In the Argentine Northwest, northeast of Catamarca, there are a set of shelters and caves located in the rainforest with rock art with virtually no background. Little is known about the occupants of these spaces and their past practices. In order to learn more about these, this book addresses the study and systematic analysis of the plastic-thematic-compositional repertoire of the rock art sites of 'Los Algarrobales' and their spatial and temporal distribution. In this way, it is possible to approach the understanding of the modalities of appropriation of the people of the inhabited area, the relationship that they would have maintained with the environment, as well as the distinction of various events and uses of different places and, in this way, contribute to the knowledge of the historical, social and cultural development of the area. Throughout the reading, we start to glimpse the archaeological landscapes related to rock art for this sector of the southern Andean area.

With the exception of the Grand Canyon itself, none of the great gorges of the American Southwest is more uniquely beautiful than Canyon de Chelly, with its sheer red cliffs and innumerable prehistoric Indian dwellings. Of all the important centers of prehistoric Anasazi culture, only this magnificent canyon shows an unbroken record of settlement for more than 1,000 years. In this liberally illustrated book, rock art authority Campbell Grant examines four aspects of the spectacular canyon: its physical characteristics, its history of human habitation, its explorers and archaeologists, and its countless rock paintings and petroglyphs. Grant surveys 96 sites in the two main canyons and offers an interpretation of the rock art found there.

The many hundreds of books and thousands of academic papers on the topic of Pleistocene (Ice Age) art are limited in their approach because they deal only with the early art of southwestern Europe. This is the first book to offer a comprehensive synthesis of the known Pleistocene palaeoart of six continents, a phenomenon that is in fact more numerous and older in other continents. It contemplates the origins of art in a balanced manner, based on reality rather than fantasies about cultural primacy. Its key findings challenge most previous perceptions in this field and literally re-write the discipline. Despite the eclectic format and its high academic standards, the book addresses the non-specialist as well as the specialist reader. It presents a panorama of the rich history of palaeoart, stretching back more than twenty times as long in time as the cave art of France and Spain. This abundance of evidence is harnessed in presenting a new hypothesis of how early humans began to form and express constructs of reality and thus created the ideational world in which they existed. It explains how art-producing behaviour began and the origins of how humans relate to the world consciously.