Oscar Moro Abadía is a Professor at Memorial University of Newfoundland (Canada). He specializes in the study of Pleistocene art. In 2020, he co-edited, with Professor Manuel R. González Morales, a special issue on Pleistocene and Holocene arts for the Journal of Archaeological Method and Theory. In 2021, together with Martin Porr, he co-edited Ontologies of Rock Art: Images, Relational Approaches and Indigenous Knowledges for Routledge. His research on Paleolithic art and the history of science has been published in Cambridge Archaeological Journal, Journal of Archaeological Research, Journal of Archaeological Method and Theory, World Art, History of Human Sciences, History of Science, Journal of Anthropological Research, Journal of Social Archaeology, and Studies in History and Philosophy of Science.Margaret W. Conkey is the Class of 1960 Professor Emerita of Anthropology at the University of California, Berkeley. One key focus of her research has been the interpretations of European Paleolithic imagery, and she has carried out the Between the Caves project, a Paleolithic landscape survey in the Ariège region of France. More recently, she has been a co-director of excavations at Peyre Blanque, a Magdalenian open-air site. She has long been involved in the pioneering research on feminist and gender perspectives in archaeology. She has served as President of the Society for American Archaeology as well as for both the archaeology and feminist associations within the American Anthropological Association. Among her many awards she was the recipient of the prestigious Thomas H. Huxley Memorial Medal of the Royal Anthropological Institute (UK) for her distinguished contributions to Anthropology.Josephine McDonald is the Director of the Centre for Rock Art Research and Management at The University of Western Australia where she has held the Rio Tinto Chair in Rock Art Studies, funded by their Commonwealth Conservation Agreement for the Dampier Archipelago National Heritage Listed Place (Murujuga). She has researched rock art in Australia's fertile eastern states and its arid zone and the Great Basin, USA. Over the last decade she has collaborated with the Murujuga Aboriginal community and led various teams of multidisciplinary researchers, systematically documenting the rock art, excavating ancient settlements, and experimented with new dating techniques to try and understand the environmental context and age of this inscribed cultural landscape.
