 Yes, so I will talk about rock art biographies the contribution of digital imaging technologies to this topic and Well, the main underlying aim of this paper is to demonstrate how theoretically informed application of digital imaging technologies has the potential to greatly contribute to our understanding of rock art particularly engraved So formal approaches to rock art have traditionally focused on meaning and representation Rock art images panel and panels were held as static representations of symbolic frameworks While their materiality and active role in cultural production were overlooked Typically as this example from Northwest Iberia shows Rock art panels and motifs were recorded and rendered to dimensionally with little or no indication of topography texture or possible sequences of making Furthermore in the case of petroglyphs these archaeological representations frequently made no differentiation between marks that were evidence of differing carving techniques The main aim of such recordings was to extract key information about form in order to identify Types styles patterns which would then be interpreted in terms of ever a variety of symbolic frameworks such as identity ideology or cosmology But as rock art research developed during the last two decades has revealed The outline and spatial patterning of rock art motifs are just fractions of much broader and more complex multi-dimensional Phenomena now we know for example that the microtopography of the rock soil face played key roles in processes of rock art production That rather frequently rock art panels were the product of various interventions and that as recent research has highlighted Rock carving techniques and technologies need to be studied systematically to tackle key social dimensions of rock art So during the last 10 years or so we have been experiencing an authentic digital digital revolution Digital technologies are becoming more accessible than ever before not only in terms of portability Price and knowledge needed for their Implementation but also in terms of dissemination of outputs for rock art is specifically techniques such as reflectance Transformation imaging image-based 3d modeling and Multi-spectral imaging which nowadays can be applied within low-cost budgets with DS DSLRs and open source or fairly cheap Software offer huge potential to explore innovative research venues Still the most common if not unique use of 3d modeling in engraved rock art research, for example Is aimed at detecting and rendering the outline of card card motifs? Namely in general the application of digital imaging technologies is still framed within traditional paradigms and research questions But much more can be done with these accessible technologies The analysis of surface texture for example can provide key information to interpret carving techniques or sequences of manufacture During the last few years I've been conducting research on rock art within a framework that could be broadly labelled relational Biographical since it attends to the life histories of rock art panels taking into account the mediation of diverse entities Including the rocks themselves, which could have an important role in the crafting of unexpected outcomes This was clearly exposed by recent replication experiments that I conducted with students from Cardiff and Southampton universities In one of these experiments two teams of students with no previous Experience in rock art carving were equipped with the same set of tools and two different boulders of the same type of stone might be she's Were asked to carve the same iconographic composition The resulting rock art productions were fairly similar in many respects to the rock art that they were intended to imitate Being the main differences between them does resulting from the differing structures of the individual stone boulders These experiments underlined the importance of attending to specific properties of individual rocks Conjection with the skill of the carver and the role of their interaction in rock art making The biographical approach has great potential for addressing the social and historical dimensions of prehistoric rock art This concept should also include the Shenna Paratois Involved in their in rock art production understood as the identification of the sequence of steps or actions Involved in its production from obtaining the raw material to its manufacture primary and secondary uses additionally considering the durability and landscape dimension of rock art the various natural and anthropogenic post-depositional processes Including their eventual reuse transformation the effects of erosion or agricultural activities that have been contributed to its present state are taking into account So the case study I discussed here are the so-called wire stealing found across Western Iberia and southern Iberia and dated to the late Bronze Age and early Iron Age roughly between 1400 15 up to the 8th century ABC Where steely are carefully shaped slabs measuring between 60 and 160 centimeters in length Decorated on one of their sides their iconography results revolves around the representation of a warrior persona through the patterned combination of a range of craft motifs human bodies Head care personal attributes weapons chariots with horses dogs mirrors Way blooms comes and or liars Most of the steely depict what appears to be the body of a personage surrounded by a panoply of weapons Perhaps great goods of a deceased deceased person Although in few occasions they also include more than one human body and even not narrative things When analyzing the formal variability of steely a Typical starting point has been the analysis of the co-variation of iconographic motifs and to a lesser extent Specific conventions such as the position of motifs in relation to each other The most widely accepted classification is based on the giant presence of a sword shield and spare That is the basic panoply type B seat box to the left These images were published by Harrison in 2004 Which appears alongside other motifs in type calls B plus O or type to be and then Type a so that's the box to the right Would include varying numbers of the aforementioned objects along with a schematic human figure or more than one human figure these three major groups present Or half super regional distributions that differ but do or however of our lab The development like geographic and temporal of these Econographies has been linked to networks of social interaction during the labor usage and early iron age Well type B so the simpler one appears to be the oldest All types all three types seem to the to develop simultaneously from the 12th century to the 10th century BCE however only type a the one to the right Seems to have continued until the early iron age The results of the recent analysis of a sample of 95 well-preserved steely by means of correspondence Analysis are consistent with the chronological develop development proposed for each of the aforementioned types of steely However correspondence analysis produces two dimensions which only account for 40% of the total variance a Percentage which increases to 51% we include the third dimension The distribution of cases and variables could be indicating the gradual increase in the iconographic vocabulary available over time from B Towards a To the I'm in here from he which has the main Elements of base panoply which is to your right towards the left so different elements Yeah up here here like the top the brooch calm bow This would be in line with a generally accepted idea that these steely represent objects or knowledge of them Which circulated via networks of social interaction regarding formal conventions? Some seem to be restricted to specific regions while others are distributed across white regions To sum up the formal analysis of the motives motives portrayed on warrior steely Allow us to put their protection within the framework of inter regional interaction networks during the late Bronze Age and early iron age However, there is still much variability among steely that remains to be explained Additionally, even though a steely where traditionally approached as finished art artworks There are cases that were clearly parked in more than one intervention The reason to reapply Reaffysal of other steely is revealing that recarving and reworking was more pervasive than previously thought So given that steely are part of a restricted well-defined tradition They offer a good opportunity to explore issues of our ability and temporality in rock art making While formal commonalities among steely can be explained through social interaction How can we understand their differences? Where this crafted through that subsequent Modification of steely can be formal differences linked to differing technological styles In order to address these questions a series of warrior steely from southern, iberia have been reanalyzed by means of digital imaging technologies So we applied 3d modeling laser scanning and photogrammetry and RTI These are steely the steely of Almaden de la Plata made of local tuff here Published by Garcia San Juan and colleagues in 2006 the steely of Cetephia Probably a limestone studied by various scholars in the 20s That one there In the 20s in the 60s by Amarro Bache and then in the in the early 2000s by Celestino The steely of Minasiviana, so that's the one towards the far right Made of local microchist recently discovered and studied and the studies Currently under review and the steely of Almaren make made of local dolomites Published by Villasecadilla in the 90s, which is this one so the Petrographic analysis of this steely has been done by us by Me in conjunction working together with Garcia San Juan And yes with a broader team of Specialists we have conducted the reappraisal of the steely and their fine spots So the steely had been studied previously had been approached from a traditional perspective that treated them as two-dimensional finished products and did not examine in depth with apropos technologies the techniques used to carve them The aim of this new study was to examine them from a biographical point of view including the chena paratois of their Manufacture as well as the possible overlays of motives or subsequent Modifications and as you can see here Of course, they didn't have I mean these technologies that we're using nowadays were not available in the 20s 60s You see for example that in the case of setephia different renderings of the iconography were produced and some even well they differ in some key details and Well, at least two of them didn't pay much attention to The volume of the stone and many other details So from the digital techniques employed RTI was particularly useful for the analysis of Stella Making marks thanks to its capability to render surface detail with very high resolution In the case shown here. This is a fragment of the studio of Minnesota Vienna. We can see various snapshots So this is one. This is the default image And here you can see when you apply the specular enhancement probably you're already all familiar with RTI You can get a very very good reading of the surface So the first is snapshot of the default view without transformation The second and third are two peaks taking with the specular enhancement filter which reveals Sorry, which reveals several marks Linked to the preparation and carving of the steel particularly interesting is a series of fine parallel groups produced through preparation leveling of the surface in the area of the shield Yes, so pretty models with Super millimeter Accuracy were produced for all steely and these geometric documentation was used as a complement to observations made through the qualitative assessment Made by means of RTI. Nevertheless, most of the details of manufacture were better visualized Via RTI So RTI analysis of this force to not only revealed details of their manufacture But also loud comparison between them here We can see various snapshots showing some relevant details of the steely So in the first row you see details of surface preparation For example, the surface of the steely of Alma and the La Plata was leveled through chiseling and you can see the small marks Quite well, and they are not readily visible when you see the steely Directly and this is the very way to document them at least visually Why the Stella of Mirasovina was leveled through abrasion? So that's the third one where you can see the very fine groups of the abrasion that was Yeah applied to level the surface to smooth it So in the second row you can see details of the groups depicting the shields for example the shield of Almaden In this end was depicted through fine session Why those are outlining the shield of the Stella of Mirasovina have deeper you? You profile with the smooth surface made through pecking and upgrading In the last row you see details of the groups depicting the human figures each Human figure shows distinctive formal and technological traits the figure of Almaden is outlined through incision while that on Sedefia is delineated through shallow pecking the differences between the TV of Mirasovina and Sedefia Found very close to each other just barely two kilometers. Okay, and depicting similar compositions are a start Overall what we could see That an important step in the process of Stella making was the preparation of the surface In all cases considerable time was spent in leveling the surface Although the finish varied from one Stella to another and these drawings that I'm showing here They are not intended to be realistic representations of the steely So they are just intended to be Synthetic Interpretations so we usually when we publish this we publish these Synthetic interpretations with images from 3d model or RTI or even if the publication the publisher allows us We would upload the 3d model And here's the other one. So this seem tended to Sorry, I just lost my head. I'm just finishing so We just have two more slides this one another one. I'm sorry Yeah, so the carving techniques employed to depict the different motifs were also varied in a modern Financesion operation were employed in this one While in steely like Sedefia, the second one the groups were produced through shallow pecking a more elaborate finish Is that shown by the groups of Minasiviana, which is the third one It is difficult to discern the sequence followed to carve the different motifs since there are just a few clear superimpositions But in the case of a market, which is the last one The fact that the human figure's shape is slightly adapted to the shields curvature Indicates that maybe the shield was probably like possibly carved before furthermore the Stella from then and Minasiviana show more complex biographies in Alma Then some small cup marks possibly produced through soft surface preparation were incorporated in the steely iconography One is a possible bracelet this one here and another one here as part of the sword As the pomel so while at a later stage the two hands that were originally touching were probably intentionally intentionally erased so here we But actually there is a plate exactly here The still of Minasiviana is more difficult to interpret. There are a couple of upside down credit cards in the lower Section and some unfinished motifs in the lower part of the stone which could have existing Could have been existing partners Additionally, the human figure appears to have been carved over an existing existing motif Possibly the depiction of the blade or something similar In the lower part, but the price that the goose are so very well Braided that you can really see distinguish what cuts what so to finish These details are highly relevant since even though there are formal similarities between the steely that can be interpreted as a result of the Merchant of these communities in broader network Interaction networks each Stella represents presents clear ID IDC on crosses Particularly in the way they were made the sign in which the same categories of motifs are depicted in each of these steely as Well as their technical qualities and the sequence of carving followed to decorate each law Deferred notably from one another a fact that is even more striking when we consider that all of them were Documented in the Guadalupe Valley this underlines the significance of the local dimension of this monument In that their crafting was probably in the hands of local artisans who likely had limited experience in Stella making and or Implemented carving techniques known in local regional rock arts traditions This suggests that despite the use of a widely shared graphic language There was no single way of making warriors stealing This has relevant implications when interpreting the social and ideological dimensions of these monuments Importantly, petrographic analysis indicate that the slabs used to manufacture them Were locally sourced so further suggesting that Stella making was broadly shared, but of course locally executed practice