By Jo McDonald
DREAMTIME SUPERHIGHWAY offers a radical and unique contextualization of the rock artwork and archaeology of the Sydney Basin. by way of combining excavation effects with rock artwork research it demonstrates real archaeology of rock paintings provides insights into rock paintings image-making in people's social and cultural lives. in line with a PhD dissertation, this monograph is a considerably revised and up to date learn which attracts forcefully on wealthy and new information from wide fresh research—much of it by means of McDonald herself. McDonald has built a version that implies that visible culture—such as rock artmaking and its photographs and forms—could be understood as a approach of communique, as a fashion of signaling workforce deciding upon behaviour. For the archaeologist of artwork, the anthropologist of paintings and people people who attempt to take into consideration earlier worlds… this monograph is a needs to learn.
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Additional info for Dreamtime Superhighway: Sydney Basin Rock Art and Prehistoric Information Exchange (Terra Australis, 27)
This review establishes the behavioural parameters relevant to an interpretation of the art produced by the prehistoric inhabitants of the Sydney region. Of particular importance, are the social divisions which were recognised across the region and the types of social ‘boundaries’ which might have existed. Stylistic behaviour depends not only on social cohesion, and the maintenance of social ties, but also on social exclusivity, and the maintenance of boundaries between groups of people (Wiessner 1983, 1990; Wobst 1977).
Most of the problems inherent in these samples result from the way that the NPWS Sites Register accrued over time, and particularly during its formative years. The unreliability of many site locations is one problem which can often only be resolved by field relocation. Variation in recorder competence and consistency over time is another problem. Also, over the years, the definition of a site has undergone considerable change. What McCarthy described as a ‘group’ in the 1940’s may have stretched over several kilometres of ridgeline - and today is described as ten sites.
This has resulted in a regional art body without anthropological or social context: one for which the meaning cannot be interpreted except by archaeological methods. D. Campbell (1899), and in the first half of the twentieth century more intensive art recording activity was undertaken, with Fred McCarthy being the most prolific publisher (see bibliography) over a forty year period. Ian Sim was another prolific Sydney rock art recorder, as was John Lough. Interpretations of the Sydney engravings throughout this time were based loosely on borrowed ethnographic material from other regions (Elkin 1949; McCarthy 1956, 1961).