UISPP/ LISBOA/PORTUGAL/SEPT/2006

Session WS19 Thursday , 7 September 2006 / Jeudi, 7 Septembre 2006,
Room 12.04, Faculty of Law, Lisbon University Salle 12.04,

Faculté de Droit, Université de Lisbonne

Rock Art and Museum Art Rupestre et Musée

organized by / organisé par

Dario SEGLIE - Centro Studi e Museo d'Arte Preistorica (CeSMAP),
Pinerolo, Torino, Italy - CeSMAP@...

Guillermo MUÑOZ - Grupo de Investigación de Arte Rupestre Indigena
(GIPRI), Bogotá, D. C., Colombia – gipri@...

Giorgio DIMITRIADIS - Director of the Hellenic Rock Art Centre,
Rovato, Italy – giorgio.dimitriadis@...

SESSION'S ABSTRACT

The name rock art is traditionally attributed to all non-utilitarian
anthropic markings on rock surfaces; the term "art" is utilized latu
sensu, without aesthetic implications, according to the Latin
etymology that defines the human activity of producing artefacts,
hence the derivation of the words artisan, artificer, artist.

Rock art is today only the "residue" of ancient cultural complexes,
conserved over time, while songs, prayers, dances, gestures, votive
offerings etc. are unrecoverable, but it displays the spiritual
abundance of our oldest ancestors.

The keen interest in rock art derives from its relative rarity, as
sites that testify the cognitive dimension of man; the main problem
facing us now is conservation, protection and communication.

To identify the best procedures for a valid protection it is
necessary to plan monitoring with instruments recording the
variability in the environmental parameters and the impact on the
rock monuments, in view of the primary conservational necessity.

The symposium will critically consider the propriety and feasibility
of treating rock art of the past as a source of knowledge for the
contemporary interpreter, examine the possibility that such knowledge
may be distorted by subjective ethnocentric perceptions, and explore
the necessity of evolving museological models, which can present and
conserve rock art without reflecting current prejudices and
predilections.

The symposium will also focus attention on the existing and pristine
relation of the rock art landscapes with adjacent landscapes,
humanized by local communities. An attempt will be made to assess the
possibility of restoring the custodial interest, if any, of such
communities in the rock art landscapes; and, to recognize the
constructive, constitutive and creative role of rock art and the
associated folklore in the conservation and replenishment of such
landscapes.

The contributors may like to address themselves to the question of
inter institutional cooperation across the globe for a quest into
appropriate ways of documenting and presenting rock art within a
museum, for inciting aesthetic, technical, ecological, cultural and
touristic interest of visitors, and, for fulfilling convergent
objectives of conservation, education, research or appreciation.

Rock art museums, projects or institutions, in open air or indoor, as
cultural interpretation of reality, is a form of cultural heritage
conservation technique.



Museology and museography of rock art should be sciences devoted to
the survival of this spiritual legacy of humanity. (GSA)





SESSION PROGRAMME / PROGRAMME DE LA SESSION



09:00 Opening / Ouverture

09:00-09:15 Dario SEGLIE (Pinerolo, Italy)

WS19-01 New perspective in rock art museology: the Rocca of Cavour
and the prehistoric paintings ecomuseum in the Western Alps.

09:15-09:25 Raffaella POGGIANI KELLER (Milan, Italy)

WS19-02 Archaeological Rock Art Parks in Lombardy, Italy:
Organization,

Conservation and Recording Methods


09:25-09:35 Gabriella DODERO (Genoa, Italy) - Patrizia GARIBALDI
(Genoa, Italy) Irene MOLINARI (Genoa, Italy) - Paola SIGNORINI
(Genoa, Italy)

Antonella TRAVERSO (Genoa, Italy)

WS19-03 Visual impairments and archaeology: an experience with a
Talking Book 09.35-09:45 George DIMITRIADIS (Philippi, Greece)

WS19-04 Planning an Open Air rock art Museum: The case of Philippi,
Greece. 09:45-09:55 Aldo Renato Daniele ACCARDI (Palermo, Italy)

WS19-05 La "communication" de l'art prehistorique: de la pratique
didactique à la redecouverte de l'invisible. 10:00-10:10 Miguel Angel
ALBADÁN (GIPRI, Colombia)

WS19-06 How to visualize the process and the complexity of rock art
investigations? 10:10-10:20 Guillermo Muñoz C. (GIPRI, Colombia)

WS19-07 The cultural complexity and the conservation of the rock art.
10:20-10:30 Judith TRUJILLO TELLEZ (GIPRI, Colombia)

WS19-08 The rock art of the Bochica Route. Possible connections
between oral tradition and sense and function of rock art.

10:30-10:40 Luiz OOSTERBEEK (Tomar, Portugal) Sara CURA (Tomar,
Portugal) Anabela PEREIRA (Mação, Portugal)

WS19-09 Prehistoric Art Museum of Mação - scientific research and
social dynamization. 10.40-10:50 Barbara PROVINCIALI (Roma, Italy)

Anna Maria MARINELLI (Roma, Italy) Domenico POGGI

WS19-10 Stratifying of spiritual significances in the artock sites.
Can matter's conservation takes part in the survival of its own
meaning?

10:50-11:00 Discussion





ABSTRACTS / RÉSUMÉS





WS19-01 Dario SEGLIE (Pinerolo, Italy)

New perspective in rock art museology: the Rocca of Cavour and the
prehistoric paintings ecomuseum in the Western Alps.

ABSTRACT: The rock art of Cavour Rock (a geologic inselberg in the Po
plane) is characterized by petroglyphs and prehistoric paintings
(Neolithic, VBQ Culture), as the outermost Eastern area of
the "Mediterranean Province".

The keen interest in this rock art derives from its relative rarity
in the Western Alps, as sites that testify the cognitive dimension of
man, in connection with prehistoric human settlements; the main
problem facing us now is conservation, protection and communication.
The Cavour Rock is protected as integral reserve within the Mountain
Po River Park.

The Cavour Rock Art and the others prehistoric paintings in the
Western Alps constitute the Prehistoric Paintings Ecomuseum Project
that is the pioneer experiment in the Piemonte Region.





To identify the best procedures for a valid protection, the
Polytechnic of Torino, Dept. of Museography, works on the plan of
monitoring, with instruments recording the variability in the
environmental parameters and the impact on the rock monuments, in
view of the primary conservational necessity.

Rock art museums, in open air or indoor, as cultural interpretation
of reality, is also a form of cultural heritage conservation
technique.



WS19-02 Raffaella POGGIANI KELLER (Milan, Italy)

Archaeological Rock Art Parks in Lombardy, Italy: Organization,
Conservation and Recording Methods

ABSTRACT: The widespread occurrence of rock art in Lombardy, where
the most important European UNESCO site (entitled "Rock Drawings in
Valcamonica") is situated, has stimulated great interest in the
phenomenon, over the years, and led to the creation of a series of
Archaeological Parks. The first of these, the Capo di Ponte National
Rock Engraving Park, was also the first Archaeological Park in Italy:
here (especially recently) a fine balance between nature, rock art
and archaeological context has been achieved, combining visitor
appreciation and conservation requirements. Measures for the
protection and conservation of this important heritage have been
implemented by the authority responsible for tutelage – the Lombardy
Archaeological Superintendency – in collaboration with major national
research institutes. In recent years conservation methods have been
refined and modern recording procedures (using photogrammetry and
laser scanning) developed, together with a combined rock art
cataloguing and monitoring system ("IRWeb-CIMAR"), which is being
applied to an extensive trial area. The UNESCO Site Management Plan
was launched in 2005 and stipulates the uniform and coordinated use
of these methods throughout the area, on the part of all managing
bodies and research organizations, in a form compatible with other
European systems.

Keywords: IRWeb-CIMAR, Rock Drawings in Valcamonica, UNESCO Site
Management Plan.



WS19-03 Gabriella DODERO (Genoa, Italy)-Patrizia GARIBALDI (Genoa,
Italy)

Irene MOLINARI (Genoa, Italy)-Paola SIGNORINI (Genoa, Italy)

Antonella TRAVERSO (Genoa, Italy) Visual impairments and archaeology:
an experience with a Talking Book



ABSTRACT: We present the efforts being undertaken to make people with
visual impairments (both blind and people with low residual vision)
enjoy a visit to the Archaelogical Museum of Genova Pegli. The
experience is centered around the development of a Talking Book,
especially designed for people with low vision, yet available (and
enjoyable) for all visitors. This Talking Book describes the well-
known grave of the so-called "Principe" from the Arene Candide
Cavern, who lived approx. 24,000 years ago in Liguria. He was buried
with an exceptionally rich set of finds, which allows to have an
insight on the Gravetian culture in Northern Thyrrhenum regions. Such
a Talking Book was developed without requiring expensive hardware,
nor specialized computer expertise. The paper details the methodology
used in the development of the Talking Book, so that similar
experiences could be developed by other Museums to help visually
impaired people in enjoying visits to archaeological assets.

Keywords: museum accessibility, talking book, Visual impairment.



WS19-04 George DIMITRIADIS (Philippi, Greece)

Planning an Open Air rock art Museum: The case of Philippi, Greece.

ABSTRACT: Last years rock art specialists, museum managers and
archaeologist start working in a new approach on rock art open air
sites. The problems which are calling to solve are several and most
of them linked with the new culture and tourism industry. Specially
the eco-compatible approach is review as rock art heritage is
integral part of natural landscape. The present paper exam a new
culture convergence management based principally in the experience
collected during the constructive design actions planned and actuated
in the rock art eco-museum of Philippi, Greece.

Keywords: Culture convergence Management, Open Air rock art Museum,
Philippi, Hellenic Rock Art Center



WS19-05 Aldo Renato Daniele ACCARDI (Palermo, Italy)

La "communication" de l'art prehistorique: de la pratique didactique
à la redecouverte de l'invisible.



RÉSUMÉ: es sites préhistoriques peuvent devenir instruments pour la
reconnaissance de l'identité d'une communauté en rapport à son
territoire, en combien traces des relations entre eux et les hommes,
c'est-à-dire spectateurs du lien existant entre facteurs visibles et
invisibles dans leurs intrinsèques. Aujourd'hui, revisiter le passé,
son héritage, les différentes formes d'art produites signifient ne se
pas limiter plus à la seule protection des témoignages
préhistoriques, mais se consacrer plutôt à la création de stratégies
de communication qu'elles ont comme mission primaire l'interprétation
des témoignages mêmes. L'interprétation est une didactique pratique
et communicative qui va au-delà le simple offert de renseignements
matériels. En discutent des découvertes préhistoriques on il a
conscience que la plus grande valence testimoniale vient exprimée
principalement des formes primordiales d'art, surtout cette
pariétale; tel art constitue une des expressions qu'en grande mesure
documentent le contexte de l'homme préhistorique, de son système de
vie. De fréquent, à cause de l'impuissance de jouir librement des
endroits originaux, il est d'oblige la création de solutions dans les
quelles la technique vient mise au service de la préhistoire pour
rendre accessible au public l'art, le style de vie et le milieu
naturel des hommes primitifs, à travers la réalisation d'un pôle
museale qui, créé pour évoquer réalités lointaines dans le temps, il
se sert de stratégies museologique mixtes entre living archaeology et
archéologie expérimentale, au but de remplir l'absence de cette
comparaison immédiate, spatial et temporel, avec les réalités
originaires. Spécialement avec les laboratoires didactiques dédiés à
l'"art rupestre" il est possible de proposer au public une immersion
totale dans la préhistoire en "le contraignant" à penser et créer à
la manière des artistes préhistoriques en retrouvant les anciens
gestes, les techniques et les valeurs symboliques.



WS19-06 Miguel Angel ALBADÁN (GIPRI, Colombia)

How to visualize the process and the complexity of rock art
investigations?

ABSTRACT: The project arises as answer to an initiative of the Group
of Investigation of Indigenous Rock Art (GIPRI-Colombia), which
decides to elaborate a museum of rock art in digital media with the
purpose of offering a tool of international popularization to the
public specialized in this topic. This museum looks for to
concentrate on oneself system, diverse data relating to the history
of the investigation, to the archaeological discoveries, the
aesthetic and the etnohistoric studies. In this way, a great database
is built, these data could be fused and visualized in screen, then it
allows the user to make thematic connections, specialized searches,
relate space, and possibly, to determine conservation plans for each
zone with rock art.



The technological development has been concentrated on two big areas:
visualization of data and graphic synthesis. A programming atmosphere
Open Source called Processing was used [www.processing.org], with
which specialized software was developed which visualizes the
information stored in charts XML, in a graph 3D way with which one
can interacts in real time through Internet. The graphic plan
recovered part of the outlines and conventions elaborated in the
Methodological Model for Documentation and Registration of the Rock
Art (GIPRI-1970-2005), and new elements were created that simplify
the appearance in screen of each item, searching a purely geometric
atmosphere that makes more efficient its reading.



WS19-07 Guillermo MUÑOZ C. (GIPRI, Colombia)

The cultural complexity and the conservation of the rock art.

ABSTRACT: In the last years the processes of rock art study have come
making more and more demanding and refined toward a synthesis that
includes a complex group of points of view. In this sense, the team
of Gipri has developed some experiences in the registration works and
documentation of paintings and engravings but the group has also
dedicated its work to the reconstruction of the language, the
aesthetics of the thoughts and present representations in the
rupestrian motifs. The refinement of the registration systems is
parallelly accompanied by a discussion on the before Columbus
aesthetics, the national culture and the presence of oral traditions
that they very surely keep some relationship with the systems of
representation of the ethnics that produced these languages.

To unify this complexity of sources, to perceive the historical
processes, to articulate the forgetfulness, to determine their
historical interactions, they are roads that allow to establish some
bonds among these seemingly archaic events with the current rural
culture. All these elements (technicians and cultural) that configure
a conservation proposal and patrimonial cultural appropriation, they
were shown like a first synthesis of the diverse thing, in a
problematic unit of historical determinations.



WS19-08 Judith TRUJILLO TELLEZ. (GIPRI, Colombia)

The rock art of the Bochica Route. Possible connections between oral
tradition and sense and function of rock art.

ABSTRACT: Inside the indigenous oral traditions, the well-known in
Colombia, is the myth of Bochica, god civilizer. This deity of the
Muisca Pantheon, in the highland of Cundinamarca and Boyaca,
according to the legend, left to its step many of its teachings on
the rocks, as the chroniclers reported (XVI century).





Although the reasons for which this myth prevailed to the arrival of
the Spanish, still are not very clear (what didn't happen with other
myths), it is important to point out that the towns visited by
Bochica have rupestrian locations, and many places associated to the
myth exist (Hill of Bochica, Tequendama Waterfall, rupestrian murals
with textile representations).

The rocks with paintings and engravings can be linked (for analogy)
to the teachings of Bochica. The current activities, rural customs
and places of the landscape can end up offering a new level of
information of the rock art sense and function for the antique
executioners. The connections that today are made are quite
problematic, because we can not be sure about the straight
relationship between Bochica myth and the places with rock art of his
route. But these connections configure possibilities to project
cultural forms of conservation of the places, a road to meditate
about relationship between the indigenous past and the current rural
traditions.



WS19-09 Luiz OOSTERBEEK (Tomar, Portugal)

Sara CURA (Tomar, Portugal)

Anabela PEREIRA (Mação, Portugal)

Prehistoric Art Museum of Mação - scientific research and social
dynamization.

ABSTRACT: The 2000 year rock art rediscover in the Ocreza river
valley along with the previous intention of Mação's Town Hall of
protecting and promoting the archaeological heritage of this region,
launched an overall intervention project centred on the
reorganization of the town Museum. Renewed as The Tagus Valley
Prehistoric Art and Sacred Museum this institution is presently a
regional centre committed to the study of the prehistoric population
identities and their symbolic behaviours.

In the last five years the Museum became a strategic pole of a
scientific network together with the CEIPHAR, CPH and CIAAR.
Presently it is engaged in the coordination of several relevant
European projects about the natural risks affecting the
archaeological heritage (ArtRisk) and the relation between
Prehistoric Art and contemporaneous art (ArtSigns). Within the scope
of a protocol established with the IFRAO the museum is the European
Head of the international rock art bibliographic registration.
Together with the IPT and the UTAD the Museum harbours the Master
Erasmus Mundus in Prehistoric Archaeology and Rock Art.

Besides this more scientific output the Museum of Mação, with its
entertainment and pedagogic activities, is devoted to promote a more
active communication and fruition of the exhibition thematic and the
archaeological sites, booth for scholar publics, adults and elderly
visitors. On this level the Museum also works with the Middle Tagus
Archaeological and Environmental Park aiming the protection and
promotion of the archaeological and environmental heritage through a
museographic net and the establishment of several circuits.





WS19-10 Barbara PROVINCIALI (Roma, Italy)

Anna Maria MARINELLI (Roma, Italy)

Domenico POGGI

Stratifying of spiritual significances in the artock sites. Can
matter's conservation takes part in the survival of its own meaning?

ABSTRACT: Artrock sites which preserve a continuity in their use
connected at their own spiritual meanings and which, at the same
time, are integrated in the urban and social contemporary texture,
induce some reflexions about their conservation.

How to apply the principles of the Cesare Brandi "Teoria del
Restauro"?

A methodological critical reflexion also connected with the praxis
seems to be opportune through the exam of some particular cases in
the Tuscia interland: Santa Fortunata and Santa Maria del Parto in
Sutri.

Environment's conservation and conservation of the surfaces: studying
about materials and the executive techniques.