The Acoustics of Aggregation Sites: Listening to the Rock Art Landscape of Cuevas de la Araña (Spain)

Rosa, Neemías Santos da; Álvarez-Morales, Lidia; Briz, Ximo Martorell; Macías, Laura Fernández; Díaz–Andreu, Margarita

doi:10.1080/00934690.2022.2134964

Cited by 15 publications

(2 citation statements)

References 53 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Some studies [8,9] seem to agree with these hypotheses, also suggesting a deliberate use of such effects in the underground galleries of Chavin de Huantar in Peru [8]. More recently the topic has been further investigated by several large interdisciplinary groups [10][11][12][13], and other studies of cave acoustics have been carried out involving natural caves mostly [14][15][16] or burial places like catacombs [17].…”

Section: Introductionmentioning

confidence: 85%

Reviving the Low-Frequency Response of a Rupestrian Church by Means of FDTD Simulation

2023

View full text Add to dashboard Cite

Rupestrian churches are spaces obtained from excavation of soft rocks that are frequently found in many Mediterranean countries. In the present paper the church dedicated to Saints Andrew and Procopius, located close to the city of Monopoli in Apulia (Italy) is studied. On-site acoustical measures were made, obtaining a detailed description of the acoustics in the current state pointing out, thanks to a combination of analysis techniques, the presence of significant modal behavior in the low frequencies, causing reverberation time to be about 2 s, four times longer than in the other bands, as well as being strongly dependent on source and receiver position (with variations of about 1 s when source is moved outside the chancel). However, as the church is characterized by significant degradation of surfaces and large amounts of debris cover the floor, the original acoustic conditions can be expected to somewhat differ. Acoustical modelling can be very helpful in grasping the original conditions, but given the small dimensions of the space, conventional geometrical acoustic prediction methods cannot be applied to simulate the low-frequency behavior. Thus, the present paper proposes an application of finite-difference-time-domain (FDTD) computation to simulate the low-frequency behavior and analyze a possible reconstruction of the original state. Results showed that a very good agreement was obtained between predictions and measurements, both in terms of resonance frequencies and reverberation times that differed by less than 5%. Modal response strongly affected the acoustical conditions also in the hypothetical reconstruction of the original state, although the sound field proved to be more uniform than in the current state.

show abstract

Section: Introductionmentioning

confidence: 85%

Reviving the Low-Frequency Response of a Rupestrian Church by Means of FDTD Simulation

2023

View full text Add to dashboard Cite

show abstract

“…By recording the so-called impulse response or IR, the acoustic signature of a space of archaeological interest can be recreated ( Alvarez-Morales et al, 2020 ; Díaz-Andreu et al, 2022a , b ; Alvarez-Morales et al, 2023 ; Santos da Rosa et al, 2023 ). The IR method measures sound propagation between an emission point and a receiver device ( Farina, 2007 ), and allows the recreation of an acoustic space in laboratory conditions through the process of auralization ( Vorländer, 2008 ).…”

Section: Introductionmentioning

confidence: 99%

Acoustic perception and emotion evocation by rock art soundscapes of Altai (Russia)

López-Mochales,

Aparicio-Terrés,

Díaz-Andreu

et al. 2023

Front. Psychol.

Self Cite

View full text Add to dashboard Cite

The major goal of psychoarchaeoacoustics is to understand the psychology behind motivations and emotions of past communities when selecting certain acoustic environments to set activities involving the production of paintings and carvings. Within this framework, the present study seeks to explore whether a group of archaeological rock art sites in Altai (Siberia, Russia) are distinguished by particular acoustic imprints that elicit distinct reactions on listeners, in perceptual and emotional terms. Sixty participants were presented with a series of natural sounds convolved with six impulse responses from Altai, three of them recorded in locations in front of rock art panels and three of them in front of similar locations but without any trace of rock art. Participants were interrogated about their subjective perception of the sounds presented, using 10 psychoacoustic and emotional scales. The mixed ANOVA analyses carried out revealed that feelings of “presence,” “closeness,” and “tension” evoked by all sounds were significantly influenced by the location. These effects were attributed to the differences in reverberation between the locations with and without rock art. Despite results are not consistent across all the studied rock art sites, and acknowledging the presence of several limitations, this study highlights the significance of its methodology. It stresses the crucial aspect of incorporating the limitations encountered in shaping future research endeavors.

show abstract

Material Sense: Perceptual Experience in Stone and Mineral Selection for Tool-Making

Efrati

2024

Arch

View full text Add to dashboard Cite

Enactivism advocates for the dynamic character of human perception, regarding it as a multidirectional network comprising human presence and self-awareness within the world (eg., with materials, with objects, with and within locations). Thus, perception is not created by mental representations alone but by human presence and sensorimotor action and interaction in the world. This study emphasizes the vital role of perception and perceptual experience as enactive in human ontological perspectives concerning choosing and collecting stones and minerals. It will also suggest that the enactive perceptual experience of the environment occurs in its absence through memory and material relationships.

show abstract

The Acoustics of Aggregation Sites: Listening to the Rock Art Landscape of Cuevas de la Araña (Spain)

Cited by 15 publications

References 53 publications

Reviving the Low-Frequency Response of a Rupestrian Church by Means of FDTD Simulation

Reviving the Low-Frequency Response of a Rupestrian Church by Means of FDTD Simulation

Acoustic perception and emotion evocation by rock art soundscapes of Altai (Russia)

Material Sense: Perceptual Experience in Stone and Mineral Selection for Tool-Making

Contact Info

Product

Resources

About