Making Scenes

Iain Davidson was appointed at the University of New England in 1974 and was awarded a Personal Chair in 1997. He was appointed Emeritus in 2008 and took up the Visiting Chair of Australian Studies at Harvard University for 2008-9. Iain has worked on Spanish Upper Palaeolithic (including Palaeolithic Art), archaeology and ethnography of Northwest Queensland, Australian rock art, archaeology and heritage, colonization of Sahul, language origins and cognitive evolution.April Nowell is a Paleolithic archaeologist and Professor of Anthropology at the University of Victoria. She specializes in the origins of art, language and other symbolic behavior, in the emergence of the modern mind and in the growth and development of Neandertal and early modern human children.

“Any reader interested in the question “what makes a scene in rock art?” will find a wonderful array of answers in this book, most of them built from sophisticated theoretical frameworks and applied to worldwide case-studies via the use of well-devised and relevant methods.
” Danae Fiore, Universidad de Buenos Aires

• List of IllustrationsPrefaceMeg ConkeyIntroduction: Behind the Scenes—Did Scenes in Rock Art Create New Ways of Seeing the World?Iain Davidson and April NowellChapter 1. Scenes and non-Scenes in Rock ArtIain DavidsonChapter 2. The Possible Significance of Depicted Scenes for Cognitive Development.Livio DobrezChapter 3. Event Depiction in Rock Art: Landscape-Embedded Plan-View Narratives, Decontextualized Profile "scenes," and their Hybrid InstancesPatricia DobrezChapter 4. Defining "scenes" in Rock Art Research: Visual Conventions and BeyondMadeleine Kelly and Bruno DavidChapter 5. Putting Southern African Rock Paintings in Context: The View from the Mirabib Rockshelter, Western NamibiaGrant S. McCall, Theodore P. Marks, Jordan Krummel, Andrew G. Schroll, and James G. EnloeChapter 6. Scenic Narratives of Humans and Animals in Namibian rock art – A Methodological Restart with Data MiningTilman Lenssen-Erz, Eymard Fäder, Oliver Vogels and Brigitte MathiakChapter 7. Between scene and association: Toward a Better Understanding of Scenes in the Rock Art of IranEbrahim KarimiChapter 8. Music and Dancing Scenes in the Rock Art of Central IndiaMeenakshi Dubey-Pathak and Jean ClottesChapter 9. Hunting and havoc: Narrative Scenes in the Black Desert Rock Art of Jebel Qurma, JordanNathalie Østerled Brusgaard and Keshia A. N. AkkermansChapter 10. Making a scene: An analysis of rock art panels from the Northwest Kimberley and Central Desert, Australia.June RossChapter 11. Scene but not heard: Seeing scenes in a northern Australian Aboriginal siteMadeleine Kelly, Bruno David and Josephine FloodChapter 12. A Comparison of "scenes" in Parietal and Non-Parietal Upper Paleolithic Imagery: Formal Differences and Ontological ImplicationsElisabeth CulleyChapter 13. Scene Makers: Finger Fluters in Rouffignac Cave (France)Leslie Van Gelder and April NowellChapter 14. Maps in Prehistoric ArtPilar Utrilla, Carlos Mazo, Rafael Domingo and Manuel BeaChapter 15. Scenes in the Paleolithic and Levantine Art of Eastern SpainValentín VillaverdeChapter 16. New Insights into the Analysis of Levantine Rock Art Scenes Informed by Observations on Western Arnhem Land Rock Art.Inés DomingoChapter 17. Rules of Ordering and Grouping in the pitoti, the Later Prehistoric Rock-Engravings of Valcamonica (BS), Italy: from Solitary Figures through Clusters, Graphic Groups, and Scenes to NarrativeCraig Alexander, Alberto Marretta, Thomas Huet, Christopher ChippindaleChapter 18. Finding Order out of Chaos: A Statistical Analysis of Nine Mile Canyon Rock ArtJerry D. Spangler and Iain DavidsonChapter 19. Interpreting Scenes in the Rock Art of the Canadian MaritimesBryn Tapper and Oscar Moro AbadíaChapter 20. The "Black Series" in the Hunting Scenes of Cueva de las Manos, Río Pinturas, Patagonia, Argentina.Carlos A. Aschero and Patricia SchneierEpilogue: Is There More to Scenes than Meets the eye?Iain Davidson and April Nowell