Rock-art - the ancient images which still scatter the rocky landscapes of Europe - is a singular kind of archaeological evidence. Fixed in place, it does not move about as artefacts as trade objects do. Enigmatic in its meaning, it uniquely offers a direct record of how prehistoric Europeans saw and envisioned their own worlds. European Landscapes of Rock-Art provides a number of case studies, covering arange of European locations including Ireland, Italy, Scandinavia, Scotland and Spain, which collectively address the chronology and geography of rock-art as well as providing an essential series of methodologies for future debate. Each author provides a synthesis that focuses on landscape as an essential part of rock-art construction. From the paintings and carved images of prehistoric Scandinavia to Second World War grafitti on the German Reichstag, this volume looks beyond the art to the society that made it. The papers in this volume also challenge the traditional views of how rock-art is recorded. Throughout, there is an emphasis on informal and informed methodologies. The authors skilfully discuss subjectivity and its relationship with landscape since personal experience, from prehistoric times to the present day, plays an essential role in the interpretation of art itself. The emphasis is on location, on the intentionality of the artist, and on the needs of the audience. This exciting volume is a crucial addition to rock-art literature and landscape archaeology. It will provide new material for a lively and greatly debated subject and as such will be essential for academics, non-academics and commentators of rock art in general.

Ripinsky-Naxon explores the core and essence of shamanism by looking at its ritual, mythology, symbolism, and the dynamics of its cultural process. In dealing with the basic elements of shamanism, the author discusses the shamanistic experience and enlightenment, the inner personal crisis, and the many aspects entailed in the role of the shaman.

This session focuses on Filiform rock art which appears as a spontaneous technique, more simple and immediate than pecking, good either for autonomous strands of expression, or for sketches and first drafts regarding works of painting or pecking.

L.G. Freeman is a major scholar of Old World Paleolithic prehistory and a self-described “behavioral paleoanthropologist.” Anthropology without Informants is a collection of previously published papers by this preeminent archaeologist, representing a cross section of his contributions to Old Work Paleolithic prehistory and archaeological theory. A socio-cultural anthropologist who became a behavioral paleoanthropologist late in his career, Freeman took a unique approach, employing statistical or mathematical techniques in his analysis of archaeological data. All the papers in this collection blend theoretical statements with the archeological facts they are intended to help the reader understand. Although he taught at the University of Chicago for the span of his 40-year career, Freeman is not well-known among Anglophone scholars, because his primary fieldwork and publishing occurred in Cantabrian, Spain. However, he has been a major player in Paleolithic prehistory, and this volume will introduce his work to more American Archaeologists. This collection brings the work of an expert scholar, to a broad audience, and will be of interest to archaeologists, their students, and lay readers interested in the Paleolithic era.