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dc.contributor.authorRipoll López, Sergio
dc.contributor.authorBayarri Cayón, Vicente
dc.contributor.authorCastillo López, Elena
dc.contributor.authorLatova-Fernández Luna, José
dc.contributor.authorMuñoz Ibáñez, Francisco Javier
dc.contributor.editorEdiciones Universidad de Valladolid 
dc.date.accessioned2021-08-31T09:01:38Z
dc.date.available2021-08-31T09:01:38Z
dc.date.issued2020
dc.identifier.citationBSAA arqueología; Núm. LXXXV-LXXXVI: 2019-2020 pags. 149-176
dc.identifier.issn2530-6367
dc.identifier.urihttps://uvadoc.uva.es/handle/10324/48243
dc.description.abstractSome years ago, we began a review of the work done by E. Ripoll in 1953. During this time, we have examined not only each and every one of the figures discovered by him, but have also expanded the list, reaching nearly all the 450 new figures in the entire cave. This significant increase is thanks to the use of new technologies, such as a 3D scanner, digital filters, multispectral algorithms, giga images, or the newest innovation, the use, for the first time in our studies on cave art, of hyperspectral methodology. The latter gives us access to a much wider light spectrum than the one created by multispectral analysis.
dc.format.mimetypeapplication/pdf
dc.language.isoeng
dc.rights.accessRightsinfo:eu-repo/semantics/openAccess
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/
dc.sourceBSAA arqueología
dc.subjectArqueología
dc.titleA chronological proposal for El Castillo Cave (Puente Viesgo, Cantabria) based on its iconographic stratigraphy
dc.typeinfo:eu-repo/semantics/article
dc.identifier.doihttps://doi.org/10.24197/ba.0.2020.149-176
dc.relation.publisherversionhttps://revistas.uva.es/index.php/bsaaarq/article/view/5231
dc.identifier.publicationfirstpage149
dc.identifier.publicationlastpage176
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 International
dc.type.hasVersioninfo:eu-repo/semantics/publishedVersion


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