Theory. In 2021, together with Martin Porr, he co-edited Ontologies of Rock Art: Images, Relational Approaches and Indigenous Knowledges for Routledge. His research on Palaeolithic art and the history of science has been published in Cambridge Archaeological Journal, Journal of Archaeological Research, Journal of Archaeological Method and Theory, World Art, History of Human Sciences, History of Science, Journal of Anthropological Research, Journal of Social Archaeology, and Studies in History and Philosophy of Science.
Margaret W. Conkey is the Class of 1960 Professor Emerita of Anthropology at the University of California, Berkeley. One key focus of her research has been the interpretations of European Palaeolithic imagery, and she has carried out the Between the Caves project, a Palaeolithic landscape survey in the Ariège region of France. More recently, she has been a co-director of excavations at Peyre Blanque, a Magdalenian open-air site. She has long been involved in the pioneering research on feminist and gender perspectives in archaeology. She has served as President of the Society for American Archaeology as well as for both the archaeology and feminist associations within the American Anthropological Association. Among her many awards, she was the recipient of the prestigious Thomas H. Huxley Memorial Medal of the Royal Anthropological Institute (UK) for her distinguished contributions to Anthropology.
Josephine McDonald is the Director of the Centre for Rock Art Research and Management at The University of Western Australia, where she has held the Rio Tinto Chair in Rock Art Studies, funded by their Commonwealth Conservation Agreement for the Dampier Archipelago National Heritage Listed Place (Murujuga). She has researched rock art in Australia's fertile eastern states and its arid zone and the Great Basin, USA. Over the last decade, she has collaborated with the Murujuga Aboriginal community and led various teams of multidisciplinary researchers, systematically documenting the rock art, excavating ancient settlements, and experimenting with new dating techniques to try to understand the environmental context and age of this inscribed cultural landscape.
