The Many Faces of Altamira
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The Origin of Representational Drawing: a Comparison of Human Children and Chimpanzees
Child Development, xxxx 2014, Volume 00, Number 0, Pages 1–15 The Origin of Representational Drawing: A Comparison of Human Children and Chimpanzees Aya Saito Misato Hayashi Chubu Gakuin University Kyoto University Hideko Takeshita Tetsuro Matsuzawa The University of Shiga Prefecture Kyoto University To examine the evolutional origin of representational drawing, two experiments directly compared the draw- ing behavior of human children and chimpanzees. The first experiment observed free drawing after model presentation, using imitation task. From longitudinal observation of humans (N = 32, 11–31 months), the developmental process of drawing until the emergence of shape imitation was clarified. Adult chimpanzees showed the ability to trace a model, which was difficult for humans who had just started imitation. The sec- ond experiment, free drawing on incomplete facial stimuli, revealed the remarkable difference between two species. Humans (N = 57, 6–38 months) tend to complete the missing parts even with immature motor con- trol, whereas chimpanzees never completed the missing parts and instead marked the existing parts or traced the outlines. Cognitive characteristics may affect the emergence of representational drawings. The oldest representational drawings in existence are examining the drawing behavior of chimpanzees the upper Paleolithic cave drawings of Homo sapiens, (Pan troglodytes), humans’ closest living relatives. who drew animals with a variety of materials and Chimpanzees and humans share about 98.8% of the refined techniques (Beltran, 2000; Chauvet, Des- genome (Chimpanzee Sequencing and Analysis champs, & Hillaire, 1996). A recent study using Consortium, 2005) and share a common ancestor uranium-thorium dating methods estimated that that existed until about 6 Ma. -
The Janus-Faced Dilemma of Rock Art Heritage
The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion Mélanie Duval, Christophe Gauchon To cite this version: Mélanie Duval, Christophe Gauchon. The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion. Conservation and Management of Archaeological Sites, Taylor & Francis, In press, 10.1080/13505033.2020.1860329. hal-03078965 HAL Id: hal-03078965 https://hal.archives-ouvertes.fr/hal-03078965 Submitted on 21 Feb 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Duval Mélanie, Gauchon Christophe, 2021. The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion, Conservation and Management of Archaeological Sites, doi.org/10.1080/13505033.2020.1860329 Authors: Mélanie Duval and Christophe Gauchon Mélanie Duval: *Université Grenoble Alpes (UGA), Université Savoie Mont Blanc (USMB), CNRS, Environnements, Dynamics and Territories of Mountains (EDYTEM), Chambéry, France; * Rock Art Research Institute GAES, University of Witwatersrand, Johannesburg, South Africa. Christophe Gauchon: *Université Grenoble Alpes (UGA), Université Savoie Mont Blanc (USMB), CNRS, Environnements, Dynamics and Territories of Mountains (EDYTEM), Chambéry, France. -
Pleistocene Palaeoart of Africa
Arts 2013, 2, 6-34; doi:10.3390/arts2010006 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Review Pleistocene Palaeoart of Africa Robert G. Bednarik International Federation of Rock Art Organizations (IFRAO), P.O. Box 216, Caulfield South, VIC 3162, Australia; E-Mail: [email protected]; Tel.: +61-3-95230549; Fax: +61-3-95230549 Received: 22 December 2012; in revised form: 22 January 2013 / Accepted: 23 January 2013 / Published: 8 February 2013 Abstract: This comprehensive review of all currently known Pleistocene rock art of Africa shows that the majority of sites are located in the continent’s south, but that the petroglyphs at some of them are of exceptionally great antiquity. Much the same applies to portable palaeoart of Africa. The current record is clearly one of paucity of evidence, in contrast to some other continents. Nevertheless, an initial synthesis is attempted, and some preliminary comparisons with the other continents are attempted. Certain parallels with the existing record of southern Asia are defined. Keywords: rock art; portable palaeoart; Pleistocene; figurine; bead; engraving; Africa 1. Introduction Although palaeoart of the Pleistocene occurs in at least five continents (Bednarik 1992a, 2003a) [38,49], most people tend to think of Europe first when the topic is mentioned. This is rather odd, considering that this form of evidence is significantly more common elsewhere, and very probably even older there. For instance there are far less than 10,000 motifs in the much-studied corpus of European rock art of the Ice Age, which are outnumbered by the number of publications about them. -
Abstracts of Reports and Posters
Abstracts of Reports and Posters Amira Adaileh The Magdalenian site of Bad Kösen-Lengefeld The open air site of Bad Kösen-Lengefeld is located in Sachsen-Anhalt, Eastern Germany. It was discov- ered in the mid 1950´s in the immediate vicinity of the famous Magdalenian site of Saaleck. Since that time, archaeologists collected over 2000 lithic artifacts during systematical surveys. The technological and typological analyses of the lithic artifacts confirmed the assignment of Bad Kösen-Lengefeld to a late Magdalenian. Furthermore, the investigation of the surface collections brought forward information about the character of this camp site, the duration of its occupation and the pattern of raw material procure- ment. The fact that Bad Kösen-Lengefeld is located in a region with more than 100 Magdalenian sites fostered a comparison of the lithic inventory with other Magdalenian assemblages. Thus, allowing to spec- ify the position of the Lengefeld collection within the chorological context of the Magdalenian in Eastern Germany. Jehanne Affolter, Ludovic Mevel Raw material circulation in northern french alps and Jura during lateglacial interstadial : method, new data and paleohistoric implication Since fifteen years the study of the characterization and origin of flint resources used by Magdalenian and Azilian groups in northern French Alps and Jura have received significant research work. Diverse and well distributed spatially, some of these resources were used and disseminated throughout the late Upper Paleolithic. Which changes do we observe during the Magdalenian then for the Azilian? The results of petrographic analysis and techno-economic analysis to several archaeological sites allow us to assess dia- chronic changes in economic behavior of these people and discuss the significance of these results. -
Lascaux Cave, France Complex Hunter Gatherers at the End of the Paleolithic Dates: 47/45,000 – 20/18,000 B.P
Lascaux Cave, France Complex Hunter Gatherers at the End of the Paleolithic Dates: 47/45,000 – 20/18,000 b.p. (Epipaleolithic=20/18,000-10,000 bp) Industries include microliths and bone tools—not found in previous periods Raw materials were exchanged over long distances in this period Wide range of materials, other than flint, come into use: bone tools, stone vessels, ochre, shells Some probably for ritual purposes In contrast to early modern humans (and Neanderthals): Size of teeth reduced Size of jaw reduced Muscularity diminishes Less skeletal trauma Increased longevity Cro-Magnon cranium Upper Paleolithic Artwork Cave Art Includes spectacular images of animals and abstract forms and, rarely, humans Mobiliary Art These portable art objects include Venus figurines Body Ornamentation: Pierced shells, pierced animal teeth, and bone beads were most likely work as necklaces or attached to clothing Horse, Cosquer Cave, France Penquin or Auk, Cosquer Cave, France Bear Bison ‘Venus’ figurines Dolni Vestonice Lespugue Willendorf . Appear around 25,000 bp, Europe . Carved in ivory, wood, stone, modeled in clay . Breasts, hips, buttocks, thighs, usually large . Head, arms, hands, legs & feet are only schematic . Some are pregnant, others are not 4.48.jpg Dwellings Huts with bone frameworks Floors with inlaid stone Stone-lined pits for hearths Tailored clothing Long-distance trade Blade technique Long, parallel-sided flakes are struck off the edges of a specially prepared core Blades: long flake, twice as punch long as wide • Sharp parallel edges • Removed from core like peeling carrot (sort of) • Blades provide “blank” or form, which may then be shaped into different tools: . -
Homo Aestheticus’
Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared. -
SIG08 Davidson
CLOTTES J. (dir.) 2012. — L’art pléistocène dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo Actes du Congrès IFRAO, Tarascon-sur-Ariège, septembre 2010 – Symposium « Signes, symboles, mythes et idéologie… » Symbolism and becoming a hunter-gatherer Iain DAVIDSON* I dedicate this paper to the memory of Andrée Rosenfeld. From the time when, as an undergraduate, I read her book with Peter Ucko (Ucko & Rosenfeld 1967) that corrected the excesses of the structuralist approach to French cave “art” to the occasion of a visit to her home only months before she passed away, I found Andrée a model of good sense about all matters to do with all forms of rock “art”. She gave me and many others nothing but sound advice and managed to navigate between theory and data with more clear sight of her destination than most others. And she was, simply, one of the nicest people who ever became an archaeologist. She will be sorely missed. Pleistocene paintings and engravings are not art From time to time, we all worry about the use of the word “art” in connection with what we study (see review in Bradley 2009, Ch. 1). The images on rock and other surfaces that concern us here have some visual similarity with some of what is called art in other contexts, particularly when they are of great beauty (e.g. Chauvet et al. 1995; Clottes 2001). Yet the associations of art –paintings, sculptures and other works– over the last six hundred years (see e.g. Gombrich 1995) (or perhaps only three hundred according to Shiner 2001), mean that it is highly unlikely that any paintings or engraved images on rocks or in caves relate to social, economic, and cultural circumstances similar in any way to those of art in the twenty-first century. -
Bacterial Diversity and Function Within an Epigenic Cave System and Implications for Other Limestone Cave Systems
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Bacterial diversity and function within an epigenic cave system and implications for other limestone cave systems Kathleen Merritt Brannen-Donnelly University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Biogeochemistry Commons, Environmental Microbiology and Microbial Ecology Commons, and the Geology Commons Recommended Citation Brannen-Donnelly, Kathleen Merritt, "Bacterial diversity and function within an epigenic cave system and implications for other limestone cave systems. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3543 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kathleen Merritt Brannen-Donnelly entitled "Bacterial diversity and function within an epigenic cave system and implications for other limestone cave systems." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, -
Bataille on Lascaux and the Origins of Art
Bataille on Lascaux and the Origins of Art Richard White Creighton University Bataille’s book Lacaux has not received much scholarly attention. This essay attempts to fill in a gap in the literature by explicating Bataille’s scholarship on Lascaux to his body of writing as a whole—an exercise that, arguably, demonstrates the significance of the book and, consequently, the shortsightedness of its neglect by critics who have not traditionally grasped the relevance of the text for illuminating Bataille’s theory of art and transgression. Bataille’s major work on the Lascaux cave paintings, Prehistoric Paint- ing: Lascaux or the Birth of Art, was originally published as the first volume in a series called “The Great Centuries of Painting.”1 It is an impressive book with color photographs and supporting documents, and in his text, Bataille deals conscientiously with the existing state of prehistoric studies and scholarly accounts of Lascaux. But in spite of this—or rather because of it—Lascaux the book has received very little attention from prehistoric scholars, art historians or even Bataille enthusiasts.2 For one thing, the format of this work seems to undermine the power of transgression which is the subject as well as the driving force behind most of Bataille’s writings. The very context of a multi-volume series on great art and artists suggests an uncritical perception of art as a universal which remains the same from Lascaux to Manet.3 In Lascaux, as opposed to most of his other writings, Bataille offers his own contribution to an existing historical controversy, and he is constrained in advance by the terms of this debate. -
New Middle Pleistocene Hominin Cranium from Gruta Da Aroeira (Portugal)
New Middle Pleistocene hominin cranium from Gruta da Aroeira (Portugal) Joan Dauraa, Montserrat Sanzb,c, Juan Luis Arsuagab,c,1, Dirk L. Hoffmannd, Rolf M. Quamc,e,f, María Cruz Ortegab,c, Elena Santosb,c,g, Sandra Gómezh, Angel Rubioi, Lucía Villaescusah, Pedro Soutoj,k, João Mauricioj,k, Filipa Rodriguesj,k, Artur Ferreiraj, Paulo Godinhoj, Erik Trinkausl, and João Zilhãoa,m,n aUNIARQ-Centro de Arqueologia da Universidade de Lisboa, Faculdade de Letras, Universidade de Lisboa, 1600-214 Lisbon, Portugal; bDepartamento de Paleontología, Facultad de Ciencias Geológicas, Universidad Complutense de Madrid, 28040 Madrid, Spain; cCentro Universidad Complutense de Madrid-Instituto de Salud Carlos III de Investigación sobre la Evolución y Comportamiento Humanos, 28029 Madrid, Spain; dDepartment of Human Evolution, Max Planck Institute for Evolutionary Anthropology, 04103 Leipzig, Germany; eDepartment of Anthropology, Binghamton University-State University of New York, Binghamton, NY 13902; fDivision of Anthropology, American Museum of Natural History, New York, NY 10024; gLaboratorio de Evolución Humana, Universidad de Burgos, 09001 Burgos, Spain; hGrup de Recerca del Quaternari - Seminari d’Estudis i Recerques Prehistòriques, Department of History and Archaeology, University of Barcelona, 08007 Barcelona, Spain; iLaboratorio de Antropología, Departamento de Medicina Legal, Toxicología y Antropología Física, Facultad de Medicina, Universidad de Granada, 18010 Granada, Spain; jCrivarque - Estudos de Impacto e Trabalhos Geo-Arqueológicos Lda, -
The Microbiology of Lascaux Cave F
Microbiology (2010), 156, 644–652 DOI 10.1099/mic.0.036160-0 Mini-Review The microbiology of Lascaux Cave F. Bastian,1 V. Jurado,2 A. Nova´kova´,3 C. Alabouvette1 and C. Saiz-Jimenez2 Correspondence 1UMR INRA-Universite´ de Bourgogne, Microbiologie du Sol et de l’Environment, BP 86510, 21065 C. Saiz-Jimenez Dijon Cedex, France [email protected] 2Instituto de Recursos Naturales y Agrobiologia, CSIC, Apartado 1052, 41080 Sevilla, Spain 3Institute of Soil Biology, Na Sa´dka´ch 7, 37005 Cˇ eske´ Budeˇjovice, Czech Republic Lascaux Cave (Montignac, France) contains paintings from the Upper Paleolithic period. Shortly after its discovery in 1940, the cave was seriously disturbed by major destructive interventions. In 1963, the cave was closed due to algal growth on the walls. In 2001, the ceiling, walls and sediments were colonized by the fungus Fusarium solani. Later, black stains, probably of fungal origin, appeared on the walls. Biocide treatments, including quaternary ammonium derivatives, were extensively applied for a few years, and have been in use again since January 2008. The microbial communities in Lascaux Cave were shown to be composed of human-pathogenic bacteria and entomopathogenic fungi, the former as a result of the biocide selection. The data show that fungi play an important role in the cave, and arthropods contribute to the dispersion of conidia. A careful study on the fungal ecology is needed in order to complete the cave food web and to control the black stains threatening the Paleolithic paintings. Introduction determination as Bracteacoccus minor, a member of the Chlorophyta (Lefe´vre, 1974). -
Religion 3 Second Edition Cabasilas, Lindsay Jones Nicholas Editor in Chief
ENCYCLOPEDIA OF RELIGION 3 SECOND EDITION CABASILAS, LINDSAY JONES NICHOLAS EDITOR IN CHIEF CYRUS II MACMILLAN REFERENCE USA An imprint of Thomson Gale, a part of The Thomson Corporation THOMSON THOMSON GAL•• E Encyclopedia of Religion. Second Edition Lindsay Jones, Editor in Chief © 2005 Thomson Gale, a part of The For permission to use material from this Since this page cannot legibly accommodate Thomson Corporation. product, submit your request via Web at all copyright notices, the acknowledgments http://www.gale-edit.com/permissions. or you constitute an extension of the copyright Thomson, Star Logo and Macmillan Reference may download our Permissions Request form notice. USA are trademarks and Gale is a registered and submit your request by fax or mail to: trademark used herein under license. While every effort has been made to Permissions ensure the reliability of the information pre- For more information, contact Thomson Gale sented in this publication, Thomson Gale Macmillan Reference USA 27500 Drake Rd. does not guarantee the accuracy of the data An imprint of Thomson Gale Farmington Hills, MI 48331-3535 contained herein. Thomson Gale accepts no 27500 Drake Rd. Permissions Hotline: payment for listing; and inclusion in the pub- Farmington, Hills, MI 48331-3535 248-699-8006 or 800-877-4253 ext. 8006 lication of any organization, agency, institu- Or you can visit our Internet site at Fax: 248-699-8074 or 800-762-4058 tion, publication, service, or individual does http://www.gale.com not imply endorsement of the editors or pub- lisher. Errors brought to the attention of the ALL RIGHTS RESERVED publisher and verified to the satisfaction of No part of this work covered by the copyright the publisher will be corrected in future hereon may be reproduced or used in any editions.