Issue No 10: Autumn 2013

Issue No.10: Autumn 2013

Rock Articles
Dave Almond - Tertia Barnett - Arthur Batty - Colin Beecham Elizabeth Bemand - Keith Boughey - Ken Bowker - Phil Bowyer Anne Bowyer - Joe Brown - Nick Card - Graeme Chappell - George Currie - Andy Curtis - Rose-Mary Cussen - Sarah Duffy - Martin Ellis - Rebecca Enlander - Chris Evans - Paul Frodsham - Rachel Gibson Robin Gray - Duncan Hale - Charlie Johns - Andy Jones - Brian Kerr - Peter Lewis - Rob Loveday - Aron Mazel - George Nash - Clodhna N Lionin - Old Rock Arty - Mette Rabitz - Martin Reid - Mark Sapwell - Consuelo Sauls - Douglas Scott Mike Short - Adam Stanford - Richard Stroud - Peter Style - Antonia Thomas - Dave Tuck - Clive Waddington - Aaron Watson - Rob White - Barry Wilkinson - Amanda Wintcher - John Wombell - Will Wordspeck

Dear All, Welcome to Rock Articles No. 10! Thanks to everyone who has contributed text, images, information, and proof-reading over the last few years, and helped to share discoveries, techniques, opportunities, and ideas.

Hopefully RA has led to some productive connections along the way, and inspired a few more people to participate. By way of celebration, the 10th issue is a little larger than usual, with contributions from rock art researchers around Britain, Ireland, and beyond. Kate Autumn 2013 kesharpe@outlook.com

Contents:

New British Discoveries: More than just cups and rings ............................................................................ 2 British Rock Art News: BRAC is back! ..................................................................................................... 3 World Rock Art on the Web: international news and links ......................................................................... 4 The Wicklow Rock Art Project. Clodhna N Lionin ............................................................................... 5 CSI: Rombalds Moor. Processing the Evidence. Kate Sharpe, Richard Stroud & Tertia Barnett ........... 7 Heritage & Science: the CARE Rock Art Project. Peter Lewis................................................................ 9 Digital Documentation of Rock Carvings. Mette Rabitz ....................................................................... 10 Mobile Rock Art in English Museums. Consuelo Sauls ......................................................................... 12 Rock Art in Context at Ravensheugh Crags. Phil and Anne Bowyer .................................................... 13 BRAG in Belfast. Rebecca Enlander ........................................................................................................ 15 Inspired by Rock Art: creative responses to cup and ring marks .............................................................. 16 Recording techniques on the web: see PTM in progress and some impressive RTI results ...................... 16 Rock Art Reads: new and forthcoming publications .................................................................................. 18

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Issue No 10: Autumn 2013

NEW BRITISH DISCOVERIES: More than just cups and rings!

An early backgammon board? The Rhu Stone, Moidart. This fascinating stone was found by Judy Budge who was taking part in a survey of the Rhu Arisaig peninsula, along with Ken and Jean Bowker from the Moidart History Group. The stone, which measures 40 cm across, is currently part of a ruined building. It is about 40cm wide, and criss-crossed by an incised geometric pattern. (An interpretation is shown below). The Rhu Peninsula is deserted today apart from two households. One cup-marked stone is recorded (http://canmore.rcahms.gov.uk/en/site/22528/details/torr+mor+ghaodeil+arisaig/ ). The incised lines are reminiscent of those on Neolithic slate and chalk plaques, as well as incised motifs found at various sites around Orkney (see below). If any readers have come across anything similar please get in touch!

The Rhu Stone. Image credit: Ken Bowker

Interpretation of the incised lines. (Based on photograph only).

From Clarke 1976 Fig 9, reproduced in Ashmore, P. 1986, Proc Soc Antiq Scot 116, 57-62. Carving built into a wall at Skara Brae, Orkney.

Rock art style motifs on 6000 year old wooden post in Wales An oak timber recently discovered during the construction of a wind farm near Maerdy, in the Rhondda Valley, is thought to be among the oldest decorative wood carvings known from Europe. The 1.7m long timber had been preserved in a waterlogged peat deposit, together with 11 other unmarked pieces of wood. The timber has been radiocarbon dated to c.4270-4000 BC about 100 years older than the deposit in which it was found. It is carved with a concentric oval pattern and zig-zag lines, reminiscent of the style of carvings on the megalithic tomb at Barclodiad y Gawres, Anglesey, believed to date from between 2500-3000 BC. Read more in Current Archaeology: http://www.archaeology.co.uk/articles/news/maerdys-mesolithic-masterpiece.htm

The wooden post with detail of carved motifs. (Image credit: Richard Scott Jones) The lower right image shows detail from the Barclodiad y Gawres chambered tomb. (Image credit: Adam Stanford)

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Mysterious labyrinth stone found in Oxfordshire This carved stone was reported to Anni Byard, the Finds Liaison Officer for Oxfordshire & West Berkshire. It was found by Robert Hoare in Eynsham, whilst he was clearing a stream bordering his property. The drawing is based on the photograph. It is similar in style to the Tintagel labyrinths on outcrop at Rocky Valley in Cornwall (undated), and also to motifs found at Val Camonica in the Italian Alps, and at Pontevedra in Galicia, Spain. For a detailed account of labyrinths throughout history and around the world see the Labyrinthos website. Detail of the Cornish labyrinths is at http://www.labyrinthos.net/rockyvalley.html and for more prehistoric and early labyrinths see http://www.labyrinthos.net/photo_library16.html.

Oxfordshire labyrinth (Photo: Robert Hoare)

Rock Valley labyrinth (Image: Simon Garbutt)

BRITISH ROCK ART NEWS

BRAC is back!
It is with great pleasure that we can announce here that the wonderful collection of images of British rock art known as the British Rock Art Collection has been reinstated! In Issue 5 (Spring 2011) we were devastated to report the news that this fantastic site, created by Gus Van Veen and the late Jan Brouwer, had been lost to cyberspace. Since then, Graeme Chappell and a small team of friends, including George Currie, Suzanne Forster, Ian Hobson, Brian Kerr, Gavin Parry, and Richard Stroud, have worked hard to rescue and reinstate all the images from the old site, and to present them in a new wrapper created with Jalbum gallery software. Graeme explained The main goal was to get the BRAC back online so that Jans interest and passion for UK rock art is not forgotten. The site is a rich resource of old and new images of rock art, all contributed by enthusiasts who shared that passion, and is a fitting legacy for Jan, who was a much loved figure within the British rock art community. Check out the new look BRAC at http://ukra.jalbum.net/brac/

CSI agents close the case The Carved Stones Investigation: Rombalds Moor Project ended this month with 499 carved stones (including 42 new discoveries) recorded by a dedicated and determined group of trained volunteers. After three years of searching for panels amongst the heather and bracken in all weathers photographing, drawing, mapping, describing, and evaluating their condition, and several months of data inputting, they are no doubt relieved to be able to put up their feet and relax as the winter draws on! The data and images collected have now been passed to the Archaeological Data Service, to be uploaded to the Englands Rock Art (ERA) database and website. This will bring the number of records on ERA to 2079 - around two thirds of the total number currently known in England. The data from the condition and risk assessment is discussed later in this issue (see page 7). There was an additional celebration for all involved when the umbrella initiative, the Watershed Landscape Project, which was managed by Pennine Prospects and funded by HLF and Leader, was awarded a Laureate in the European Union Nostra Awards for its work in the area of Education, Training, and Awareness-raising.

Europa Nostra Award Celebrations in Ilkley, July 2013. Image credit: Colin Beecham.

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Issue No 10: Autumn 2013

WORLD ROCK ART on the WEB

News from North America and Northern Australia.

More oldest petroglyphs: this time in North America Ancient rock etchings, including abstract, geometric designs, are believed to be the oldest ever found in North America. In a study to be published in the December 2013 issue of the Journal of Archaeological Science, geochemist Larry Benson and his team concluded that the petroglyphs, located about 35 miles northeast of Reno at Winnemucca Lake, are at least 10,500 years old, and perhaps as much as 14,800 years old.The motifs, carved in soft limestone, range from simple lines, pits, and swirls to more complex and ambiguous shapes that resemble diamonds, trees, flowers, and leaf veins. Read more at http://news.nationalgeographic.co.uk/news/2013/08/130815-lakewinnemucca-petroglyphs-ancient-rock-art-nevada/

Image credit; Larry Benson, Colorado University

Quinkan rock art threatened by mineral prospectors The area around the tiny, remote Queensland town of Laura has been named by UNESCO as one of the worlds great rock art precincts. Home to the ethereal Quinkan figures, and ancient images of animals and birds and of newcomers from colonial times (including a horse), this remote part of Australia attracts tourists from all over the globe. In June, however, mining company Jacaranda Minerals was given permission by the Queensland Government to explore for minerals in an area of 384 square kilometres, equivalent to the size of the Isle of Wight. The Banjo clan is the custodian of the area. Clan members had no idea that the Queensland Department of Natural Resources and Mines had granted Rineharts company two mineral exploration permits, until The Global Mail contacted the local custodians of the land for a response. Read the full story in the Global Mail at: http://www.theglobalmail.org/feature/raiders-of-the-rock-art/698/ Volunteers find new rock art in North Queensland survey Rock art believed to be at least 150 years old has been discovered in a survey of rugged terrain to the west of Townsville. An environmental survey of the White Mountains National Park last week, north of Pentland, located a sandstone cave full of artwork, including well-preserved stencils of spray-painted hands, feet and other objects. The survey, funded by Guildford Coal, involved teams of volunteers walking a 20sq km area of rugged terrain over six days, recording new rock art sites. Townsville archaeologist Liz Hatte, who co-ordinated the project with traditional owners the Yirendali people, said the significant discovery had been made in an area known to contain some excellent Aboriginal art and heritage sites. She said the previously undocumented artwork was potentially thousands of years old, and at the very least pre-dated European settlement of North Queensland, 150 years ago. Read more at: http://www.townsvillebulletin.com.au/article/2013/10/01/390049_news.html

Dating the origins and development of painted caves by U-Series disequilibrium

A team based at the universities of Southampton, Durham, Santander, Barcelona, Madrid and the Basque Country have been awarded a NERC grant for a new project which will run for 3 years from Jan 1st 2014. It will aim to develop a robust chronology for French, Spanish and Italian Upper Palaeolithic cave art by using Uranium-series dating to age stalactites growing above and underneath paintings and engravings. Preliminary results by the team have provided Europe's oldest cave art yet and were published last year in 'Science' . This grant will extend the project significantly, and should establish if Neanderthals produced any of the earliest examples. The dating will be done at Southampton University and in Spain; Durham's role is to select thematic and stylistic aspects of the art for dating.
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Issue No 10: Autumn 2013

THE WICKLOW ROCK ART PROJECT Bringing Rock Art into View

Clodhna N Lionin, PhD Candidate, School of Archaeology, University College Dublin. Situated south of Dublin on the east coast of Ireland, County Wicklow, also known as the Garden of Ireland, is home to a significant number of rock art panels, and in the mid-20th century it was identified by academics such as Eoin MacWhite (1946) as one of the main foci of open-air rock art in Ireland. Since then, however, the rock art of Wicklow has slipped out of view, both in terms of the academic attention it receives, as well as the general publics awareness of its existence. Consequently many of the sites are overgrown, with rock surfaces deteriorating due to lichen and moss growth (Figure 1), while some panels have also been damaged due to agricultural and quarrying activity, and others have been moved from their original location (Figure 2). It seems that the greatest threat that the rock art of Wicklow faces today is for it to remain hidden and unknown. To attempt to address these issues the Wicklow Rock Art Project was established by the School of Archaeology, University College Dublin, in May 2012 as a pilot scheme to explore the potential of photogrammetry in rock art recording, and also to examine ways to protect and promote prehistoric open-air rock art in a sustainable manner. The outreach aspect of this project is particularly important, especially in its engagement with the general public and with those who live alongside this art, for openair rock art belongs not only to the past, but also to the present.

Figure 1. A moss-covered stone decorated with rows of cupmarks in Ticlash (WI030-040).

Figure 2. A boulder decorated with cup-and-ring motifs located at the entrance to a housing estate in Carnew (WI047-018).

Inspired by the Northumberland and Durham Rock Art Project, it was decided to use photogrammetry to create 3D models of the rock art panels, and by so doing address the three main objectives of the project (1) the recording of the sites using traditional and photogrammetric methods, (2) the communication of the projects progress and results in order to increase public awareness, (3) the identification of new sites and the cultivation of a sense of identification with these sites to ensure their survival. The rock art of Wicklow is found predominantly on granite, and is characterised by the use of cupmarks (Figure 3), although some panels with cup-and-ring motifs are also known (Figure 4). While these panels are found in various parts of Wicklow there appears to be specific concentrations, particularly around the Roundwood area, and a preference for closed valleys. An unusual aspect of the rock art of Wicklow is the reuse of some of these panels (Figure 5) in both Early Medieval and more recent graveyards, a phenomenon first noted by Chris Corlett (http://www.christiaancorlett.com/#/blog/4564514201/Another-cupmarked-stone-at-Ballintemple-Co.-Wicklow/5700644).

Figure 3. Cupmarks, cupmarks, everywhere. A small schist slab decorated with cupmarks, found in Camaderry (WI023009004), and currently located in the Glendalough Visitor Centre. Beneath it is a large boulder from Drummin, with cupmarks on its upper surface. (Displayed in Meshlab)

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The project aims to initially record18 known rock art sites. While a greater number of sites exist, this smaller subset was chosen in order to work out an efficient methodology and workflow before extending its application. As with all pilot projects there have been some bumps along the road. Getting to grips with a new technology has its challenges, from figuring out the ideal weather conditions (preferably dry, as wet stones result in noisy models), working out the best camera settings, and grappling with the computer as it builds the models (sometimes at a tortuously slow pace!). However, the initial results are promising, and we are really getting an insight into the potential of photogrammetry both as a research tool and as a way of engaging with a wider audience.

Figure 4. Cup-and-ring decorated boulder from Carnew (WIo47-018). Displayed using Meshlab, with the upper image using the dimple shader of this opensource software, and the lower image shown in lambertian radiance scaling.

From the outset communication was seen as an essential part of this project, in particular to encourage public engagement and involvement. Social media is being used to communicate results and raise general awareness, with a blog (www.ahiddenview.com) set up to chart the progress of the project, and a website to be constructed on completion of recording. A Facebook page has also been set up (https://www.facebook.com/WicklowRockArtProject), providing a different, more interactive way for the public to engage with the project. While the blog has been very useful, it really represents a one-way conversation. The Facebook page enables dialogue and a wider ownership of the project, with anyone able to contribute, post photos, ask questions, and begin discussions. It is hoped that by raising general awareness of open-air rock art the project will also lead to increased identification of new rock art sites by the general public, but also, and perhaps more importantly, it will encourage people to identify with the rock art in their area, and foster a sense of guardianship and protection of this fragile resource. The project is ongoing and will hopefully be completed in Spring 2014. Keep an eye on our progress by checking our Facebook page and blog, and feel free to ask questions, leave comments, and start conversations on this topic. After all, this is a learning process for all involved!

Figure 5. Rock art in graveyards. Images from the overgrown and abandoned Ballintemple graveyard, and the two rock art panels found inside its confines.

The Wicklow Rock Art Project is funded by UCD Seed Funding.

MacWhite, E. 1946. A new view on Irish Bronze Age rock-scribings. Journal of the Royal Society of Antiquaries of Ireland 76, 5980.

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Issue No 10: Autumn 2013

Kate Sharpe, Richard Stroud & Tertia Barnett

CSI: ROMBALDS MOOR. Processing the Evidence

The field agents of the Carved Stone Investigations: Rombalds Moor Project have spent many months collecting and processing evidence from the carved stones of West Yorkshire. The work, which was part of the Watershed Landscape Project, managed by Pennine Prospects and funded by HLF and Leader, has now ended and the results will soon be made available. Using a standardised rock art recording methodology, first developed by the Northumberland and Durham Pilot Project, the volunteers recorded the content, context and condition of 499 carved panels. The data will shortly be added to the Englands Rock Art database (http://archaeologydataservice.ac.uk/era/) which will then cover over 2000 panels, providing comparable information for around two-thirds of all those currently known in England. This rich resource is freely available to heritage professionals, researchers, and anyone with an interest in prehistoric rock art. The forensic examination of each panel included scrutinising condition, and assessing potential risks. The volunteers were trained to recognise a wide range of factors which are known to affect the rock art, including physical and chemical erosion, biological growth, and human and animal activities. They evaluated 18 aspects of condition, for both the carved area and the entire exposed surface. They also assessed 15 potential risk factors, rating them from 0 (no threat) to 3 (severe threat). Additional data was collected relating to current land use and the proximity of route-ways. Qualitative information was also included in the form of written notes. It is hoped that the resulting detailed picture of the current state of the rock art on Rombalds Moor will assist Heritage Managers, and inform future management decisions. The following summary highlights some of the immediate and longer term threats to this valuable set of carved panels. Current situation of panels The majority (80%) of the rock art in the survey area was judged to be at its original location in the landscape. Fifteen panels had been relocated, with 29 re-used in other structures (e.g. walls);14 were in museums. Seventeen panels had been previously documented as lost, and one is known to have been destroyed. The volunteers were unable to locate a further 25 in the field, using previous records as a guide. For the many panels in situ in the landscape, the ways in which that land is used and managed is critical to the survival of the carved stones. Interventions to improve, exploit, enjoy, or even to preserve the natural environment can have adverse effects on the both the rocks themselves, and on the rock surface. The majority of panels surveyed (66%) were found on heathland or moorland. These may be subject to land management practices such as heather burning, and are often used as grouse feeding stations. The Open Access status of the moor with many footpaths means that they are also unusually accessible to the public. Smaller numbers of panels were also located on unmanaged grassland and improved pasture, where the presence of stock animals can be an issue due to droppings, trampling, rubbing, and scratching. A significant number are also located in woodland or forests. This creates a number of conditions in the local environment that are a problem for rock art. The tree canopy creates a damp, humid environment in which algae and mosses thrive; constantly dripping water from above can cause erosion; detritus can accumulate; and roots can be damaging, even breaking panels into pieces. There is also a threat from human activity during tree felling. Ten panels were located in urban situations. These may be especially vulnerable to building activity, and to vandalism.

The most significant impact on panel condition was found to be algae an unexpected result given the exposed nature of the majority of the panels. Around 90% panels were affected to some extent, with 52 having algae covering more than 2/3 of the carved area. One explanation may be the unusually wet weather during the period of the survey: in 2012 rainfall was greater than the average for 1981-2010, for eight months of the year, reaching 239% in June. Crustose lichen has also compromised the appearance of many panels with 36 being significantly affected. Grass and turf had a much smaller impact, with few panels severely impacted.

Total score

Condition The appearance of the rock art panels is important both in terms of prioritising conservation and identification of suitable panels for presentation and education. Understanding the extent to which carvings become hidden (and effectively lost) through natural processes is also important to our understanding how the current record may relate to the prehistoric distribution of rock art.

700 600 500 400 300 200 100 0 Differential Cratering Planar Burnt area Lichen (cr) Lichen (fo) Moss Algae Grass Detritus Wear Droppings Quarrying Chips or scratches Graffiti (pa) Graffiti (ca) Plough Other Element assessed

Figure 1: Impact of elements assessed on panel condition. (High score = poor condition).

Around 50% of panels showed some degree of planar erosion, with 30% of carved areas affected. Although fewer panels in total exhibited differential erosion, 16 had extensive damage to the carved area. Many of the panels lie in areas subject to regular heather burning, and twelve appear to have suffered visible damage as a result, with ten showing burnt areas across 1/2-2/3 of the carved area.

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Despite the heavy use of the moor by a variety of people, the data collected by the CSIRM volunteers indicate that the rock art panels have remained remarkably undamaged with very few panels scoring a 3 for the carved area for any of the conditions assessed. Further, despite concerns about graffiti following a number of recent episodes of both carving and painting, only ten panels were observed to be damaged by paint, with just four affected in the carved area. A significantly larger number 37 showed evidence of carved graffiti, with 8 instances within the carved area. Since the survey ended there has been a further attack, on Green Gates 01, a Scheduled Monument. Risk The results of the assessment suggest that the most prevalent risks to the panels are moss, algae, crustose lichen, and people, which each threaten at least 60% of the panels to some degree. However, if only moderate to severe risks are considered, the greatest threat is algae, which was moderate or severe for 138 panels. Accessibility is a key factor in assessing potential risk from human activities. Volunteers recorded the distance from each panel to the nearest footpath, bridleway, road, habitation, and parking. This information may be of relevance for management plans which may, for example, direct visitors to accessible, resilient panels whilst re-routing footpaths away from more vulnerable examples. Analysis of the data reveals just how close footpaths go to the rock art panels. Over 63% of the panels measured lie within 50 m of a footpath. If this figure is broken down further, it can be seen that most of these (116) are in fact within 5 m. More alarming, perhaps, is that 49 panels are recorded as being within 1 m of a footpath and 12 are actually on the path. Two such paths have already been successfully re-directed by Bradford Metropolitan District Council: one in the Glovershaw area, and a second around panel Backstone Beck 04. Ilkley Moor has a long tradition of grouse shooting. Currently, Bradford Metropolitan District Council leases the moor to Bingley Moor Partnership allowing the Partnership the shooting rights. Part of the agreement allows for management of the land by the partnership, including heather management, bracken control, and pest control. This increases species diversity, produces a wider variety of bird habitats, and provides young shoots which feeds red grouse; the burnt areas can also act as fire breaks. The threat to rock art panels from heather burning may be reduced by Natural England issued guidance to the Bingley Partnership in 2012 indicating that some areas should only be burnt on either 10 or 25 year cycles. This may limit damage from fire however the resulting heather growth may lead to some rock art panels becoming overgrown and effectively lost, particularly in the Burley Moor area. A number of rock art panels were found to be in use as grit stations for grouse feeding. This is likely to have a detrimental effect on the stone surface, both directly and indirectly due to birds pecking and scratching. Boxes had been used to contain grit in some cases, but examples were found where these had been upturned.

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WW05 Figure 2: Rock art panels close to route ways. Images from CSIRM

A smaller area of the moor is managed for forestry. Rivock Edge Wood is a 200 hectare commercial spruce plantation on the western side of the project area. At least eight previously recorded panels have already been lost under planting ridges and furrows or thick detritus cover. Compartments within the plantation that contained around 40 examples of rock art were due for tree-felling in April 2012, enabling the CSIRM Team to assess the condition of panels both before and after the trees were removed. The assessments carried out before and after the felling revealed how the condition of the stones had changed in just a year. In April 2012, almost all the panels under the canopy were covered in green algae, moss, and detritus. A year later, without the tree canopy, the stones appeared clean and completely free of biological growth.

Figure 3: Rivock 21 shown in April 2012, covered in algae before the surrounding trees were removed, and in June 2013 after the felling. Images from CSIRM.

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The Forestry Manager kindly allowed access for vehicles into the forest, provided maps, and supplied stakes so that panels could be marked out to protect them from damage from future forestry activity. In the areas felled and replanted small glades around the panels have been created with the nearest trees being deciduous rather than spruce. Other panels in compartments not earmarked for harvesting were also identified by wooden stakes, to protect them should future felling take place. Throughout the project the CSIRM participants worked closely with land owners and agents, to obtain permissions, seek advice, and ensure they did not interfere with management or conservation activities. It is hoped that the relationships developed and the good will fostered can be continued into the future, and that the momentum generated by the project can be exploited in a positive way. The maintenance of close links between authorities, land managers, landowners, and CSIRM volunteers is vital to ensure continued awareness and best practice. A future programme of monitoring is planned to identify and quantify changes and potential deterioration. The CSIRM volunteers are keen to put their new skills and experience to use recording and monitoring additional areas of rock art in West Yorkshire. If you would like to join them please contact Rock Articles for further information.

HERITAGE & SCIENCE: Working Together in the CARE of Rock Art Project
An update from Peter Lewis, Newcastle University

Ancient rock art is under threat and a project has been launched to develop methods that will enable everyone to contribute to its protection. The CARE project is a collaboration between heritage and science research interests at Newcastle University and Queen's University Belfast. Its primary objective is to co-produce a user-friendly, non-intrusive Condition Assessment Risk Evaluation (CARE) toolkit for gathering and organising information essential for the long-term safeguarding of ancient rock art that exists out in the open as well as a management guide that will offer advice and guidance to assist its protection. Heritage and science working together ensures that heritage management resources and techniques are underpinned by solid scientific research so that conservation and management approaches are more effective. In the case of open-air rock art, or possibly any open-air stone structure, this means that the rock can be analysed in order to discern those environmental factors that are the cause of decay, as well as the influence of factors such as climate change. Scientific research has been carried out in Northumberland, Dumfries and Galloway and Donegal to determine the major risk factors for open air rock art and to test the effectiveness of the toolkit in recording these panels. This was partly through scientific analysis of soil and rock composition but also by looking at such factors as land management as this can be a significant influence on the condition of open-air rock art, for example the project team have witnessed incidences of where cattle have caused significant damage by walking over rock art panels. This will inform the recommendations in the management guide. The CARE toolkit and management guide must be user friendly and practical in order that they can be used and adopted by experts and non-experts alike. To this end they have been created as a co-production with rock art enthusiasts, landowners and users, non-experts and heritage professionals. Feedback has been collected through a mixture of focus groups, one to one consultations and an online discussion forum. This work will continue for the next couple of months to ensure the resources are refined. The project concludes in January 2014. The final resources will be disseminated throughout the UK and Ireland, primarily targeted at those who are responsible for managing the rock art panels. You can keep up to date with project progress via our website at http://research.ncl.ac.uk/heritagescience. We also have a Facebook page celebrating the rock art of the UK and Ireland at www.facebook.com/rockartoftheUKandireland.

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Issue No 10: Autumn 2013

DIGITAL DOCUMENTATION OF ROCK CARVINGS: adding depth to Scandinavian petroglyphs

Mette Rabitz (MA Prehistoric Archaeology) contact@metterabitz.dk In Issue 9, we featured a link to some 3D animations of Swedish rock art created by Mette. In this article, she describes some of the techniques she has used in her work. Due to problems with the preservation of most rock carvings, it is important nowadays to document as much information as possible, because they may fade away in the future. It is also important that the documentations are as realistic as possible. A problem with the methods used in some parts of the world, such as tracing and rubbing (Figure 1) is that the carvings are presented in a flat view, in two dimensions (2D), length and width. The methods omit information such as depth of carvings, pecking marks and processes of carving. But such details are very valuable, and should be registered, documented and presented! These details generate a more realistic view of the carvings and, by their documentation, the science of rock art can be developed even more, and new questions generated for future research. Furthermore, future scientists can rely on records which give them a better understanding and experience of carvings which may have eroded away.

Figure 1: Rubbing of ship from Brastad 5, Bohusln (image: Mette Rabitz).

Figure 2: 3D-model of ship from Brastad 5. (image: Mette Rabitz)

The use of 3D-methods makes it possible to also record in a third dimension, depth. In the last decade, some digital methods have been applied to the documentation of rock carvings; laser scanning and white-light scanning. These methods result in very exact digital copies of a scanned surface, which makes it possible to create 3D-models, and measure down to millimetres at the computer. The limitation of the method is that the documentation-process is very time-consuming both concerning data collection, but also the after treatment of data demands enormous servers, and cannot be done on standard computers. The equipment for collecting data is also very expensive, and needs controlling by technical experts. Another problem is that the equipment is far from portable, and needs huge amounts of power. Many rock carving sites often lie far away from

transportation possibilities, and some sites are difficult to reach, without hiking or climbing. Therefore one has to consider other methods which fulfil the needs for documentation of rock carvings. One method, which have been known for many years as stereo-photogrammetry, also called photogrammetry (Figure 2), has been used in the car-industry and building-industry, in order to create exact digital copies of objects, and also in order to be able to measure down to millimetres, and study details close-up. All one needs for data collection is a camera, possibly a tripod, and if needed photo-equipment such as a flash. Photogrammetry solves the portability, power, and processing problems experienced with laser- and white-light scanning. Another important fact is that photogrammetry much cheaper, and easier to work with compared with the other 3D-methods. In my Masters thesis in Prehistoric Archaeology, I did a critical analysis and discussion of the available documentation methods, which have been used to document rock carvings from Southern Scandinavia. The thesis is available (in Danish!) at: http://www.metterabitz.dk/localities/ma-thesis/ In the work, I experimented with photogrammetry as a documentation method, and tested the method upon carvings from Bohusln in Sweden, and stfold in Norway. Photogrammetry is 3D-documentation based upon pictures, so in the data collection photo-equipment is needed, and software is needed for processing the data. I used Canadian software from EOS, called PhotoModeler Scanner. The software analyses all the pictures, and creates a finemeshed point cloud, in which one is able to study the carvings close-up. In this sense it is possible to study pecking marks, but this depends on the condition of the carving. If the whole rock is photographed, it is possible to do a 3D-model of the whole rock itself, and thereby present the slope and the topography of the rock. Because the data is based upon photos, one is also able to present the 3D-model in realistic colours, which present the rock as it looks with areas attacked by algae and lichen, and geological features. In this way, other scientists as geologists and biologists can also use the models in their studies. In some cases I found new carvings, or details which could help in the discussion of unclear images. It was also possible to do a virtual cut-through of carvings, and study the depth of the carvings. In the software which I used, it was possible to visualize differences in level, in colours (Figure 3).

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Issue No 10: Autumn 2013

Figure 3: Screenshot of work process in PhotoModeler Scanner of a ship motif from Brastad 5, Bohusln. The two photos in the margin to the left are the only data needed to create a 3D-model. The colour shows the difference in surface level. Pink is highest level, blue is lowest. Thereby it can be presented that some part of the ship and crew lines are deeper carved than others. (Photo: Mette Rabitz).

Another example is a little horse carving from the Brastad 1 (Figure 4, right). It appears evenly carved, but by examining a cut-through, it can be seen that two legs are more deeply carved than the others (Figure 5, below). Were some legs not finished, or was it made this way on purpose in order to symbolize something? By focusing on depth and carving process it is possible to study new areas in rock carvings, and possibly develop our knowledge about the use of the carvings and the practice of making them. When using the traditional 2D-methods, the results will lack the topography of the rock itself - the canvas on which the carvings were placed. These details are also important, for example, where ship motifs are placed in or above formations looking like channels, where water flows, so the ships look like that they are sailing. The ships can also be carved, where the rock slopes down, so water overruns the carvings. I think documenting with 3D methods gives a good opportunity to present the carvings to the audience as realistically as possible. The digital record also allows sharing of the information with a remote audience, allowing the carvings to be experienced virtually, which gives scientists much more information and detail, compared to flat pictures. See one of my animated 3D models at: http://www.metterabitz.dk/wpcontent/uploads/2013/05/Masleberg.mp4
Figure 5: Virtual cut-through of legs of the horse from Brastad 1 (image: Mette Rabitz).

Figure 4: Fine meshed point-cloud of small horse from Brastad 1 (image: Mette Rabitz).

Another advantage with documenting with photogrammetry is that, as long as one has useful data, one can always decide later what to do with them in the software. One can study pecking marks in the point cloud, or twist and turn the 3D model in order to investigate details, but one could also animate the 3D models, as I did.

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Issue No 10: Autumn 2013

MOBILE ROCK ART IN ENGLISH MUSEUMS: How to best manage, preserve and present it in Englands Museums.
Consuelo Sauls (MA Student) My research on rock art focused on mobile rock art in the museums in England. Originating from a need to create a master database of rock art in Englands museums, this project grew to be a comprehensive look at the management, preservation and presentation of rock art in museums. Previous research regarding rock art in museums has been sporadic at best. At the most, rock art in English Museums has only been briefly mentioned as small foot notes in texts which focus on in situ rock art. Overall this type of rock art is a relatively unexamined niche. I interviewed many museum curators, conservators, and collection managers to better understand both the rock art collections and the museums that house them. I conducted this research over several months, travelling to many museums in England, including the Old Fulling Mill Museum in Durham, Yorkshire Museum, Bowes Museum, The Great North Museum, Tullie House Museum and The British Museum to examine both their displayed rock art and stored collections. Additionally I drew from contemporary international case studies on the care of rock art in order to identify additional ways to better care for Englands rock art. One example of rock art care is preventing lichen from spreading on rock surfaces with motifs painted or engraved on them. Lichen is troublesome and difficult to remove from rocks because it can cause major damage to the rock surfaces. Lichen can pose a threat to both in situ rock art and mobile rock art panels on museum grounds. Review of international rock art conservation literature determined the ideal lichen removal method is with a diffused ethanol solution. Additionally, good documenting is important to proper management and conservation. Interviews with museum staff and site visits revealed the state of museum rock art documentation is fragmentary at best. Currently the most complete database of museum rock art in England is the Englands Rock Art database. However this resource currently only has records of museum rock art in Northumberland, Durham, and Tyne and Wear counties. Even this database was missing multiple museum rock art pieces in museums it had already covered. My research contains documentation of numerous pieces of rock art in multiple museums in England, all of which is designed to be added to the Englands Rock Art database. I also reviewed the documentation methods of the museums and determined museums needed a better way of documenting rock art. In order to assist in solving this problem, I examined all recording methods and proposed the best way to document museum rock art is through combining written records with visual recordings. At the minimum, rock art documenting is best served by at least using both photographs and sketches of the motifs. Photogrammetry also offers a promising future of 3D visual recording of rock art. Presentation of rock art in museums also plays an important role because in situ rock art is not always accessible to visitors, and when done properly can excite interest in the public. My research on rock art museum displays revealed that the way in which museums display rock art can vary widely. Some museums, such as the Yorkshire Museum (Figure 1), simply have their rock art sitting on the museum grounds with no signs. Others, such as The Great North Museum, fully incorporate their displayed rock art into their exhibitions and provide much needed context. The public is largely unaware of these prehistoric artefacts, and museums serve an important role in educating the public on this matter. A review of displays and educational outreach found the best displays and programs were ones which provided the prehistoric context of these artefacts, and engaged the public through displays alongside other artwork. Both prehistoric rock art and prehistory as a whole in England are often overlooked in favour of Roman and Medieval history. Perhaps future research into museum rock art will help bring it more into the public eye.
Figure 1: Rock art at Yorkshire Museum (photo: Consuelo Sauls)

Figure 2: Effective lighting in museums. Left: Fulforth Farm Stone at the Old Fulling Mill Museum, Durham (photo Consuelo Sauls); Right: the Eden Hall Stone at Tullie House Museum, Carlisle (photo: Kate Sharpe).

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Issue No 10: Autumn 2013

ROCK ART IN CONTEXT: Ravensheugh Crags

Phil and Anne Bowyer About 2 miles west of Simonburn in the hills of North Tyne Valley at Ravensheugh Crags lie two scheduled ancient monuments: Goatstones Four-Poster Stone Circle with its extensively cup-marked NE stone and a Hut Circle site, both designated as of probable Bronze Age date. When Stan Beckensall and Aron Mazel revisited the area in 2004 as part of the Beckensall On-line Archive project they discovered a greater number of additional cup-marked stones than they had at any other Northumberland rock art site, bringing the total to 16 in addition to the Four-Posters marked stones. In June 2013, building on our own Level 1 landscape survey of the previous year, Northumberland National Park and the Altogether Archaeology project organised a 9 day detailed volunteer survey, led by Peter Schofield of Oxford Archaeology North. The full survey report has yet to be published and what follows, although taking account of initial comments of the professional archaeologists during the survey, represents our personal view of this rich and fascinating site. Following the survey the count of possible cupmarked stones stands at 31 and in excess of 40 small mounds have been recorded, grouped broadly into eastern and western cairnfields with a couple of north/south linear features possibly indicating the remains of a boundary between the two cairnfields. Some of the mounds in the eastern cairnfield are suggestive of burial monuments. A probable kerbed cairn in the middle of the eastern cairnfield has a small cup-marked portable ( J ) inside its perimeter.

Figure 1: Portable stone J inside probable kerbed cairn

During the survey volunteers discovered three cup-marked stones located in the apparent perimeter of a cairn, raising interesting comparisons with excavated Bronze Age burial cairns with decorated perimeter stones (Blaise Vyners Type 3) in North Yorkshire. The locations of the little cairns and the cup-marked, mainly earthfast, stones suggest other possible spatial relationships. The eastern cairnfield, with its better candidates for burial cairns, is overlooked from the west by a natural rise, running north/south, along which there is a concentration of earthfast cup-marked stones. On this higher ground, on an east/west bank, lies the newly discovered cairn with possible decorated perimeter stones. Near the eastern extreme of the eastern cairnfield is found the most highly decorated of the earthfast stones (Beckensall and Mazels stone K). Decorated stones K, L and M (Beckensall/Mazel), plus a couple of newly discovered marked stones, could be interpreted as delineating the eastern edge of the cairnfield territory.

Figure 2: Newly discovered stone in probable cairn perimeter.

There is a further grouping of earthfast decorated stones (Beckensall and Mazels F, G, H and another new stone, U) on the ridge running east from the crags, possibly delineating the northern edge of the eastern cairnfield. Whilst this interpretation is merely a hypothesis it is clear that the conjunction of so many decorated stones and a cairnfield with strong indications of at least some burial activity offers considerable potential for further examination of the context of the rock art. Other features identified add to the possible importance of the site. Within a few metres of stone K, near the eastern cairnfield edge, lies a probable burnt mound. A second probable burnt mound lies by a stream south of the cairnfield. Towards the western end of the eastern cairnfield we discovered, in dense reeds, the remains of an apparently circular structure with a semi-circle of walling standing to a height of up to 18 inches. To the east of the eastern cairnfield a possible house platform was identified. A number of possible stock enclosures near the ridge along the north of the site were also identified.
Figure 3: New Stone U (left) and Stone K (right)

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Issue No 10: Autumn 2013

All the decorated stones found thus far seem to have only simple cups plus a few grooves. The most highly decorated of the newly discovered stones has raised some debate concerning whether it contains the only ring found at Ravensheugh Crags. During the survey Stan Beckensall undertook a rubbing of this stone, identifying some 34 cups. Around a cup near the northern edge of the stone his rubbing showed indications of a ring that no one had previously noticed and that was not really visible to the naked eye. However 4 days after the stone had been wetted for photography we noticed that some darker damper patches were visible at lower points of the surface. Some of these darker spots appear to show peck marks in some of the cups. The photos also show a darker arc and a series of possible peck marks coinciding with the ring on Stans rubbing.

Figure 4: The newly discovered panel. A) The full extent of the stone with 34 cups and a possible ring; B) Stan Beckensalls rubbing; C) cups with possible pick marks ; and D) possible indications of a ring.

Whether or not the photos resolve the question is not for us to decide, but it will no doubt be interesting to eventually compare the rubbing and photos with any detailed photogrammetry. It does occur to us that the opportunity to study a decorated stone after partial drying out has not frequently occurred and we wonder whether this accidental finding may be put to deliberate use at other locations. Within two kilometres of Ravensheugh Crags there are the remains of a stone row alignment that might be Neolithic; several unenclosed and enclosed settlement sites; and various possible walls and boundary alignments that offer the potential of revealing a better and more integrated picture of human activity within a few square kilometres immediately north of Hadrians Wall throughout prehistory and into the Romano-British era. Following on from the interest of volunteers, the opinions of professional archaeologists concerning the significance of the site and nearby areas and with the active support of NNPA we have established a community archaeology group, Tynedale North of the Wall Archaeology Group, to engage local volunteers in an ongoing study of the area. Anyone interested in more detailed information, or in helping to take these lines of enquiry further, can contact us at tynedalearchaeology@gmail.com, or visit our Facebook page tynedale.archaeology. All imgaes: Phil and Anne Bowker.

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Issue No 10: Autumn 2013

CONFERENCE REPORT: BRAG in Belfast (20th and 21st April 2013)

Rebecca Enlander, Queens University, Belfast This years meeting of the British Rock Art Group (BRAG) was hosted by Queens University, Belfast; this was the first time the event has come to Ireland and, as ever, the conference was an opportunity for new and established researchers to present their work to a wide network. With three thematic sessions, the conference highlighted recent research in rock art studies at a worldwide scale. Rebecca Enlander opened the first session (New methodologies and landscape approaches) with her paper which explored the role of geology in the creation of rock art. Case studies from the north of Ireland presented the potential role that rock played in the creation and maintenance of regional rock art identities through stone and motif choice was discussed. Patricia Warke and Myra Giesen continued the morning session by presenting the outcome of recent research into the conditional assessment of open-air rock art sites in Northumberland. During this collaborative project, physical, biological and chemical conditions in and around a number of rock art panels have been assessed with the intention of forecasting possible changes (deterioration) to panels in the future, and providing a toolkit for continuing management. From Britain, the morning talks moved to the Western Sahara where Maria Guagnin has explored the relationship between animals depicted in rock art and the local faunal record, pointing out that figurative representations can act as a valuable source of palaeoenvironmental information. In addition to depictions of large grazing/ herd animals which are widely visible in the local landscape, certain animals (including antelopes) may have been depicted because of their spiritual and economic importance, rather than their abundance. The emphasis on landscape approaches was carried on by George Nash, who closed the first session with his paper on the Neolithic rock-cut tombs of northern Sardinia known as domus de janas, or houses of the fairies. George convincingly suggested a strong link between the art and iconography found within the tombs, the architecture and the surrounding volcanic landscape. The second thematic session centred on research in Atlantic Europe and began with Leslie Van Gelders discussion of some early results from a regional study of Palaeolithic finger fluting in the Cantabrian region of Northern Spain. The on-going project catalogued fluting in several caves, identifying individuals wherever possible, and initial results suggest that children where present in 2 caves, and that their flutes were often intertwined with imagery created by adults. Interestingly, several panels had evidence for multiple-authorship, suggesting that fluting was a social activity. Moving to Ireland Clodhna N Lionin discussed some of the objectives and results of the Wicklow Rock Art Project, a pilot scheme established by UCD in 2012. The primary aims of the project have been to explore the potential of photogrammetry in rock art recording, and ways of increasing awareness of local rock art, which is in many ways are a hidden resource in much of Ireland. Samantha Williamson presented the findings of her analysis of the reuse of cup-and-ring marked stones in Iron Age souterrain settlements in Angus, south east Scotland. Drawing on the potentially ritual inclusion of rock art in earlier burial contexts including Nether Largie in Kilmartin, Samantha offered compelling evidence for the meaningful incorporation of rock art in these Iron Age contexts. The final session of the day (World rock art) began with Tina Walkings talk on the rock art motifs at Ughtasar in Armenia. A number of potential parallels with themes in Atlantic European rock art were explored, including the use of the microtopography of the rock surface, where motifs seem to respond to changes in the rock texture and breaks in the surface. The broad presence of spirals was also explored, which at Ughtasar, are often associated with goats and sometimes form their highly exaggerated horns. Unfortunately Daniel Arsenault was unable to attend, but his talk was presented on his behalf by Aron Mazel; Daniel explored the potential of using the chane opratoire technique in order to more fully appreciate the lifespan of a rock art site. With stages from initial conceptualisation to final abandonment, Daniels paper acted as a reminder that rock art sites were the result of a series of humanly conceived processes. Aron Mazel closed the final session by presenting his own findings at Didima Gorge, South Africa, where landscape topography and sensory experience may have influenced the character of rock art at three locations along the gorge. The conference ended with the keynote speaker, Professor Muiris O'Sullivan of UCD, who offered a thought-provoking talk on some key themes within prehistoric rock art studies in Ireland, not least the late Blaze OConnors contribution to the field. Drawing on the rock art and passage grave art traditions in Ireland, Muiris presented strong evidence for an overlap between the traditions, echoing Eoin MacWhites suggestion in the 1940s that a formal distinction between megalithic and Galician art was not a simple task. Central to this theme was the idiosyncrasy of many passage grave sites, perhaps representing local expressions of the art tradition, and the local use of stone in the construction of such monuments. A number of BRAG delegates attended a fieldtrip to the famed Br na Binne which was led by Robert Hensey who provided a backdrop to the passage grave art at Newgrange and Knowth, and was at hand to share his thoughts and insights into the Irish megalithic art tradition and the local history of the sites.

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Issue No 10: Autumn 2013

INSPIRED by ROCK ART

This beautiful composite image of rock art panels in Rivock Wood in the Rombalds Moor area was created by CSIRM volunteer, Mike Short. If you have created something rock art related and would like to share it with Rock Articles readers, drop me a line at kesharpe@outlook.com.

Recording techniques on the web

Rock art recording video on YouTube

Want to see what Polynominal Texture Mapping of rock art is all about in the field? This video on YouTube shot by Mark Wharton shows experts Sarah Duffy and Richard Stroud undertaking night-time manoeuvres on Rombalds Moor, West Yorkshire. The recording was made during the Carved Stone Investigations: Rombalds Moor Project.

http://www.youtube.com/watch?v=cd7b4YJLaA8

Strangely decorated quern from Kellah Burn

http://acrg.soton.ac.uk/blog/2001/

The Archaeological Computing Research Group at Southampton University have been using the technique of Reflectance Image Transformation to examine an unusual quern stone decorated with wavy lines. The value of the method in enhancing detail can be seen by clicking on the photograph in this report by Marta Diaz-Guardamino Uribe.

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Issue No 10: Autumn 2013

Rock Articles 11 (April 2014) Submission deadline: 3 March 2014

If you would like to submit an article to Rock Articles please contact me at kesharpe@outlook.com. Feature articles. Contributions are invited for articles on all aspects of Rock Art in Britain and Ireland, including recording techniques, interpretation, management, presentation, education, and conservation. We are keen to hear about any community projects, heritage initiatives, new techniques, new research, and to provide a forum for anyone with an interest in rock art. Perhaps you have been to a conference and could write a report, or have participated in a workshop or training event? Articles should be 750-1000 words, and should include at least two images (for which you should have permission). New Discoveries. If you have identified any new rock art and would like to feature your find in the New Discoveries section of Rock Articles, get in touch, with a photograph of your find. Please note that grid references will not be included in Rock Articles. Finds should be reported to and verified by the relevant local authority HER officer. British Rock Art News. Do you have some news about your project, or an update on a particular panel that you can fit into less than 200 words? Why not share it RA readers? Inspired by Rock Art? Rock art often inspires creative responses. Have cup and ring marks fired your imagination? If so wed love to see your work! Events and opportunities. Are you running an event that might be of interest to RA readers? Let us know about any talks, conferences, or guided walks. Maybe you are looking for participants for a community project? Advertise here and use the RA network to spread the word.

Proposals are invited for talks and posters for the British Rock Art Group conference on Saturday 3 May in the School of History, Classics and Archaeology, Edinburgh University. Details about submitting a paper or poster can be found on the Edinburgh University website at www.ed.ac.uk/schools-departments/history-classics-archaeology/archaeology/news-events/events/brag-2014/overview Please note the deadline for submitting titles and abstracts is 10 December 2013.

BRAG 2014 - First call for papers and conference information

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Issue No 10: Autumn 2013

ROCK ART READS: New and Forthcoming Publications

Open-air Rock Art Conservation and Management Tim Darvill & Antonio Pedro Batarda Fernandez (Eds).
Due: 1st Dec 2013 No image available

From Routledge: This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites. ISBN: 978-0-415-84377-5; 160 p (Routledge) hardback. Price GB 85.00 http://www.oxbowbooks.com/oxbow/beyond-the-ice.htm Exploring Prehistoric Identity in Europe: Our Construct or Theirs? V. Ginn, R. Enlander, & R. Crozier (Eds).
Due: 24th Jan 2014

From Oxbow: Identity is relational and a construct, and is expressed in a myriad of ways. For example, material culture and its pluralist meanings have been readily manipulated by humans in a prehistoric context in order to construct personal and group identities. Artefacts were often from or reminiscent of far-flung places and were used to demonstrate membership of an (imagined) regional, or European community. Earthworks frequently archive maximum visual impact through elaborate ramparts and entrances with the minimum amount of effort, indicating that the construction of identities were as much in the eye of the perceiver, as of the perceived. Variations in domestic architectural style also demonstrate the malleability of identity, and the prolonged, intermittent use of particular places for specific functions indicates that the identity of place is just as important in our archaeological understanding as the identity of people. By using a wide range of case studies, both temporally and spatially, these thought processes may be explored further and diachronic and geographic patterns in expressions of identity investigated. SBN: 9781842178133;176pp b/w and col. illus. Oxbow Books, Price GB 28 http://www.oxbowbooks.com/oxbow/exploring-prehistoric-identity-in-north-west-europe.html Rock Art and Sacred Landscapes Donna Gillette, William Breen Murray, Mavis Greer, & Michele Helene Hayward (Eds).
Due: 31st Oct 2013

From the back cover: Social and behavioral scientists study religion or spirituality in various ways and have defined and approached the subject from different perspectives. In cultural anthropology and archaeology the understanding of what constitutes religion involves beliefs, oral traditions, practices and rituals, as well as the related material culture including artifacts, landscapes, structural features and visual representations like rock art. Researchers work to understand religious thoughts and actions that prompted their creation distinct from those created for economic, political, or social purposes. Rock art landscapes convey knowledge about sacred and spiritual ecology from generation to generation. Contributors to this global view detail how rock art can be employed to address issues regarding past dynamic interplays of religions and spiritual elements. Studies from a number of different cultural areas and time periods explore how rock art engages the emotions, materializes thoughts and actions, and reflects religious organization as it intersects with sociopolitical cultural systems. ISBN-10: 1461484057; ISBN-13: 978-1461484059; 230 pp, hardback. Springer; 2014 edition (31 Oct 2013). Price GB 99. http://www.amazon.co.uk/Rock-Sacred-Landscapes-World-Archaeology/dp/1461484057/

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