 Now, the, yes, just to go through the main ideas here quickly, the, this paper is mostly interested in linguistic implications of rock art and particularly stellar, which you've just heard about concentrating on the ones in the southwestern Iberian peninsula, but not entirely. So one of the main ideas here is that new advances in technology are making detailed and in-depth comparison of widely separated, immovable examples of rock art more, more feasible. Now, this is about the technology you've heard about and you're going to hear more about it and there's been a lot of interest in this conference. But I think in particular for linguistics, we're going to be interested in comparability across wide areas and not just raising up to a higher standards with new technology in a particular area or with particular traditions, but both over time, so diachronically through periods tracing continuity, but also where there may be connections over wide areas where migrations in the spread and continuity of languages are in question. And the fields of archaeology and historical linguistics have for a long time been aware, but largely frustrated in attempting to put together the fact that they are studying the same societies in the Bronze Age in particular, but other prehistoric societies. They know they're looking at different aspects of the same societies, but putting those together in time and space, saying where reconstructed proto-Indo-European, for example, proto-Germanic, proto-Celtic, the other languages that are reconstructed very accurately and in great detail but are not directly attested, where to put those together in time and space with archaeological cultures. This has been very difficult. This however has changed for the better rapidly recently because of the archeogenetic revolution of the past few years, really 2015 is the key year where evidence in ancient DNA for mass migration from the Pontic-Caspian step now confirms one of the hypotheses or major aspects of one of the hypotheses of the spread and origin of the Indo-European languages going back to the Pontic-Caspian step about 5,000 years ago. Rockhardt of the various things that can be used to tie in with this new evidence for the spread of Indo-European out of the Pontic-Caspian step and its diversification later on through the course of the Bronze Age, Rockhardt is a particularly important source of information in giving us details of the ideas and ideology of people, also the valued and prestigious parts of their material culture represented in the Rockhardt. We also see traditions both vertically over time and widely across Europe that seem to be appearing in areas where we have early Indo-European languages emerging and now the evidence indicates they were there in later prehistory as well. And I'm just going to go quickly through some stones that were, these are stelae, there's some overlap here with what Marta Diaz-Bartadino just showed you. This is result of fieldwork that was done, these objects mostly from the, in the Barahoth, in fact entirely in the Barahoth Museum, were scanned about a year ago and at any rate, they are late Bronze Age stelae of the type you've heard about in Marta Diaz-Bartadino's paper just before now and we did 3D scans of them. I also have a printed one here that people can look at and the break reduced to 25% scale and this slide shows the, this is the Ferro del Santo stelae from the Barahoth region and it's just, you can turn it but the link didn't work so rather than actually displaying it on screen and turning it, I've given you 3 screenshots to show that this is a 3 dimensional scan, it can be turned and potentially it can be turned without having special software by doing the whole thing by a link on the web, in fact it works outside of this room, it seems to work fine but it can be manipulated and so on. And I think for the perspective that I'm interested in that this can be done is not news at this point but that it can be done and that they can be compared with rock art and stelae and other parts of Europe where there are other reasons to think that there are links and possibly linguistic connections going on, that is of particular interest and we'll just race through another couple, this is the La Pimienta also from the Barahoth region as well as the Barahoth museum and these are the standard views from the catalogue and then the 3 dimensional manipulation of having scanned them and this one from Mahata Hondas is particularly of interest one of the ways in which there is a linguistic connection to these but one of the most direct ones is that we have some of them have writing on them as well and this has an inscription down which is done in the reverse down at the bottom of this, chariots are also a key feature because a lot of focus on Indo-European civilization and cultural traditions have focused on the spread of the horse and chariot package as part of it which is part of the iconography that is not only strong in the Iberian peninsula in that tradition but also shows close parallels with Scandinavian rock art, this is the one that we have the 25% printout of which you can take a look at which I think there's a lot of potential here for comparative not just for experts but to have 100% 3D printout and museums in other regions where they have similar things but it's not practical to bring an Iberian steely to Sweden or what have you but you can have something that actually is perishable that well school children can touch and so on as well as being an exact replica and in the interest of time I will just go through these more of the same sort of thing also from the Badajov region shields in this one is you and Tia found particularly interesting in that you get the back of the shields you get similar shields in the Scandinavian tradition of rock art but you the shield is in those examples I've never seen one that is obviously from the back where you're seeing the shield grip but this is fairly common in the Iberian tradition and the different positions of and another one with a conspicuous shield as in the central in the Solonia central in the in the design of it figured with a spear and a large sword and again a chariot an important component in this tradition now one of the things that when you start comparing the rock art traditions from different regions of Europe and I've been particularly interested in comparing the Scandinavian tradition with the Iberian one at the same period mostly the late Bronze Age the sort of up 1300 to 900 800 BC something like that is that you get a lot of the same iconography and sometimes represented in very similar ways such as the Bowen arrow here and as it becomes clearer that we as to which languages we must be dealing with in these areas you can start to put this together with the Indo-European words and or the words of other reconstructed post-proto Indo-European languages such as the Bowen arrow iconography which is very similar in the way it's represented in Scandinavia and and the Iberian stelli tradition with the double flex in the bow but the position of the arrow all was shown the same the bowstring not shown drawn back but always straight down they probably have the same word for this because we find in the Germanic Celtic and Italic languages so the Western and Northwestern Indo-European they are the only group that have the same word for for bow and arrow it's arrow in Germanic and it's bow in Celtic and and Italic might mean arrow in in Celtic too and so you can see these you know potentially lined up with studies of the the Indo-European and proto Celtic proto Germanic vocabulary and so on and as well as tying this in with reconstructed languages you can also see this in the early sort of honorific names that the peoples have in in these areas so heavily in the western Iberian peninsula again one of the pre-Roman names that is most common both from this feminine as well as the masculine form of this name is Arqueus meaning the archer which has been recognized as a Celtic name meaning the archer for over a hundred years but people tended to forget about it and now we have scores of examples of this name this is this is only a fraction of them we have here most heavily as you see it is in the Iberian peninsula sorry the western part of the Iberian peninsula so Portugal and western Spain though you do have also have it in the east and around Tharagoth in the Celtic area so very widespread otherwise it has died out in the Celtic language is which is not all that surprising considering that archery itself died out in the Bronze Age in Britain and Ireland so if we have it in the beaker period it's go goes on in the early Bronze Age but it disappears and the word disappears as well but you have it archery survives now a few things that are strong in the the second millennium BC the Bronze Age in the post-Indo-Europe Proto-Indo-European stage after the languages and the people have evidently spread out from the Pontic-Caspian steps are the spread of of tin bronze as the main material for weapons ornaments and tools advanced seafaring and and the horse and chariot package these are three three things that are very important in the rise of the Bronze Age out of the of the period of the of the spread of population the Pontic-Caspian steps and they are all reflected in in the rock art and and Stelli of the Bronze Age and so the these sort of post-proto-Indo-European processes of the Indo-European Bronze Age are are clearly reflected in the in the rock art of of more than one region Scandinavia and the Iberian Peninsula in particular and one of them the horse and chariot package we have horses and wheeled vehicles already in proto-Indo-European you can see this in the culture of the Pontic-Caspian step you can also see in the vocabulary that is shared by all the the Indo-European languages but some of the more advanced parts of it such as the spokes of the wheel are not part of the Coleman vocabulary and at any rate the horse and chariot package is reflected in very similar the one on the center bottom is from Franarpen and Sweden then you have the one another one from the Baraholth region and on the top from Ategua in in southern Spain and the way that the the wheels the spokes the horse team are represented and very unnaturalistic features are repreated between the two traditions and this you know this can't be accidental you're not just talking about the idea of a horse two horses and a chariot being repeat in the two traditions you're being taught you're seeing the the same kind of unnaturalistic conventions representational conventions recurring in both the Iberian Peninsula and in the and in Scandinavia and again there is common vocabulary so we can be pretty certain about the words that are being used to represent the various elements of this and one of the and I'll be finishing up near here so yes the it has been suggested that the the stem I of the Pontic Caspian steppe region is actually the work of Proto-Indo-European so the ones from the Ukraine that you have over on the on the extreme it's your right of the screen is this has been you know and I think the the argument is pretty good it hasn't been rejected this is representing the culture and iconography of the inter-European it's also the way the burial context and you get very similar forms and repetitions you know this is a middle Bronze Age stele from from the Alentejo region near Beja on the other side of the screen you get very the again the elements are very similar and this potentially has to do with something we can now link up with migrations of peoples that we know are the people of steppe ancestry are connected with the the stellar from the from south Portugal on the on the left side of the screen and finally I'll stop it here this is we also have a continuity and in some cases a revival of burial customs associated with the stellar and both a stellar in both the Pontic Caspian steppes where you have it over on the left side of the screen and the the middle Bronze Age ones from south Portugal and the environs where you also have the the kist often often you have the stellar is then put face down over the top of the kist burial and then finally in on the on the far side of the right side of the screen you have the Komish Irish stellar from the early Iron Age with writing on it so and that is again a very similar kind of burial context very similar kind of circular monument on the on the surface and all up so that it's possible to trace all the way back to the Pontic Caspian steppes elements of this that you actually get recorded languages at the end of the process and I'll I'll leave it there thank you very much