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[PDF] Top 20 GIS Use in Open-Air Rock Art Conservation: the Case of the Côa Valley, Portugal

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GIS Use in Open-Air Rock Art Conservation: the Case of the Côa Valley, Portugal

GIS Use in Open-Air Rock Art Conservation: the Case of the Côa Valley, Portugal

... It is proposed that, conservation wise, each outcrop containing rock art is differently affected by slope, aspect and solar radiation.. Therefore, the accurate determination of the preci[r] ... See full document

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Aesthetics, ethics and rock art conservation: how far can we go? The case of recent conservation tests carried out in un-engraved outcrops in the Côa valley, Portugal

Aesthetics, ethics and rock art conservation: how far can we go? The case of recent conservation tests carried out in un-engraved outcrops in the Côa valley, Portugal

... that the object to be conserved is not only the engraved areas but the totality of the ...assumption in planning and implementing conservation interventions if we also ... See full document

10

Rock art as land art. A diachronic view of the Côa Valley (NE Portugal) Post-Palaeolithic rock art

Rock art as land art. A diachronic view of the Côa Valley (NE Portugal) Post-Palaeolithic rock art

... 7, in which it was found an engraved fragment of the panel (Aubry and Sampaio, ...to the gravetto-solutrean (Baptista et al., 2008). It is an art that follows contemporary Palaeolithic ... See full document

22

Fariseu: First confirmed open-air Palaeolithic parietal art site in the Côa Valley (Portugal).

Fariseu: First confirmed open-air Palaeolithic parietal art site in the Côa Valley (Portugal).

... wisdom the idea that Palaeolithic parietal art was confined to caves where it could be kept hidden from uninitiated ...that the age of hundreds of petroglyphs discovered on exposed ... See full document

9

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection, interpretation and dating of open-air rock art

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection, interpretation and dating of open-air rock art

... available in Baptista (2009) suggest that the density of rock art of the older phase in the Côa does not have any equivalent in other ... See full document

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Fariseu: new chronological evidence for open-air Palaeolithic art in the Côa valley (Portugal)

Fariseu: new chronological evidence for open-air Palaeolithic art in the Côa valley (Portugal)

... 2007 in layer 8. Although it does not connect directly with the incomplete figures on rock panel 1, the position of the engravings and the resemblance between these and ... See full document

10

Stone consolidation experiments in rock art outcrops at the Côa Valley Archaeological Park, Portugal

Stone consolidation experiments in rock art outcrops at the Côa Valley Archaeological Park, Portugal

... one of the Park’s chief priorities was to gain a more comprehensive knowledge of the Côa Valley rock art conservation ...called in to give their ... See full document

11

Illustrating the Sabor Valley (Trás-os-Montes, Portugal): rock art and its long-term diachrony since  the Upper Palaeolithic until the Iron Age

Illustrating the Sabor Valley (Trás-os-Montes, Portugal): rock art and its long-term diachrony since the Upper Palaeolithic until the Iron Age

... intention of the organization of space by recent Pre-Historic ...unlike the Medal Terrace or the Crestelos area, which are both places of habitat (although in the ... See full document

21

Nature vs. Culture: present-day spatial distribution and preservation of open-air rock art in the Côa and Douro River Valleys (Portugal)

Nature vs. Culture: present-day spatial distribution and preservation of open-air rock art in the Côa and Douro River Valleys (Portugal)

... Before the calculation, the study area was divided into two datasets (model and external validation) of equal area and same geological characteristics ...Age rock art are present ... See full document

40

Understanding an Unique Conservation Work Environment: The Case of the Côa Valley Rock Art Outcrops

Understanding an Unique Conservation Work Environment: The Case of the Côa Valley Rock Art Outcrops

... inaccessibility of some riverside areas, and the hard work needed to cultivate the sometimes very steep slopes, has meant that human activity in these zones has been basically ...presumably ... See full document

11

Slope orientation of rock art sites in the Côa Valley, Portugal: A case study in the spatial distribution of open-air Upper Palaeolithic rock art

Slope orientation of rock art sites in the Côa Valley, Portugal: A case study in the spatial distribution of open-air Upper Palaeolithic rock art

... argument of why engravers overwhelmingly preferred the slopes that receive higher amounts of sunshine will revolve around two ...consider the UP human habitat sites already identified ... See full document

21

The Upper Palaeolithic rock art of Portugal in its Iberian context

The Upper Palaeolithic rock art of Portugal in its Iberian context

... characteristic of Portuguese Palaeolithic rock art is its vast number of open-air sites in comparison with its cave art, which is only to be found in a ... See full document

15

The Quaternary rock art of the Côa Valley (Portugal)

The Quaternary rock art of the Côa Valley (Portugal)

... and the site of Vale Figueira, rock no. 1 of Fariseu ...one of the keys to the systematisation of the Côa’s Quaternary ...only the upper part ... See full document

22

Visitor management and the preservation of rock art. Two case studies of open air rock art sites in north eastern Portugal: Côa Valley and Mazouco

Visitor management and the preservation of rock art. Two case studies of open air rock art sites in north eastern Portugal: Côa Valley and Mazouco

... Since the opening in 1996 ofthe Parque Arqueológico Vale do Côa(Côa Valley Archaeological park, PAVC) the visitation scheme implemented has come under intense scrutiny and criticism,[r] ... See full document

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Open-air rock-art, territories and modes of exploitation during the Upper Palaeolithic in the Côa Valley (Portugal)

Open-air rock-art, territories and modes of exploitation during the Upper Palaeolithic in the Côa Valley (Portugal)

... from these locations, suggest an association with undated and defined human occupation activi- ties on floodplain erosiorial deposits. Mean- while, we must he cautious in generaliz[r] ... See full document

15

Vandalism, Graffiti or "just" rock art? The case of a recent engraving in the Côa Valley rock art complex in Portugal

Vandalism, Graffiti or "just" rock art? The case of a recent engraving in the Côa Valley rock art complex in Portugal

... out. In a way, it is a case of establishing if there is an addition or subtraction of meaning to a ...devoid of any aesthetic concerns, and without any possible subtext, except perhaps ... See full document

16

The Upper Paleolithic Rock Art of Iberia

The Upper Paleolithic Rock Art of Iberia

... seen the attractive, color photo-laden, trade-market publications of Altamira (Saura and Beltr´an, 1998 ) and of Ekain and Altxerri (Altuna, 1997 ...). In response to concern for ... See full document

71

Monitoring and conservation of bats in the Kathmandu valley, Nepal

Monitoring and conservation of bats in the Kathmandu valley, Nepal

... Kathmandu Valley has been centre of bat studies since 1835 (Bates & Harrison, ...species of bats had been documented from Kathmandu Valley including two species of fruit bats until ... See full document

4

Changing Stakeholders and Community Attitudes in the Côa Valley World Heritage Site, Portugal

Changing Stakeholders and Community Attitudes in the Côa Valley World Heritage Site, Portugal

... to the success of this slow but steady process of changing mentalities was the PAVC’s ...seeking the active involvement of all stakeholders, the park strongly supports ... See full document

16

Palaeolithic open-air art: the impact and implication of a "new phenomenon"

Palaeolithic open-air art: the impact and implication of a "new phenomenon"

... as the cave was too humid and its rock too friable to have preserved art for so long, so erosion and weathering must long ago have destroyed any palaeolithic figures produced outside — this despite ... See full document

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