Paleolithic Art: A Cultural History

In this article we review the history of the terms and ideas that have been used to conceptualize Paleolithic art since the end of the 19th century. Between 1900 and 1970, prehistoric representations were typically divided into two main groups: parietal art (including rock and cave art) and portable (or mobiliary) art. This classification gave rise to asymmetrical attitudes about Paleolithic images. In particular, many portable and nonfigurative representations were overlooked while a small number of cave paintings were praised for their realism. Although the portable/parietal division has remained a popular divide among archaeologists, in the last 30 years increasing numbers of specialists have crossed the boundaries established by these categories. They have developed new frameworks within which more kinds of images are meaningfully approached and incorporated into the analysis of Paleolithic art and symbolism. The emergence of new approaches to Pleistocene imagery is the result of a number of interrelated processes, including the globalization of Paleolithic art studies, the impact of new discoveries, and the development of new approaches to art, images, and symbolism.     

Palaeoenvironmental implications of the giant crocodylian Mourasuchus (Alligatoridae,Caimaninae) in the Yecua Formation (late Miocene) of Bolivia

Tineo, D.E., Bona, P., Pérez, L.M., Vergani, G.D., González, G., Poiré, D.G., Gasparini, Z.N. & Legarreta, P., 1.10.2014. Palaeoenvironmental implications of the giant crocodylian Mourasuchus (Alligatoridae, Caimaninae) in the Yecua Formation (late Miocene) of Bolivia. Alcheringa 39, xxx–xxx. ISSN 0311-5518

Outcrops of the Yecua Formation (late Miocene) are exposed for approximately 230 m along the La Angostura section of the Piraí River (50 km southwest of Santa Cruz de la Sierra). These reveal massive (argillic palaeosols) and laminated (quiet-water lacustrine and marsh settings) mudstones interbedded with thin sandstones containing microfossils, molluscs and vertebrate remains. Significantly, the succession hosts a giant crocodylian, Mourasuchus (Alligatoridae, Caimaninae), which is represented by both skull and postcranial fragments found in association with freshwater turtles and fishes. Mourasuchus was distributed widely from the middle Miocene of Colombia to upper Miocene of Venezuela, Brazil and Argentina, suggesting connections between major fluvial systems and an active mechanism for dispersal of South American freshwater vertebrates during the Miocene.

David Eric Tineo [tineo.d.e@gmail.com] and Daniel Gustavo Poiré [dgpoire@yahoo.com.ar], CONICET—Centro de Investigaciones Geológicas, Universidad Nacional de La Plata. Calle 1 (644), B1900FWA, La Plata, Argentina; Paula Bona [paulabona26@gmail.com] and Zulma Gasparini [zgaspari@fcnym.unlp.edu.ar], CONICET—División Paleontología Vertebrados, Museo de La Plata. Paseo del Bosque s/n, B1900FWA, La Plata, Argentina; Leandro Martín Pérez [pilosaperez@gmail.com] CONICET—División Paleozoología Invertebrados, Museo de La Plata. Paseo del Bosque s/n, B1900FWA, La Plata, Argentina; Gustavo Dardo Vergani [gvergani@pluspetrol.net]—Pluspetrol S.A. Lima (339), C1073AAG, Ciudad Autónoma de Buenos Aires, Argentina; Gloria González Rigas [ggonzalez@pluspetrol.net]—Pluspetrol Bolivia Corporation SA, Av. Grigotá esq. Las Palmas, Santa Cruz de la Sierra, Bolivia; Pablo Legarreta [plegarreta@pluspetrol.net]—Pluspetrol S.A. Lima (339), C1073AAG, Ciudad Autónoma de Buenos Aires, Argentina.     

Beyond the Anthropocene: Defining the Age of Destruction

The question of the Anthropocene has gained increased notoriety among archaeologists recently. Precisely because of that, it is in need of thorough critique. The aim of this article is not to rule out the concept of Anthropocene, but to point out some of its problems: the relationship of Anthropocenic discourses with the emergence of an all-embracing biopolitical science; the inadequacies of the term, which blames all humans equally for a specific effect of modernity and capitalism; its failure to accept a diversity of origins (but also the problem of accepting overly deep origins), and the shortcomings of adopting a geological framework for archaeology. I thus suggest that the discipline has to define its own eras – also for the contemporary period – and that the Age of Destruction could be an apt archaeological counterpart for the Anthropocene. One of the benefits of outlining an archaeological era is that it brings modernity and capitalism back to the fore, and with them issues of power and conflict that have been largely lost in recent post-anthropocentric debates.     

Archaeological research on HMS Swift: a British Sloop-of-War lost off Patagonia, Southern Argentina, in 1770

HMS Swift was a British sloop-of-war which sank off the coast of Patagonia, Southern Argentina, in 1770. Since 1997 the Underwater Archaeology Programme of the National Institute of Anthropology has taken charge of the archaeological research conducted at the wreck-site. This article presents an overview of the continuing Swift project and the different research lines comprised in it. The latter cover aspects related to ship-construction, material culture and natural site-formation processes.
© 2006 The Authors     

The Upper Paleolithic Rock Art of Iberia

Nearly 200 rock art sites of Upper Paleolithic age are currently known on the Iberian Peninsula, in both caves and the open air. Over half are still concentrated in Cantabrian Spain and they span the period between c. 30–11 kya, but–tracking the course of human demography in this geographically circumscribed region–many of the images were probably painted or engraved during the Solutrean and, especially, Magdalenian. Dramatic discoveries and dating projects have significantly expanded the Iberian rock art record both geographically and temporally in recent years, in close coincidence with the growth of contemporaneous archeological evidence: cave art loci in Aragón and Levante attributable to the Solutrean and Magdalenian, many cave art sites and a few open-air ones in Andalucía and Extremadura that are mostly Solutrean (in line with evidence of a major Last Glacial Maximum human refugium in southern Spain), the spectacular Côa Valley open-air complex in northern Portugal (together with a growing number of other such loci and one cave) that was probably created during the Gravettian-Magdalenian periods, and a modest, but important increase in proven cave and open-air sites in the high, north-central interior of Spain that are probably Solutrean and/or Magdalenian. Despite regional variations in decorated surfaces, themes, techniques and styles, there are broad (and sometimes very specific) pan-Iberian similarities (as well as ones with the Upper Paleolithic art of southern France) that are indicative of widespread human contacts and shared systems of symbols and beliefs during the late Last Glacial. As this Ice Age world and the forms of social relationships and ideologies that helped human groups survive in it came to an end, so too did the decoration of caves, rockshelters and outcrops, although in some regions other styles of rock art would return under very different conditions of human existence.