Oscar Moro Abadía works as associate professor at Memorial University of Newfoundland (Canada). He specialises in the study of the history and the epistemology of Pleistocene art.Martin Porr is associate professor of archaeology and a member of the Centre for Rock Art Research + Management at the University of Western Australia.

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• PART I Philosophical and Historical Perspectives 1 Rock Art and the Aesthetics of Hyperobjects 2 Rock Art and the Ontology of Images: The Ecology of Images in Hunter-Gatherer and Agrarian Rock Art 3 Rock Art, Shamanism, and the Ontological Turn 4 Ontology and Human Evolution: Neanderthal "Art" and the Method of Controlled Equivocation PART II Rock Art and Indigenous Knowledges 5 A Lesson in Time: Yanyuwa Ontologies and Meaning in the Southwest Gulf of Carpentaria, Northern Australia 6 Paradigm Shifts and Ontological Turns at Cloggs Cave, GunaiKurnai Country, Australia 7 Lines of Becoming: Rock Art, Ontology, and Indigenous Knowledge Practices 8 Art, Representation, and the Ontology of Images: Some Considerations from the Wanjinawunggurr Tradition, Kimberley, Northwest Australia 9 Shifting Ontologies and the Use of Ethnographic Data in Prehistoric Rock Art Research PART III Humans, Animals, and More-than-Human Beings 10 "When Elephants Were People": Elephant/Human Images of the Olifants River, Western Cape, South Africa 11 Images-in-the-Making: Process and Vivification in Pecos River-Style Rock Art 12 Rock Art and Relational Ontologies in Canada 13 An Ontological Approach to Saharan Rock Art 14 The Faceless Men: Partial Bodies and Body Parts in Scandinavian Bronze Age Rock Art 15 Hunters and Shamans, Sex and Death: Relational Ontologies and the Materiality of the Lascaux "Shaft-Scene" PART IV Syncretism, Contact, and Contemporary Rock Art 16 Communities of Discourse: Contemporary Graffiti at an Abandoned Cold War Radar Station in Newfoundland 17 More Than One World? Rock Art that Is Catholic and Indigenous in Colonial New Mexico 18 Kwipek, Mi’kma’ki: Pemiaq Aqq Pilua’sik Ta’n Tel Amalilitu’n Kuntewiktuk/Continuity and Change in Mi’kmaw Petroglyphs at Bedford, Nova Scotia, Canada 19 Indigenous Ontologies and the Contact Rock Art of Far West Texas 20 When the Virtual Becomes Actual: Indigenous Ontologies within Immersive Reality Environments

Oscar Moro Abadía works as associate professor at Memorial University of Newfoundland (Canada). He specialises in the study of the history and the epistemology of Pleistocene art.Martin Porr is associate professor of archaeology and a member of the Centre for Rock Art Research + Management at the University of Western Australia.

Select Guide Rating

• PART I Philosophical and Historical Perspectives 1 Rock Art and the Aesthetics of Hyperobjects 2 Rock Art and the Ontology of Images: The Ecology of Images in Hunter-Gatherer and Agrarian Rock Art 3 Rock Art, Shamanism, and the Ontological Turn 4 Ontology and Human Evolution: Neanderthal "Art" and the Method of Controlled Equivocation PART II Rock Art and Indigenous Knowledges 5 A Lesson in Time: Yanyuwa Ontologies and Meaning in the Southwest Gulf of Carpentaria, Northern Australia 6 Paradigm Shifts and Ontological Turns at Cloggs Cave, GunaiKurnai Country, Australia 7 Lines of Becoming: Rock Art, Ontology, and Indigenous Knowledge Practices 8 Art, Representation, and the Ontology of Images: Some Considerations from the Wanjinawunggurr Tradition, Kimberley, Northwest Australia 9 Shifting Ontologies and the Use of Ethnographic Data in Prehistoric Rock Art Research PART III Humans, Animals, and More-than-Human Beings 10 "When Elephants Were People": Elephant/Human Images of the Olifants River, Western Cape, South Africa 11 Images-in-the-Making: Process and Vivification in Pecos River-Style Rock Art 12 Rock Art and Relational Ontologies in Canada 13 An Ontological Approach to Saharan Rock Art 14 The Faceless Men: Partial Bodies and Body Parts in Scandinavian Bronze Age Rock Art 15 Hunters and Shamans, Sex and Death: Relational Ontologies and the Materiality of the Lascaux "Shaft-Scene" PART IV Syncretism, Contact, and Contemporary Rock Art 16 Communities of Discourse: Contemporary Graffiti at an Abandoned Cold War Radar Station in Newfoundland 17 More Than One World? Rock Art that Is Catholic and Indigenous in Colonial New Mexico 18 Kwipek, Mi’kma’ki: Pemiaq Aqq Pilua’sik Ta’n Tel Amalilitu’n Kuntewiktuk/Continuity and Change in Mi’kmaw Petroglyphs at Bedford, Nova Scotia, Canada 19 Indigenous Ontologies and the Contact Rock Art of Far West Texas 20 When the Virtual Becomes Actual: Indigenous Ontologies within Immersive Reality Environments

Oscar Moro Abadía works as associate professor at Memorial University of Newfoundland (Canada). He specialises in the study of the history and the epistemology of Pleistocene art.Martin Porr is associate professor of archaeology and a member of the Centre for Rock Art Research + Management at the University of Western Australia.

Select Guide Rating

• PART I Philosophical and Historical Perspectives 1 Rock Art and the Aesthetics of Hyperobjects 2 Rock Art and the Ontology of Images: The Ecology of Images in Hunter-Gatherer and Agrarian Rock Art 3 Rock Art, Shamanism, and the Ontological Turn 4 Ontology and Human Evolution: Neanderthal "Art" and the Method of Controlled Equivocation PART II Rock Art and Indigenous Knowledges 5 A Lesson in Time: Yanyuwa Ontologies and Meaning in the Southwest Gulf of Carpentaria, Northern Australia 6 Paradigm Shifts and Ontological Turns at Cloggs Cave, GunaiKurnai Country, Australia 7 Lines of Becoming: Rock Art, Ontology, and Indigenous Knowledge Practices 8 Art, Representation, and the Ontology of Images: Some Considerations from the Wanjinawunggurr Tradition, Kimberley, Northwest Australia 9 Shifting Ontologies and the Use of Ethnographic Data in Prehistoric Rock Art Research PART III Humans, Animals, and More-than-Human Beings 10 "When Elephants Were People": Elephant/Human Images of the Olifants River, Western Cape, South Africa 11 Images-in-the-Making: Process and Vivification in Pecos River-Style Rock Art 12 Rock Art and Relational Ontologies in Canada 13 An Ontological Approach to Saharan Rock Art 14 The Faceless Men: Partial Bodies and Body Parts in Scandinavian Bronze Age Rock Art 15 Hunters and Shamans, Sex and Death: Relational Ontologies and the Materiality of the Lascaux "Shaft-Scene" PART IV Syncretism, Contact, and Contemporary Rock Art 16 Communities of Discourse: Contemporary Graffiti at an Abandoned Cold War Radar Station in Newfoundland 17 More Than One World? Rock Art that Is Catholic and Indigenous in Colonial New Mexico 18 Kwipek, Mi’kma’ki: Pemiaq Aqq Pilua’sik Ta’n Tel Amalilitu’n Kuntewiktuk/Continuity and Change in Mi’kmaw Petroglyphs at Bedford, Nova Scotia, Canada 19 Indigenous Ontologies and the Contact Rock Art of Far West Texas 20 When the Virtual Becomes Actual: Indigenous Ontologies within Immersive Reality Environments