I Intxaurbe
Biographic Data
| ID | 68441 |
|---|---|
| NAME | I Intxaurbe |
| GIVEN NAMES | I |
| FAMILY NAME | Intxaurbe |
| SIGNATURE | INTXAURBE I |
| AFFILIATIONS | University of the Basque Country |
| ORCID | 0000-0003-3643-3177 |
| VERIFIED | Yes |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 95 |
| AUTHOR COUNT | 24 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 5 |
Mapping the Symbolic Structure of Palaeolithic Rock Art Using Co-occurrence Network Analysis
This study examines the internal organisation of Magdalenian parietal art along the Bay of Biscay axis through the application of network-based and multivariate statistical analyses to a large, systematically documented graphic corpus. The dataset comprises more than 500 figures from nine decorated cave sites located in the Basque region, which constitutes a key transitional zone between the Iberian Peninsula and the rest of continental Europe. P…
Open Science and Data Management in Rock Art Studies
This research paper focuses on implementing new methodologies for sharing research data in Palaeolithic rock art. This approach uses advanced 3D technologies and adopts the Open Science paradigm, aligned with FAIR principles (Findable, Accessible, Interoperable, Reusable). It combines high-resolution photogrammetry, laser scanning, and 3D modelling techniques to create accurate reproductions of decorated panels. These tools not only facilitate th…
Mapping Palaeolithic Imprints
We present the application of a new quantitative approach to space study in Palaeolithic cave art. Using GIS, we analysed the distribution and position of hand stencils in El Castillo cave to track the gestures and behaviours of Palaeolithic societies. Our analysis shows that these motifs are located in easily accessible areas and can be viewed by a large public simultaneously (16 individuals on average). The study also sheds light on the presenc…
Cave art resilience
The decorated caves contain the earliest artistic expressions of humankind and represent a major cultural heritage. Their significance has been recognized by UNESCO, which has declared them a World Heritage Site. However, they are extremely fragile environments, exposed to various factors of deterioration that threaten their conservation. To implement appropriate protective measures, it is essential to understand the dynamics of these underground…
Caving 16,000 Years Ago
International audience
From artists to miners
From archival historiography to 3D modelling
We propose a comprehensive approach for the reconstruction of the prehistoric state of El Castillo Cave (Puente Viesgo, Cantabria) that allows a precise spatial analysis of the distribution of its parietal motifs. The cave has undergone numerous changes over time due to both geological and anthropic processes, which have altered its original appearance. In the aim of understanding how Palaeolithic societies used the space for creating rock art, w…
Un broche de cinturón tardoantiguo de la cueva de Lazaldai (Zuia, Álava/Araba)
Este artículo presenta el hallazgo de un broche de cinturón tardoantiguo en la cueva de Lazaldai (Zuia, Álava/Araba), descubierto durante una intervención arqueológica realizada en 2022. La pieza, datada en el siglo VII, fue localizada en la galería activa de la cavidad y muestra una clara influencia de la toréutica aquitana, a pesar de su morfología típicamente hispánica. Su decoración destaca por un gran entrelazo central y el uso de puntillado…
Scientific virtual reality as a research tool in prehistoric archaeology
Highlights: This study proposes the practical utility of an immersive Virtual Reality (VR) experience for the dissemination and study of Palaeolithic Rock Art. Thanks to a series of multidisciplinary studies, a virtual reconstruction of the archaeological context of an area with rock art has been achieved. The Palaeolithic lighting systems documented in Atxurra cave have been virtually recreated, allowing real-time interaction through VR. Abstrac…
Drawing in the depths
The creation of rock art in the deep areas of caves was one of the most unique symbolic activities of Magdalenian societies in southwestern Europe between 13.5 and 21 thousand years ago. Previous research has suggested that these works of art were not placed in caves at random but rather their location corresponds to a pre-established structure. However, despite the suggestive idea of pre-planning the decoration of the endokarst, it is challengin…
Virtual reconstruction of the Palaeolithic landscape in Santimamiñe cave (Bizkaia, Spain)
Santimamiñe Cave, in Biscay (North Spain) is a well-known archaeological site in the region because of its prompt discovery and excavation in the early 20th century and its ensemble of parietal art. The latest studies have identified human occupation in the entrance from the Lower Magdalenian, while the inner passages were presumably decorated in the Middle and Upper phases of the period (about 16.5 to 14.5 ka). One of the particularities of the …
Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art
The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any r…
Hidden images in Atxurra Cave (Northern Spain)
Quantifying accessibility to Palaeolithic rock art
Arte parietal paleolítico en la cueva de Aitzbitarte V (Errenteria, Gipuzkoa)
El arte parietal paleolítico de la cueva de Aitzbitarte V se descubre en 2015, en el marco de las labores de prospección desarrolladas en la última década en el oriente cantábrico. Hemos documentado una decena de grabados situados en tres sectores profundos de la cavidad y compuestos por representaciones de bisontes y líneas. Las características formales de los primeros son específicas del arte gravetiense en el caso de los sectores A, C y D, y d…
Sporadic occupation in Armiña cave during the Upper Magdalenian
Modelled clay animals in Aitzbitarte IV Cave
Establishing a predictive model for rock art surveying
La Cueva de Baltzola (Dima, Bizkaia)
Este trabajo presenta el descubrimiento y posterior estudio de grafismos rojos de estilo paleolítico en la cueva de Baltzola (Dima, Bizkaia). Las labores de prospección y documentación allí desarrolladas por los arriba firmantes han identificado un modesto conjunto decorado en el que destaca un ideomorfo difícil de caracterizar. Pudiera tratarse de un signo encajable entre los “claviformes cantábricos” (conocidos en cuevas como Altamira, Tebellín…
The Cantabrian Lower Magdalenian striated hinds on scapulae
An unknown “classic cave”
The cave of Atxurra
Another bone in the wall
On the limits of 3D capture
On the limits of 3D capture
The cave of Atxurra
Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art
The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any r…
Quantifying accessibility to Palaeolithic rock art
Modelled clay animals in Aitzbitarte IV Cave
Drawing in the depths
The creation of rock art in the deep areas of caves was one of the most unique symbolic activities of Magdalenian societies in southwestern Europe between 13.5 and 21 thousand years ago. Previous research has suggested that these works of art were not placed in caves at random but rather their location corresponds to a pre-established structure. However, despite the suggestive idea of pre-planning the decoration of the endokarst, it is challengin…
Virtual reconstruction of the Palaeolithic landscape in Santimamiñe cave (Bizkaia, Spain)
Santimamiñe Cave, in Biscay (North Spain) is a well-known archaeological site in the region because of its prompt discovery and excavation in the early 20th century and its ensemble of parietal art. The latest studies have identified human occupation in the entrance from the Lower Magdalenian, while the inner passages were presumably decorated in the Middle and Upper phases of the period (about 16.5 to 14.5 ka). One of the particularities of the …
Sporadic occupation in Armiña cave during the Upper Magdalenian
Establishing a predictive model for rock art surveying
The Cantabrian Lower Magdalenian striated hinds on scapulae
An unknown “classic cave”
From archival historiography to 3D modelling
We propose a comprehensive approach for the reconstruction of the prehistoric state of El Castillo Cave (Puente Viesgo, Cantabria) that allows a precise spatial analysis of the distribution of its parietal motifs. The cave has undergone numerous changes over time due to both geological and anthropic processes, which have altered its original appearance. In the aim of understanding how Palaeolithic societies used the space for creating rock art, w…
Another bone in the wall
Arte parietal paleolítico en la cueva de Aitzbitarte V (Errenteria, Gipuzkoa)
El arte parietal paleolítico de la cueva de Aitzbitarte V se descubre en 2015, en el marco de las labores de prospección desarrolladas en la última década en el oriente cantábrico. Hemos documentado una decena de grabados situados en tres sectores profundos de la cavidad y compuestos por representaciones de bisontes y líneas. Las características formales de los primeros son específicas del arte gravetiense en el caso de los sectores A, C y D, y d…
La Cueva de Baltzola (Dima, Bizkaia)
Este trabajo presenta el descubrimiento y posterior estudio de grafismos rojos de estilo paleolítico en la cueva de Baltzola (Dima, Bizkaia). Las labores de prospección y documentación allí desarrolladas por los arriba firmantes han identificado un modesto conjunto decorado en el que destaca un ideomorfo difícil de caracterizar. Pudiera tratarse de un signo encajable entre los “claviformes cantábricos” (conocidos en cuevas como Altamira, Tebellín…
The Cantabrian Lower Magdalenian striated hinds on scapulae
An unknown “classic cave”
The cave of Atxurra
Another bone in the wall
On the limits of 3D capture
Hidden images in Atxurra Cave (Northern Spain)
Quantifying accessibility to Palaeolithic rock art
Arte parietal paleolítico en la cueva de Aitzbitarte V (Errenteria, Gipuzkoa)
El arte parietal paleolítico de la cueva de Aitzbitarte V se descubre en 2015, en el marco de las labores de prospección desarrolladas en la última década en el oriente cantábrico. Hemos documentado una decena de grabados situados en tres sectores profundos de la cavidad y compuestos por representaciones de bisontes y líneas. Las características formales de los primeros son específicas del arte gravetiense en el caso de los sectores A, C y D, y d…
Sporadic occupation in Armiña cave during the Upper Magdalenian
Modelled clay animals in Aitzbitarte IV Cave
Establishing a predictive model for rock art surveying
Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art
The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any r…
Virtual reconstruction of the Palaeolithic landscape in Santimamiñe cave (Bizkaia, Spain)
Santimamiñe Cave, in Biscay (North Spain) is a well-known archaeological site in the region because of its prompt discovery and excavation in the early 20th century and its ensemble of parietal art. The latest studies have identified human occupation in the entrance from the Lower Magdalenian, while the inner passages were presumably decorated in the Middle and Upper phases of the period (about 16.5 to 14.5 ka). One of the particularities of the …
Scientific virtual reality as a research tool in prehistoric archaeology
Highlights: This study proposes the practical utility of an immersive Virtual Reality (VR) experience for the dissemination and study of Palaeolithic Rock Art. Thanks to a series of multidisciplinary studies, a virtual reconstruction of the archaeological context of an area with rock art has been achieved. The Palaeolithic lighting systems documented in Atxurra cave have been virtually recreated, allowing real-time interaction through VR. Abstrac…
Drawing in the depths
The creation of rock art in the deep areas of caves was one of the most unique symbolic activities of Magdalenian societies in southwestern Europe between 13.5 and 21 thousand years ago. Previous research has suggested that these works of art were not placed in caves at random but rather their location corresponds to a pre-established structure. However, despite the suggestive idea of pre-planning the decoration of the endokarst, it is challengin…
Cave art resilience
The decorated caves contain the earliest artistic expressions of humankind and represent a major cultural heritage. Their significance has been recognized by UNESCO, which has declared them a World Heritage Site. However, they are extremely fragile environments, exposed to various factors of deterioration that threaten their conservation. To implement appropriate protective measures, it is essential to understand the dynamics of these underground…
Caving 16,000 Years Ago
International audience
From artists to miners
From archival historiography to 3D modelling
We propose a comprehensive approach for the reconstruction of the prehistoric state of El Castillo Cave (Puente Viesgo, Cantabria) that allows a precise spatial analysis of the distribution of its parietal motifs. The cave has undergone numerous changes over time due to both geological and anthropic processes, which have altered its original appearance. In the aim of understanding how Palaeolithic societies used the space for creating rock art, w…
Un broche de cinturón tardoantiguo de la cueva de Lazaldai (Zuia, Álava/Araba)
Este artículo presenta el hallazgo de un broche de cinturón tardoantiguo en la cueva de Lazaldai (Zuia, Álava/Araba), descubierto durante una intervención arqueológica realizada en 2022. La pieza, datada en el siglo VII, fue localizada en la galería activa de la cavidad y muestra una clara influencia de la toréutica aquitana, a pesar de su morfología típicamente hispánica. Su decoración destaca por un gran entrelazo central y el uso de puntillado…
Mapping the Symbolic Structure of Palaeolithic Rock Art Using Co-occurrence Network Analysis
This study examines the internal organisation of Magdalenian parietal art along the Bay of Biscay axis through the application of network-based and multivariate statistical analyses to a large, systematically documented graphic corpus. The dataset comprises more than 500 figures from nine decorated cave sites located in the Basque region, which constitutes a key transitional zone between the Iberian Peninsula and the rest of continental Europe. P…
Open Science and Data Management in Rock Art Studies
This research paper focuses on implementing new methodologies for sharing research data in Palaeolithic rock art. This approach uses advanced 3D technologies and adopts the Open Science paradigm, aligned with FAIR principles (Findable, Accessible, Interoperable, Reusable). It combines high-resolution photogrammetry, laser scanning, and 3D modelling techniques to create accurate reproductions of decorated panels. These tools not only facilitate th…
Mapping Palaeolithic Imprints
We present the application of a new quantitative approach to space study in Palaeolithic cave art. Using GIS, we analysed the distribution and position of hand stencils in El Castillo cave to track the gestures and behaviours of Palaeolithic societies. Our analysis shows that these motifs are located in easily accessible areas and can be viewed by a large public simultaneously (16 individuals on average). The study also sheds light on the presenc…
Cave (19 works) · Geography (19 works) · Pleistocene-Era Hominins and Archaeology (19 works) · Archaeology (18 works) · Geology (16 works) · Archaeological and Geological Studies (11 works) · Rock art (11 works) · 3D Surveying and Cultural Heritage (8 works) · Archaeology and ancient environmental studies (8 works) · Computer Science (8 works)