 First of all, I want to thank the organizers for having me here today. And as we shall be talking about new technologies, my first slide features Henry Braille, who the man who spent 700 days recording images in the caves. And in this photo, he is actually shown recording a Portuguese rock art site in the 1930s, the site to which we shall return in the very end of this presentation. Well, the study of post-glacial arts in northwest corner of Liberia is particularly interesting, for it is one of the few regions where it has been attested that two major European prehistoric art traditions actually come together. And they are partially contemporary in the Neolithic. And they are Atlantic art that spans across Atlantic Europe from northwest Liberia to the British Isles, and schematic art, paintings that occur along the Mediterranean biogeographical region up to the northeastern Portugal and the Angolithia. So Atlantic art is materialized as carvings on open-air outcrops. The repertoire of motifs include cup marks, cappern rings, curvilinear motifs, and wandering lines, organized in both simple and complex arrangements. It is placed here in northwest Liberia in the typical granite landscape of the planted facade, scattering across hillsides, spurs, platforms, and rocky hills. And it is readily accessible and allow physical movement around the rocks. In contrast, schematic art sites are mainly distributed along the bottom of river valleys or decorating quartzite crests on mountain tops in the more arid and dry environment of the Mediterranean. Schematic art painting is typically painted, and it's characterized by the representation of the human figure and geometric rectilinear motifs. And it is mostly found in rock shelters. These rock shelters are usually confined in closed, intimate spaces. And with few exceptions, they are not suitable for large gatherings. We have been stressing the idea that both traditions converge along the line that marks the transition between the Atlantic and Mediterranean biogeographical regions of Europe and asking whether it could be the case that the establishment of idol tradition in such different environments means that they were adopted by two different social, cultural backgrounds, corresponding to two different ways of living in northwest Liberia in the Neolithic. But if we bring in other prominent art settings from the same period in the same area, we find that megalithic art also presents stylistic contrast between the coast and the interland, matching to a large extent the geographical distribution and imagery of schematic art and Atlantic art towards the west, where we find it is mostly composed by abstract and curvilinear designs with some motifs recalling Atlantic art, like wavy lines, cup and rings, single circles, as it's shown on the left, whereas towards the interland on the right, the imagery found in passage grave art is clearly inspired in schematic art style. In recent decades, I've been looking at the spatial, temporal, and conceptual relationships between these various styles and traditions. So in this paper, we shall discuss how new technologies of recording relate to theorizing rock art, as the former have been primarily thought as a means of communication, documentation, preservation, and public dissemination. That is, at heart of this session, is reflective thought. Our challenge should be to think theoretically about methods and tackle two main questions. How do new technologies actually contribute to the production of archeological knowledge? And how may they help in the process of thinking and interpreting rock art? And in order to do so, I shall bring a number of case studies on the various rock art styles and traditions found in northern Portugal. And starting off with Atlantic art. From the late 1990s, our research attempted to go beyond the traditional imagery focus approach that characterized Iberian rock art research, setting an agenda that aimed to look at rock art from the landscape to the rock face and vice versa. One of the issues we set off to analyze were the characteristics of the place selected for carving. And how the way carvings were placed on rocks, condition the bodily movement and sensorial experience leading the observer to unveil further connections. For instance, at Forno dos Moros, we found that the kind of mimetic relationship between the shape of the rock and that of the mountain where he sits. With the two river valleys apparently portrayed by the two depressions shaped by running water on each side of the outcrop. Yet at the time, none of the conventional recording techniques was entirely satisfactory to show this. As the results of recording by direct tracing were the conventionally flat black and white shapeless images as Marta also showed. However, field observations show that at the largest scale Atlantic art often mimicrys landforms in the wider landscape. Whereas at the smaller scale, a dialogue between the carvings and the natural backdrop is frequently established. Our research at Montefaro showed how the molding of granite rocks assumes at times a highly sculptural effect. And there are also a large number of motifs intentionally carved on bands adhering to circle lamps or simply outlining natural convex surfaces on the rock. This use of digital recording techniques allow us to better illustrate the idea that Atlantic art materializes a particular vision of the cosmos through outward dialogues as it engages with the elements, landforms and with the natural features of the outcrop where he sits. But above all, allow us to better illustrate that the work of art should be considered as the whole, I mean, as a sum of rock and imagery. Turning now to, turning now to the schematic art tradition, we shall see how the much widely disseminated plug-in, this stretch written by John Harmon to imagine has been fundamental to accurately record the paintings at the site of Vlad Pescabreras. The majority of painted rock shelters exhibit a small number of figures, yet this apparently scarcely decorated panel was actually found to contain 190 individual motifs, some of which are very faint and only show up by photographic enhancement. It also show pardon, it also allowed us to show the evidence for succeeding phases of imagery production with different individualized sectors, sectors in which motifs were painting with different styles at different scales and multiple colors, ranging from red to orange and purple, but also the presence of different techniques of execution like fingerprint, brush painting, painting applied with a spatula, and also these rather unique motifs in orange obtained by scrapping a cryon on the surface, which makes this a rather unique site in the context of Iberian schematic art. But to show further how new technologies have been fundamental to unveil aspects of the biography of prehistoric art sites, I bring the case of the decoration of taco one, a chamber tube provisionally dated to the fifth millennium BC. It is located in northwest coast of Portugal and shares these geographical settings with Atlantic art and also shares the character of the most prominent motifs packed on one of the slabs, the set of concentric arcs, which actually was the only one recorded in the original publication of 1992. Recently, a new recording by Photogrammetry showed a number of shallower and finely packed images across the chamber, some of which seem to be unfinished motifs and they are not meant to be as visible as the main composition. In fact, in Iberian megalithic art, these shallow and unfinished motifs are often found in monuments that are both painted and carved and in which the carvings are accessory to an old pervading painting decoration. In the case of taco, as the monument has been exposed to the elements, paintings could not be preserved, but the presence of these motifs suggests that the chamber might have been painted at some stage of the sequence of use and reuse. Interestingly, in the last days of the excavation, this was three years ago, one particular finding brought additional arguments to support this idea. And this is this grinding stone, which was also recorded by, with this stretch or enhanced. This is a grinding stone with abundant remains of red ochre from the excavation of the mound, most probably used to prepare pigments. So in all, the fact that to achieve an unambiguous record was a long-awaited goal for researchers. However, because digital recording techniques generate non-interpretive images, it is important to stress that their success in archeological practice depends above all of the questions asked by the archeologists. It is true that new technologies eliminate subjectivity in the execution of site recordings, but subjectivity rests where it should be in the subject who interprets. Thus, to illustrate this last point, I'd like to leave you with the first published record of an European rock art site. It shows the arrangement of prehistoric paintings inscribed in a frame of baroque style with a Bacolic landscape scenery in the background as interpreted by the 18th century artist, De Brie. And this is also to remind us that despite the technological evolution, one of the most powerful means of translating and interpreting ancient art is still perhaps the language of art itself. Thank you.