GEORGE NASH is an Associate Professor at Geosciences Centre of Coimbra University (u. ID73-FCT), Polytechnic Institute of Tomar (IPT), Portugal. Dr Nash is a specialist in openair rock art and contemporary street art and has recently undertaken fieldwork and research in Andean Chile, the Negev Desert in southern Israel, central Portugal and Wales. | ARON MAZEL is a Reader in Heritage Studies at Newcastle University, United Kingdom. Dr Mazel has done extensive recording of rock art in the uKhahlamba-Drakensberg (South Africa) and Northumberland (United Kingdom).

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• 1. Seeing and Construing: The Making and ‘Meaning’ of a Southern African Rock Art Motif – by J.D. Lewis-Williams; 2. An Introduction to the Problems of Southern African Rock Art Regions: The Rock Art of Bongani Mountain Lodge and its Environs – by Jamie Hampson, William Challis, Geoffrey Blundell and Conraad De Rosner; 3. Fluvial erosion of inscriptions and petroglyphs at Siega Verde, Spain – by Robert G. Bednarik; 4. The Location of Prehistoric Rock Art in North-East England: An Experimental Approach to Field Survey – by Richard Bradley, Tess Durden and Nigel Spencer; 5. Beyond Art and Between the Caves: Thinking About Context in the Interpretive Process – by Margaret W. Conkey; 6. Transculturation, Rock Art and Cross-Cultural Contact – by Thomas Heyd; 7. The Cultural Context of Hunter-Gatherer Rock Art – by Robert Layton; 8. Who Thought Rock Art Was About Archaeology? The Role of Prehistory in Algeria’s Terror – by Jeremy Keenan; 9. The power of a place in understanding southern San rock engravings – by Janette Deacon; 10.Acoustic elements of (pre)historic rock art landscapes at the Fourth Nile Cataract – by Cornelia Kleinitz; 11. Unsettled times: shaded polychromes and the making of hunter-gatherer history in the southeastern mountains of southern Africa – by Aron D. Mazel; 12. Engraved in Place And Time: A Review of Variability in the Rock Art of the Northern Cape and Karoo – by David Morris; 13. Rock art and the material culture of Siberian and Central Asian shamanism – by Ekaterina Devlet; 14. Chronological Trends in Negev Rock Art: The Har Michia Petroglyphs as a Test Case – by Davida Eisenberg-Degen and Steven A. Rosen; 15. Making sense of obscure pictures from our own history: exotic images from Callan Park, Australia – by John Clegg; 16. Religious Spatial Behaviour: Why Space is Important to Religion – by Matthew Kelleher; 17. Bedrock notions and isochrestic choice: evidence for localised stylistic patterning in the engravings of the Sydney region – by Jo McDonald; 18. Rainbow Colour and Power among the Waanyi of Northwest Queensland – by Paul S. C. Taçon; 19. Caves as Landscapes – by Jean Clottes; 20. Landscape representations on boulders and menhirs in the Valcamonica-Valtellina area (Alps, Italy) – by Angelo Fossati; 21. Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia – by Joakim Goldhahn; 22. Rock Art and Archaeological Excavationin Campo Lameiro, Galicia: A new chronological proposal for the Atlantic rock art – by Manuel Santos Estévez and Yolanda Seoane Veiga; 23. The Shore Connection: Cognitive landscape and communication with rock carvings in northernmost Europe – by Knut Helskog; 24. Rock art as visual representation – or how to travel to Sweden without Christopher Tilley – by Liliana Janik; 25. A discovery of possible Upper Palaeolithic Parietal art in Cathole Cave, Gower Peninsula, South Wales – by George Nash, Peter van Calsteren, Louise Thomas and Michael J. Simms; 26. Images as Messages in Society: Prolegomena to the Study of Scandinavian Petroglyphs and Semiotics – by Jarl Nordbladh; 27. Approaches to Passage Tomb Art – by Muiris O’Sullivan; 28. Ritual Landscapes: Toward a Reinterpretation of Stone Age Rock Art in Trøndelag, Norway – by Kalle Sognnes; 29. Excavation of a rock art site at Hunterheugh Crag, Northumberland – by Clive Waddington with Benjamin Johnson and Aron Mazel; 30. From natural settings to spiritual places in the Algonkian sacred landscape: an archaeological, ethnohistorical, and ethnographic analysis of Canadian Shield rockart sites – by Daniel Arsenault; 31. In Small Cupules Forgotten: Rock Markings, Archaeology, and Ethnography in The Deep South – by Johannes H. N. Loubser; 32. Shamanism, Natural Modeling and the Rock Art Hunter-Gatherers – by David S. Whitley; 33. Tsagiglalal, She Who Watches: Rock Art as an Interpretable Phenomenon – by James D. Keyser; 34. Rocks in the landscape: managing the Inka agricultural cycle – by Frank Meddens; 35. On-Site and post-site analysis of pictographs within the San Pedro Viejo de Pichasca rock shelter, Limarí Valley, North-Central Chile – by Francisca Moya, Felipe Armstrong, Mara Basile, George Nash, Andrés Troncoso and Francisco Vergara

GEORGE NASH is an Associate Professor at Geosciences Centre of Coimbra University (u. ID73-FCT), Polytechnic Institute of Tomar (IPT), Portugal. Dr Nash is a specialist in openair rock art and contemporary street art and has recently undertaken fieldwork and research in Andean Chile, the Negev Desert in southern Israel, central Portugal and Wales. | ARON MAZEL is a Reader in Heritage Studies at Newcastle University, United Kingdom. Dr Mazel has done extensive recording of rock art in the uKhahlamba-Drakensberg (South Africa) and Northumberland (United Kingdom).

Select Guide Rating

• 1. Seeing and Construing: The Making and ‘Meaning’ of a Southern African Rock Art Motif – by J.D. Lewis-Williams; 2. An Introduction to the Problems of Southern African Rock Art Regions: The Rock Art of Bongani Mountain Lodge and its Environs – by Jamie Hampson, William Challis, Geoffrey Blundell and Conraad De Rosner; 3. Fluvial erosion of inscriptions and petroglyphs at Siega Verde, Spain – by Robert G. Bednarik; 4. The Location of Prehistoric Rock Art in North-East England: An Experimental Approach to Field Survey – by Richard Bradley, Tess Durden and Nigel Spencer; 5. Beyond Art and Between the Caves: Thinking About Context in the Interpretive Process – by Margaret W. Conkey; 6. Transculturation, Rock Art and Cross-Cultural Contact – by Thomas Heyd; 7. The Cultural Context of Hunter-Gatherer Rock Art – by Robert Layton; 8. Who Thought Rock Art Was About Archaeology? The Role of Prehistory in Algeria’s Terror – by Jeremy Keenan; 9. The power of a place in understanding southern San rock engravings – by Janette Deacon; 10.Acoustic elements of (pre)historic rock art landscapes at the Fourth Nile Cataract – by Cornelia Kleinitz; 11. Unsettled times: shaded polychromes and the making of hunter-gatherer history in the southeastern mountains of southern Africa – by Aron D. Mazel; 12. Engraved in Place And Time: A Review of Variability in the Rock Art of the Northern Cape and Karoo – by David Morris; 13. Rock art and the material culture of Siberian and Central Asian shamanism – by Ekaterina Devlet; 14. Chronological Trends in Negev Rock Art: The Har Michia Petroglyphs as a Test Case – by Davida Eisenberg-Degen and Steven A. Rosen; 15. Making sense of obscure pictures from our own history: exotic images from Callan Park, Australia – by John Clegg; 16. Religious Spatial Behaviour: Why Space is Important to Religion – by Matthew Kelleher; 17. Bedrock notions and isochrestic choice: evidence for localised stylistic patterning in the engravings of the Sydney region – by Jo McDonald; 18. Rainbow Colour and Power among the Waanyi of Northwest Queensland – by Paul S. C. Taçon; 19. Caves as Landscapes – by Jean Clottes; 20. Landscape representations on boulders and menhirs in the Valcamonica-Valtellina area (Alps, Italy) – by Angelo Fossati; 21. Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia – by Joakim Goldhahn; 22. Rock Art and Archaeological Excavationin Campo Lameiro, Galicia: A new chronological proposal for the Atlantic rock art – by Manuel Santos Estévez and Yolanda Seoane Veiga; 23. The Shore Connection: Cognitive landscape and communication with rock carvings in northernmost Europe – by Knut Helskog; 24. Rock art as visual representation – or how to travel to Sweden without Christopher Tilley – by Liliana Janik; 25. A discovery of possible Upper Palaeolithic Parietal art in Cathole Cave, Gower Peninsula, South Wales – by George Nash, Peter van Calsteren, Louise Thomas and Michael J. Simms; 26. Images as Messages in Society: Prolegomena to the Study of Scandinavian Petroglyphs and Semiotics – by Jarl Nordbladh; 27. Approaches to Passage Tomb Art – by Muiris O’Sullivan; 28. Ritual Landscapes: Toward a Reinterpretation of Stone Age Rock Art in Trøndelag, Norway – by Kalle Sognnes; 29. Excavation of a rock art site at Hunterheugh Crag, Northumberland – by Clive Waddington with Benjamin Johnson and Aron Mazel; 30. From natural settings to spiritual places in the Algonkian sacred landscape: an archaeological, ethnohistorical, and ethnographic analysis of Canadian Shield rockart sites – by Daniel Arsenault; 31. In Small Cupules Forgotten: Rock Markings, Archaeology, and Ethnography in The Deep South – by Johannes H. N. Loubser; 32. Shamanism, Natural Modeling and the Rock Art Hunter-Gatherers – by David S. Whitley; 33. Tsagiglalal, She Who Watches: Rock Art as an Interpretable Phenomenon – by James D. Keyser; 34. Rocks in the landscape: managing the Inka agricultural cycle – by Frank Meddens; 35. On-Site and post-site analysis of pictographs within the San Pedro Viejo de Pichasca rock shelter, Limarí Valley, North-Central Chile – by Francisca Moya, Felipe Armstrong, Mara Basile, George Nash, Andrés Troncoso and Francisco Vergara

GEORGE NASH is an Associate Professor at Geosciences Centre of Coimbra University (u. ID73-FCT), Polytechnic Institute of Tomar (IPT), Portugal. Dr Nash is a specialist in openair rock art and contemporary street art and has recently undertaken fieldwork and research in Andean Chile, the Negev Desert in southern Israel, central Portugal and Wales. | ARON MAZEL is a Reader in Heritage Studies at Newcastle University, United Kingdom. Dr Mazel has done extensive recording of rock art in the uKhahlamba-Drakensberg (South Africa) and Northumberland (United Kingdom).

Select Guide Rating

• 1. Seeing and Construing: The Making and ‘Meaning’ of a Southern African Rock Art Motif – by J.D. Lewis-Williams; 2. An Introduction to the Problems of Southern African Rock Art Regions: The Rock Art of Bongani Mountain Lodge and its Environs – by Jamie Hampson, William Challis, Geoffrey Blundell and Conraad De Rosner; 3. Fluvial erosion of inscriptions and petroglyphs at Siega Verde, Spain – by Robert G. Bednarik; 4. The Location of Prehistoric Rock Art in North-East England: An Experimental Approach to Field Survey – by Richard Bradley, Tess Durden and Nigel Spencer; 5. Beyond Art and Between the Caves: Thinking About Context in the Interpretive Process – by Margaret W. Conkey; 6. Transculturation, Rock Art and Cross-Cultural Contact – by Thomas Heyd; 7. The Cultural Context of Hunter-Gatherer Rock Art – by Robert Layton; 8. Who Thought Rock Art Was About Archaeology? The Role of Prehistory in Algeria’s Terror – by Jeremy Keenan; 9. The power of a place in understanding southern San rock engravings – by Janette Deacon; 10.Acoustic elements of (pre)historic rock art landscapes at the Fourth Nile Cataract – by Cornelia Kleinitz; 11. Unsettled times: shaded polychromes and the making of hunter-gatherer history in the southeastern mountains of southern Africa – by Aron D. Mazel; 12. Engraved in Place And Time: A Review of Variability in the Rock Art of the Northern Cape and Karoo – by David Morris; 13. Rock art and the material culture of Siberian and Central Asian shamanism – by Ekaterina Devlet; 14. Chronological Trends in Negev Rock Art: The Har Michia Petroglyphs as a Test Case – by Davida Eisenberg-Degen and Steven A. Rosen; 15. Making sense of obscure pictures from our own history: exotic images from Callan Park, Australia – by John Clegg; 16. Religious Spatial Behaviour: Why Space is Important to Religion – by Matthew Kelleher; 17. Bedrock notions and isochrestic choice: evidence for localised stylistic patterning in the engravings of the Sydney region – by Jo McDonald; 18. Rainbow Colour and Power among the Waanyi of Northwest Queensland – by Paul S. C. Taçon; 19. Caves as Landscapes – by Jean Clottes; 20. Landscape representations on boulders and menhirs in the Valcamonica-Valtellina area (Alps, Italy) – by Angelo Fossati; 21. Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia – by Joakim Goldhahn; 22. Rock Art and Archaeological Excavationin Campo Lameiro, Galicia: A new chronological proposal for the Atlantic rock art – by Manuel Santos Estévez and Yolanda Seoane Veiga; 23. The Shore Connection: Cognitive landscape and communication with rock carvings in northernmost Europe – by Knut Helskog; 24. Rock art as visual representation – or how to travel to Sweden without Christopher Tilley – by Liliana Janik; 25. A discovery of possible Upper Palaeolithic Parietal art in Cathole Cave, Gower Peninsula, South Wales – by George Nash, Peter van Calsteren, Louise Thomas and Michael J. Simms; 26. Images as Messages in Society: Prolegomena to the Study of Scandinavian Petroglyphs and Semiotics – by Jarl Nordbladh; 27. Approaches to Passage Tomb Art – by Muiris O’Sullivan; 28. Ritual Landscapes: Toward a Reinterpretation of Stone Age Rock Art in Trøndelag, Norway – by Kalle Sognnes; 29. Excavation of a rock art site at Hunterheugh Crag, Northumberland – by Clive Waddington with Benjamin Johnson and Aron Mazel; 30. From natural settings to spiritual places in the Algonkian sacred landscape: an archaeological, ethnohistorical, and ethnographic analysis of Canadian Shield rockart sites – by Daniel Arsenault; 31. In Small Cupules Forgotten: Rock Markings, Archaeology, and Ethnography in The Deep South – by Johannes H. N. Loubser; 32. Shamanism, Natural Modeling and the Rock Art Hunter-Gatherers – by David S. Whitley; 33. Tsagiglalal, She Who Watches: Rock Art as an Interpretable Phenomenon – by James D. Keyser; 34. Rocks in the landscape: managing the Inka agricultural cycle – by Frank Meddens; 35. On-Site and post-site analysis of pictographs within the San Pedro Viejo de Pichasca rock shelter, Limarí Valley, North-Central Chile – by Francisca Moya, Felipe Armstrong, Mara Basile, George Nash, Andrés Troncoso and Francisco Vergara