Untitled - FundaÃ§Ã£o Museu do Homem Americano

More documents

Recommendations

Info

Global Rock Art Congress 29 Junho – 3 de Julho 2009 technical consideration has generated false estimations on its regular treatment, identification and physical intervention. This fact has taken to us to propose four technical categories for its primary artefactual estimation, with implications in the investigation, the record and the conservation of this much appreciated Peruvian national relic. El arte rupestre y sus dimensiones de significación Ana María Rocchietti, Argentina El arte rupestre, en tanto universo simbólico, cosmogónico e imaginal tiene varios campos de investigación simultáneos, muchas veces dispares e inconexos. Ellos van desde las bases neuro-evolutivas que lo han permitido en la especie humana (en tanto una de las cualidades del viviente humano: producir imágenes) hasta las pre-lingüísticas de los puramente sígnico e imaginario. (Artigo 21 IFRAO2009) Good to thing – representational modalities Livio Dobrez, Austrália The article introduces the idea of representational modalities, with particular reference to two of these (‘narrative’ and ‘performative’) which might claim to be universal and which correspond to behavioural modalities such as ‘storytelling’ and direct ‘address’. These (along with others) constitute a typology of representation based not on stylistic analysis, but phenomenological analysis of diverse perceptual acts. The methodology is both philosophical and art historical and world rock art is discussed in the general context of art. I analyse what we mean when we refer to a representation as a ‘scene’ and how we respond to a critical category of non-narrative iconography. In the process concepts of ‘realism’ and ‘central perspective’ are also investigated. Much of the article seeks to answer possible objections to a typology based on a phenomenological account of perception. Do we all see formal markers in the same way? If so, do we experience common interpretative or reading mechanisms to such markers? Above all, do we see representations as their makers saw them? The paper concludes with references to historiographical debate about our capacity to know the past. 39 (Artigo 22 IFRAO2009) Arte Rupestre como Signo: uma abordagem semiótica do fenômeno infocomunicacional Lizete Dias de Oliveira, Brasil Apresenta uma parte dos resultados da pesquisa “Imagens e Memória Social: um estudo sobre a arte rupestre, fotografia analógica e imagem digital à luz da Teoria Geral do Signos”, cujo objetivo foi analisar os três tipos de imagens a partir de uma única grade teórico-metodológica: a Semiótica. Apresenta o Método não-cartesiano de Charles Peirce. Define a Arte Rupestre como registro de um fenômeno infocomunicacional do passado e define Informação como Signo, assumindo as implicações teóricas desta abordagem. Analisa a natureza do Signo, a relação do Signo com seu Objeto e a relação do Signo com seu Interpretante, englobando os três termos envolvidos na semiose: Signo, Objeto e Interpretante. Tal abordagem evidencia as condições de formação do Interpretante, considerando que o próprio pesquisador está também envolvido no processo de semiose. (Artigo 23 IFRAO2009) Parque Nacional Serra da Capivara Piauí, Brasil
7 - Permanência da forma pintada? Permanency of the Painted Form? Persistence de la forme peinte? Permanencia de la forma pintada? Coordenado por / Coordinated by: George Nash & Hipólito Collado Giraldo PAPERS Permanency, Painting And Protocol: What The Painted Form Meant To Spanish Levantine Artists George Nash, Reino Unido 40 Within south-western corner of Continental Europe is a unique painted rock-art resource, usually referred to as the Paintings of the Spanish Levant. This vibrant repertoire includes mainly hunting scenes involving bulls, reed deer and wild boar. Other narratives involve honey collecting, dancing/chanting, execution, single combat and warring scenes. In many respects this rock-art assemblage truly respects the many ritual and special aspects of prehistoric life. The dating of these images is still controversial with many scholars [recently] claiming that these clear hunter/gatherer figures are in fact Neolithic. In many cases there is clear evidence of intentional design prior to painting and in the form of charcoal outlines. There is also clear evidence of over-painting (or retouching); one site having at least seventeen re-touches over the original image and using a variety of colour pigments. It is probable that this activity involved many site visits and that maintenance and enhancement of the rock-art was an important activity. Furthermore, the permanency of each design suggests that the image remained an essential icon over many years. Interestingly there is very little evidence of defacement or obliteration over this long period of time and it is not until the coming of the Romans that the antisocial activities of graffiti superimposition begin. This paper will explore some of the issues and protocols associated with an art form that remained on the rock-shelter walls for at least 5,000 years and discuss the mindset of those artists who considered the permanency of their compositions. Permanence Or Spatial Exclusion Of The Painted Form? The Case Of Site Valle El Encanto, Semiarid Northern Chile Andrés Troncoso, Chile The presence of paintings at the site Valle El Encanto located in the Semiarid north of Chile is discussed. At this site, nine open-air panels with rock paintings are recognized and these are associated with huntergatherer societies from the Late Archaic period (ca. 2000 cal BC – 0). A further 60 engravings depicting pottery producer societies from different periods are also present (dating to c. AD 1540). Through a study concerned with the location of the rock-art panels as well as their spatial distribution, two basic issues are discussed: firstly, the logics that guided the location of the art and the use of the topography of the rock surface to allow their survival and secondly, how the permanence of the paintings was ignored and/or not interfered with by later groups, who did not paint or carve images at this site. Despite the permanence of the painted form and considering that it can be added to, altered or even obliterated, why were these images left alone. Moreover, was there significance in an ancestral history whereby rock-art becomes a sacred device not to be interfered with? Permanency of the Painted Form? Canadian Shield rock art: permanency of sacred meaning Dagmara Zawadzka, Canadá Sem resumo FUMDHAMentos IX
Page 2 and 3: Edição Edition GLOBAL Rock ART Co
Page 4 and 5: Indice Index Sobre o Congresso / Ab
Page 6 and 7: Global Rock Art Congress 29 Junho -
Page 16 and 17: 13 Global Rock Art Congress 29 Junh
Page 92 and 93:
Global Rock Art Congress 29 Junho -
Page 94 and 95:
Page 96 and 97:
Page 98 and 99:
Page 100 and 101:
97 Global Rock Art Congress 29 Junh
Page 102 and 103:
Page 104 and 105:
Page 106 and 107:
Page 108 and 109:
Page 110 and 111:
Page 112 and 113:
Page 114 and 115:
Page 116 and 117:
Page 118 and 119:
Page 120 and 121:
Page 122 and 123:
Page 124 and 125:
Page 126 and 127:
show all

Untitled - FundaÃ§Ã£o Museu do Homem Americano

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?