The Symposium and the Exposition may be concurrent or back-to-back.   

In response to requests for guidance on planning submissions for the Exposition portion, we envision a large space something like a marketplace.  There may be:

  • tables and booths where presenters can display and explain one-on-one
  • a section for poster presentations that are self-contained and just need to be exhibited
  • a live performance area, with scheduled timings and audience seating
  • a screen/projection/speaker set-up with seating for short films 

It all depends on what needs to be accommodated.  So if you are preparing an abstract to describe your exposition material, please also tell us how you plan to share it.  We are particularly going to need to know about your audio element.  Will you use headphones or present live or need a speaker system?  We know it's going to get noisy, but there has to be control of too much audio at once.  What works for instrument demos will not work for films with important soundtracks.  So -- the more information we have, the easier it will be to work out a schedule that gives everyone the best exposure.  Thanks!


An immersive experiential installation showcasing the art and architecture of the world’s oldest free-standing monuments.  



​no more than 250 - 300 words, please

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Want to get involved?   We'd love to hear from you.
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* The magnificent 6-foot Wonder Drum was incubated at Sarasota's  Thank you so much, Celeste and Anthony!


Fall of 2020 ​
or when
​COVID-19 lets us.

​Details soon.

Our international multi-disciplinary conferences have revealed that many, if not most, ancient ceremonial and ritual spaces encompassed an element of attention to sound.  From archaeologists, architects and engineers, we know that physical characteristics of the very earliest monuments imply acoustic intentionality and exhibit response to certain aural stimuli.  Can we hope for a clearer understanding of this chapter in human development? 

​With a far closer relationship to the planet than we have, ancient people lived in tune with it, just as other indigenous people about whose traditions we know much more.  

* Let’s focus on recovering an aural connection with the natural world that has been drowned out by time and technological advancement.
* Let’s gratefully listen to wisdom and folk practices from people who have kept ancient traditions alive.
* Let’s explore new sound therapies for today.


What was likely ceremonial and liturgical sound in ancient  societies that lived close to the earth?

What makes sacred sound special to a deity or target audience (earthly or heavenly, ancestors, etc.)?

How does music/sound function as an instrument of social identity?


 “Echoes from the Age of Stone” Exhibit ​with sound recorded
in the 5,500+ years old Hal Saflieni Hypogeum mortuary shrine
Instruments and replicas
Guest presenters/lectures 
Posters, installations, scheduled presentations & performance 
Networking for projects and creative workshops


celebrating ancient and indigenous cultural traditions of sound in ritual and ceremonial use, including the latest scientific research in Archaeoacoustics