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- 2019
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Journal article (peer-reviewed)
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| 2. |
- Brady, Liam M., et al.
(author)
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What painting? : Encountering and interpreting the archaeological record in western Arnhem Land, northern Australia
- 2020
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In: Archaeology in Oceania. - : John Wiley & Sons. - 0728-4896 .- 1834-4453. ; 55, s. 106-117
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Journal article (peer-reviewed)abstract
- Research into contemporary Indigenous relationships with the archaeological record has increasingly drawn upon frameworks emphasising relational, affectual and cultural understandings to learn about the complex ways that meaning and symbolism are negotiated and expressed. In this paper, we use a series of case studies from Arnhem Land to investigate the network of relationships Aboriginal Traditional Owners use in the process of interpreting the archaeological record. At the core of this process is Edward Casey's idea of "grasping-together", where people draw on their social and cultural knowledge as a means to make sense out of what is being encountered and how it fits into existing frameworks of knowledge and understanding. By approaching rock art through the lens of encounter and interaction, archaeologists are in a privileged position to add another layer to the, symbolism and significance people attach to their cultural heritage today.
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| 3. |
- Martin, Francis, et al.
(author)
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The genome of Laccaria bicolor provides insights into mycorrhizal symbiosis
- 2008
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In: Nature. - : Springer Science and Business Media LLC. - 0028-0836 .- 1476-4687. ; 452:7183, s. 7-88
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Journal article (peer-reviewed)abstract
- Mycorrhizal symbioses -- the union of roots and soil fungi -- are universal in terrestrial ecosystems and may have been fundamental to land colonization by plants1,2. Boreal, temperate, and montane forests all depend upon ectomycorrhizae1. Identification of the primary factors that regulate symbiotic development and metabolic activity will therefore open the door to understanding the role of 2 ectomycorrhizae in plant development and physiology, allowing the full ecological significance of this symbiosis to be explored. Here, we report the genome sequence of the ectomycorrhizal basidiomycete Laccaria bicolor (Fig. 1) and highlight gene sets involved in rhizosphere colonization and symbiosis. This 65-million-base genome assembly contains ~ 20,000 predicted protein-encoding genes and a very large number of transposons and repeated sequences. We detected unexpected genomic features most notably a battery of effector-type small secreted proteins (SSP) with unknown function, several of which are only expressed in symbiotic tissues. The most highly expressed SSP accumulates in the proliferating hyphae colonizing the host root. The ectomycorrhizae-specific proteins likely play a decisive role in the establishment of the symbiosis. The unexpected observation that the genome of L. bicolor lacks carbohydrate-active enzymes involved in degradation of plant cell walls, but maintains the ability to degrade non-plant cell walls, reveals the dual saprotrophic and biotrophic lifestyle of the mycorrhizal fungus which enables it to grow within both soil and living plant roots. The predicted gene inventory of the L. bicolor genome, therefore, points to previously unknown mechanisms of symbiosis operating in biotrophic mycorrhizal fungi. The availability of this genome provides an unparalleled opportunity to develop a deeper understanding of the processes by which symbionts interact with plants within their ecosystem in order to perform vital functions in the carbon and nitrogen cycles that are fundamental to sustainable plant productivity.
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| 4. |
- May, Sally K., et al.
(author)
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Early Australian Anthropomorphs : Jabiluka's Dynamic Figure Rock Paintings
- 2018
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In: Cambridge Archaeological Journal. - : Cambridge University Press. - 0959-7743 .- 1474-0540. ; 28:1, s. 67-83
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Journal article (peer-reviewed)abstract
- Early depictions of anthropomorphs in rock art provide unique insights into life during the deep past. This includes human engagements with the environment, socio-cultural practices , gender and uses of material culture. In Australia, the Dynamic Figure rock paintings of Arnhem Land are recognized as the earliest style in the region where humans are explicitly depicted. Important questions, such as the nature and signicance of body adornment in rock art and society, can be explored, given the detailed nature of the human gurative art and the sheer number of scenes depicted. In this paper, we make a case for Dynamic Figure rock art having some of the earliest and most extensive depictions of complex an-thropomorph scenes found anywhere in the world.
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| 5. |
- May, Sally K., et al.
(author)
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New Insights into the Rock Art of Anbangbang Gallery, Kakadu National Park
- 2020
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In: Journal of field archaeology. - : Taylor & Francis Group. - 0093-4690 .- 2042-4582. ; 45:2, s. 120-134
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Journal article (peer-reviewed)abstract
- This paper presents findings from a recent study of the Anbangbang Gallery in the Burrungkuy (Nourlangie) site complex of Kakadu National Park, Australia. Using new technologies alongside established methods for rock art documentation, we discuss the complexity and uniqueness of Anbangbang Gallery as an icon of Australian rock art. We have taken a comprehensive approach to our investigations, deliberately linking new technologies and scientific analysis with other archaeological and anthropological research methods. In particular, using evidence from a detailed site recording, oral histories, and pXRF analysis, we explore aspects of the site chronology, the nature of painting activity, and the retouching and repainting of earlier imagery. The findings force us to rethink the existing interpretative narrative for Anbangbang Gallery, the motivations behind previously held beliefs relating to recent rock art, and the implications this has had for ongoing conservation work in the region.
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| 6. |
- May, Sally K., et al.
(author)
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Survival, Social Cohesion and Rock Art : The Painted Hands of Western Arnhem Land, Australia
- 2020
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In: Cambridge Archaeological Journal. - : Cambridge University Press. - 0959-7743 .- 1474-0540. ; 30:3, s. 491-510
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Journal article (peer-reviewed)abstract
- This paper explores the complex story of a particular style of rock art in western Arnhem Land known as 'Painted Hands'. Using new evidence from recent fieldwork, we present a definition for their style, distribution and place in the stylistic chronologies of this region. We argue these motifs played an important cultural role in Aboriginal society during the period of European settlement in the region. We explore the complex messages embedded in the design features of the Painted Hands, arguing that they are more than simply hand stencils or markers of individuality. We suggest that these figures represent stylized and intensely encoded motifs with the power to communicate a high level of personal, clan and ceremonial identity at a time when all aspects of Aboriginal cultural identity were under threat.
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| 7. |
- May, Sally K., et al.
(author)
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The rock art of Madjedbebe (Malakunanja II)
- 2017. - 1
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In: The archaeology of rock art in Western Arnhem Land. - : ANU E Press. - 9781760461614 - 9781760461621 ; , s. 87-107
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Book chapter (software/multimedia) (other academic/artistic)
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| 8. |
- May, Sally K., et al.
(author)
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‘This is my father’s painting’ : A first-hand account of the creation of the most iconic rock art in Kakadu National Park
- 2019
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In: Rock Art Research. - : Archaeological Publications, Australia. - 0813-0426. ; 36:2, s. 199-213
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Journal article (peer-reviewed)abstract
- The Anbangbang Gallery in the Burrungkuy area of Kakadu National Park includes some of the most iconic rock art imagery from Australia. Visited and enjoyed by tens of thousands of visitors every year it stands as a testament to Aboriginal culture and provides a glimpse into the remarkable rock art traditions of this region. Yet, most visitors are surprised to discover that rock art was still being produced at this site in the 1960s. In this paper, we explore the most recent rock art created at the Anbangbang Gallery. Most importantly, we present new evidence from a first-hand account of the paintings being created in 1963/64 and discuss the implications of these new insights for our understanding of the practice, the artists, and the social context of rock art in northern Australia.
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