Dinwoody Dissected is a compilation of papers presented at a workshop in Thermopolis, Wyoming during June 2016. Papers were presented by researchers currently working on Dinwoody rock art or related topics. The focus of discussion was to gain a better understanding of the importance of the Dinwoody tradition petroglyps, to move forward to a consensus of origin and dating, and to come together to protect developed and unrecorded rock art sites.

"This multi-author volume reflects on the history and continuity of zooarchaeology in North America and honors one of its most notable contemporary contributors, Walter E. Klippel. Klippel came to the University of Tennessee in 1977 as an assistant professor of anthropology and, over the next forty years, mentored countless students, published more than fifty journal articles and book chapters, and assembled a zooarchaeological comparative collection of national significance. Developed by friends, students, and colleagues of the professor, this wide-ranging collection of essays is organized by the prevailing themes of Klippel's career, including geological and landscape contexts, taphonomy, and the incorporation of actualistic methodologies and new technologies into zooarchaeological analyses. The diversity of topics alone suggests how extensive Klippel's research interests have been and how much contemporary zooarchaeology owes to his vision. Seeking to extend and not only celebrate that vision, the contributors also turn to explore new uses for the zooarchaeological framework in nontraditional settings. Foreword by Bonnie W. Styles and R. Bruce McMillan"--

This book shares timely and thought-provoking methodological and theoretical approaches from perspectives concerning landscape, gender, cognition, neural networks, material culture and ontology in order to comprehend rock art’s role in memorisation processes, collective memory, and the intergenerational circulation of knowledge. The case studies offered here stem from human experiences from around the globe—Africa, Australia, Europe, North and South America—, which reflects the authors’ diverse interpretative stances. While some of the approaches deal with mnemonics, new digital technologies and statistical analysis, others examine performances, sensory engagement, language, and political disputes, giving the reader a comprehensive view of the myriad connections between memory studies and rock art. Indigenous interlocutors participate as collaborators and authors, creating space for Indigenous narratives of memory. These narratives merge with Western versions of past and recent memories in order to construct jointly novel inter-epistemic understandings of images made on rock. Each chapter demonstrates the commitment of rock art studies to strengthen and enrich the field by exploring how communities and cultures across time have perceived and entangled rock images with a broad range of material culture, nonhumans, people, emotions, performances, sounds and narratives. Such relations are pivotal to understanding the universe behind the intersections of memory and rock art and to generating future interdisciplinary collaborative studies.

The Plains region that stretches from northern Colorado to southern Alberta and from the Rockies to the western Dakotas is the land of the Cheyenne and the Blackfeet, the Crow and the Sioux. Its rolling grasslands and river valleys have nurtured human cultures for thousands of years. On cave walls, glacial boulders, and riverside cliffs, native people recorded their ceremonies, vision quests, battles, and daily activities in the petroglyphs and pictographs they incised, pecked, or painted onto the stone surfaces. In this vast landscape, some rock art sites were clearly intended for communal use; others just as clearly mark the occurrence of a private spiritual encounter. Elders often used rock art, such as complex depictions of hunting, to teach traditional knowledge and skills to the young. Other sites document the medicine powers and brave deeds of famous warriors. Some Plains rock art goes back more than 5,000 years; some forms were made continuously over many centuries. Archaeologists James Keyser and Michael Klassen show us the origins, diversity, and beauty of Plains rock art. The seemingly endless variety of images include humans, animals of all kinds, weapons, masks, mazes, handprints, finger lines, geometric and abstract forms, tally marks, hoofprints, and the wavy lines and starbursts that humans universally associate with trancelike states. Plains Indian Rock Art is the ultimate guide to the art form. It covers the natural and archaeological history of the northwestern Plains; explains rock art forms, techniques, styles, terminology, and dating; and offers interpretations of images and compositions.