Abstract: This is the first dictionary compiled specifically for rock art research. It follows the publication of an English rock art glossary in the journal Rock Art Research in November 2000. To be adopted by the International Federation of Rock Art Organisations (IFRAO), it has been translated by some of the world’s foremost scholars in the field into Arabic, Chinese, French, German, Greek, Italian, Portuguese, Spanish and Russian. In a discipline that has hitherto been without an agreed terminology, even communication within a single language has been difficult. The proliferation of idiosyncratic terminologies of often academically isolated researchers, many of which have been used by only one scholar, has not only retarded progress and the transference of knowledge, it has led to countless misunderstandings and even personal feuds. The purpose of this dictionary is to create a single terminological standard as well as a cross-lingual uniformity of usage. It focuses particularly on scientific aspects, technical applications and epistemological rigour. It does not set out to create a terminological straitjacket for the discipline, but a common standard of reference, particularly in areas that have in the past been susceptible to greatly differing interpretations. This dictionary comprises sections in ten languages, each listing the same terms alphabetically. It also contains a table interlinking all of these languages, listing all terms explained. This translation table is organised alphabetically according to the English terms. The volume is indispensable for scientific translators, rock art scholars, archaeologists and others concerned with aspects of pre-Historic rock art, and is also intended for the guidance of students and authors working in this field.

Abstract: The general distribution of the rock art sites in Morocco is indicated in this report. The vast majority are situated in southern Morocco, in the region of the River Draa and further south. One important exception is the High Atlas mountain range. The location of these sites is shown to be fairly standardised. Four different groups of engravings are identified, based on technique and theme. In the absence of any direct dating of the engravings, these groups can only be placed in a relative chronological order, using dates known for climatic conditions and the introduction of animals or objects. A problem concerns the reliability of these ‘known’ dates, often based on extrapolation from dated information from neighbouring countries. Two recent excavations close to rock art sites have yielded C14 dates for population presence in the area without advancing knowledge on the date of the rock art. The reason for sites’ geographical situation in the landscape can probably be surmised reasonably accurately, but the interpretation of this art remains largely a matter of speculation and intelligent guesswork. Current projects aimed to advance knowledge of the age of the art are described.

Abstract: This comprehensive review of all currently known Pleistocene rock art of Africa shows that the majority of sites are located in the continent’s south, but that the petroglyphs at some of them are of exceptionally great antiquity. Much the same applies to portable palaeoart of Africa. The current record is clearly one of paucity of evidence, in contrast to some other continents. Nevertheless, an initial synthesis is attempted, and some preliminary comparisons with the other continents are attempted. Certain parallels with the existing record of southern Asia are defined.

Abstract: An engaging account of today’s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world.

Abstract: In the uncertain horizon of a discipline in desperate need for consensus, a man stands alone, raising high above personal feuds a warning flag on which the reader can read: “We cannot afford to get it wrong, the resource is not renewable!”

Abstract: Botanical illustration combines scientific knowledge and artistic technique. However, whereas illustrated botanical images record static visual qualities, such as form and color, written botanical narratives supply crucial sensory, ecological, historical, and cultural contexts that complement visual representation. Understanding the text-image interface—where images and words intersect—contributes to humanities-based analyses of botanical illustration and illustrators. More specifically, a process philosophy perspective reveals the extent to which botanical representations engage the temporality, cyclicality, and contextuality of the living plants being illustrated. This article takes up these themes through a comparative theoretical study of three female Western Australian botanical illustrators, Georgiana Leake (1812–1869), Emily Pelloe (1877–1941), and Philippa Nikulinsky (born 1942), whose lives together span the 183 year history of the Swan River Colony and the state of Western Australia. I apply a processist framework to examine the text-image interface of their works. All three illustrators use some form of textuality: marginalia, annotations, written accompaniments, introductory statements, and other narrative materials. In examining their written commentaries and traces, I identify the emergence of a process mode of botanical illustration that represents plants as ecological, historical, cultural, and temporal organisms.