For want of other secure evidence, the study of art in prehistoric societies normally amounts to looking at pictures, though there must have also been sound, and surely music. The long lithic tradition of central northern Australia permits a rare insight into another kind of prehistoric art, the meaning and aesthetic order that may lie behind a lithic industry.

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In 2008, we began two related research projects that focus on recent Australian rock art, made after the arrival of Asians and Europeans, in part of northwest Arnhem Land's Wellington Range. This area has extensive and diverse rock art, including many examples of paintings that reflect contact between local Aboriginal people and visitors to their shores. At some sites figures made of beeswax are found superimposed under and over paintings, thus providing a means of obtaining minimum and maximum ages for pigment art. We report on the results of an initial radiocarbon beeswax dating programme at the Djulirri site complex. Results include the earliest age for a depiction of a Southeast Asian watercraft in Australian rock art, which is also Australia's earliest contact period rock art depiction discovered so far. Based on the probability distribution of the calibrated ages, it is 99.7% probable this image dates to before AD 1664 and likely is much older. The significance of this result is discussed in relation to early contact history, as revealed by historic documents and archaeological excavation. Other important results suggest a close encounter between local Aboriginal people and Europeans occurred in the 1700s, before British exploration and settlement in the Arnhem Land region.

BackgroundLater Pleistocene human evolution in East Asia remains poorly understood owing to a scarcity of well described, reliably classified and accurately dated fossils. Southwest China has been identified from genetic research as a hotspot of human diversity, containing ancient mtDNA and Y-DNA lineages, and has yielded a number of human remains thought to derive from Pleistocene deposits. We have prepared, reconstructed, described and dated a new partial skull from a consolidated sediment block collected in 1979 from the site of Longlin Cave (Guangxi Province). We also undertook new excavations at Maludong (Yunnan Province) to clarify the stratigraphy and dating of a large sample of mostly undescribed human remains from the site.Methodology/Principal FindingsWe undertook a detailed comparison of cranial, including a virtual endocast for the Maludong calotte, mandibular and dental remains from these two localities. Both samples probably derive from the same population, exhibiting an unusual mixture of modern human traits, characters probably plesiomorphic for later Homo, and some unusual features. We dated charcoal with AMS radiocarbon dating and speleothem with the Uranium-series technique and the results show both samples to be from the Pleistocene-Holocene transition: ∼14.3-11.5 ka.Conclusions/SignificanceOur analysis suggests two plausible explanations for the morphology sampled at Longlin Cave and Maludong. First, it may represent a late-surviving archaic population, perhaps paralleling the situation seen in North Africa as indicated by remains from Dar-es-Soltane and Temara, and maybe also in southern China at Zhirendong. Alternatively, East Asia may have been colonised during multiple waves during the Pleistocene, with the Longlin-Maludong morphology possibly reflecting deep population substructure in Africa prior to modern humans dispersing into Eurasia.

In this paper we focus on contact rock paintings from three sites in northwestern Arnhem Land, Australia. In doing so we highlight that such sites provide some of the only contemporary Indigenous accounts of cross-cultural encounters that took place across northern Australia through the last 500 years. Importantly, they have the potential to inform us about the ongoing relationships that existed between different parties. The lack of research on contact rock art is emphasised and the development of a large-scale project (of which this fieldwork is part) aimed at addressing this problem is outlined. Important new findings for contact rock art are presented, including evidence for 'traditional' protocols relating to rock art continuing long after first contact, evidence for particular contact period subject matter dominating in art of this region, and the oldest date yet recorded for contact art in Australia.

Western Arnhem Land is a small area (by Australian standards) on the north coast where remarkable sequences of sediment illuminate its complex landscape history. Matching the enviromental succession is an archaeological sequence with lithic sites running back into the Pleistocene. The famous richness of the region's rock-art also documents the human presence, again over a great time-depth, and gives a direct report of how ancient Arnhem Landers depicted themselves. By ‘bridging’ between these three themes, a rare and perhaps unique synthesis can be built.

The Rainbow Serpent is agreed to be one of the most powerful, all consuming and widespread Ancestral Beings of Aboriginal Australia. It pervades not only oral history but also ceremony, performance and visual art, and is associated with great acts of creation and destruction. Although Rainbow Serpent imagery varies, its supernatural nature is usually emphasised by its form, often through the incorporation of attributes derived from a variety of natural creatures. Rock paintings of the Being are scattered across the continent but a particularly large sample can be found in western Arnhem Land. We analyse 107 of these in detail and note variation across both time and space through the use of multivariate statistical techniques. We hypothesise about the origins of the oldest images and compare key elements of Rainbow Serpent stories to those of 'Yam Style' Rainbow Serpents, reputed to be 4000-6000 years of age. It is our contention that an archaeological context for many of the more significant aspects of Rainbow Serpent oral history can be found over several millennia.

The long-term implications of marking landscapes with rock paintings, engravings and stone arrangements are explored. In the process many of the ways in which humans socialise landscapes are outlined. It is argued that the development of rock art throughout the world is a reflection of an increased sense of 'ethnic' identity among human groups as well as a concern for communicating knowledge visually. It is also contended that the