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Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Se presenta un conjunto de pinturas rupestres descubiertas en tres sitios de la sierra Pie de Palo. Estas pinturas son las primeras localizadas en la zona central de San Juan y su hallazgo constituye un aporte cuantitativamente significativo para el registro provincial de sitios con este tipo de materialidades. La producción de estas imágenes se interpreta en función de una posible realización de rituales vinculados con la protección de las manadas de camélidos, su abundancia o algún otro aspecto asociado con este elemento clave en la dieta de los pobladores locales. Se describe el proceso de hallazgo de dos paneles con pinturas en función de un planteo hipotético-deductivo elaborado para explicar el descubrimiento de otro anterior. Además, se discute la posible realización de estas pinturas por parte de cazadores-recolectores anteriores a los grupos que posteriormente ocuparon la zona y produjeron numerosos petroglifos en dos de los sitios analizados.

Este artículo aborda varias lagunas en la documentación del arte rupestre, como la falta de una metodología estandarizada. Se realiza un breve resumen sobre los principales métodos de documentación que se han utilizado, en el estudio de yacimientos con arte rupestre hasta nuestros días. Se estudia su funcionamiento, se analizan sus principales características y se observan y describen las ventajas e inconvenientes que presentan. El objetivo de este análisis descriptivo y comparativo es, identificar aquellas metodologías que pueden resultar más idóneas a la hora de documentar estos enclaves, dependiendo de la finalidad de nuestro estudio. Teniendo siempre presente la premisa ineludible de la conservación y no alteración de los yacimientos.

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Arte Prehistorico is the property of Editorial Cuadernos de Sofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Arte Prehistorico is the property of Editorial Cuadernos de Sofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Arte Prehistorico is the property of Editorial Cuadernos de Sofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Arte Prehistorico is the property of Editorial Cuadernos de Sofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Arte Prehistorico is the property of Editorial Cuadernos de Sofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Amazonia, there are poorly studied archaeological monuments that lack records. This paper reveals an inventory of sites in the Marañon River Basin, specifically in Camporredondo and Ocalli, Amazon region. Names such as Puka Cushpa, Piedra Molde, Selcho, Selcho Puñuna, Limadulce, Santa Lucía, Vista Hermosa, Pueblo Viejo, Cerro Campanas, El Mirador, El Metal, Cerropata, Galeras and Fila Alta, characterized by habitational and agricultural structures and rock art, are located between 1292 and 2953 m above sea level in a mountainous and green terrain. These sites, during the Chachapoyas culture, offered optimal conditions for human development, highlighting their historical and cultural relevance in the region. [ABSTRACT FROM AUTHOR]

Copyright of Rock Art Research is the property of Australian Rock Art Research Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En los últimos años, los medios masivos y dispositivos digitales han transformado las prácticas de comunicación científica a una escala global, con nuevas estrategias para transmitir conocimientos. Este trabajo reflexiona acerca de una experiencia de aplicación de tecnologías inmersivas para la comunicación pública de las investigaciones arqueológicas desarrolladas en un sitio con arte rupestre de la sierra de El Alto-Ancasti (Catamarca, Argentina). La cueva de La Candelaria, investigada desde la década de 1980, alberga un conjunto excepcional de pinturas rupestres. Sin embargo, muchos de estos saberes han permanecido en el ámbito académico, en formatos poco accesibles para muchas personas. Con el objetivo de sociabilizar este abrigo y los conocimientos académicos a públicos diversos, nos propusimos desarrollar una visita virtual, interactiva e inmersiva, de acceso libre y gratuito. Considerando los desafíos enfrentados durante su producción, en este trabajo reflexionamos sobre las oportunidades, ventajas y limitaciones que estas tecnologías presentan para la comunicación científica en Arqueología. Las conclusiones de este trabajo subrayan la importancia de incorporar etapas mantenimiento y retroalimentación del recurso generado para favorecer su impacto en la sociedad.

El arte rupestre de Costa Rica ha sido objeto de estudios particulares desde finales del siglo XIX, siendo en principio el tema de investigaciones puntuales como resultado de descubrimientos casuales en las diferentes regiones del país. A pesar de los registros sistemáticos entre los años 1960 y 1970 en la cordillera de Guanacaste, ubicada en el noroeste del país, no se nota una intensificación de las investigaciones científicas antes de los años 1990. Por lo tanto, el estudio temático de esta clase de fuentes arqueológicas todavía es un fenómeno relativamente reciente. Analizando el hilo de las publicaciones sobre el arte rupestre de la cordillera de Guanacaste, es posible vislumbrar como los contextos, los enfoques analíticos y las técnicas aplicadas han moldeado el conocimiento y la interpretación de las representaciones estudiadas en una región transcultural entre Mesoamérica y el Área Intermedia.

La Arqueología Cognitiva utiliza constructos prestados de la Psicología con el fin de analizar el tipo de mente subyacente a las evidencias del registro arqueológico. En este caso se realizará un breve acercamiento a las primeras representaciones gráficas rupestres paleolíticas, caracterizadas por su color rojo y ausencia de figuración, bajo la óptica de las capacidades cognitivas de mayor protagonismo en la mente de los humanos modernos. Para ello se analizará la naturaleza de las capacidades primarias y su combinación en las emergentes, para aplicarlas a las evidencias rupestres. Como conclusión, es posible argumentar que el estilo de algunas representaciones está influenciado por nuestras características neurobiológicas, y que las capacidades cognitivas necesarias para llevar a cabo las representaciones no figurativas más antiguas ya estarían presentes en Homo neanderthalensis.

Se presenta una caracterización detallada del arte rupestre del sitio Corcovo 2 (sur de Mendoza, Argentina), un conjunto de bloques grabados que destaca por la elevada frecuencia de motivos cefalomorfos-mascariformes. Estos motivos cuentan en la región con un corpus de información poco explorado y fragmentario. En cambio, en regiones cercanas (e.g. Tandilia y Ventania), donde han sido sistemáticamente estudiados, se los ha vinculado a prácticas de control territorial. Para evaluar esta hipótesis, en la región bajo estudio, se combina la información que registramos en Corcovo 2 con la disponible para los motivos cefalomorfos-mascariformes de todo el sur de Mendoza. Los resultados obtenidos muestran vínculos entre sitios con motivos cefalomorfos-mascariformes y espacios con características determinadas que permiten pensar en la existencia de prácticas de demarcación territorial propiciadas por los grandes cambios económicos y sociales ocurridos en la región durante los últimos 2000 años de ocupación humana.

La consideración del Noroeste peninsular como un territorio marginal respecto de la distribución del arte paleolítico ha cambiado en los últimos tres decenios tras el hallazgo de diversas manifestaciones gráficas en soportes muebles o rupestres -tanto en ambientes cavernarios como al aire libre-. Algunas de las evidencias descubiertas se pueden adscribir a momentos terminales del Paleolítico, encuadrándose entre el Allerød y el Preboreal. Con el fin de profundizar en el conocimiento de este estadio gráfico, se estudia un conjunto de figuras zoomorfas adscritas a ese período, localizadas en Cova Eirós y el valle del Côa. El análisis morfológico y técnico de las representaciones permite identificar paralelismos y particularidades que constatan la existencia de convenciones y recursos gráficos compartidos, al tiempo que aporta nuevos datos acerca de las características de este episodio gráfico y las relaciones entre estos territorios en el Paleolítico superior final. ABSTRACT: Northwest Iberia was traditionally considered a territory that stayed aloof from the distribution of Palaeolithic art. This view has changed over the last three decades with the discovery of carved or painted images found in caves or in open-air sites, as well as a number of plaques and other portable items. Some of the evidence recovered show the existence of representations ascribed to late stages of the Palaeolithic, dating to the Allerød and the Preboreal periods. To increase our knowledge of that finipalaeolithic graphic episode in NW Iberia, a comparative and cross-border study has been carried out, based on the technical and morphological analysis of a representative group of images discovered in Cova Eirós and the Côa valley. The results point out to the existence of parallelisms between these representations, thus suggesting the existence of shared graphic conventions. Moreover, our analysis provides new data on the character and the main features of this late graphic stage and the relationship of these territories during the final stages of the Upper Palaeolithic.

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El propósito de este trabajo es presentar la sistematización de una experiencia académico-investigativa que se realizó en Girardot, desde la educación patrimonial, como parte de un proceso de patrimonialización de los petroglifos del Alto Magdalena, Colombia. Desde la Licenciatura en Educación Básica con Énfasis en Humanidades: Lengua Castellana e Inglés y la Tecnología en Gestión Turística y Hotelera de la Universidad de Cundinamarca, se han realizado prácticas pedagógicas investigativas e itinerantes en las zonas de los petroglifos como parte de un proceso de educación patrimonial y de investigación formativa. A través de una mirada etnográfica y un enfoque desde los imaginarios sociales se pretendió comprobar el cambio de las percepciones después de las salidas de campo. Finalmente, se presentan procesos de patrimonialización y turistificación derivados de dicha educación patrimonial con el fin de que los petroglifos sean reconocidos como patrimonio ante los entes gubernamentales y se desarrolle una activación económica desde el turismo cultural.

Se presentan los resultados de las excavaciones y análisis de artefactos, ecofactos y arte rupestre del sitio Infieles-1, Puna de Atacama, Chile. Este sitio se emplaza adyacente a un paredón de ignimbrita con diversas manifestaciones rupestres. El análisis de estas pinturas y grabado, junto a la excavación realizada permitió identificar tres ocupaciones alfareras. La primera se relaciona con portadores de cerámica Condorhuasi-Río Diablo del Formativo del Noroeste de Argentina, unida a manifestaciones que poseen referentes en la modalidad estilística Punta del Pueblo de Antofagasta de la Sierra (500-1000 d.C.), coherente con el fechado radiocarbónico (AMS) obtenido en Infieles-1. A continuación, y hacia fines de este lapso, se identificaron posibles motivos Ánimas y, por último, un tercer momento asociado probablemente al Período Intermedio Tardío/Período Tardío, a partir de manifestaciones culturales del norte y centro de la región de Atacama. Asimismo, se describe sucintamente el arte rupestre histórico del sitio, analizando sus definiciones e implicancias culturales. En síntesis, se caracterizan y discuten, desde una perspectiva internodal y de tráfico regional e interregional, las ocupaciones temporales y diacrónicas del sitio por parte de grupos locales, responsables del arte rupestre en Infieles durante la época alfarera, y que manifiestan acentuadas interrelaciones culturales con espacios trasandinos.

Resumen Partiendo de las pocas y fallidas experiencias de activación patrimonial de sitios con arte rupestre en Venezuela, este trabajo tiene como objetivo identificar factores que han intervenido en la patrimonialización de estos espacios arqueológicos. Se asume, como parte de estos factores, el contexto ideológico y el tratamiento diacrónico de los referentes culturales amerindios por agentes políticos, los principios que rigen la lógica patrimonial y los imaginarios populares recreados en comunidades con arte rupestre. Se aplican técnicas de investigación de campo y documental, bajo la mirada del enfoque poscolonial y los estudios etnohistóricos. Finalmente, se exponen algunas consideraciones, a modo de ampliar el debate y dejar el camino abierto a estudios por venir.

The purpose of this work is to present the systematization of an academic-research experience that from heritage education has been carried out in Girardot as part of a process of patrimonialization of the petroglyphs of Alto Magdalena region from Colombia. Two academic programs at University of Cundinamarca, Bachelor degree in Education in Humanities: Spanish and English and Technology in Tourism and Hotel Management, have carried out research and itinerant pedagogical practices in the areas of the petroglyphs as part of a process of heritage education and research formative. Through an ethnographic look and an approach from the social imaginaries it was intended to verify how much the perceptions changed after the field trips. Finally, there are processes of patrimonialization and tourism derived from this heritage education in order for petroglyphs to be recognized as heritage before government bodies and thus develop an economic activation from cultural tourism. [ABSTRACT FROM AUTHOR]

Here we present the results of archaeological and chronological analyses of the El Diablito site located in the Chuquis Basin on the eastern slope of the Sierra de Velasco, northern La Rioja province. Our intent is to inform spatial dynamics occupation and use of the spaces within the site, which is composed of residential structures as well as a rock shelter containing rock art. To this end, the architectural pattern and rock art were characterized, the ceramic and faunal remains from the excavations were analyzed, and radiocarbon dates were acquired. Intra-site spatial analyses were also carried out to examinate the relationship and interactions between the two sectors. It is proposed that both the "public" and "private" spaces were occupied in an integrated way at approximately 800 AD. However, the rock shelter sector would have been reused and resignified until at least the beginning of the second millennium. [ABSTRACT FROM AUTHOR]

In order to tackle the circulation of goods, resources and ideas during the Formative Period (700 BC-500 AD) in Quebrada del Toro, this work presents the results of the study of the production and circulation of potteries, and of the provenance of obsidian from the Muro Ancho site, along with the analysis of the rock art located in its surroundings. The results indicate the presence of technical modes and styles that respond to local ceramic traditions, as well as others from the yungas and Quebrada de Humahuaca. In addition, the use of the Caldera Vilama source and Zapaleri was determined by X-ray fluorescence. The location and the motifs and themes of rock art link it to the management of camelids. It is concluded that at the time there was a regular exchange that involved the circulation of various materials and knowledge, in spheres of different spatial scope. [ABSTRACT FROM AUTHOR]

An essential substrate for the development and evolution of any form of life, the conservation of geodiversity is backed by the recognition of its values (scientific, didactic, cultural/historical, touristic, economic, among others). In a given territory, landscapes that present special characteristics with particular and significant attributes that qualify it with patrimonial value deserve and need to be conserved. Located in private property, Tinguizeiro village, in the municipality of Juazeiro do Piauí, Lajedo do Tinguizeiro geosite in a short description, is a place where one can find engravings in sandy flagstone, isolated and exposed in the open air. This work aims to characterize the geodiversity of Lajedo do Tinguizeiro geosite, emphasizing its cultural and historical attributes from an archaeological point of view. The methodology was based on bibliographical survey, office work and field inspection for the identification and characterization of the geosite from the filling out of an inventory form proposed by Oliveira (2015). One recommends the installation of access roads and infrastructure by the public manager, with the creation of partnerships with schools, universities and the local community, in order to create visitation programs to the area, duly programmed, guided and aiming at its valorization, dissemination and conservation. One concludes that the geological and archaeological heritage of this site is rich, of great importance from the scientific/didactic and cultural point of view, but that remains practically unknown. It is necessary to adopt conservationist actions of this heritage, such as its inclusion in the registration of archaeological sites made by the National Historic and Artistic Heritage Institute (IPHAN). [ABSTRACT FROM AUTHOR]

In this article I propose a genealogy of the terminology employed by archaeology in Argentina to approach the so-called 'pictographs' and 'petroglyphs' from the late 19th century until the establishment of 'arte rupestre', around 1960. This analysis enables us to observe how this transformation was developed on terminological and conceptual axis of writing-art. [ABSTRACT FROM AUTHOR]

Copyright of Trace: Travaux et Recherches dans les Amériques du Centre is the property of Centro de Estudios Mexicanos & Centroamericanos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Mundo de Antes is the property of Revista Mundo de Antes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article we carry out a zooarchaeological analysis of human–camelid relationships during the Holocene in the Puna de Atacama through the study of rock paintings that depict scenes of hunting and protection during the period of time between 9000 and 2500 BP. These representations, which are part of a visual imaginary that links camelids and humans in the same event, allude to social interactions. We propose that these representations were part of the learning process of young hunters and that their study provides substantial evidence of the characteristics of communal hunting, the demography of hunter-gatherers, and the first herders of the Southern Andes. Through the analysis of this rock art, we have been able to identify hunting events carried out by local groups, as well as collective or communal hunts carried out by aggregate population groups within an annual cycle and extraordinary population aggregations—the first time that population has been calculated using hunting scenes in rock art. [ABSTRACT FROM AUTHOR]

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Se presentan los resultados del procesamiento y análisis de distintas técnicas de registro y relevamiento del arte rupestre del sitio El Cajoncito, ubicado en un sector de las tierras bajas de Tucumán, caracterizado por un ambiente de selva de Yungas. Los resultados obtenidos a partir de las diferentes técnicas utilizadas (calco directo, calco indirecto sobre fotografías y modelado 3D mediante fotogrametría) permiten concluir que las dos primeras brindan información parcial en cuanto al registro, realización e identificación de los motivos, en tanto que la técnica de modelado 3D mediante fotogrametría posibilita una mayor definición y registro de los distintos motivos representados en dicho sitio.

En este trabajo comparto una propuesta acerca de cómo se fue construyendo el conociendo acerca del arte rupestre en el Noroeste argentino. Su estudio recibió distintas denominaciones y ocupó diferentes lugares en la arqueología en función de los sucesivos contextos históricos y de la incidencia de las principales corrientes teórico-metodológicas. Este desarrollo fue delimitado tentativamente en cuatro grandes momentos teniendo en cuenta la manera de nominar al objeto de estudio, la finalidad de las investigaciones, el papel asignado al arte, las interpretaciones y los fundamentos de estas interpretaciones.

The aim of this article is to discuss the scope and limitations of the visual communication concept applied to rock art. To this end, the presence/absence of visual composition rules in the rock art of Viuda Quenzana (south-central Patagonia, Argentina) is assessed, and its variations through time are discussed. To do this, we analyze the structural characteristics of the composition rules underlying the production of 367 motifs, distributed among 39 panels from 11 sites, and their changes or continuities across the evaluation of five color strata. The results show that the rules related to the visual characteristics of the images (shape and technique) have greater weight on the potential encoding and decoding of visual information than the rules related to the display of images in bedrocks and their relationships with other images. [ABSTRACT FROM AUTHOR]

AMS radiocarbon dating has been widely applied in Palaeolithic art research and its value has been proven over the past three decades. Yet it still suffers from issues that need to be discussed and analysed to improve future sampling strategies and strengthen the interpretation of the results. This study presents new AMS dates for the parietal art in Cueva de Las Chimeneas in northern Spain, describes the quality of the samples, and discusses their reliability. The joint assessment of the dates and its comparison with previously obtained dates as well as stratified and dated portable art makes it possible to put forward a hypothesis about the time of creation of the cave's parietal art and the degree of synchrony or diachrony in its production. Consequently, it is proposed that the cave art at Las Chimeneas was created in the lower Magdalenian, between 19,000 and 17,500 cal bp. [ABSTRACT FROM AUTHOR]

El objetivo de este trabajo es publicar los grabados rupestres del Monte das Porreira 6, situado en Paredes de Coura, en el no de Portugal. El estudio se ha basado en un levantamiento fotogramétrico y el posterior contraste con la determinación de la distancia geométrica. Se trata de una roca profusamente decorada con una larga diacronía de grabados. La fase inicial incluye el arte atlántico clásico, integrado en el Calcolítico Reciente. La segunda fase incluye la representación de équidos, jinetes y puñales con mango de antenas. Basándose en los paralelos de dichas armas, es posible integrar estos motivos entre la Edad de Bronce Final y la Edad de Hierro Inicial. También es posible observar el paso de una gramática abstracta, durante la primera fase, a una gramática figurativa, en la que se puede identificar una narrativa relacionada con los sacrificios humanos y de animales, asociada al uso de puñales con mango de antenas. Estas representaciones evocan un simbolismo que recuerda a los textos de Estrabón y objetos de bronce que contienen escenas de sacrificio. La última fase del grabado indica nuevos cambios simbólicos, con la valorización de acciones aisladas perpetradas por un jinete, portando un arma arrojadiza, que pueden representar a una divinidad o a un héroe.

La pandemia de Covid-19 como hecho histórico marca un antes y un después. Durante el año 2020 y 2021, el distanciamiento social afectó radicalmente nuestro trabajo sobre el patrimonio, la arqueología y el turismo. Estas medidas limitaron mucho la comunicación entre nuestro equipo de investigación y la comunidad de Tapso (El Alto, Catamarca). Desde nuestra perspectiva del patrimonio, sin el trabajo colaborativo con las co- munidades es imposible abordar nuestros objetivos. Este trabajo apunta a comunicar los avances y formatos de la re-vinculación investigadores-comunidad. Durante estos últimos dos años, y luego de intentar elaborar una línea de trabajo a nivel virtual sin éxito, nos abocamos a la reconexión con presencia en el territorio. En consecuencia, a través de entrevistas, actividades en la escuela y el museo, prospección y relevamiento de sitios con la comunidad, hemos fortalecido el vínculo deteriorado por el distanciamiento social producto de la pandemia.

En este trabajo se procura contextualizar el arte rupestre del sitio Alero Estancia Guayascate en la región del norte cordobés, al tiempo que analizar su presencia en el marco de una encomienda colonial. En este sentido, el análisis de la evidencia arqueológica recuperada en el sitio puede revelar aspectos relacionados a la coyuntura indígena-colonial, en tanto involucra grupos de distintos orígenes étnicos: los residentes propios de Guayascate, las poblaciones introducidas a razón del otorgamiento de la Encomienda y Merced de Tierras y los españoles a cargo de las mismas. La interrupción tanto en el espacio como en el desarrollo de la vida diaria de grupos ajenos a Guayascate pudo implicar una pérdida del sentido original en la ejecución del arte, entendido como marcador de identidad compartida por grupos serranos del norte cordobés, dado que no continuaron las intervenciones en el sitio.

El conjunto de arte rupestre de Isla de Mona (nombre indígena Amona), en su mayor parte relacionado con la dilatada ocupación indígena, es uno de los más diversos y abundantes de las Antillas. Desde el año 2013, nuestro proyecto se focaliza en la historia indígena de la isla, reelaborando los trabajos anteriores realizados por el Dr. Ovidio Dávila Dávila durante los años 80 y 90 y el Dr. Irving Rouse en los años 30 del siglo xx. En este artículo consideramos algunos aspectos de las prácticas subterráneas que quedaron marginadas porque difieren de lo que normalmente consideramos como arte rupestre. En Mona la morfología de las cuevas y las características de las superficies subterráneas fomentan actividades ocultas que incluyen las interacciones con sustancias minerales y distintas formas de dejar imágenes y marcas, y de transitar el espacio. En particular analizamos la práctica común de trazar huellas digitales en los carbonatos suaves y pastosos de las paredes usando las manos, una técnica que observamos en las áreas oscuras de 30 de las aproximadamente 70 cuevas que hemos visitados de un total de 230 cuevas conocidas en la isla. Estos grabados hechos con los dedos, a la misma vez que dejaron huellas negativas y blanquitas, el arte rupestre, también removieron sustancias en actividades acordes a la minería, y a lo que nos referimos como el arte-minería. El arte es minería y la minería es arte. En vez de enfocarnos en las representaciones, nos centramos en la mayoría de las marcas que no son imágenes. Este trabajo es un aporte a los estudios de diferentes partes del mundo donde la relaciones entre el arte rupestre, las cuevas, el uso de minerales subterráneas, y los estados ampliados de conciencia forman ensamblajes dinámicos, conectando Mona con otros espacios subterráneos antillanos, además de con las áreas continentales del centro y norte de América.

Quartz lithic technology was relevant for the human populations that inhabited the El Alto-Ancasti mountain range (Catamarca) during the first millennium AD. This is characterized by the presence of very simple retouched tools with very low labor investment. However, in the Oyola 7 rockshelter, we have identified a set of projectile points, which show a certain variety of designs, but also a greater work investment due to the bifacial manufacture and certain standardization of sizes and shapes. The main goal of this paper is therefore to present the technological characteristics of this set of projectile points, emphasizing the context in which they come from, a cave with rock art and which is the only archaeological site in which projectile points were recorded in this area of eastern Catamarca. [ABSTRACT FROM AUTHOR]

In the 1940s, Salvador Canals Frau proposed that the pre-Hispanic societies that inhabited the area of the plains would have remained isolated from other neighboring populations, generating their own material culture, language, and identity. For some years now, our work team has carried out surveys and systematic studies in the area, with pertinent results to discuss that assumption. In this sense, concrete relations were established between Los Llanos and other regions, which weaken the notion of geographic and cultural isolation maintained by Canals Frau. To delve into this line, this time the visual links between the Llanista space and the NOA are explored, with emphasis on certain figures that, in the Andean world, would have held socially relevant meanings. These include representations of metallic objects that suggest some significant and sustained connections between the two areas, particularly during the millennium prior to the Spanish invasion. [ABSTRACT FROM AUTHOR]

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The perceptibility of a prehistoric monument (the property of being perceptible from its surrounding landscape) can be quite difficult to analyse by means of traditional static models. Such difficulty lies in the fact that perceptibility depends upon many other factors beyond simple topographical position, such as size, colour, contrast with the surroundings or even the specific circumstances of the audience, many such circumstances being of an immaterial nature. In this paper, we explore the potential use of Agent-Based Modelling for the analysis of archaeological perceptibility. [ABSTRACT FROM AUTHOR]

Rock art played vital roles within Caribbean Indigenous cultures. Designs on rock surfaces would have been a critical element in the thought, practice and performance of the area's spiritual life, as well as underpinning interconnected activities with the sociopolitical and economic realms. Rock art executed at stationary locations enjoys a particular advantage as a topic of investigation since its permanence at the same location within the physical environment, offers a tangible link between its production and subsequent functions within Antillean societies. Research concerning the nature of the images and their societal implications is longstanding, covering a wide range of issues as the following discussion outlines. After key data such as the types and locations of rock art are presented, certain investigative topics are examined involving dating, thematic or area studies, rock art and sociopolitical development, and rock art as art produced by artists. [ABSTRACT FROM AUTHOR]

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Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)