Session 2 – Monney – Reflections on the implementation of digital tools for rock art surveys скачать в хорошем качестве

Session 2 – Monney – Reflections on the implementation of digital tools for rock art surveys

The COSMO-ART Conference on Rock Art Rock Art Site Management in Southern Africa: Towards a Cosmopolitan Approach 30 Nov. – 5 Dec. 2025, Sol Plaatje University, Kimberley, South Africa Session 2 – 4 December 2025 Julien Monney (EDYTEM), Laurent Bruxelles (IFAS-Recherche), Kaarina Efraim (National Museum of Namibia), Stéphane Hœrlé (PACEA, Rock Art Research Institute), David Morris (McGregor Museum, Sol Plaatje University), Alma Nankela (RCHS – Archaeosciences & Consultants) & Lourenço Pinto (Sol Plaatje University) – Reflections on the implementation of digital tools for rock art surveys in Southern African contexts: Wildebeest Kuil (RSA) and Erongo Massif (Namibia) Over the last two decades, rock art research has largely benefited from the digital resources available for recording and studying rock art. As part of the ANR Cosmo-Art project, two rock art areas in Southern Africa — Wildebeest Kuil (RSA) and the Erongo Mountains (Namibia) — were selected for rock art surveys. These areas present differing characteristics, challenges, and research objectives, and were investigated using a variety of digital tools (GIS, GPS, photogrammetry, digital image processing, etc. including smartphone apps). In this communication, we present the methodological approaches employed, along with the benefits and limits encountered. At Wildebeest Kuil, the primary objective was to document and analyse the relationships between rock engravings and other types of archaeological remains present at the site, in order to explore their potential chronological and symbolic connections. To this end, a geospatial inventory of each graphic entity was carried out with decimetric accuracy within a GIS environment. In parallel, other traces of human activity observed on the site’s rock surfaces — such as percussion marks and polishing zones — as well as man-made stone structures composed of displaced blocks, were recorded and processed in a similar manner. In the Erongo Mountains, due to the vast size of the massif, our work focused primarily on its northwestern part, in an area that had already been partially investigated. The aim was to examine potential gaps in the current spatial distribution of rock art, and to assess whether these gaps could be explained by topographical, geological, alteration-related, or other factors. To this end, targeted surveys were conducted in key areas by teams working both collectively and in pairs. During these surveys, various smartphone applications were tested, both for tracking the survey routes and for detecting traces of rock paintings. This process also prompted reflection on recording strategies to be implemented in the field, depending on the time available and the specific research objectives. Ultimately, this experience highlights the challenges of conducting research across an extensive rock art region, where comprehensive work necessarily involves the coordination of multiple research teams, in close collaboration with landowners and local communities. Disclaimer: The views and opinions expressed in this talk are those of the speakers and are based on their scientific research. They do not necessarily reflect the views or positions of the conference organisers.