Elena Cabrejas

[GL] No contexto dos traballos arqueolóxicos previos á execución dunha obra (unha liña eléctrica de media tensión), localizáronse unhas lousas con gravados na zona de Fonte Tourón, en Lalín. Trátase dunhas lousas que presentan uns gravados de estilo propio do megalitismo e que agora forman parte dos lindes das fincas nas que se atopan. As características destes gravados, sumado á propia forma das pedras, a un contexto onde se localizan outras mámoas e sobre todo, á información dos veciños que vinculan estas pedras cunha mámoa desfeita fai uns anos, apuntan a que formaron parte dun monumento megalítico, e que moi probablemente se trata dos esteos dunha cámara.

[EN] In an archaeological context before a works execution took place (an electric half tension line), some engraved gravestones were found around the area of Fonte Touron, Council of Lalín. These gravestones have engravings representative of megalithism and nowadays they became boundary markers of the yards in which they are. The features of the engravings, besides the very shape of the stones and the context where other mounds are located, and above everything, the information provided by local neighbors that relate the stones of this mound to one set apart some years ago, points that they were part of a megalithic monument, and it is highly probable that they were the orthostats of a chamber.

(ENG) The landscape is a product of each particular society’s ways of being, thinking and acting. The landscape we see in Galicia today is the result of our ways of being, thinking and acting, but also those of the people who lived here in the past. Many of the things that we consider to be the most typical elements of the Galician landscape are a product or effect of human action, and not only of what we refer to as “nature”. This book is a kind of archaeological “atlas” of the cultural landscapes of Galicia, and here we say ‘a kind’ because it is not an atlas in the conventional sense, containing a series of maps: instead, what this book does is to describe the different types of landscape that appeared over much of the history of what is now Galicia, from late prehistory (beginning of the Neolithic) to mediaeval times. The story begins with what we know as the traditional landscape. It identifies its typical elements that are present or missing from the landscapes that preceded it, and which helped to create it. And so, archaeological landscapes are something that does not exist; their remains are either largely incorporated in subsequent forms of the landscape, or lie lost and forgotten (“invisible”) beneath them. It is precisely for this reason that we refer to them as “archaeological landscapes”. The narrative we present here is a human story from the Anthropocene period, a concept that defines a new geological stage marked by human influence of the Earth’s different systems, a stage in which sociocultural action has actively altered the world, replacing a natural environment with an increasingly artificial cultural environment. THIS PDF DOCUMENT IS A SELECTION OF SOME PAGES OF THE TEXT TO GIVE AN OVERALL IMPRESSION OF THE BOOK CONTENTS.

(SP): El paisaje es un producto de las formas de ser, de estar, de pensar y de actuar propias de cada sociedad. El paisaje gallego actual es el resultado de nuestras formas de ser, estar, pensar y actuar. Pero también lo es de las de todas aquellas personas que nos precedieron en el tiempo. Muchas cosas que consideramos características del paisaje de Galicia son el producto o el efecto de la acción humana, no sólo de eso que llamamos “naturaleza”. Este libro es una especie de “atlas” arqueológico de los paisajes culturales de Galicia. Y decimos “una especie” porque no es un atlas en el sentido convencional de conjunto de mapas. Lo que hace este libro es describir las diferentes formas de paisaje que se sucedieron a lo largo de una parte de la historia de lo que hoy llamamos Galicia, en concreto desde la prehistoria reciente (desde el inicio del periodo que se denomina “neolítico”) hasta la época medieval. El relato parte del paisaje tradicional de Galicia para, a continuación, descubrir los elementos típicos de este paisaje y ver cuáles estaban presentes –o ausentes- en los paisajes que lo precedieron y que contribuyeron a su conformación. Los paisajes arqueológicos son algo que no existe. Sus restos, o bien se incorporaron en gran medida a las formas posteriores de paisaje, o bien subyacen relictos y olvidados (“invisibilizados”) bajo éstas. Por eso precisamente llamamos a esos paisajes “arqueológicos”. La historia que hacemos aquí es una historia humana del antropoceno, un concepto cada vez más utilizado para definir una nueva etapa geológico que está marcada por la dominación humana de los sistemas de la Tierra, una etapa en la que la dinámica socioecultura modifica activamente el mundo y sustituye un medio natural por un medio cultural y cada vez más artificial. ESTE DOCUMENTO PDF ES UNA SEPARATA CON LA SELECCIÓN DE ALGUNAS PÁGINAS DEL LIBRO PARA DAR UNA IMPRESIÓN GENERAL DE SUS CONTENIDOS Y FORMATO.

A paisaxe é un produto das formas de ser, de estar, de pensar e de actuar de cada sociedade. A paisaxe galega de hoxe é o resultado das nosas formas de ser, estar, pensar e actuar, mais tamén das daqueles que nos precederon no tempo. Moitas das cousas que consideramos máis características da paisaxe de Galicia son o produto ou o efecto da acción humana, e non só diso que chamamos a Natureza.
Este libro é unha especie de atlas arqueolóxico das paisaxes culturais de Galicia, e dicimos «unha especie» porque non é un atlas entendido no sentido convencional de conxunto de mapas; o que fai é describir as diferentes formas da paisaxe que se foron sucedendo ao longo dunha boa parte da historia do que hoxe é Galicia, dende a prehistoria até a época medieval. O relato parte do que coñecemos como paisaxe tradicional para, logo, ir na procura dos seus elementos típicos, xa presentes –ou ausentes– nas paisaxes que o precederon e o foron conformando. Porén, as paisaxes arqueolóxicas son algo
que non existe; os seus restos, ou ben se incorporaron en gran medida a formas posteriores de paisaxe, ou ben subxacen relictos e esquecidos baixo estas. Por iso precisamente as chamamos arqueolóxicas. A historia que facemos aquí é unha historia humana do antropoceno, un concepto que vén definir unha nova etapa xeolóxica marcada pola dominación humana
dos sistemas da Terra, unha etapa en que a acción sociocultural modifica activamente o mundo e substitúe un medio natural por un medio cultural cada vez máis artificial.

Mount Xiabre, a topographical reference between the mouth of the Ulla River and the Galician Meridian Rift, is located in the center of a wider landscape marked by other topographical references and in the intermediate point between spotfinds of two of the most significant Bronze Age gold deposits in Northwestern Iberia: the so called "helmet" of Leiro, and the deposit of Silgadas or Treasure of Caldas I. In both, the decoration presents motifs that have been interpreted as solar or lunar and its location It seems to answer strategic questions. We present the preliminary results of a study on spatial relationships, including rock art, deposits and topographic elements, with relevant milestones of solar and lunar outlets and sunsets. This can give us some keys on the choice of the place of deposit, the decoration of the pieces and the landscape structuration.

This paper is about the cognitive footprint of archaeological material culture styles. By testing through eye-tracking how visual cognition is affected by different sorts of archaeological pottery styles belonging to different chronologies and social conditions, this research provides evidence that cognition is not only in our mind, but underpinned in some way by the world around us. This idea has been suggested by numerous philosophers and cognitive scientists, but in a sense that is still waiting to be experimentally tested. Our work provides evidence of a correlation between the evolution over time of the social structure of a community and the way in which people interact with and cognitively interpret the world around. Specifically, the visual behaviour that people produce when freely exploring a chronological series of ceramics, shows the same evolutionary trend as the social complexity behind these archaeological stages. The eye-tracking tests a change in the visual structure of the cultural objects that echoes the changes in the social domains.