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From the high plains of Canada to caves in the southeastern United States, images etched into and painted on stone by ancient Native Americans have aroused in observers the desire to understand their origins and meanings. Rock paintings and engravings can be found in nearly every state and province, and each region has its own distinctive story of discovery and evolving investigation of the rock art record. Rock art in the twenty-first century enjoys a large and growing popularity fueled by scholarly research and public interest alike. This book explores the history of rock art research in North America and is the only volume in the past twenty-five years to provide coverage of the subject on a continental scale. Written by contributors active in rock art research, it examines sites that provide a cross-section of regions and topics and complements existing books on rock art by offering new information, insights, and approaches to research. The first part of the volume explores different regional approaches to the study of rock art, including a set of varied responses to a single site as well as an overview of broader regional research investigations. It tells how Writing-on-Stone in southern Alberta, Canada, reflects changing thought about rock art from the 1870s to today; it describes the role of avocational archaeologists in the Mississippi Valley, where rock art styles differ on each side of the river; it explores discoveries in southwestern mountains and southeastern caves; and it integrates the investigation of cupules along Georgia’s Yellow River into a full study of a site and its context. The book also compares the differences between rock art research in the United States and France: from the outset, rock art was of only marginal interest to most U.S. archaeologists, while French prehistorians considered cave art an integral part of archaeological research. The book’s second part is concerned with working with the images today and includes coverage of gender interests, government sponsorship, the role of amateurs in research, and chronometric studies. Much has changed in our understanding of rock art since Cotton Mather first wrote in 1714 of a strange inscription on a Massachusetts boulder, and the cutting-edge contributions in this volume tell us much about both the ancient place of these enduring images and their modern meanings. Discovering North American Rock Art distills today’s most authoritative knowledge of the field and is an essential volume for both specialists and hobbyists.
This book addresses the presentation of scientific approaches to the materiality of rock art, ranging from recording and sampling methods to data analyses. The issue of the materiality of visual productions of the distant past is addressed through various scientific approaches, including fieldwork, laboratory techniques and data analysis protocols.
A comprehensive examination of the Native American rock art found in the South Mountains near Phoenix, with many photographs, illustations, and interpretations of the petroglyphs based on Native American ethnographic accounts.
Advances in Archaeological Method and Theory, Volume 8 is a collection of papers that discusses postprocessual archaeology, bone technology, and tree-ring dating in Eastern North America. One paper discriminates between the process and norm, and eliminates the dichotomy by locating human agency and the active. It focuses on monitoring individuals as being in the center of social theory. Another paper discuses the physical model and the textual model that describe the basic components of an archaeological record. For example, the first model implies that archaeological inferences move from material components of the record to material phenomena in the past. The second model assumes that archaeological inference should move from material phenomena to mental phenomena, from material symbols to the ideas and beliefs they encode. Another paper explains the use of analogy as a useful tool in archaeological considerations. One paper investigates bones as a material for study, including the analysis of carnivore-induced fractures or hominid-induced modifications from using bones as tools. The collection is suitable for sociologists, anthropologist, professional or amateur archaeologists, and museum curators studying archaeological artifacts.
Archaeological remains and historic structures and landscapes are important tangible reminders of the United States' rich and diverse cultural heritage. In recent years the stresses on these unique, nonrenewable cultural resources have increased dramatically. This report presents the primary findings of an assessment requested by the House of Representatives Committee on Interior and Insular Affairs. Focus is on the applications of preservation technologies rather than preservation disciplines. The study examines the current use of preservation technologies and identifies research and development needs. It also explores how improvements in Federal policy and implementation can make more effective use of technologies appropriate for managing this country's prehistoric and historic cultural resources. Appendices are: (1) "Cultural Resources Management Laws and Regulations"; (2) "Documentation and Conservation of Rock Art"; (3) "Registration and Private Ownership of Archaeological Objects"; (4) "National Register Criteria from the Introduction to: 'How to Apply the National Register Criteria for Evaluation'"; (5) "National Register of Historic Places Inventory--Nomination Form"; (6) "U.S. National Park Service Cultural Programs"; (7) "Advisory Council on Historic Preservation"; (8) "National Trust for Historic Preservation"; and (9) "National Building Museum." (BZ)
A CHOICE OUTSTANDING ACADEMIC TITLE The earliest rock art - in the Americas as elsewhere - is geometric or abstract. Until Early Rock Art in the American West, however, no book-length study has been devoted to the deep antiquity and amazing range of geometrics and the fascinating questions that arise from their ubiquity and variety. Why did they precede representational marks? What is known about their origins and functions? Why and how did humans begin to make marks, and what does this practice tell us about the early human mind? With some two hundred striking color images and discussions of chronology, dating, sites, and styles, this pioneering investigation of abstract geometrics on stone (as well as bone, ivory, and shell) explores its wide-ranging subject from the perspectives of ethology, evolutionary biology, cognitive archaeology, and the psychology of artmaking. The authors’ unique approach instills a greater respect for a largely unknown and underappreciated form of paleoart, suggesting that before humans became Homo symbolicus or even Homo religiosus, they were mark-makers - Homo aestheticus.