A (Digital) Future for Saharan Rock Art?
A (Digital) Future for Saharan Rock Art?
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DOI：
10.1007/s10437-018-9290-6
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发表时间：
2018-06-01
影响因子：
1.6
通讯作者：
di Lernia, Savino
中科院分区：
文献类型：
--
作者：
di Lernia, Savino
撒哈拉岩石艺术于十九世纪中叶首次被西方人访问，此后受到了极大的关注。该地区的丰富性和多样性因其三处遗产被列入联合国教科文组织世界遗产名录而得到认可：阿尔及利亚的 Tassili-n-Ajjer、利比亚的 Tadrart Acacus 和乍得的 Ennedi。现在许多北非国家的情况使得进入这个广阔的地区变得非常困难：现场安全得不到保障，可用的研究资金也很少。如今，新一代的非洲和外国科学家无法进入非洲大陆北部的岩画遗址，缺乏实地考察可能会导致缺乏保障和意识。过去 15 年中数字技术的发展彻底改变了记录岩石艺术遗址的方法。在那些因动荡和社会不稳定而无法进行实地考察的国家，数字技术还被用来缩小艺术品与可及性之间的差距。然而，目前互联网上提供的许多文献和大多数艺术品数字记录都缺乏考古背景。同样，许多这些网站几乎没有提及方法和理论方面。也很难了解偏远地区当地社区的认识程度（有时会遭受数字和语言鸿沟）以及他们是否（以及如何）真正能够利用这些数字资源。在这里，我整理了撒哈拉不同地区的一些例子，说明岩画的记录、管理和传播仍然呈现出高潮和低谷。我认为，我们应该在数字科学界共享理论和方法，以期采用共享的术语和公共同义词库，使我们的编目标准明确，并最终制定涉及当地社区的道德行为准则。
First visited by westerners in the mid-nineteenth century, Saharan rock art has since received a great deal of attention. The richness and diversity of this region is recognised by the inclusion on the UNESCO World Heritage list of three properties: Tassili-n-Ajjer in Algeria, Tadrart Acacus in Libya, and Ennedi in Chad. The situation in many North African countries now makes this vast region very difficult to access: safety in the field is not guaranteed and few research funds are available. Today, a new generation of African and foreign scientists has no access to rock art sites in the north of the continent and the lack of fieldwork may entail a lack of safeguard and awareness. The growth of digital technologies over the last 15 years has revolutionised methods for recording rock art sites. Digital technologies are also used to mitigate the gap between artworks and accessibility in those countries where turmoil and social instability make fieldwork impossible. However, much of the documentation and most digital recordings of artworks currently available on the Internet lack an archaeological context. Equally, many of these websites barely mention methodological and theoretical aspects. It is also difficult to understand the extent of awareness among local communities in remote areas-sometimes suffering a digital and linguistic divide-and if (and how) they are genuinely able to exploit these digital resources. Here, I collate some examples from different parts of the Sahara illustrating that the recording, management and dissemination of rock art still present highs and lows. I argue that we should share theories and methods within the digital scientific community, with a view to adopting a shared nomenclature and a public thesaurus, making our cataloguing criteria explicit and, finally, developing an ethical code of conduct involving local communities.