Eduardo Palacio‐pérez
Biographic Data
| ID | 3581130 |
|---|---|
| NAME | Eduardo Palacio‐pérez |
| GIVEN NAMES | Eduardo |
| FAMILY NAME | Palacio‐pérez |
| SIGNATURE | PEREZ E P |
| AFFILIATIONS | Universidad de Cantabria |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 48 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 4 |
Dialogues Across Time? Conceptualising the Temporal Relationships of Palimpsests in the Upper Palaeolithic Cave Art of El Castillo (Cantabria, Spain)
Cave sites were frequently reused throughout the Upper Palaeolithic, with many sites within south-western Europe having deep chronologies of activity. The repeated engagement with the same caves, or spaces within caves, is evident in superimpositions of cave art depictions within these sites. Whilst these palimpsests in Upper Palaeolithic cave art have been extensively studied with regard to understanding the relative chronology of art within a p…
The Unesco World Heritage List in a Globalized World
Northern Spain is home to one of the richest concentrations of Paleolithic cave art found anywhere in the world. The universal value of this heritage was first recognized by UNESCO in 1985, when the cave of Altamira was inscribed in the World Heritage List. In 2008, a further seventeen cave art sites in the region were added to the original list. In this paper I examine this process with reference to two main issues. First, taking the case of Can…
Beyond the image
Symbolic cognition-the ability to produce and use symbols, including (but not limited to) linguistic symbols-has often been considered a hallmark of human achievement. Given its importance, symbolic cognition has been a major topic of interest in many academic disciplines including anthropology, archeology, and the cognitive sciences.1-6 Paleolithic rock art holds vast potential for understanding the early roots of symbolically mediated behavior.…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
Influencia del pensamiento etnológico en la interpretación de Leroi-Gourhan del arte paleolítico
André Leroi-Gourhan participó en el proceso de modernización que experimentó la prehistoria francesa a mediados del siglo XX. En este contexto trabajó para construir una ciencia prehistórica interdisciplinar que quedara incluida dentro del campo epistemológico de la etnología. En este artículo indagamos en cómo afectó la aproximación que este investigador estableció entre prehistoria y etnología a su comprensión del arte paleolítico. Esta conexió…
Painting Altamira Cave? Shell tools for ochre-processing in the Upper Palaeolithic in northern Iberia
Rethinking the Structural Analysis of Palaeolithic Art
André Leroi-Gourhan's work is usually considered a paradigmatic example of the application of structuralist ideas to the study of Palaeolithic art. The association between Leroi-Gourhan and structuralism is, however, problematic. Leroi-Gourhan explicitly distinguished his approach from that of Lévi-Strauss. Furthermore, he developed an explanatory model for the analysis of cave and portable art based on a number of postulates that were not necess…
Ciencia y creencia en la construcción del concepto de religión paleolítica
The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existen…
Imaginary creatures in Palaeolithic art
In the course of research currently being carried out at Santimamine (Bizkaia, Spain) (Gonz'alez S'ainz & Idarraga 2010) and Altxerri (Gipuzkoa, Spain) a series of zoomorphic figures have been identified (four in total between the two sites) that represent creatures that do not exist in nature (Figure 1). They are examples of the so-called 'imaginary creatures', unreal or fantastic beings that appear in Palaeolithic art ensembles. Despite their r…
Naturalism’ and the interpretation of cave art
This article examines the impact of ‘naturalism’ upon the understanding of Paleolithic cave art during the last 150 years. In art history, the term ‘naturalism’ is commonly used to define the mode of representation seeking to imitate nature as faithfully and truthfully as possible. This ‘naturalistic’ ideal influenced traditional interpretations of cave images in a number of fundamental ways. In particular, during the greater part of the twentiet…
The Origins of the Concept of ‘Palaeolithic Art’
Salomon Reinach and the religious interpretation of Palaeolithic art
When did upper Palaeolithic cave art come to be thought of as religious? The author shows an origin rooted in the intellectual movements of the later nineteenth century, and in particular in the personage and thought of Salomon Reinach
Painting Altamira Cave? Shell tools for ochre-processing in the Upper Palaeolithic in northern Iberia
The Origins of the Concept of ‘Palaeolithic Art’
Rethinking the Structural Analysis of Palaeolithic Art
André Leroi-Gourhan's work is usually considered a paradigmatic example of the application of structuralist ideas to the study of Palaeolithic art. The association between Leroi-Gourhan and structuralism is, however, problematic. Leroi-Gourhan explicitly distinguished his approach from that of Lévi-Strauss. Furthermore, he developed an explanatory model for the analysis of cave and portable art based on a number of postulates that were not necess…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
Naturalism’ and the interpretation of cave art
This article examines the impact of ‘naturalism’ upon the understanding of Paleolithic cave art during the last 150 years. In art history, the term ‘naturalism’ is commonly used to define the mode of representation seeking to imitate nature as faithfully and truthfully as possible. This ‘naturalistic’ ideal influenced traditional interpretations of cave images in a number of fundamental ways. In particular, during the greater part of the twentiet…
Beyond the image
Symbolic cognition-the ability to produce and use symbols, including (but not limited to) linguistic symbols-has often been considered a hallmark of human achievement. Given its importance, symbolic cognition has been a major topic of interest in many academic disciplines including anthropology, archeology, and the cognitive sciences.1-6 Paleolithic rock art holds vast potential for understanding the early roots of symbolically mediated behavior.…
Ciencia y creencia en la construcción del concepto de religión paleolítica
The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existen…
Salomon Reinach and the religious interpretation of Palaeolithic art
When did upper Palaeolithic cave art come to be thought of as religious? The author shows an origin rooted in the intellectual movements of the later nineteenth century, and in particular in the personage and thought of Salomon Reinach
Naturalism’ and the interpretation of cave art
This article examines the impact of ‘naturalism’ upon the understanding of Paleolithic cave art during the last 150 years. In art history, the term ‘naturalism’ is commonly used to define the mode of representation seeking to imitate nature as faithfully and truthfully as possible. This ‘naturalistic’ ideal influenced traditional interpretations of cave images in a number of fundamental ways. In particular, during the greater part of the twentiet…
The Origins of the Concept of ‘Palaeolithic Art’
Ciencia y creencia en la construcción del concepto de religión paleolítica
The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existen…
Imaginary creatures in Palaeolithic art
In the course of research currently being carried out at Santimamine (Bizkaia, Spain) (Gonz'alez S'ainz & Idarraga 2010) and Altxerri (Gipuzkoa, Spain) a series of zoomorphic figures have been identified (four in total between the two sites) that represent creatures that do not exist in nature (Figure 1). They are examples of the so-called 'imaginary creatures', unreal or fantastic beings that appear in Palaeolithic art ensembles. Despite their r…
Rethinking the Structural Analysis of Palaeolithic Art
André Leroi-Gourhan's work is usually considered a paradigmatic example of the application of structuralist ideas to the study of Palaeolithic art. The association between Leroi-Gourhan and structuralism is, however, problematic. Leroi-Gourhan explicitly distinguished his approach from that of Lévi-Strauss. Furthermore, he developed an explanatory model for the analysis of cave and portable art based on a number of postulates that were not necess…
Painting Altamira Cave? Shell tools for ochre-processing in the Upper Palaeolithic in northern Iberia
Influencia del pensamiento etnológico en la interpretación de Leroi-Gourhan del arte paleolítico
André Leroi-Gourhan participó en el proceso de modernización que experimentó la prehistoria francesa a mediados del siglo XX. En este contexto trabajó para construir una ciencia prehistórica interdisciplinar que quedara incluida dentro del campo epistemológico de la etnología. En este artículo indagamos en cómo afectó la aproximación que este investigador estableció entre prehistoria y etnología a su comprensión del arte paleolítico. Esta conexió…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
Beyond the image
Symbolic cognition-the ability to produce and use symbols, including (but not limited to) linguistic symbols-has often been considered a hallmark of human achievement. Given its importance, symbolic cognition has been a major topic of interest in many academic disciplines including anthropology, archeology, and the cognitive sciences.1-6 Paleolithic rock art holds vast potential for understanding the early roots of symbolically mediated behavior.…
The Unesco World Heritage List in a Globalized World
Northern Spain is home to one of the richest concentrations of Paleolithic cave art found anywhere in the world. The universal value of this heritage was first recognized by UNESCO in 1985, when the cave of Altamira was inscribed in the World Heritage List. In 2008, a further seventeen cave art sites in the region were added to the original list. In this paper I examine this process with reference to two main issues. First, taking the case of Can…
Dialogues Across Time? Conceptualising the Temporal Relationships of Palimpsests in the Upper Palaeolithic Cave Art of El Castillo (Cantabria, Spain)
Cave sites were frequently reused throughout the Upper Palaeolithic, with many sites within south-western Europe having deep chronologies of activity. The repeated engagement with the same caves, or spaces within caves, is evident in superimpositions of cave art depictions within these sites. Whilst these palimpsests in Upper Palaeolithic cave art have been extensively studied with regard to understanding the relative chronology of art within a p…
Archaeology (9 works) · Archaeology and Rock Art Studies (9 works) · Pleistocene-Era Hominins and Archaeology (9 works) · Art (8 works) · History (8 works) · Archaeology and ancient environmental studies (7 works) · Cave (6 works) · Philosophy (6 works) · History (5 works) · Epistemology (4 works)