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Art in the Stone Age Terminology
Art in the Stone Age Terminology ● Paleolithic- (Greek) ○ Paleo-Old ○ Lithos-Stone. ○ 40,000-9,000BCE ○ Characteristics, Hunter Gatherer, Caves. Migration ● Mesolithic, ○ Meso-Middle ○ Lithos- Stone Age ○ 10,000-5,000 bce ○ Characteristics, Beginnings of Cities, Dog Domestication, Transition to agricultural and animal domestication ● Neolithic, ○ Neo-New ○ Lithos-Stone ○ 8,000-2300 BCE ○ Development of Cities, Animal Husbandry Herding, Agriculture, People Began to stay in one place Mistakes in Art History The saying Goes.. “History is Written by the victors.” Niccolo Machiavelli Mercator Map Projection. https://youtu.be/KUF_Ckv8HbE http://www.npr.org/sections/thetwo- way/2016/01/21/463835225/discovery-of- ancient-massacre-suggests-war-predated- settlements Radio Carbon Dating https://youtu.be/54e5Bz7m3do A process Archaeologists use among others to estimate how long ago an artifact was made. Makapansgat Face Pebble resembling a face, Makapansgat, ca. 3,000,000 bce. This pebble of one of the earliest examples of representation of the human form. Apollo 11 Cave Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000bce. Charcoal on stone, 5”x4.25”. State Museum of Namibia, Windhoek. Scientists between 1969-1972 scientists working in the Apollo 11 Cave in Namibia found seven fragments of painted stone plaques, transportable. The approximate date of the charcoal from the archeological layer containing the Namibian plaques is 23,000bce. Hohlenstein-Stadel Human with feline (Lion?) head, from Hohlenstein-Stadel Germany, ca 40,000- 35,000BCE Appox 12” in length this artifact was carved from ivory from a mammoth tusk This object was originally thought to be of 30,000bce, was pushed back in time due to additional artifacts found later on the same excavation layer. -
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. -
Full Issue 117
South African Journal of Science volume 117 number 1/2 High lightning risk for rural communities in SA Predicting take-up of home loans using tree-based ensemble models Monitoring and conservation of terrestrial and marine ecosystems in SA Hominin lower limb bones from Sterkfontein Caves HIV self-testing is user-friendly and accurate Volume 117 Number 1/2 January/February 2021 EDITOR-IN-CHIEF Jane Carruthers Academy of Science of South Africa MANAGING EDITOR Linda Fick Academy of Science of South Africa ONLINE PUBLISHING South African SYSTEMS ADMINISTRATOR Nadia Grobler Journal of Science Academy of Science of South Africa ASSOCIATE EDITORS Margaret Avery Cenozoic Studies, Iziko Museums of South Africa, South Africa Priscilla Baker eISSN: 1996-7489 Department of Chemistry, University of the Western Cape, South Africa Pascal Bessong HIV/AIDS & Global Health Research Leader Programme, University of Venda, South Africa Celebrating multidisciplinarity Jennifer Case Jane Carruthers ....................................................................................................................... 1 Department of Engineering Education, Virginia Tech, Blacksburg, VA, USA Book Reviews Teresa Coutinho Department of Microbiology and Invasion science in South Africa: The definitive collection Plant Pathology, University of Pretoria, South Africa Philip E. Hulme ........................................................................................................................ 2 Tania Douglas The University of Cape Town: Between apartheid -
A B S T Ra C T S O F T H E O Ra L and Poster Presentations
Abstracts of the oral and poster presentations (in alphabetic order) see Addenda, p. 271 11th ICAZ International Conference. Paris, 23-28 August 2010 81 82 11th ICAZ International Conference. Paris, 23-28 August 2010 ABRAMS Grégory1, BONJEAN ABUHELALEH Bellal1, AL NAHAR Maysoon2, Dominique1, Di Modica Kévin1 & PATOU- BERRUTI Gabriele Luigi Francesco, MATHIS Marylène2 CANCELLIERI Emanuele1 & THUN 1, Centre de recherches de la grotte Scladina, 339D Rue Fond des Vaux, 5300 Andenne, HOHENSTEIN Ursula1 Belgique, [email protected]; [email protected] ; [email protected] 2, Institut de Paléontologie Humaine, Département Préhistoire du Muséum National d’Histoire 1, Department of Biology and Evolution, University of Ferrara, Corso Ercole I d’Este 32, Ferrara Naturelle, 1 Rue René Panhard, 75013 Paris, France, [email protected] (FE: 44100), Italy, [email protected] 2, Department of Archaeology, University of Jordan. Amman 11942 Jordan, maysnahar@gmail. com Les os brûlés de l’ensemble sédimentaire 1A de Scladina (Andenne, Belgique) : apports naturels ou restes de foyer Study of Bone artefacts and use techniques from the Neo- néandertalien ? lithic Jordanian site; Tell Abu Suwwan (PPNB-PN) L’ensemble sédimentaire 1A de la grotte Scladina, daté par 14C entre In this paper we would like to present the experimental study car- 40 et 37.000 B.P., recèle les traces d’une occupation par les Néan- ried out in order to reproduce the bone artifacts coming from the dertaliens qui contient environ 3.500 artefacts lithiques ainsi que Neolithic site Tell Abu Suwwan-Jordan. This experimental project plusieurs milliers de restes fauniques, attribués majoritairement au aims to complete the archaeozoological analysis of the bone arti- Cheval pour les herbivores. -
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. -
Assessing Relationships Between Human Adaptive Responses and Ecology Via Eco-Cultural Niche Modeling William E
Assessing relationships between human adaptive responses and ecology via eco-cultural niche modeling William E. Banks To cite this version: William E. Banks. Assessing relationships between human adaptive responses and ecology via eco- cultural niche modeling. Archaeology and Prehistory. Universite Bordeaux 1, 2013. hal-01840898 HAL Id: hal-01840898 https://hal.archives-ouvertes.fr/hal-01840898 Submitted on 11 Nov 2020 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. Thèse d'Habilitation à Diriger des Recherches Université de Bordeaux 1 William E. BANKS UMR 5199 PACEA – De la Préhistoire à l'Actuel : Culture, Environnement et Anthropologie Assessing Relationships between Human Adaptive Responses and Ecology via Eco-Cultural Niche Modeling Soutenue le 14 novembre 2013 devant un jury composé de: Michel CRUCIFIX, Chargé de Cours à l'Université catholique de Louvain, Belgique Francesco D'ERRICO, Directeur de Recherche au CRNS, Talence Jacques JAUBERT, Professeur à l'Université de Bordeaux 1, Talence Rémy PETIT, Directeur de Recherche à l'INRA, Cestas Pierre SEPULCHRE, Chargé de Recherche au CNRS, Gif-sur-Yvette Jean-Denis VIGNE, Directeur de Recherche au CNRS, Paris Table of Contents Summary of Past Research Introduction .................................................................................................................. -
Ap Art History Image Set Snapshot #1 Image
AP ART HISTORY 2015-2016 1 AP ART HISTORY IMAGE SET SNAPSHOT #1 IMAGE SET identification: Apollo 11 stones. Namibia. c. 25,500-25,300 B.C. E. Charcoal on stone. Snapshot: This pre-historic charcoal drawing of an unknown animal is one of the oldest known artworks that originated from the African continent. At the time of its creation it would have been considered nothing more than a drawing, but today this collection of drawings is some of the first evidence we have of early human communication. These stones originate from the Apollo 11 caves in Namibia and were likely meant to illustrate the game that could be found in the region at that time. It is unclear if there is a story being told by the drawings but it is probable that they all display a continuity that could be understood by the people in the region during the time frame of their creation and could be used to communicate some idea. Through very precise carbon dating, these drawings are able to give scientists a timeframe of when changes in human behavior occurred and when social and biological evolution was happening among the human race, as well as show us where humanity’s first hunter and gatherer societies began. This ancient art was what the humans of its day used to communicate with each other and would seem very insignificant at the time, but in today's society this piece lets us study more about humanity’s humble beginnings. AP ART HISTORY 2015-2016 2 AP ART HISTORY IMAGE SET SNAPSHOT #1 Possible Themes: Reverence of Nature, Hunting Possible Subthemes: Animal qualities, Communication Possible Connections with other works in the IMAGE SET: Running Horned Woman. -
Who Lived in the Stellenbosch Winelands Before 1652?
WHO LIVED IN THE STELLENBOSCH WINELANDS BEFORE 1652? This short essay describes what is currently known about the archaeology and history of the Stone Age people who lived in the vicinity of Stellenbosch and adjacent Winelands in the Western Cape before European colonisation. When and where did the human story begin? There is abundant archaeological evidence from stone tools, and a few human remains, that Stone Age hunter-gatherer people lived in the Western Cape for about a million years. As yet, there is no evidence in this region for the earliest stone tools and fossil hominin remains that date to between 1 and at least 3 million years ago in the Cradle of Humankind in Gauteng, Limpopo and North-West provinces. It is not clear whether this is a result of a limited ecological range in which the early hominins lived, or of the absence of suitable geological formations for the preservation of bone. What do we mean by the Stone Age? The Stone Age was the time when most of the tools that hunter-gatherer people used were made by striking one stone against another – a hammerstone against a core – so that sharp edges were created on the sides of the core and on the flakes that were detached. Many fine-grained rocks will produce flakes with edges that are sharper than a metal knife, but stone becomes blunt much more quickly than metal. Archaeologists focus on stone tools as the primary source of evidence for the presence of people in the landscape in the past because the tools are almost indestructible and therefore are often all that is left behind after bones, wood, plant remains and shells have disintegrated. -
Supplementary Table 1: Rock Art Dataset
Supplementary Table 1: Rock art dataset Name Latitude Longitude Earliest age in sampleLatest age in Modern Date of reference Dating methods Direct / indirect Exact Age / Calibrated Kind Figurative Reference sample Country Minimum Age / Max Age Abri Castanet, Dordogne, France 44.999272 1.101261 37’205 36’385 France 2012 Radiocarbon Indirect Minimum Age No Petroglyphs Yes (28) Altamira, Spain 43.377452 -4.122347 36’160 2’850 Spain 2013 Uranium-series Direct Exact Age Unknown Petroglyphs Yes (29) Decorated ceiling in cave Altxerri B, Spain 43.2369 -2.148555 39’479 34’689 Spain 2013 Radiocarbon Indirect Minimum age Yes Painting Yes (30) Anbarndarr I. Australia/Anbarndarr II, -12.255207 133.645845 1’704 111 Australia 2010 Radiocarbon Direct Exact age Yes Beeswax No (31) Australia/Gunbirdi I, Gunbirdi II, Gunbirdi III, Northern Territory Australia Anta de Serramo, Vimianzo, A Coruña, Galicia, 43.110048 -9.03242 6’950 6’950 Spain 2005 Radiocarbon Direct Exact age Yes Painting N/A (32) Spain Apollo 11 Cave, ǁKaras Region, Namibia -26.842964 17.290284 28’400 26’300 Namibia 1983 Radiocarbon Indirect Minimum age Unknown Painted Yes (33) fragments ARN‐0063, Namarrgon Lightning Man, Northern -12.865524 132.814001 1’021 145 Australia 2010 Radiocarbon Direct Exact age Yes Beeswax Yes Territory, Australia (31) Bald Rock, Wellington Range,Northern Territory -11.8 133.15 386 174 Australia 2010 Radiocarbon Direct Exact age Yes Beeswax N/A (31) Australia Baroalba Springs, Kakadu, Northern Territory, -12.677013 132.480901 7’876 7’876 Australia 2010 Radiocarbon -
Palaeoart of the Ice Age
Palaeoart of the Ice Age Palaeoart of the Ice Age By Robert G. Bednarik Palaeoart of the Ice Age By Robert G. Bednarik This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Robert G. Bednarik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9517-2 ISBN (13): 978-1-4438-9517-0 TABLE OF CONTENTS Chapter One ................................................................................................. 1 Outlining the Issues Introduction ............................................................................................ 1 The nature of palaeoart .......................................................................... 3 About this book ...................................................................................... 6 About Eve .............................................................................................. 9 Summing up ......................................................................................... 21 Chapter Two .............................................................................................. 37 Africa Earlier Stone Age (ESA) and Lower Palaeolithic ............................... -
Recognising and Supporting Territories and Areas Conserved by Indigenous Peoples and Local Communities: Global Overview and National Case Studies
Secretariat of the CBD Technical Series No. 64 Convention on Biological Diversity RECOGNISING64 AND SUPPORTING TERRITORIES AND AREAS CONSERVED BY INDIGENOUS PEOPLES AND LOCAL COMMUNITIES Global overview and national case studies Published by the Secretariat of the Convention on Biological Diversity. ISBN: 92-9225-426-X (print version); ISBN: 92-9225-425-1 (web version) Copyright © 2012, Secretariat of the Convention on Biological Diversity The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the Convention on Biological Diversity concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The views reported in this publication do not necessarily represent those of the Convention on Biological Diversity, the Parties to the Convention, or those of the reviewers. This publication may be reproduced for educational or non-profit purposes without special permission from the copyright holders, provided acknowledgement of the source is made. The Secretariat of the Convention would appreciate receiving a copy of any publications that uses this document as a source. Citation Kothari, Ashish with Corrigan, Colleen, Jonas, Harry, Neumann, Aurélie, and Shrumm, Holly. (eds). 2012. Recognising and Supporting Territories and Areas Conserved By Indigenous Peoples And Local Communities: Global Overview and National Case Studies. Secretariat of the Convention on Biological Diversity, ICCA Consortium, Kalpavriksh, and Natural Justice, Montreal, Canada. Technical Series no. 64, 160 pp. For further information please contact Secretariat of the Convention on Biological Diversity World Trade Centre 413 St. -
Universidade Do Algarve Faculdade De Ciências Sociais E Humanas 2015
Glória Marina Sousa de Almeida Évora A indústria óssea do Paleolítico Superior do sul da Península Ibérica: a gestão do risco e da incerteza Universidade do Algarve Faculdade de Ciências Sociais e Humanas 2015 Glória Marina Sousa de Almeida Évora A indústria óssea do Paleolítico Superior do sul da Península Ibérica: a gestão do risco e da incerteza Dissertação de Doutoramento em Arqueologia Trabalho efectuado sob a orientação de Professor Doutor Nuno Gonçalo Viana Pereira Ferreira Bicho FCHS, Universidade do Algarve Professor Doutor Valentín Villaverde Bonilla Departamento de Prehistoria y Arqueologia, Universitat de València Universidade do Algarve Faculdade de Ciências Humanas e Sociais 2015 II A indústria óssea do Paleolítico Superior do sul da Península Ibérica: a gestão do risco e da incerteza Declaração de autoria do trabalho Declaro ser a autora deste trabalho. Autores e trabalhos consultados estão devidamente citados no texto e constam da listagem de referências incluída. Copyright Glória Marina Sousa de Almeida Évora A Universidade do Algarve tem o direito, perpétuo e sem limites geográficos, de arquivar e publicitar este trabalho através de exemplares impressos reproduzidos em papel ou em forma digital, ou por qualquer outro meio conhecido ou que venha a ser inventado, de o divulgar através de repositórios científicos e de admitir a sua cópia e distribuição com objetivos educacionais ou de investigação, não comerciais, desde que seja dado crédito ao autor e editor. III Dedicado à Bé e ao Quim ao Carlos e ao meu Afonso IV "Dificílimo acto é o de escrever, responsabilidade das maiores. (...) Basta pensar no extenuante trabalho que será dispor por ordem temporal os acontecimentos, primeiro este, depois aquele, ou, se tal mais convém às necessidades do efeito, o sucesso de hoje posto antes do episódio de ontem, e outras não menos arriscadas acrobacias (...)" José Saramago, in A Jangada de Pedra (1986) Este trabalho não segue o novo acordo ortográfico.