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Visual Culture, Heritage and Identity: Using Rock Art to Reconnect Past and Present sets out a fresh perspective on rock art by considering how ancient images function in the present. In recent decades, archaeological approaches to rock paintings and engravings have significantly advanced our understanding of rock art in regional and global terms. On the other hand, however, little research has been done on contemporary uses of rock art. How does ancient rock art heritage influence contemporary cultural phenomena? And how do past images function in the present, especially in contemporary art and other media? In the past, archaeologists usually concentrated more on reconstructing the semantic and social contexts of the ancient images. This volume, on the other hand, focuses on how this ancient heritage is recognised and reified in the modern world, and how this art stimulates contemporary processes of cultural identity-making. The authors, who are based all over the world, off er attractive and compelling case studies situated in diverse cultural and geographical contexts.

The Dream on the Rock takes an interdisciplinary approach to contextualizing and historicizing the phenomenon of shamanism from the Neolithic Age until the beginning of the Iron Age. Fulvio Gosso and Peter Webster argue that rock art and other ancient materials provide a glimpse of the fundamental role played by nonordinary states of consciousness in our social and evolutionary prehistory. Ultimately, the authors offer a comprehensive exploration of shamanism, religion, and the origins of human consciousness, along with evidence that hallucinogenic plants may have played a key role in this process.

It is largely through the work of David Lewis-Williams that San rock art has come to be understood so well, as a complex symbolic and metaphoric representation of San religious beliefs and practices. The purpose of this volume is to demonstrate the depth and wide geographical impact of Lewis-Williams'contribution, with particular emphasis on the use of theory and methodology drawn from ethno­graphy that he has used with inspirational effect in understanding the meaning and context of rock art in various parts of the world. Seeing and Knowing explores how to understand and learn from rock art with and without ethnography. Because many of the chapters are based on solid fieldwork and ethnographic research, they offer a new body of work that provides the evidence for differentiation between knowing and simply seeing. This volume is unique in that it focuses exclusively on rock art and ethnography, and covers such a wide geographic range of examples on this topic, from southern Africa, to Scandinavia, to the United States. Many of the chapters explore studies in rock art regions of the world where variation and constancy can be observed and explored across distances both in space and in time. The editors have entitled the book Seeing and Knowing to echo Lewis-Williams'Believing and Seeing published almost thirty years ago; they say ‘seeing'again because looking at rock art is and will always be central, and then what is seen when human eyes and minds look; they say ‘knowing'in recognition that, by his work and by his example, archaeologists now know a little more than they knew before. Even so, as Lewis-Williams will be the first to say, we still know only a fraction.