Overview

Over the last few years, the ways in which we perceive and document rock art have shifted irreversibly. Prehistoric rock art played little part in the development of British and Irish archaeology and was not recognised until the 19th century, when its equivalents in Scandinavia and the Iberian Peninsula were already well known. Previously considered a fringe activity and the work of amateur archaeologists, over the last 30 years the situation has improved considerably, and the appearance of books such as this signify the change. This volume makes a powerful case for an archaeology that integrates rock art into a wider vision of the past. It brings together the experiences and informed opinions of the key organisations and stakeholders responsible for the conservation, management and accessibility of British rock art. An on-going and exciting period of change is documented here and the main issues that underpin the survival of our prehistoric carved heritage are addressed. Grouped into three sections, the chapters cover the recording, management and presentation of British rock art. The contributions illustrate the wide range of perceptions and approaches to the study, and the diversity of individuals and institutions who have become drawn into this fascinating subject, with independent researchers, heritage managers, artists and academics each bringing a unique perspective. This book aims to both inform new directions in rock art management strategies and provoke further initiatives through which these strategies can be implemented.

Full Product Details

Author:   Tertia Barnett ,  K. Sharpe
Publisher:   Oxbow Books
Imprint:   Oxbow Books
Dimensions:   Width: 21.50cm , Height: 1.80cm , Length: 27.90cm
Weight:   0.953kg
ISBN:  

9781842173640

ISBN 10:   1842173642
Pages:   240
Publication Date:   04 May 2010
Audience:   Professional and scholarly ,  Professional and scholarly ,  Professional & Vocational ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Foreword (Richard Bradley and Stan Beckensall) Introduction (Tertia Barnett and Kate Sharpe) Part I: Capturing the Carvings: Techniques and Perspectives Three dimensional rock art recording: a `lower-cost' photogrammetric approach (Paul Bryan) Encryption and display: Recording new images on the Calderstones in Liverpool (George Nash and Adam Stamford) Putting people in the picture: Community involvement in rock art recording (Tertia Barnett) Moving images: interpreting the Copt Howe petroglyphs (Kate Sharpe and Aaron Watson) The Rock Art Recording Project in Northumberland and Durham: some observations on the landscape context and `taphonomy' of rock art, and recommendations for future projects (Alistair Oswald and Stewart Ainsworth) The role of the amateur in the study of UK prehistoric cup-and-ring rock art (Keith Boughey) Part 2: Managing the Motifs: Strategies for Research and Conservation Shaping up rock art in Scotland: past progress, future directions (Sally Foster) Fylingdales fire site: archaeological revelations (Graham Lee) Prehistoric carved rocks on the MOD Defence Training Estate: managing protection (Phil Abramson) Between a rock and a hard place? The role of rock art in prehistoric research (Jonathan Last) Prehistoric rock art: a petrographic and geological assessment of the stone in order to identify the possible factors affecting the durability of the exposed carvings (David and Philip Jefferson) Part 3: Presenting the Panels: Access, Education and Inspiration Visiting Northumberland rock art virtually: the Beckensall archive analysed (Aron Mazel and Horacio Ayestaran) Rock art in Cumbria: inspiring future generations. Education projects at Penrith Museum (Judith Clarke and Karen MacDougall) Cups and rings in cyberspace. Pitfalls and acceleration in Britain's virtual rock art museum (Gus van Veen and Jan Brouwer) Rock art in a new light. Interview with photographer Brian Kerr (Brian Kerr and Kate Sharpe)

Reviews

The strength of Carving a Future for British Rock Art is the diversity of its contributors, ranging from government heritage managers to independent researchers to academics.' -- Courtney Nimura Rescue News, No. 111 Autumn 2010 This attractive book (mostly the offspring of a 2006 conference) takes a thoroughly researched look at how the abstract carvings are (or might be) recorded, investigated, conserved, managed, visited and played with.' -- Mike Pitts British Archaeology Jan/Feb 2011 This fine volume, a typically handsome production by Oxbow, provides a survey of some major aspects of British rock art studies, and most importantly the management of this fragile resource and the ways in which it can be presented to the public. The book is illustrated with stunning colour photographs by Brian Kerr.' -- Paul Bahn Conservation and Management of Archaeological Sites, vol 12, No. 4 November 2010

The strength of Carving a Future for British Rock Art is the diversity of its contributors, ranging from government heritage managers to independent researchers to academics.' -- Courtney Nimura Rescue News, No. 111, Autumn 2010 This attractive book (mostly the offspring of a 2006 conference) takes a thoroughly researched look at how the abstract carvings are (or might be) recorded, investigated, conserved, managed, visited and played with.' -- Mike Pitts British Archaeology, Jan/Feb 2011 This fine volume, a typically handsome production by Oxbow, provides a survey of some major aspects of British rock art studies, and most importantly the management of this fragile resource and the ways in which it can be presented to the public. The book is illustrated with stunning colour photographs by Brian Kerr.' -- Paul Bahn Conservation and Management of Archaeological Sites, Vol. 12, No. 4, November 2010 it is an important addition to the rock art literature offering wide ranging guidance that will be relevant despite the changes to the non-statutory and statutory legislation in England over the past two years. -- George Nash Journal of Field Archaeology, 2013

The strength of Carving a Future for British Rock Art is the diversity of its contributors, ranging from government heritage managers to independent researchers to academics.' -- Courtney Nimura Rescue News, No. 111 Autumn 2010 This attractive book (mostly the offspring of a 2006 conference) takes a thoroughly researched look at how the abstract carvings are (or might be) recorded, investigated, conserved, managed, visited and played with.' -- Mike Pitts British Archaeology Jan/Feb 2011 This fine volume, a typically handsome production by Oxbow, provides a survey of some major aspects of British rock art studies, and most importantly the management of this fragile resource and the ways in which it can be presented to the public. The book is illustrated with stunning colour photographs by Brian Kerr.' -- Paul Bahn Conservation and Management of Archaeological Sites, vol 12, No. 4 November 2010 it is an important addition to the rock art literature offering wide ranging guidance that will be relevant despite the changes to the non-statutory and statutory legislation in England over the past two years. -- George Nash Journal of Field Archaeology 2013

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