ABREU, M. S. DE and R. G. BEDNARIK 2000. Fariseu rock art not archaeologically dated. Rock Art Research 17: 65-8.
Anonymous 2000. ‘Archaeologically dated Palaeolithic rock art’ at Fariseu, Côa valley. Rock Art Research 17: 65.
AUBRY, T., A. F. CARVALHO, J. ZILHÃO 1997. Arqueologia: Salto do Boi – Cardina I. Arte rupestre e pré-história do Vale do Côa (trabalhos de 1995-96), pp. 1-23. Relatório científico ao Governo da República Portuguesa, Lisbon.
Need foreign language support?BEDNARIK, R. G. 1979. The potential of rock patination analysis in Australian archaeology – part 1. The Artefact 4: 14?38
BEDNARIK, R. G. 1984. Die Bedeutung der paläolithischen Fingerlinientradition. Anthropologie 23: 73-9.
BEDNARIK, R. G. 1986. Parietal finger markings in Europe and Australia. Rock Art Research 3: 30-61, 159-70.
BEDNARIK, R. G. 1988. Comment on D. Mania and U. Mania, ‘Deliberate engravings on bone artefacts of Homo erectus’. Rock Art Research 5: 96-100.
BEDNARIK, R. G. 1990/91. Epistemology in palaeoart studies. Origini 15: 57-78.
BEDNARIK, R. G. 1991a. The emperor’s clothes. Purakala 2(1): 18-21.
BEDNARIK, R. G. 1991b. Limits of knowledge. Purakala 2(1): 29-31.
BEDNARIK, R. G. 1991c. On the motivation of rock art reuse. La Pintura 18(2): 10-11, 13-14.
BEDNARIK, R. G. 1991d. On natural cave markings. Helictite 29(2): 27-41.
BEDNARIK, R.G., 1991e. Comment on F. d’Errico, ‘Microscopic and statistical criteria for the identification of prehistoric systems of notation’. Rock Art Research 8: 89-91.
BEDNARIK, R. G. 1991/92. Rock art as a cultural determinant. Survey 5/6(7/8): 11-20.
BEDNARIK, R. G. 1992a. The stuff legends in archaeology are made of: a reply to critics. Cambridge Archaeological Journal 2: 262-5.
BEDNARIK, R. G. 1992b. Oldest dated rock art — a revision. The Artefact 15: 39.
BEDNARIK, R. G. 1992c. Palaeoart and archaeological myths. Cambridge Archaeological Journal 2: 27-43.
BEDNARIK, R. G. 1992d. A new method to date petroglyphs. Archaeometry 34: 279-91.
BEDNARIK, R. G. 1992e. Base pour des études de pointe des débuts de l’art. L’Anthropologie 96: 369-74.
BEDNARIK, R. G. 1993a. 1993. Who’re we gonna call? The bias busters! In M. Lorblanchet and P. Bahn (eds), Rock art studies: the post-stylistic era, or where do we go from here? Proceedings of Symposium A, Second AURA Congress. Oxbow Books, Oxford.
BEDNARIK, R. G. 1993b. Wall markings of the cave bear. Studies in Speleology 9: 51-70.
BEDNARIK, R. G. 1994a. A taphonomy of palaeoart. Antiquity 68: 68-74.
BEDNARIK, R. G. 1994b. On the scientific study of palaeoart. Semiotica 100(2/4): 141-68.
BEDNARIK, R. G. 1994c. Archaeology: empiricist determinism or cultural synthesis? South African Archaeological Bulletin 49: 96-9.
BEDNARIK, R. G. 1995a. The age of the Côa valley petroglyphs in Portugal. Rock Art Research 12: 86-103.
BEDNARIK, R. G. 1995b. Metamorphology: in lieu of uniformitarianism. Oxford Journal of Archaeology 14: 117-22.
BEDNARIK, R. G. 1995c. Refutation of stylistic constructs in Palaeolithic rock art. Comptes Rendus de L’Académie de Sciences Paris 321(série IIa, No. 9): 817-21.
BEDNARIK, R. G. 1997. The role of Pleistocene beads in documenting hominid cognition. Rock Art Research 14: 27-41.
BEDNARIK, R. G. 1999. Maritime navigation in the Lower and Middle Palaeolithic. Comptes Rendus de l’Académie des Sciences Paris, Earth and Planetary Sciences 328: 559-63.
BEDNARIK, R. G. 2001. First dating of Pilbara petroglyphs. Records of the Western Australian Museum 22 (in press).
BEDNARIK, R. G. 2002. The taphonomy of beeswax figures (in press).
BEDNARIK, R. G. and K. SESHADRI 1995. Digital colour re-constitution in rock art photography. Rock Art Research 12: 42-51.
BINFORD, L. R. 1967. Smudge pits and hide smoking: the use of analogy in archaeological reasoning. American Antiquity 32: 1-12.
CAMERON, D. W. 1993. The archaeology of Upper Palaeolithic art: aspects of uniformitarianism. Rock Art Research 10: 3-17.
CHIPPINDALE, C. 2001. Studying ancient pictures as pictures. In D. S. Whitley (ed.), Handbook of rock art research, pp. 247-272. AltaMira, Walnut Creek, California.
CLOTTES, J., M. MENU and P. WALTER 1990. New light on the Niaux paintings. Rock Art Research 7: 21-6.
CLOTTES, J., J. COURTIN and H. VALLADAS 1992. A well-dated Palaeolithic cave: the Cosquer Cave at Marseille. Rock Art Research 9: 122-29.
COLE, N. and A. WATCHMAN 1992. Painting with plants: investigating fibres in Aboriginal rock paintings at Laura, north Queensland. Rock Art Research 9: 27-36.
CONSENS, M. 2000. Between artefacts and egofacts: the power of assigning names (abstract). In R. G. Bednarik (ed.), Third AURA Congress, program and congress handbook, p. 10. Occasional AURA Publication 11, Australian Rock Art Research Association, Melbourne.
CONKEY, M. W. and C. A. HASTORF (eds) 1991. The uses of style in archaeology. Cambridge University Press, Cambridge.
D’ERRICO, F. 1988. Lecture technologique de l’art mobilier grave nouvelles méthodes et premiers résultats sur les galets graves de Rochedane. L’Anthropologie (Paris) 92: 101-22.
D’ERRICO, F. 1989. Palaeolithic lunar calendars: A case of wishful thinking? Current Anthropology 30: 117-18.
D’ERRICO, F. 1991. Microscopic and statistical criteria for the identification of prehistoric systems of notation. Rock Art Research 8: 83-93.
D’ERRICO, F. 1994. L’art gravé azilien. 31e supplément, Gallia Préhistoire, CNRS Éditions, Paris.
EICHMAIER, J. and O. HÖFER (eds) 1974. Endogene Bildmuster. Urban and Schwarzenberg, Munich.
FLOOD, J. 1995. Copying the Dreamtime: anthropic marks in early Aboriginal Australia. Paper presented to Symposium 1A of the International Rock Art Congress in Turin, September 1995.
FRANKEL, D. 1993. The excavator: creator or destroyer? Antiquity 67: 875-7.
FREEMAN, L. G. 1994. The many faces of Altamira. Complutum 5: 331-42.
HODGSON, D. 2000. Art, perception and information processing: an evolutionary perspective. Rock Art Research 17: 3-34.
HUCHET, B. M. J. 1991. The nature of analogies in Australian archaeology. The Artefact 14: 3-12.
HUCHET, B. M. J. 1992. Processual archaeology: discrepancies between norms and performances. Norwegian Archaeological Review 25: 111-19.
KELLOGG, R., M. KNOLL and J. KUGLER 1965. Form-similarity between phosphenes of adults and pre-school children’s scribblings. Nature 208: 1129-30.
KNOLL, M. and J. KUGLER 1959. Subjective light pattern spectroscopy in the encephalographic frequency range. Nature 184: 1823-24.
KUCKENBURG, M. 1997. Lag Eden im Neandertal? Auf der Suche nach dem frühen Menschen. ECON Verlag, Düsseldorf and München.
LORBLANCHET, M. 1992. Introduction. In M. Lorblanchet (ed.), Rock art in the Old World, pp. xv-xxxii. IGNCA Rock Art Series 1, Indira Gandhi National Centre for the Arts, New Delhi.
MACINTOSH, N. W. G. 1977. Beswick Cave two decades later: a reappraisal. In P. J. Ucko (ed.), Form in indigenous art, pp. 191-97. Australian Institute of Aboriginal Studies, Canberra.
MANDL, F. 1996. Felsritzbilder auf dem Dachsteingebirge: Beiträge zur Datierung ostalpiner Felsritzbilder. Mitteilungen der Anisa 17(2/3): 136-56.
MARSHACK, A. 1972. The roots of civilization. McGraw-Hill, New York / Weidenfeld and Nicolson, London.
MARSHACK, A. 1985. Theoretical concepts that lead to new analytic methods, modes of enquiry and classes of data. Rock Art Research 2: 95-111.
MARSHACK, A. 1989. Methodology in the analysis and interpretation of Upper Palaeolithic image: theory versus contextual analysis. Rock Art Research 6: 17-38.
MAYNARD, L. 1977. Classification and terminology in Australian rock art. In P. J. Ucko (ed.), Form in indigenous art, pp. 387-402. Gerald Duckworth and Co. Ltd., London.
MICHAELIS, H. 1981. Willowsprings: a Hopi petroglyph site. Journal of New World Archaeology 4(2): 3-32.
MITHEN, S. (ed.) 1998. Creativity in human evolution and prehistory. Routledge, New York.
MOWALJARLAI, D. and P. VINNICOMBE 1995. Perspectives of the origin of rock images in the western Kimberley. In G. K. Ward and L. A. Ward (eds), Management of rock imagery, pp. 42-52. Occasional AURA Publication 9, Australian Rock Art Research Association, Melbourne.
MUNN, N. D. 1973. Walbiri iconography. Cornell University Press, Ithaca.
NELSON, D. E. (ed.) 2000. The beeswax art of northern Australia. Compact disk, Simon Fraser University, Burnaby, Canada.
POIKALAINEN, V. and E. ERNITS 1998. Rock carvings of Lake Onega: the Vodla region. Estonian Society of Prehistoric Rock Art, Tartu.
QUEREJAZU-LEWIS, R. 1991/92. Rock art as part of the popular Andean religiosity. Survey 5/6(7/8): 61-66.
RIDGES, M., I. DAVIDSON and D. TUCKER 2000. The organic environment of paintings on rock. In G. K. Ward and C. Tuniz (eds), Advances in dating Australian rock-markings, pp. 61-70. Occasional AURA Publication 10, Australian Rock Art Research Association, Melbourne.
RIP, M. R. 1989. Colour space transformations for the enhancement of rock art images by computer. Rock Art Research 6: 12-16.
SOLOMON, S. 1990. What is this thing taphonomy? In S. Solomon, I. Davidson and D. Watson (eds), Problem solving in taphonomy: archaeological and palaeontological studies from Europe, Africa and Oceania, pp. 25-33. Tempus 2, University of Queensland, St Lucia.
TITIEV, M. 1937. A Hopi salt expedition. American Anthropologist 39: 244-58.
WATCHMAN, A. 1992. Repainting or periodic-painting at Australian Aboriginal sites: evidence from rock surface crusts. In G. K. Ward (ed.), Retouch: maintenance and conservation of Aboriginal rock imagery, pp. 26-30. Occasional AURA Publication 5, Australian Rock Art Research Association, Melbourne.
WYLIE, A. 1985. The reaction against analogy. In M. B. Schiffer (ed.), Advances in archaeological method and theory, Vol. 8, pp. 63-111. Academic Press, New York.
ZILHÃO, J. 1995. The age of the Côa valley (Portugal) rock-art: validation of archaeological dating to the Palaeolithic and refutation of ‘scientific’ dating to historic or proto-historic times. Antiquity 69: 883-901.