{"id":3194,"date":"2019-04-10T15:11:48","date_gmt":"2019-04-10T15:11:48","guid":{"rendered":"http:\/\/patrimoniweb.com\/erc\/?page_id=3194"},"modified":"2021-04-20T17:19:22","modified_gmt":"2021-04-20T17:19:22","slug":"research-lines","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/artsoundscapes\/research-lines\/","title":{"rendered":"Research lines"},"content":{"rendered":"

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RESEARCH LINES<\/h1>\n

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The Artsoundscapes project has five research lines: RL0: Rock Art; RL1: Physical acoustics of rock art landscapes; RL2: Psychoacoustics; RL3: Neuropsychology; RL4: Ethnography and ethnohistory; RL5: Artsoundscapes ontologies.<\/p>\n

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Rock Art<\/h2>\n

[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/03\/research-lines-rock-art.jpg\u00bb alt=\u00bbLevantine Rock Art. Female figures painted in Abrigo de La Risca I (Murcia, Spain)\u00bb title_text=\u00bbLevantine Rock Art. Female figures painted in Abrigo de La Risca I (Murcia, Spain)\u00bb _builder_version=\u00bb4.9.1″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.1″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Rock art can be understood as a communication system that, through the representation of images, allowed the societies of the past to transmit ideas, knowledge, and a whole series of information about their cultures, beliefs, and views on the natural and supernatural world. Given that the material existence of paintings and engravings is inseparable from the context in which the images were produced, we are carrying out several campaigns of fieldwork in different parts of the world (e.g., Mediterranean Europe, Siberia, Mexico, and southern Africa) to investigate the relationship between rock art\u00a0and soundscapes. Our main objective is to determine\u00a0the relevance of\u00a0the acoustic properties of the shelters\u00a0and landscapes\u00a0in the\u00a0artists’ decision regarding where to place their visual representations.\u00a0<\/p>\n

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Acoustical physics<\/h2>\n

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Overseen by acoustical engineer and senior staff of the Artsoundscapes project, Prof. Angelo Farina, the PI, Prof. D\u00edaz-Andreu, Senior Scientist Tommaso Mattioli and other members of the team will systematically map the acoustic properties of the aforementioned areas by means of Impulse Response (IR) measurements. For IRs to be pursued, novel portable equipment for acoustic measurements is needed. Holocene rock art is mostly located in open-air environments, where it is extremely impractical, if not impossible, to transport large pieces of equipment. In contrast, most devices so far developed for IR acoustic measurements are suitable for enclosed environments where size, portability and power supply are not an issue (e.g. concert halls, auditoria, and\u00a0urbanscapes). Our project will overcome this problem by designing a compact, small-sized, battery-powered set of sound source, microphones and digital recorders. Furthermore, our project will provide a comprehensive review of IR procedures used in\u00a0archaeoacoustics\u00a0research, thereby developing a single, coherent approach to collect a variety of acoustic data<\/p>\n

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Psychoacoustics<\/h2>\n

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Psychoacoustics is an interdisciplinary field between physical acoustics and psychology concerned with how humans perceive and interpret sound. This distinction between perception and interpretation of sound is relevant in landscape studies. Sound perception is cognitively neutral. In contrast, auditory interpretation reflects superiority, fit, and the listener\u2019s level of appreciation. The former depends on the physiological mechanism of hearing by which many perceptual properties of sound (e.g. loudness, duration, location) are extracted from the spectral contents, temporal patterns, and spatial distribution of acoustic signals reaching the ears. In contrast, sound interpretation relies on the higher-level functions of the auditory system. These are influenced by several conscious and unconscious factors, such as attitudes, beliefs, judgments, habits and familiarity with sounds. The perception vs. interpretation dichotomy raises critical issues to be considered in research methodology. It is possible to explore the psychoacoustics of our rock art landscapes by gathering information from the external world (i.e. acoustical physical measurements) and from the listeners themselves (i.e. by means of live psychoacoustic tests). In the Artsoundscapes project we propose to pioneer in the field of archaeoacoustics by applying both methods. In carrying out the psychoacoustic tests, the Artsoundscapes PI will be assisted by Prof. Carles Escera, a renowned cognitive auditory neuroscientist with considerable experience in carrying out auditory research, including psychoacoustic methodologies<\/p>\n

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Neuropsychology<\/h2>\n

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Sound and music are able to arouse exceptionally strong emotions and reliably affect the mood of individuals. The reason for this lies in very specific neural responses to these stimuli. The purpose of the neuropsychological tests in the Artsoundscapes project is to characterize the brain activity patterns elicited by the sounds recorded in selected rock art landscapes, as per RL1, and to determine whether these rock art sound processing neural correlates are comparable to those associated with altered or mystical states. This will be accomplished by running a series of electroencephalographic (EEG) experiments. In separate experiments, features such as audibility, echolocation and some other more specific parameters will be manipulated to ascertain whether a particular acoustic property identified in the tested rock art\u00a0soundscape\u00a0is more powerful in inducing altered brain states close to transcendence or meditation.\u00a0\u00a0These EEG experiments will be conducted in collaboration with Prof. Carles Escera at his\u00a0Brainlab\u00a0(www.ub.edu\/brainlab<\/a>).<\/p>\n

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Ethnography and archives<\/h2>\n

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Anthropologists working on the cultural understanding of sound have rarely paid attention to the ethnohistorical and ethnographic records. This task has been left to archaeologists\u2019 (and vocational archaeologists). However, the findings so far are almost without exception restricted to sources written in English and, therefore, literature in other languages is still an untapped resource. A search for sources in Finish, French, German, Portuguese, Russian and Spanish will be undertaken. This search will particularly consider the areas where fieldwork will be undertaken but will not be restricted to them. We are not expecting these sources to tell us precisely which ritual practices took place in the areas to be acoustically tested, but rather to enlighten us on (a sample of the) ethnographic variation related to sound in sacred beliefs among hunter-gatherers and early agriculturalists.<\/p>\n

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Artsoundscapes ontologies<\/span><\/h2>\n

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We are not expecting to find universals in our study but, instead, variability. The acoustic analyses already carried out pointed to some prehistoric communities having placed importance on echo\u00a0(D\u00edaz-Andreu, Hameau and Mattioli 2019; Mattioli\u00a0et al.\u00a02017), whereas others seemed to have favored enhanced audibility towards the landscape\u00a0(Mattioli and D\u00edaz-Andreu 2017). This sense of sensual difference was reinforced in an area with three distinct, but roughly contemporary, rock art traditions, each of them showing different ways in which the senses were used in connection with their rock art\u00a0(D\u00edaz-Andreu\u00a0et al.\u00a02017). The information gathered from ethnographical and\u00a0ethnohistorical\u00a0sources, together with a greater theoretical understanding of hunter-gatherer and early agriculturalist\u00a0ontologies, will provide us with clues for proposing hypotheses to interpret this variability.<\/p>\n

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[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.9.0″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#000000″][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.0″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.0″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.1″ _module_preset=\u00bbdefault\u00bb] RESEARCH LINES [\/et_pb_text][et_pb_divider color=\u00bb#EA5A01″ divider_weight=\u00bb3px\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0″ width=\u00bb30%\u00bb sticky_enabled=\u00bb0″][\/et_pb_divider][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb] The Artsoundscapes project has five research lines: RL0: Rock Art; RL1: Physical acoustics of rock art landscapes; RL2: Psychoacoustics; RL3: Neuropsychology; RL4: Ethnography and ethnohistory; RL5: Artsoundscapes ontologies. [\/et_pb_text][\/et_pb_column][et_pb_column […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

\"\"Characterising\u00a0the acoustic properties of rock art landscapes<\/strong><\/a><\/h4>

The purpose of this research line is to acquire scientifically accurate data for surveying relationships between sonic effects, soundscape perception and the positioning of rock art.<\/p>

\"\"<\/a><\/p>

The psychoacoustics of rock art landscapes<\/a><\/h4>

Research within this line will investigate on the sensations evoked in people in spaces with the same acoustic properties than the rock art landscapes under analysis as recorded in fieldwork.<\/p>

\"\"<\/a>Neuropsychology and emotion in rock art landscapes<\/a><\/h4>

The neuropsychological tests to be undertaken at the Brainlab (UB) will aim to test whether stimulation of the brain with the same sound recordings used in RL2 can induce patterns of brain activity related to those usually associated with altered or mystical states.<\/p>

\"\"<\/a><\/h4>

Ethnographic and ethnohistorical sources<\/a><\/h4>

Anthropologists working on the cultural understanding of sound have rarely paid attention to the information on the acoustics of soundscapes contained in the ethnohistorical and ethnographic records. The aim of this research line is to search these records particularly in the areas where fieldwork takes place.<\/p>

\"\"<\/a><\/h4>

The analysis of sacred emotion in rock art soundscapes<\/a><\/h4>

This research line will combine the results obtained in the four previous lines and attempt a phenomenological understanding of sacred soundscapes among late hunter-gatherers and early agriculturalists around the world.<\/p>","_et_gb_content_width":"","spay_email":"","_links_to":"","_links_to_target":""},"yoast_head":"\nResearch lines - Artsoundscapes<\/title>\n<meta name=\"description\" content=\"ARTSOUNDSCAPES is an ERC Advanced grant project led by Prof. Margarita D\u00edaz-Andreu. 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