​presented by
The OTS Foundation 
The Polytechnic Institute of Tomar, Portugal
The Instituto Terra e Memória (ITM)  and
​The Geosciences Centre of Coimbra University 

in association with
The Convent of Christ
stronghold of the Knights Templar

​> Let’s continue to explore the world’s ancient shrines and sacred spaces to identify any patterns.
> Let’s examine all aspects of ancient traditions of the use of sound and stone to evoke an altered state of consciousness.
> Let’s see how all this directly relates to the design of contemplative architecture and potential applications for today.

CREATIVE INTERPRETIVE EXHIBITION

with the kind support of the

Concert included for all registered conference participants.  
​All attendees must sign waiver and release for performance videotape recording..

​​​FEATURING
Paul Devereux: When the Ancient World Got a Soundtrack

Iegor Reznikoff: On Foundations of Archaeoacoustics

Katya Stroud: ​A 5,000 Year Old Soundbox: Malta's Hypogeum

​ANTICIPATED in PAPERS and POSTERS 

Roberta Berman: Prehistoric Blues
Fernando Coimbra: Archaeology, Archaeoacoustics and Early Musical Behavior.
Fernando Coimbra with Pedro Cura: Experimental Archaeology and Archaeoacoustics: Reconstructing Neolithic Clay Drums.
Apela Colorado, Matt Tucker, Ryan Hurd: Prayer and Resonance in Paleolithic Painted Caves of Southern France - An Indigenous Science Approach
Paolo Debertolis, Daniele Gulia, Lorenzo Marcuccetti, Natalia Tarabella: Difinitive Results of Archaeoacoustic Analysis of Alatri Acropolis in Italy
Zorana Djordjevic: Acoustics of Medieval Architectural Heritage - Research Methodology
Mircea Florian: Fortified Saxon Churches in the Southeastern Transylvania -- Visualisation and Auralization
Dragos Gheorghiu: A Voice from the Past
Annie Goh:Sounding Situated Knowledges: Archaeoacoustics as Sonic Knowledge Production
Nicholas Green: Wemyss Bay Caves Auralisation Project
Anne Habermehl:Archaeoacoustics and the Fall of Jericho
​Keith Harvey: How Do the Acoustics in Cathedrals Affect the Human Subconscious?
Alvin Holm: Getting in Tune with the Earth and the Sky Healing in the Temple Colonnade
​Pamela Jordan: Acoustic Ruins of Ancient Greece - a Preliminary Investigation at Mt. Lykalon
Glenn Kreisberg: Mission Malta - Exploring the Sound and Energy Properties of Ancient Architecture
Iren Lovasz, Paolo Debertolis: Archaeoacoustic Approach of the Rotunda in Beny
Torill Christina Lindstrom: Ecstatic sounds, - a hypothesis on relationships between sounds and various states of consciousness.
Maria Cristina Manzetti: Experiencing an Ancient Performance in a Roman Theatre
Claudia Martinho: Exploring Aural Architecture: Experience, Resonance,and Attunement
Sarah McCann: The Silent Space; Women's Voices in Archaeoacoustics Research
Magdalena Ohrman: The Singing Loom: The Importance of Textile Production in the Roman Domestic Soundscape
Paul Oomen: Interactive Physical Modelling of Acoustical Environments and Objects
Slobodan Dan Paich: Understanding Ritual Voice in Psychological and Architectural Spaces
Vincent Paladino:  Sound, Cognition and Sociocultural Influence
Konstantinos T. Raptis, Sharon E. J. Gerstel, Chris Kyriakakis, James Donahue, Spyridon Antonopoulos: Ecclesiastical Soundscapes of Byzantine Thessaloniki
Etienne Safa: Researching the Paradigm of Archaeological Bone Flute's Sound-Studies
Christiaan Sterken: Of Stars and Bells: The Sound of Light
Natalia Tarabella, et al: Archaeoacoustic Analysis of Some Very Ancient Structures Recently Discovered in Italy
Hyun Soo Suh: Wonders Decoded - Sacred architecture and Extra-sensorial Spatialization 
Natalia Tarabella,et al: Fireplace and Holy Altar in Curiceta at Apuan Alps, Italy
Shea Michael Trahan: Resonant Form: The Convergence of Sound and Space
N. Valverde-Gascuena, M.P. Saez-Perez, J.P. Ruiz-Fernandez: Study of Different Types of Music in a Large Group of Listeners within St. Peter's Church in Cuenca
Michelle Walker: An Interpretive Phenomenological Analysis of the Impact of Frequency-Dependent Sound on Human Thought and Feeling in a Bronze Age Cave in Morayshire, North-East Scotland 
Steve Waller: Can We Hear the Sounds of Archaeoacoustic Sites... the Way Our Ancestors Heard Them?
Ezra Zubrow: The Origin Question: Methodology, Verification and Archaeoacoustics 

23 COUNTRIES REPRESENTED!

​ORGANIZING COMMITTEE includes:

Linda Eneix: The OTS Foundation - USA,  Coordinator
Fernando Coimbra: Instituto Terra e Memória, Centre for Geosciences, Portugal 
Josette Portelli: The OTS Foundation - Malta

​SCIENTIFIC REVIEW COMMITTEE includes, in alphabetical order:
​
Fernando Coimbra: Rock art researcher,  Instituto Terra e Memória, Centre for Geosciences, Portugal 

Dragos Georghiu: Archaeologist, expert in Late Prehistory and experimental archaeology, University of Bucharest, Romania 

Richard Grove: Head of Acoustics in London for Building Design Partnership

Luiz Oosterbeek: Pro-President, Polytechnic Institute of Tomar/ Instituto Terra e Memória/ Centre of Geosciences, Portugal

Iegor Reznikoff: Emeritus Professor at the University of Paris, specialist of the foundations of Art and Music of Antiquity 

​Katya Stroud: Senior Curator of Prehistoric Sites, Heritage Malta

ALL REGISTRATION CLOSING 15 SEP

COMPETITION
200 Euro CASH PRIZE for Original Artwork

If you can illustrate places and ancient sound making, this is your chance.  Non-professional artists of all ages are invited to submit their work.
Representative images will be published with the conference proceedings.  

Materials must be registered and accepted.
click here for more information

 

ARCHAEOACOUSTICS III

The third international multi-disciplinary conference on 
The Archaeology of Sound
05 - 08 October 2017      TOMAR, PORTUGAL

SPACE / ARCHITECTURE      SOUND / ACOUSTICS

ARCHAEOLOGY / ANTHROPOLOGY

These three facets are the foundation of Archaeoacoustics.  
​We are interested in the human experience of sound in heritage ceremonial and ritual places.  

ALL REGISTRATION CLOSING 15 SEP

Archaeoacoustics studies the way sound behaves in ancient enclosed spaces, how early humankind may have used it and the implications of architectural manipulation.  “The most significant factor in this field is its multi-disciplinary aspect,” explains conference organizer Linda C. Eneix, “a phenomenon that at first seems like pseudo-science to an archaeologist becomes abundantly clear when it is explained by a physicist, and an architect brings a totally fresh perspective.   A rock art specialist can help us see details that could easily be overlooked by the untrained eye.  Something that musicologists have known for years takes on new meaning when it is applied to ancient social structure and lifestyle.”