Modelling the landscape: iconography, and visual and sound perceptions in Macroschematic rock art
DOI:
https://doi.org/10.4995/var.2022.16998Keywords:
Geographic Information System (GIS), landscape, macroschematic rock art, Neolithic, viewshed, soundshedAbstract
Since the 1980s different approaches have been followed to analyse the spatial distribution of rock art shelters and their relationship to the construction of social landscapes by prehistoric societies. These approaches focus on finding out the clues that shelters offer as to how symbolic landscapes were structured or whether these were chosen following visual preferences. Previous work on post-Palaeolithic art in the Iberian Peninsula has used Geographic Information Systems (GIS) as a tool for analysis. However, sometimes, the results obtained reveal some contradictions, which could be linked to either the low resolution of the cartography available when those models were designed or to the random treatment of data.
This paper attempts to overcome these contradictions by focusing on macroschematic rock art (ARM, in its Spanish acronym), an artistic manifestation with a well-defined geographical location —north of the province of Alicante (Spain)— and chronological framework —Cardial Early Neolithic; ca. 5600-5200 cal BC—. In order to analyse the symbolic and sensory landscapes generated around this artistic manifestation, different scales of analysis (Chippindale, 2004) have been implemented.
Firstly, a new typology of macroschematic motifs based on an iconographic analysis is proposed. For this purpose, four major motif types are considered: anthropomorphic, zoomorphic, curvilinear geometric and minor motifs. This categorization allows for a better understanding of the semantics of this manifestation (Hernández Pérez, 2003), which draws significant parallels with other Neolithic manifestations in the Mediterranean area.
Secondly, the spatial location of each rock art shelter is studied, with special attention to the quantity and variety of motifs represented in each one of them. This work has resulted in the observation of a different distribution of certain motifs. It has also revealed a different concentration in the number and variety of motifs in certain shelters that can be considered sanctuaries.
Lastly, a set of GIS analytical tools have been applied to model the visual and sound perception of and from the macroschematic rock art shelters. To avoid distortions as identified in similar reconstructions carried out in previous works a prior assessment of the cartographic requirements has been made. Regarding the visibility issue, the methodology of the GIS analysis conducted has been finetuned by adding the following factors: visual field and range. For its modelling, the Individual Distance Viewshed tool designed by Fábrega-Álvarez & Parcero-Oubiña (2019) for ESRI ArcGis 10.5 has been used. In the analysis of sonority variables related to musicality, as documented in the archaeological and anthropological record, alongside technical issues associated with the propagation of sound in outdoor spaces, have been considered. For the GIS study of sound propagation Sound Mapping Tools v. 4.4 for ESRI ArcGis 10.5 (Reed et al., 2012) has been applied. This analytical work has permitted the mapping of sensory-related aspects for each site, thus facilitating a cross-site comparative analysis which has ultimately led to the identification of interesting recurrences and differences.
This systematic and orderly analysis proposed has resulted in a holistic approach to the study of an artistic phenomenon as specific and unique as is macroschematic rock art. Based on the results obtained, the existence of a social landscape articulated around this artistic manifestation, in which each shelter could have played a different although complementary role, can be claimed. In this sense, we propose the existence of "main sanctuaries" that could have played an important role as social gathering spaces where visual and sound messages were conveyed. Moreover, "secondary sanctuaries" may be related to the movement of communities through the landscape and, especially, to the paths leading to the central sanctuary of Pla de Petracos (Castell de Castells, Alicante, Spain).
The results of the research conducted offer a new and richer interpretation of how the communities that painted the macroschematic rock art perceived the landscape in which they lived. The importance of approaching symbolic landscapes through the prior analysis of rock art, especially of its iconographic variety, but also its internal sequence, should be emphasized. It can be concluded that the procedure followed has allowed the creation of new methodological bases for the study of other symbolic manifestations related to the social articulation of prehistoric landscapes.
Downloads
References
Aiano, L. (2006). Pots and drums: an acoustic study of Neolithic pottery drum. EuroREA - Journal of (Re)construction and Experiment in Archaeology, 3, 31-42.
Badal, E., Martí, B., & Pérez, M. (2012). From agricultural to pastoral use: changes in neolithic landscape at Cova de l'Or (Alicante, Spain). In E. Badal, Y. Carrión, M. Macías, & M. Ntinou (Coords), Wood and charcoal evidence for human and natural history (pp. 75-84). Saguntum Extra-13. Valencia: Universitat de València.
Baena, J., Blasco, C., & Quesada, F. (1997). Los S.I.G. y el análisis espacial en Arqueología. Madrid: Universidad Autónoma de Madrid.
Baldwin, J., Fisher, P., Wood, J., & Langford, M. (1996). Modelling environmental congnition of the view with GIS. In Third International Conference/Workshop on Integrating GIS and Environmental Modeling. Santa Fe: National Center for Geographic Information and Analysis. Retrieved from https://escholarship.org/uc/item/43x094z3
Bernabeu, J., Orozco, T., & Díez, A. (2012). Mas d'ls y las construcciones con fosos del VI al III milenio cal a.C. MARQ, Arqueología y Museos, 5, 53-72.
Bernabeu, J., Lozano, S., & Pardo-Gordó, S. (2017). Iberian Neolithic Networks: the rise and fall of the Cardial world. Frontiers in Digital Humanities, 4, 7. https://doi.org/10.3389/fdigh.2017.00007
Brughams, T., van Garderen, M., & Gillings, M. (2018). Introducing visual neighbourhood configurations for total viewsheds. Journal of Archaeological Science, 96, 14–25. https://doi.org/10.1016/j.jas.2018.05.006
Cardito, L. M. (1998). Arte macroesquemático y paralelos mediterráneos: apuntes para su cronología. Saguntum, 31, 99-108.
Carrión, J. S. (Ed.) (2012). Paleoflora y Paleovegetación de la península Ibérica e islas Baleares: Plioceno-Cuaternario. Madrid/Murcia: Ministerio Economía y competitividad, Universidad de Murcia, Fundación Séneca.
Carrión, J. S., Fernández, S., González-Sampériz, P., Gil-Romera, G., Badal, E., Carrión-Marco, Y., López-Merino, L., López Sáez, J. A., Fiero, E., & Burjachs, F. (2010). Expected trends and surprises in the Lateglacial and Holocene vegetation history of the Iberian Peninsula and Balearic Islands. Review of Palaeobotany and Palynology, 162(3), 458-475. https://doi.org/10.1016/j.revpalbo.2009.12.007
Cerrillo, E. (2012). Planteamientos y nuevos datos para la interpretación de los paisajes prehistóricos del sector extremeño del Tajo: el área de Alconétar. Zephyrvs, 68, 139–161.
Chippindale, C. (2004). From millimetre up to kilometre: a framework of space and of scale for reporting and studying rock-art in its landscape. In C. Chippindale & G. Nash (Eds.), The figured landscapes of Rock-Art. Looking at pictures in place (pp. 102–117). Cambridge: Cambridge University Press.
Conkey, M. W. (1984). To find ourselves: art and social geography of prehistoric hunter-gatherers. In C. Shirire (Ed.), Past and present in hunter-gatherer studies (pp. 253-276). New York: Academic Press.
Cross, I., & Morley, I. R. M. (2009). The evolution of music: Theories, definitions and the nature of the evidence. In S. Malloch & C. Trevarthen (Eds.), Communicative musicality: Exploring the basis of human companionship (pp. 61–81). Oxford: Oxford University Press.
Cruz Berrocal, M. (2004). Paisaje y arte rupestre: Ensayo de contextualización arqueológica y geográfica de la pintura levantina. (Doctoral thesis, Universidad Complutense de Madrid, Spain). Retrieved from https://eprints.ucm.es/id/eprint/5334/
Cruz Berrocal, M. (2005). Paisaje y arte rupestre. Patrones de localización de la pintura levantina. British Archaeological Reports International Series 1409. Oxford: Archaeopress. https://doi.org/10.30861/9781841718521
Deacon, J. (1988). The power of a place in understanding southern San rock engravings. World Archaeology, 20(1), 129-140. https://doi.org/10.1080/00438243.1988.9980061
Díaz-Andreu, M., García Atiénzar, G., García Benito, C., & Mattioli, T. (2017). Do you hear what I see? Analyzing visibility and audibility through alternative methods in the rock art landscape of the Alicante mountains. Journal of Anthropological Research, 73(2), 181-213. https://doi.org/10.1086/692103
Fábrega-Álvarez, P., & Parcero-Oubiña, C. (2019). Now you see me. An assessment of the visual recognition and control of individuals in archaeological landscapes. Journal of Archaeological Science, 104, 56-74. https://doi.org/10.1016/j.jas.2019.02.002
Fairén, S. (2004). Arte Rupestre, estilo y territorio. La construcción de un paisaje neolítco en las comarcas centro-meridionales valencianas. Zephyrus, LVII, 167-182.
Fairén, S. (2006). El paisaje de la Neolitización. Arte rupestre, poblamiento y mundo funerario en las comarcas centro-meridionales valencianas. Alicante Universidad de Alicante.
Fiore, D. (2018). The materiality of rock art. Image-making technology and economy viewed from Patagonia. In A. Troncoso, F. Armstrong, & G. Nash (Eds.), Archaeologies of Rock Art. South merican Perspectives (pp. 23-57). London: Routledge. https://doi.org/10.4324/9781315232782-2
Fisher, P. F. (1994). Probable and fuzzy models of the viewshed operation. Innovations in GIS, 1, 161-175.
Fisher, P. F., & Tate, N. J. (2006). Causes and consequences of error in digital elevation models. Progress in Physical Geography: Earth and Environment, 30(4), 467–489. https://doi.org/10.1191/0309133306pp492ra
García Atiénzar, G. (2009). Territorio neolítico: las primeras comunidades campesinas en la fachada oriental de la península Ibérica (ca. 5600-2800 cal BC). BAR International Series 2021. Oxford: Archaeopress. https://doi.org/10.30861/9781407305967
García Atienzar, G. (2010). Las comarcas centromeridionales valencianas en el contexto de la neolitización de la fachada noroccidental del Mediterráneo. Trabajos de Prehistoria, 67(1), 37-58. https://doi.org/10.3989/tp.2010.10030
García Atiénzar, G. (2011). El contexto arqueológico del Arte Rupestre Levantino en el Campo de Hellín (Albacete). Zephyrvs, LXVIII, 63-86.
García Atiénzar, G., Martínez, S., & Sirvent, L. (2021). The Use of Rock Shelters During the Early Neolithic in the North of Alicante (Spain). The Site of Penya Roja de Catamarruc (Alicante, Spain) as a Case Study. Open Archaeology, 7(1), 765-778. https://doi.org/10.1515/opar-2020-0165
García Borja, P., Salazar-García, D. C., Aura, J. E., Cortell, E., & Velasco, A. (2016). El registro funerario cardial valenciano: dataciones radiocarbónicas. In H. Bonet (Ed.), Del Neolític a l'Edat de Bronze en el Meditarrani occidental: estudis en homenatge a Bernat Martí Oliver (pp. 125-140). Serie de Trabajos Varios 119. Valencia: Museu de Prehistòria de València. Retrieved from http://mupreva.org/pub/864/va
Gibson, J. J. (1950): The perception of the visual world. Boston: Houghton Mifflin.
Gillings, M. (2015). Mapping invisibility: GIS approaches to the analysis of hiding and seclusion. Journal of Archaeological Science, 62, 1–14. https://doi.org/10.1016/j.jas.2015.06.015
Harrison, R. T., Clark, R. N., & Stankey, G. H. (1980). Predicting Impact of Noise on Recreationists. San Dimas, CA:Forest Service. U.S. Department of Agriculture Equipment Development Center. Retrieved from http://www.fs.fed.us/t-d/pubs/pdfimage/80231202.pdf
Hengl, T. (2006). Finding the right pixel size. Computers & Geosciences, 32(9), 1283-1298. https://doi.org/10.1016/j.cageo.2005.11.008
Hernández Pérez, M. S. (2003). Las imágenes en el arte macroesquemático. In T. Tortosa, & J. A. Santos (Eds.): Arqueología e iconografía: indagar en las imágenes (pp. 41-58). Roma: L'Erma di Bretschneider.
Hernández Pérez, M. S. (2006). Arte esquemático en la fachada oriental de la Península Ibérica. 25 años después. Zephyrvs, LIX, 199-214.
Hernández Pérez, M. S. (2018). Alicante, territorio macroesquemático. In J. A. Soler, R. Pérez, & V. Barciela (Eds.): Rupestre. Los primeros santuarios. Arte prehistórico en Alicante (pp. 96-107). Alicante: MARQ.
Hernández Pérez, M. S., & Centre d'Estudis Contestans (1982). Consideraciones sobre un nuevo tipo de arte rupestre prehistórico. Ars Praehistorica, 1, 179-187.
Hernández Pérez, M. S., & Centre d'Estudis Contestans (1983). Arte rupestre en el País Valenciano. Recientes aportaciones. Zephyrvs, XXXVI, 63-75.
Hernández Pérez, M. S., Ferrer, P., & Catalá, E. (1988). Arte rupestre en Alicante. Alicante: Fundación Banco Exterior, Banco de Alicante.
Hernández Pérez, M. S., & Martí, B. (2000-2001). El arte rupestre de la fachada mediterránea: entre la tradición epipaleolítica y la expansión neolítica. Zephyrvs, LIII-LIV, 241-265.
Hernández Pérez, M. S., Segura, J. M., & Barciela, V. (2014). Pinturas rupestres en el Barranc de Carbonera (Beniatjar, Valencia). Nuevas lecturas de un yacimiento excepcional. Recerques del Museu d’Alcoi, 22/23, 7-20.
Higuchi, T. (1983). The Visual and Spatial Structure of Landscapes. Cambridge: MIT Press.
Hood, B. C. (1988). Sacred Pictures, Sacred Rocks: Ideological and Social Space in the North Norwegian Stone Age. Norwegian Archaeological Review, 21(2), 65-84. https://doi.org/10.1080/00293652.1988.9965473
Ibáñez, J. J., Clemente, I., Soler, N., & Salius, J. (2015). Use and sonority of a 23,000 years old bone Aerophone from Davant Pau Cave (NE of the Iberian Peninsula). Current Anthropology, 56(2), 282-289. https://doi.org/10.1086/680437
Jover, F. J., Torregrosa, P., García Atienzar, G., Pastor, M., Luján, A., Molina, F. J., Pérez Díaz, S., Ruiz, López-Sáez, J. A. Ferrer, C., & Tormo, C. (2018). Los inicios del Neolítico en las tierras meridionales valencianas: a propósito de la Cova dels Calderons (La Romana, Alicante). Munibe, 69, 93-121. https://doi.org/10.21630/maa.2018.69.08
Jover, F. J., Pastor, M., & Torregrosa, P. (2019). Advances in the analysis of households in the early neolithic groups of the Iberian Peninsula: Deciphering a partial archaeological record. Journal of Anthropological Archaeology, 53, 1-21. https://doi.org/10.1016/j.jaa.2018.10.001
Keyel, A. C., Reed, S. E., McKenna, M. F., & Wittemyer, G. (2017). Modeling anthropogenic noise propagation using the Sound Mapping Tools ArcGIS toolbox. Environmental Modelling & Software, 97, 56-60. https://doi.org/10.1016/j.envsoft.2017.07.008
Kvamme, K. L. (1999). Recent directions and developments in Geographical Information Systems. Journal of Archaeological Research, 7(2), 153-201. https://doi.org/10.1007/BF02446276
Lancharro Gutiérrez, Mª. Á. (2018). Marcadores gráficos y territorios megalíticos en la Cuenca interior del Tajo: Toledo, Madrid y Guadalajara. Oxford: Archaeopress Publishing. https://doi.org/10.2307/J.CTV1ZCKZVT
Lancharro Gutiérrez, Mª. Á. (2021). El uso de las grandes escalas: cuencas de visibilidad en los abrigos con arte esquemático en la Sierra de Patones (Madrid). Cuadernos de Prehistoria y Arqueología de la Universidad de Granada, 31, 45-73. https://doi.org/10.30827/cpag.v31i0.15240
Lenssen-Erz, T. (2008). Space and Discourse As Constituents of Past Identities - The Case of Namibian Rock Art-. In I. Domingo, D. Fiore, & S. K. May (Eds.), Archaeologies of Art: time, place and identity (pp. 29-50). Walnut Creek: Left Coast Press.
Llobera, M. (2006). What you see is what you get? Visualscapes, visual genesis and hierarchy. In T. L. Evand & P. Daly (Eds.), Digital archaeology. Bridging method and theory. London: Routledge
López Montalvo, E. (2007). Análisis interno del arte levantino: la composición y el espacio a partir de la sistematización del núcleo Valltorta-Gasulla. València: Universitat de València.
Martí, B., & Hernández Pérez, M. S. (1988). El Neolític Valencià. Art rupestre i cultura material. Valencia: Diputació de València.
Martí, B., Arias-Gago del Molino, A., Martínez, R., & Juan-Cabanilles, J. (2001). Los tubos de hueso de la Cova de L’Or (Beniarrés, Alicante). Instrumentos musicales en el Neolítico Antiguo de la Península Ibérica. Trabajos de Prehistoria, 58(2), 41–67. https://doi.org/10.3989/tp.2001.v58.i2.223
Martí, B., Juan-Cabanilles, J., & García Borja, P. (2018). Las decoraciones figurativas y simbólicas de las cerámicas del Neolítico Antiguo en Las comarcas meridionales valencianas. In J. A. Soler, R. Pérez, & V. Barciela (Eds.), Rupestre. Los primeros santuarios. Arte prehistórico en Alicante (pp. 108-125). Alicante: MARQ.
Martínez Bea, M. (2006). Arte rupestre y SIG en los alrededores de Santolea (Teruel). In I. Grau (Ed.), La aplicación de los SIG en la Arqueología del Paisaje (pp. 171-180). Alicante: Universidad de Alicante.
Martínez García, J. (1998). Abrigos y accidentes geográficos como categorías de análisis en el paisaje de la pintura rupestre esquemática. El sudeste como marco. Arqueología Espacial, 19-20, 543-561.
Martínez i Rubio, T. (2010). Evolució i pautes de localització de l'art rupestre post-paleolític de Millares (València) i el seu entorn geogràfic comarcal. Aproximació al territori des de l'art. (Doctoral thesis, Universitat de València, Spain). Retrieved from https://roderic.uv.es/handle/10550/23464
Mattioli, T. (2019). Arte rupestre postpaleolítico al sur de los Alpes: el registro artístico de la península italiana. In G. García Atiénzar, & V. Barciela (Eds.), Sociedades prehistóricas y manifestaciones artísticas. Imágenes, nuevas propuestas e interpretaciones (pp. 107-130). Colección Petracos 2, Alicante: INAPH. Retrieved from http://hdl.handle.net/10045/99047
Mattioli, T., García Atiénzar, G., Barciela, V., & Díaz-Andreu, M. (2019). Escuchar con los ojos: la aplicación del GIS al estudio del campo visual y sonoro en los paisajes de arte rupestre de la montaña alicantina. In G. García Atiénzar, & V. Barciela (Eds.), Sociedades prehistóricas y manifestaciones artísticas. Imágenes, nuevas propuestas e interpretaciones (pp. 285-302). Colección Petracos 2, Alicante: INAPH. Retrieved from http://hdl.handle.net/10045/99047
Moreno, J., Alonso, F., Gomáriz, F., & Alonso, D. (2010). Análisis y validación de modelos digitales de elevaciones mediante datos LIDAR. In J. Ojeda, M. F. Pita, & I. Vallejo (Eds.), Tecnologías de la Información Geográfica: La Información Geográfica al servicio de los ciudadanos (pp. 254-271). Sevilla: Universidad de Sevilla.
Morley, I., (2013). The Prehistory of Music: Human Evolution, Archaeology, and the Origins of Musicality. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:osobl/9780199234080.001.0001
Naguib, M., & Wiley, R. H. (2001). Estimating the distance to a source of sound: mechanisms and adaptations for long-range communication. Animal behaviour, 62, 825-837. https://doi.org/10.1006/anbe.2001.1860
Neuhoff, J. G. (2011). Perception, Cognition and Action in Auditory Displays. In T. Hermann, A. Hunt, & J. G. Neuhoff (Eds.), The Sonification Handbook (pp. 63-86). Berlin: Logos Verlag.
Ogburn, D. E. (2006). Assessing the level of visibility of cultural objects in past landscapes. Journal of Archaeological Science, 33, 405-413. https://doi.org/10.1016/j.jas.2005.08.005
Olsen, W. O. (1998). Average Speech Levels and Spectra in Various Speaking/Listening Conditions: A Summary of the Pearson, Bennett, & Fidell (1977) Report. American Journal of Audiology, 7, 1059-0889. https://doi.org/10.1044/1059-0889(1998/012)
Pearsons, K. S., Bernett, R. L., & Fidell, S. (1977). Speech levels in various noise environments. EPA-600/1-77-025. Washington: U.S. Environmental Protection Agency.
Reed, S.E., Boggs, J. L., & Mann, J. P. (2010). SPreAD-GIS: an ArcGIS toolbox for modeling the propagation of engine noise in a wildland setting. Version 2.0. San Francisco: The Wilderness Society. Retrieved from https://dokumen.tips/documents/spread-gis-users-guide-v20.htm
Reed, S. E., Boggs, J. L., & Mann, J. P. (2012). A GIS tool for modeling anthropogenic noise propagation in natural ecosystems. Environmental Modelling & Software, 3, 1-5. https://doi.org/10.1016/j.envsoft.2012.04.012
Reznikoff, I. (2014). On the Sound Related to Painted Caves and Rocks. In J. Ikäheimo, A.-K. Salmi, & T. Äikäs (Eds.), Sounds Like Theory. XII Nordic Theoretical Archaeology Group Meeting, Oulu (2, pp. 101–109). Monographs of the Archaeological Society of Finland. Helsinki: The Archaeological Society of Finland.
Robert, E. (2017). The role of the cave in the expression of prehistoric societies. Quaternary International, 432, 59-65. https://doi.org/10.1016/j.quaint.2015.11.083
Roche, J. A. (2020). Images of the Mother Goddess in the Neolithic Sanctuary of Pla de Petracos (Alicante, Spain)—The Sacralization of Agriculture. Religions, 11, 614. https://doi.org/10.3390/rel11110614
Rodríguez Valiente, A. (2015). Determinación de los umbrales de audición en la población española. Patrones de normalidad de la totalidad del espectro auditivo humano. (Doctoral thesis, Universidad Autónoma de Madrid, Spain). Retrieved from http://hdl.handle.net/10045/4080
Rossing, T. D. (Ed.) (2007). Springer handbook of acoustics. New York: Springer. https://doi.org/10.1007/978-0-387-30425-0
Sognnes, K. (1987). Rock art and settlement pattern in the Bronze Age. Example from Stjørdal, Trøndenlag, Norway. Norwegian Archaeological Review, 20(2), 29-50. https://doi.org/10.1080/00293652.1987.9965457
Torregrosa, P. (2000): La pintura rupestre esquemática en el levante de la Península Ibérica (Doctoral thesis, Universidad de Alicante, Spain). Retrieved from http://hdl.handle.net/10045/4080
Torregrosa, P. (2000-2001). La pintura rupestre esquemática y territorio: análisis de su distribución espacial en el Levante peninsular. Lucentum, XIX-XX, 39-64. https://doi.org/10.14198/LVCENTVM2000-2001.19-20.03
Torregrosa, P., & Galiana, M. F. (2001). El Arte Esquemático del Levante Peninsular: una aproximación a su dimensión temporal. Millars: Espai i Historia, 2, 111-155.
Wheatley, D., & Gillings, M. (2000). Vision, perception and GIS: developing enriched approaches to the study of archaeological visibility. In G. Lock (Ed.), Beyond the Map: Archaeology and Spatial Technologies (pp. 1-27). Amsterdam: IOS Press.
Wise, S. (2000). Assessing the quality for hydrological applications of digital elevation models derived from contours. Hydrological Processes, 14, 1909-1929. https://doi.org/10.1002/1099-1085(20000815/30)14:11/12<1909::AID-HYP45>3.0.CO;2-6
Zahorik, P. (2002). Assessing auditory distance perception using virtual acoustics. The Journal of the Acoustical Society of America, 111(4), 1832-1846. https://doi.org/10.1121/1.1458027
Zamora-Merchán, M. (2006). Visibilidad y SIG en arqueología: mucho más que ceros y unos. In I. Grau (Ed.), La aplicación de los SIG en la arqueología del paisaje (pp. 41-54). Alicante: Universidad de Alicante.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Virtual Archaeology Review
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
This journal is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Funding data
-
European Research Council
Grant numbers 787842 -
Universidad de Alicante
Grant numbers GRE18-02