REDEFINING NEANDERTHALS AND ART: AN ALTERNATIVE INTERPRETATION OF THE MULTIPLE SPECIES MODEL FOR THE ORIGIN OF BEHAVIOURAL MODERNITY

Since the late 1990s, a number of specialists have proposed a ‘multiple species model’ to explain the origins of behavioural modernity. This model establishes that most of the traits defining modern behaviour, including ornaments and art, are not exclusive to modern humans, but arose among anatomically ‘non‐modern’ populations, like the late Neanderthals of Europe. This paper proposes that the emergence of this multiple species model is related to conceptual changes in the definitions of ‘Neanderthals’ and ‘art’. In the first place, Neanderthals, once characterized as apish creatures lacking intelligence, are now considered by many as complex cognitive people capable of modern behaviour, including the ability to create symbolic and artistic representations. In the second place, personal ornaments, once trivialized as ‘trinkets’, are recognized today as artistic representations and as symbolically valued as other prehistoric artworks. These redefinitions of Neanderthals and personal ornaments reflect not only the multiple species model but also some of the recent debates concerning the origins of symbolic behaviour.     

TOMBS FOR THE DEAD,MONUMENTS TO ETERNITY: THE DELIBERATE DESTRUCTION OF MEGALITHIC GRAVES BY FIRE IN THE INTERIOR HIGHLANDS OF IBERIA (SORIA PROVINCE,SPAIN)

An interpretation of the features surrounding the complex and deliberate closure ritual in several collective Middle Neolithic tombs of the Ambrona Valley (Soria) is offered, where fire and quicklime played a major role in the rituals. The problems involved in the excavation and the understanding of this complex burial evidence are examined. The roles they might have played in the context of the important social and economic transformations of the local Neolithic groups around the end of the fourth millennium cal BC are also analysed. It is argued that the burial rituals tried to reinforce group solidarity at a time when the community was beginning to fragment, as the economic systems began to yield a surplus production whose management would have altered political structures.     

Coupling Hydrotoponymy and GIS Cartography: A Case Study of Hydrohistorical Issues in Urban Groundwater Systems,Porto, NW Portugal

The aim of this multidisciplinary study is to retrospectively examine hydrohistorical issues, namely hydrogeographic, hydrotoponymical and hydrogeological features, in order to assess the evolution of the Porto urban groundwater system (NW Portugal). To achieve these goals, the comparison of two main field inventories in a large urban region was performed by (i) historical mapping of sources and groundwater data from scientific reports spanning the late 17th century to the early 20th; and (ii) hydrogeologic and hydrotoponymical field inventory performed under current conditions. These field inventories permitted the location of springs, dug wells, fountains, public washing places and underground water galleries, which collected groundwater to supply the population of Porto until the early 20th century. This study also allowed the development of a hydrotoponymical classification for urban areas and a field hydrotoponymical inventory data sheet. This research integrated several techniques based on historical hydrogeography, hydrogeology and urban geosciences. The results of the field inventories were combined into both a database and a Geographical Information System (GIS) platform. This unified methodology allowed a cross‐check and analysis of several levels of information, namely hydrotoponymy, hydroclimatology, hydrogeology, structural geology and geomorphology. This perspective led to an assessment of the evolution of the quality of water resources in large urban areas over time. In addition, the role of hydrotoponymical features is presented in order to support the hydrogeological conceptual model for large urbanised areas.     

SENSOR DEVELOPMENT USING BERKELEY MOTE PLATFORM

Industrialised nations have dedicated significant investments toward the development of civil infrastructure. To preserve this investment, attention must be given to proper maintenance. Structural Health Monitoring (SHM) has emerged as a tool to support this task. Networks of smart sensors, built upon wireless communication, have the potential to significantly improve SHM. Numerous platforms for smart sensors have been developed, most of which utilise proprietary hardware/software. The Berkeley Mote, utilised in this study, was the first open hardware/software platform to be developed. However, the Berkeley Mote was designed for generic applications and therefore the available sensors are not optimised for use in civil infrastructure applications. Acceleration and strain are among the most important physical quantities to judge the health of a structure. Although commercially available sensor boards have accelerometers, their applicability towards civil infrastructure is limited. This paper presents the development of new acceleration and strain sensor boards based on the Berkely-Mote platform and provides experimental verification of their performance within civil infrastructure applications.     

THINKING ABOUT 'STYLE' IN THE 'POST-STYLISTIC ERA': RECONSTRUCTING THE STYLISTIC CONTEXT OF CHAUVET

Summary.   Over the past decade, new radiocarbon dating from several art caves has conflicted with the traditional stylistic sequence of Palaeolithic art. Using Chauvet as a paradigm, some archaeologists have suggested that stylistic approaches to Palaeolithic art should be rejected in favour of more sophisticated methods, such as AMS radiocarbon dating. Contrary to this proposal, we suggest that the high antiquity of the Chauvet paintings (dated to c .32,000 years BP) does not necessarily imply the end of all stylistic approaches to Palaeolithic art. Taking the recent discoveries (2003) at the site of Hohle Fels and the attribution of the Palaeolithic engravings of the cave of l'Aldène to the Aurignacian (2005) into account, we suggest that the Chauvet paintings can be placed within an Aurignacian stylistic context. Throughout this analysis, we propose some critical thoughts on the concept of 'style' and discuss some ways in which stylistic approaches can be used to improve our knowledge of Palaeolithic art.