2026-04-14T15:24:04Zhttps://uvadoc.uva.es/oai/request

oai:uvadoc.uva.es:10324/482432025-03-26T19:45:07Zcom_10324_6435com_10324_5186com_10324_29291col_10324_48236

Ripoll López, Sergio Bayarri Cayón, Vicente Castillo López, Elena Latova-Fernández Luna, José Muñoz Ibáñez, Francisco Javier 2021-08-31T09:01:38Z 2021-08-31T09:01:38Z 2020 BSAA arqueología; Núm. LXXXV-LXXXVI: 2019-2020 pags. 149-176 2530-6367 https://uvadoc.uva.es/handle/10324/48243 10.24197/ba.0.2020.149-176 149 176 Some 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. eng info:eu-repo/semantics/openAccess http://creativecommons.org/licenses/by-nc-nd/4.0/ Attribution-NonCommercial-NoDerivatives 4.0 International Arqueología A chronological proposal for El Castillo Cave (Puente Viesgo, Cantabria) based on its iconographic stratigraphy info:eu-repo/semantics/article