| Articles are presented in the alphabetical order of authors\ Gli articoli sono presentati in ordine alfabetico degli autori | |
| CONTENTS / SOMMARIO | |
General program / programma generale |
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| Prehistory and World Heritage, Francesco Bandarin e Nuria Sanz | |
Opening Speech, Emmanuel Anati |
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| Dusko Aleksovski, Art rupestre base de l’écriture de notre planète | |
Emmanuel Anati & Federico Mailland, HK/86b, Palaeolithic ceremonial site at Har Karkom, holy mountain in the desert of Exodus |
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Kaji Apollinaire, Les chefferies et la tradition de garder et de protéger les lieux sacrés |
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Uzi Avner, Stone Drawings in Prehistoric Desert Cult Sites |
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| Batilde Bacci, Filogenesi e Ontogenesi della Creatività | |
| Paolo Emilio Bagnoli, Absolute Dating of Rock Art on Flat Marble Surfaces | |
| Rosetta Bastoni, Mitologia mesopotamica e relazione con Har Karkom il Sinai ritrovato | |
| Ulf Bertilsson, Images on the Rocks and in the Archives four centuries of documentations of prehistoric rock art in Sweden | |
| Pierluigi Bolmida, Tracce traumatiche e bestiarî di pietra | |
| Lisbeth Christensen Bredholt, Prehistoric art as source material for the Study of Religion | |
| Gabriella Brusa Zappellini, Radici antropologiche dell’immaginario e del fantastico nell’arte animalistica del Paleolitico superiore | |
| Evelyn Búcaro, Naj Tunich Caves | |
| Roy L. Carlson, Ideological Content of Prehistoric Northwest Coast Art | |
| Somnath Chakraverty, Interpreting Rock Art in India | |
| Christopher Chippindale, Prehistoric art, ideology and society: deducing ideology in the long-term sequence of Alpine rock-art | |
| Jessica Joyce Christie, Power Speaks Through Rock: Stone Ideology of the Inka | |
| Tiziana Cittadini, Gli spazi dell’intervento moderno nelle aree istoriate | |
| Fernando Coimbra, Portugese post-paleolithic filiform rock art in a European context: similarities and differences | |
| Anne Jodon Cole, Linking the past and the present: the role of historical consciousness in rock art interpretation | |
| Hipólito Collado Giraldo, Arte e ideología en los primeros grupos agricultores de la península ibérica | |
| David Coulson, Dangers for African rock art, traveling exhibitions and the Abasuba Peace Museum | |
Jean-Paul Coussy, Roucadour l’art initial gravé |
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| Asok Datta, From Rock Art to Tribal Art in Eastern India | |
| Lynn Cullens & Lysa Hochroth, Presentation of the Virtual Rock Art Museum Prototype (RAMP | |
| Ana Lúcia Ferraz, Approche méthodologique d’un ensemble de monolithesdécores Néolithiques de la région d’Évora (Alentejo-Portugal) | |
| Angelo Fossati & Mila Simoes de Abreu, Early metallurgist art and ideology | |
| Åsa C. Fredell, The Kalleby experiment | |
| Peter Friess, The Tech Museum (San José, California, USA) | |
| Cristina Gastaldi, Giostre, cavalieri e armi tra arte rupestre e immaginario cortese | |
| Silvana Gavaldo, Pede pulsanda tellus | |
| Mohamed Elhedi Ghrabi, Les peintures rupestres de Ghomrassen | |
| Lysa Hochroth, Rock art sites and museums: real and virtual contexts and communities | |
| Katalin Jankovits, Le rappresentazioni antropomorfe sulla ceramica e i pendagli antropomorfi di bronzo nell’etá del bronzo in Ungheria | |
| José Antonio Lasheras Carmen De Las Heras, Museography And museology of cave art at the Altamira Museum | |
| Maria Laura Leone, The Phosphenic Deer Cave of Badisco Art and Myth of the Shadows in Depth | |
| Jorge Antonio Miguel Lopez, The Rock Painting of Yutecoo River, Oaxaca México | |
| Daniel Lysek & Daniela Gariglio, L’attività creativa nella preistoria: un’espressione di tracce di benessere? | |
| Federico Mailland, Geoglyphs on the Har Karkom plateau (Negev, Israel) | |
| Ida Mailland, Har Karkom : proto-arte agli albori del Paleolitico Superiore | |
| Riccardo Manzotti, Arte preistorica ed esternalismo | |
| Alberto Marretta, Il Coren di Redondo (Capo di Ponte, Valcamonica) | |
| Angelo Martinotti, Instrumentum rituale | |
| Bruna Marzi, La rappresentazione del ragno nell’arte rupestre e nel sogno | |
| Gerhard Milstreu, Rock Art in Scandinavia | |
| Guillermo Munoz & Judith Trujillo, GIPRI – (Colombia) | |
| Lutay N’Kanza, Histoire de l’art préhistorique du bas-Congo : orientations herméneutiques | |
| George Nash, Warriors and Damsels in distress: the Megalithic art and statue menhirs of Guernsey, Channel Islands | |
| Perrice Nkombwe, Prehistoric Art and Museology: the Case of the Livingstone Museum, Zambia | |
| Luiz Oosterbeek, Is Ideology a possible topic in rock art studies? | |
| Marcel Otte, Arts et Pensées au Paléolithique supérieur européen | |
| Nicola Peluffo, Le Steli e i Santuari come palcoscenico delle manifestazioni dell’Immagine | |
| Sadasiba Pradhan, Rock Art and Tribal Art of Orissa | |
| Andrea Rocchitelli, La percezione visiva come mediatore intergenerazionale degli affetti | |
| Giulia Rossi, Le figure fantastiche e mitologiche nell’arte rupestre camuna | |
| Andrzej Rozwadowski, Siberian rock art and shamanism | |
| Umberto Sansoni, Campanine di Cimbergo (Valcamonica). Introduzione all’indagine sul contesto rupestre | |
| Serena Solano & Alberto Marretta, Pagine di pietra | |
| ManuelaTartari, Le rappresentazioni complesse nelle incisioni rupestri | |
| Federico Troletti, Architettura militare sulle rocce di Campanine di Cimbergo: ipotesi ricostruttive e confronti | |
| Tsoni Tsonev, Ideology of social change in the Eneolithic/Bronze Age parietal art in the Magura cave, North-west Bulgaria | |
| Grigori Vahanyan & Vahan Vahanyan, The Intercultural relations between Old Europe and Old Armenia | |
| Vahan Vahanyan, Comparative Analysis of the Armenia and World Rock Art | |
| Rina Viers, Les gravures protosinaïtiques sont alphabétiques | |
| Malde Vigneri, Il trauma della nascita dell’Io | |
| Chantal Jègues-Wolkiewiez, Une éclipse solaire prévue et observée dans la Vallée des Merveilles | |
| Thomas Wyrwoll, The Return of the Knights. Fragments of the ethnic history of the C-Group people inferred from rock art | |
| Thomas Wyrwoll, South Arabian Rock Art: Dating Attempts from Art History | |
| Mauro Zanchi, Arte primordiale di Beuys e arte preistorica | |
| Manuela Zanetta, La figura dell’armato nell’arte rupestre camuna l’esempio di Campanine di Cimbergo | |
| Adolfo Zavaroni, Footprints as a symbol of a divine guide of souls: focus on the Scandinavian Rock Art | |
| Christian Züchner, Ships on Scandinavian Rocks |