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A significant number of Holocene societies throughout the world have resorted at one time or another to the making of paints or carvings on different places (tombs, rock-shelters or caves, openair outcrops). The aim of the session A11e. Public images, private readings: multi-perspective approaches to the post-Palaeolithic rock art, which was held within the XVII World UISPP Congress (Burgos, September 1-7 2014), was to put together the experiences of specialists from different areas of the Iberian Peninsula and the World. The approaches ranged from the archaeological definition of the artistic phenomena and their socioeconomic background to those concerning themselves with the symbolic and ritual nature of those practices, including the definition of the audience to which the graphic manifestations were addressed and the potential role of the latter in the making up of social identities and the enforcement of territorial claims. More empirical issues, such as new recording methodologies and data management or even dating were also considered during this session.

Rock Paintings --- Social Science

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Developing Rock Art Tourism in the Negev desert of southern Israelpresents the findings of an interdisciplinary project aimed at safeguarding the future of cultural heritage in the Negev Desert region of Israel, which is under threat from environmental change, militarisation, settlement and tourism.

Heritage tourism --- Rock paintings --- Culture and tourism

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Filiform rock art appears as a spontaneous technique, more simple and immediate than pecking, good either for autonomous strands of expression, or for sketches and first drafts regarding works of painting or pecking. According to the order of presentation of the session's papers during the XVII IUPPS (UISPP) Conference in Burgos, the articles published here are the following: Late prehistoric incised rock art in southern Europe: a contribution for its typology, by Fernando A. Coimbra, where the author presents a preliminary typology of this kind of rock art, divided in two groups (geometric and figurative), approaching not only common themes to several countries, but also some examples that have only a regional character; Filiform rock art in mount Bego (Tende, Maritime Alps, France), by Nicoletta Bianchi, which analyses some cases where pecked carvings overlap filiforms, therefore pre-dating pecked engravings and studies the interaction of the two carvings tradition; Filiform figures in the rock art of Valcamonica from Prehistory to the Roman age, by Umberto Sansoni, Cinzia Bettineschi and Silvana Gavaldo, that provides a general corpus of the figurative incised rock art of Valcamonica with a quantitative and qualitative approach, by considering the typological variety, the long-lasting chronological dating and the strong relation with the local pecked rock art of the Camunian filiforms; Threadlike engravings of historical period on the rocks and plaster of churches and civic buildings. Some comparisons and proposals of interpretation, by Federico Troletti, which presents the incised engravings exclusively of historical time located in some sites of Valcamonica - the area of Campanine di Cimbergo and Monticolo di Darfo; The rock art from Figueiredo (Serta, Portugal): typology, parallels and chronology, by Fernando A. Coimbra and Sara Garces, focusing vi on the description of the engravings from three carved rocks with incised motives from the place of Figueiredo, in central Portugal, which were studied during different fieldworks. Two other papers of researchers that couldn't attend the Conference were also presented: The filiform rock art from Kosovo, by Shemsi Krasniqi, which presents recent findings from Kosovo with a similar typology of figures from other European countries; The filiform rock engravings of the Parete Manzi of Montelapiano (Chieti, Italy), by Tomaso Di Fraia, which analyses the problematic of incised rock art from a rock shelter in the centre of Italy.

Rock Paintings --- Art, Prehistoric --- Petroglyphs --- Art, European --- Social Science --- Art --- Rock paintings --- Art, prehistoric --- Art, european --- Social science

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Ritual landscapes and borders are recurring themes running through Professor Kalle Sognnes' long research career. This anthology contains 13 articles written by colleagues from his broad network in appreciation of his many contributions to the field of rock art research. The contributions discuss many different kinds of borders: those between landscapes, cultures, traditions, settlements, power relations, symbolism, research traditions, theory and methods. We are grateful to the Department of Historical studies, NTNU; the Faculty of Humanities; NTNU, The Royal Norwegian Society of Sciences and Letters and The Norwegian Archaeological Society (Norsk arkeologisk selskap) for funding this volume that will add new knowledge to the field and will be of importance to researchers and students of rock art in Scandinavia and abroad.

Sognnes, Kalle --- Petroglyphs --- Carvings, Rock --- Engravings, Rock --- Rock carvings --- Rock engravings --- Rock inscriptions --- Stone inscriptions --- Inscriptions --- Picture-writing --- Rock paintings --- E-books --- Social science

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This volume presents a new systematic approach to the archaeological recording and documentation of rock art developed to analyse the spatial and temporal structure of complex rock art panels. Focusing on the ceiling art at Nawarla Gabarnmang, one of the richest rock art sites in Arnhem Land the approach utilised DStretch-enhanced photographs to record 1391 motifs from 42 separate art panels across the ceiling. Harris Matrices were then built to show the sequence of superimpositions for each art panel. Using common attributes, including features identified by Morellian Method (a Fine Art method not previously employed in archaeological rock art studies), contemporaneous motifs within panels were then aggregated into individual layers. The art layers of the various panels were then inter-related using the relative and absolute chronological evidence to produce a full relative sequence for the site as a whole. This provided a story of the art that began some 13,000 years ago and concluded around 60 years ago, with a major change identified in the art some 450 years ago. The method was shown to be invaluable to the resolution of many difficult issues associated with the identification of motifs, their superimpositions and the development of art sequences.

Rock paintings --- Archaeology --- Methodology --- Archeology --- Anthropology --- Auxiliary sciences of history --- History --- Antiquities --- Paintings, Rock --- Pictured rocks --- Rock drawings --- Art, Prehistoric --- Painting, Prehistoric --- Picture-writing --- Petroglyphs