Abstract

A rock art and museum collection project undertaken in Arnhem Land, Northern Territory, Australia found that there were significant collection legacy issues surrounding different archaeological documentation of rock art sites. This prompted an examination of current rock art recording practice using a Western Arnhem Land case study. This required an examination of the theoretical development and methodological practice of rock art research. Surveying of current museum theory uncovered the theoretical concept of multiple ontologies which may have specific applications for rock art studies in northern Australia.

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