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Lithic morphological organisation: Gahagan bifaces from the Southern Caddo Area
16 references·2 citing·48 second hop
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References

  • 1995Standardization, Labor Investment, Skill, and the Organization of Ceramic Production in Late Prehispanic Highland Peru336 cited
  • 2001Craft Production Systems286 cited
  • 2009Sourcebook of Paleolithic Transitions203 cited
  • 2001Techniques for Assessing Standardization in Artifact Assemblages: Can We Scale Material Variability?201 cited
  • 2002Archaeology at the millennium: a sourcebook175 cited
  • 2015Clovis: on the edge of a new understanding168 cited
  • 2006The Neanderthal “chignon”: Variation, integration, and homology159 cited
  • 1988The Organization of Craft Production at Vijayanagara, South India152 cited
  • 2011The handaxe reloaded: A morphometric reassessment of Acheulian and Middle Paleolithic handaxes137 cited
  • 2011Shape Variation in Aterian Tanged Tools and the Origins of Projectile Technology: A Morphometric Perspective on Stone Tool Function129 cited
  • 2009A geometric morphometrics-based assessment of blade shape differences among Paleoindian projectile point types from western North America124 cited
  • 1991Contemporary stone beadmaking in Khambhat, India: Patterns of craft specialization and organization of production as reflected in the archaeological record111 cited
  • 2011The relative effects of core surface morphology on flake shape and other attributes111 cited
  • 2012Discriminating Paleoindian point types from Florida using landmark geometric morphometrics

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105 cited
  • 1991The Ceramic legacy of Anna O. Shepard86 cited
  • 2012Flake scar patterns of Clovis points analyzed with a new digital morphometrics approach: evidence for direct transmission of technological knowledge across early North America85 cited
  • Cited by

    • 2020A quantitative assessment of intraspecific morphological variation in Gahagan bifaces from the southern Caddo area and central Texas16 cited
    • 2023Socio-Cultural Impact of Virtual Reality Technology on Art Appreciation and Cultural Engagement1 cited