By Joakim Goldhahn, Ingrid Fuglestvedt, Andrew Meirion Jones
This quantity derives from a workshop held on the college of Kalmar (now Linnaeus University), Sweden among the 20-24 of October 2008. the purpose of this collecting was once to supply a discussion board for rock artwork researchers from various elements of northern Europe to debate conventional in addition to present interpretative developments inside of rock paintings examine. altering images goals to come back to conventional interpretative notions concerning the which means and value of rock paintings to enquire if and why any details have been left in the back of to recuperate and reconsider. over the last a long time, there was an enormous worldwide curiosity between archaeologists and anthropologists in learning rock paintings. study in northern Europe, as somewhere else, has intensely explored a manifold of methodological and theoretical views. each one of these experiences notwithstanding, were released in languages that seldom succeed in past the local audio system of Norwegian, Danish, and Swedish, Russian or Finnish. hence a massive motivation for this quantity is to aim to apprise the various present events inside this box of study and current it for a global viewers. those papers discover the relevance of older principles, equivalent to notions approximately prehistoric faith, ritual functionality, sympathetic magic, animism and totemism, the mindscapes of landscapes etc., in addition to the current "state of the paintings" for you to increase a broader knowing of the phenomenon we name rock paintings. This aspiration will be noticeable as a standard thread linking the several chapters during this booklet. announcing that, a few, if no longer all, of the articles provided during this quantity problem the thought "rock paintings" itself, arguing that usually the rock, the "canvas" and particularly intangible yet both vital sensual encounters, reminiscent of sound, echoes, contact and temporal phenomenological adjustments and the conception of embellished rock paintings panels, can be seemed, at the least, as very important because the "art" itself. via reassessing conventional methods to Scandinavian rock artwork and creatively transforming those rules, while additionally addressing major new techniques corresponding to the company of rock and the performativity of rock paintings, this anthology of papers deals not just a photo of present debates, but in addition displays pivotal adjustments within the research of rock artwork
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Additional resources for Changing pictures : rock art traditions and visions in Northern Europe
1. ‘Development’ from ‘open’ to stylized styles? (cf. Fuglestvedt 2008: fig. 2). e. that rock art expresses totemism whereas animism expresses portable animal figures, does not work in a Scandinavian context. For reasons that will be clarified below, there are rather indications that rock art may express both animic and totemic world views. The dividing line should therefore be drawn between two main categories of rock art. I have already defined stylized grid designs as expressions of totemism.
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