This article focuses on the augmented audibility of distant sounds that is experienced in some rock art sites. We propose a method developed in acoustical physics to measure this acoustic phenomenon, the Transmission Loss (TL) analysis.... more
This article focuses on the augmented audibility of distant sounds that is experienced in some rock art sites. We propose a method developed in acoustical physics to measure this acoustic phenomenon, the Transmission Loss (TL) analysis. We have assessed the validity of the method in our study area, the Sierra de San Serván in the region of Extremadura (Spain), an area where from the hundreds of shelters only sixty five were decorated with Schematic art during prehistory. The analysis undertaken in it has provided unequivocal data that indicate that augmented audibility of distant sounds seemed to be a factor considered by the prehistoric artists for the selection of rock art shelters to paint in. This is especially made clear when a comparison between the results obtained in shelters with rock art and others in the same area without it is made. From all the sites one stands out, that of Las Palomas 2, with the best results. This site is also special for other features that no other site in the area has in terms of difficult access and high visibility.
This paper explores the potential of acoustics to interpret the prehistoric rock art of southern Andalusia (Spain). Tests undertaken in two areas, north of the Celemín river and the Bacinete area, will form the basis of our discussion.... more
This paper explores the potential of acoustics to interpret the prehistoric rock art of southern Andalusia (Spain). Tests undertaken in two areas, north of the Celemín river and the Bacinete area, will form the basis of our discussion. The results obtained at a selection of rock art sites show that the two key rock art sites, El Tajo de las Figuras and the large shelter at Bacinete, both with the majority of paintings in the earlier Laguna de la Janda style, had good resonance values. In contrast, at most of the other minor sites tested, the values for resonance were negative or insignificant, regardless of whether they were painted in Laguna de la Janda or schematic style. We conclude that the major rock art sites in southern Andalusia were chosen not only for their geological appearance and location in the landscape, but also for their acoustic properties.
Este artículo presenta nuevos datos e interpretaciones respecto del modo en que los Inkas utilizaron la arquitectura para manipular las experiencias somáticas de las comunidades que habitaban el valle Calchaquí Norte (Salta, Argentina) a... more
Este artículo presenta nuevos datos e interpretaciones respecto del modo en que los Inkas utilizaron la arquitectura para manipular las experiencias somáticas de las comunidades que habitaban el valle Calchaquí Norte (Salta, Argentina) a partir del control de su participación en espacios ritualizados. En esta línea, nos focalizaremos en las experiencias disímiles que estos espacios promovieron, ya sea a partir del estímulo de ciertas modalidades sensoriales sobre otras o mediante la secuenciación e intensidad con las que ellas intervinieron. Recientemente, y en respuesta al ocularcentrismo predominante en esta clase de investigaciones, se ha planteado la necesidad de integrar sentidos adicionales a la vista y avanzar hacia paisajes sonoros. Este trabajo expone la permeabilidad visual y las propiedades acústicas de la plaza de un pequeño asentamiento predominantemente Inka a partir de ensayos experimentales in situ y el modelado tridimensional de la arquitectura y de la dispersión de vectores de sonido. Propondremos que una cuidadosa planificación destinada a espacializar grupos y prácticas no se circunscribió a habilitar e inhibir selectivamente la accesibilidad visual a la plaza, sino que además utilizó la accesibilidad auditiva para crear diferentes experiencias entre sus visitantes. Palabras claves: conquista Inka, espacialidad, arquitectura, paisajes sonoros. This article presents new data and interpretations on how Inka representatives utilized the architecture of ritualized spaces to manipulate local communities' somatic experiences. In an attempt to overcome the prevailing ocularcentrism among this line of inquiry, it has been suggested that additional senses should be considered, and some scholars have begun to advance towards the study of ancient soundscapes. This article will focus on the plaza of an Inka settlement located in the North Calchaquí Valley (Salta, Argentina) paying specific attention to how it privileged certain sensorial modalities and managed their sequential stimulus and intensity. It article presents an analysis that combines on-field visual and acoustical permeability data generation, with three-dimensional models of architecture, terrain, and sound propagation. Results indicate that a careful layout design not only spatialized groups and practices, but also created different experiences by promoting disparate visual and acoustic stimulations upon approaching and entering the plaza.
