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.”
The third international multi-disciplinary conference on
The Archaeology of Sound
05 - 08 October 2017 TOMAR, PORTUGAL
PLEASE NOTE: SPECIAL CONFERENCE HOTEL PACKAGE IS NOW ON REQUEST
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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
Paul Devereux: When the World Got a Soundtrack
Iegor Reznikoff: Reality or Fantasy: What Evidence for Archaeoacoustics?
Katya Stroud: A 5,000 Year Old Soundbox: Malta's Hypogeum
ANTICIPATED in PAPERS and POSTERS
Diego Agudelo-Gallo: Phenomena and Thaumaturgy in the Premodern Tradition
H.G. Ananyan: Ritual Content of Khnki Tsar Dance Music
Patricia Lopes Bastos: Rock Sound: Acoustics, Morphology and Strategy
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, Francesca Piovesana, 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 South-Eastern Transylvania - Visualization and Auralization
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
Joshua Kumbani: Integrating Ethnomusicology and archaeomusicology in Music Related Artifacts from Prehistoric Archaeological Sites in Zimbabwe - also Great Zimbabwe Cave
Iren Lovasz, Paolo Debertolis: Archaeoacoustic Approach of the Rotunda in Beny
Maria Cristina Manzetti: Experiencing an Ancient Performance in a Roman Theatre
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
Slobodan Dan Paich: Understanding Ritual Voice in Psychological and Architectural Spaces
Francesca Piovesana, et al: Archaeoacoustic Analysis of Some Very Ancient Structures Recently Discovered in Italy
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
Rosario Santana, Helena Maria da Silva Santana: The Territory, a Factor of Definition, Development and Delimitation of the Action of Man in the Composition and Determination of the Linguistic, Musical and Performative Component
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
Shipra Upadhyay: Archaeoacoustics and Design Pedagogy
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?
Jon Weinel: Transcendent Sonic Mimesis: From Mayan Pyramids to 21st Century Scandinavian Forest Trance
MORE HIGHLIGHTS COMING SOON!
22 COUNTRIES SO FAR REPRESENTED!
A showing of artists, reconstructive archaeology practitioners and enthusiasts. If you have images or other materials envisioning places and ancient sound making, this is your chance.
Representative images will be published with the conference proceedings.
Materials must be registered and accepted.
Drop us a line with a brief description, dimensions and any special requirements. << email@example.com >>
All materials must be supplied at the conference venue in Tomar ready for display. The organizers cannot be responsible for shipments, framing or other preparation. Return of materials at the conclusion of the conference is the responsibility of the owner.
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..
Ac yno yn y dyffryn mi glywaf gân yn sŵn yr awel*
There is a promise of some ancient Welsh from historian Anne Habermehl
*Translation: "And there in the quiet valley I hear a song in the sound of the breeze."
NOTE: SPECIAL CONFERENCE HOTEL PACKAGE ON REQUEST ONLY
We may still be able to clear space for you.
Click for details and schedule.
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 ANIMUSIC
> 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.
SATELLITE INTERPRETIVE EXHIBITION - See below
SPECIAL BONUS EVENT
Planet's Song and Supporting Harmonic
Interpretive Fine Art
by Slobodan Dan Paich
of Artship Foundation, SFO
image at left produced during ARCHAEOACOUSTICS II
The Soundscape of Gobekli Tepe
A toposemiotic approach to the iconography of the world's oldest monument by Dragos Gheorghiu, featuring an acoustic discourse by Mircea Florian and an IT application by Livia Stefan.
A most important outcome of the third international conference on Archaeoacoustics will be the formulation of a model of methodology for archaeoacoustic analysis of an ancient site.
Working together, once we have defined and accepted this model, the Archaeoacoustics.org website will keep a central public archive of submitted projects that meet its criteria, with links to full reports.
MORE WILL BE REVEALED!
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. Input from any field of study that includes these three factors will be enthusiastically considered for presentation at Archaeoacoustics III.
Photo by John Sikora, Cortland, NY.