[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n
By\u00a0 <\/b>Raquel Aparicio<\/b><\/a>, PhD Candidate; Samantha L\u00f3pez, PhD Candidate; Dr Carles Escera, Senior Staff.<\/b><\/p>\n \n There has always been a close relationship between art and humans. In Europe there are some claims that even Neanderthals were producing cave art about 70,000 years ago and anatomically modern humans definitely did so 40,000 years ago. In other parts of the world paintings also have very early dates (in Sulawesi, for example, some are at least 40,000 years old). The reason behind their creation and meaning is still beyond our understanding, as this would involve having knowledge of how our ancestors lived and experienced the world. However, in the Artsoundscapes project we have found a way to overcome these barriers and come closer to understanding some aspects of their production, at least in relation to the art of late hunter-gatherers and early agriculturalists in the Holocene. The way to we do this is through sound.\u00a0<\/span><\/p>\n The aim of the Artsoundscapes project is to explain how acoustics played a role in the production of rock art paintings. Specifically, members of the project with backgrounds in archaeology and acoustical engineering are testing whether rock art landscapes have different acoustics compared to similar landscapes without rock art. This would indicate that premodern societies were considering soundscapes to produce these ancient paintings. But why would they? In the project, we believe that one potential answer is the emotional state that sounds produce in certain acoustic environments.<\/span><\/p>\n The Artsoundscapes project has research lines in psychoacoustics and neuroscience. In these we measure the psychological and physiological reactions of modern participants to the rock art soundscapes. Archaeologists tell us that these places were not for domestic use, but instead had a symbolic significance for the people who created and used them. Therefore, we aim to explore whether the psychological and physiological reaction to acoustics is similar to feelings and brain patterns related to transcendence and meditation. The limitation we face regarding the differences between premodern populations and today\u2019s modern humans has already been discussed in a previous blog (<\/span>https:\/\/www.ub.edu\/artsoundscapes\/measuring-emotions-to-understand-ancient-communities\/<\/span><\/a>). Here, we will tackle another endeavour within the project: how can we measure mental states with electroencephalography (EEG)?<\/span><\/p>\n Everything we think, do and refrain from doing is just an elaborate function of an electro-chemical nature computed by a complicated mass of the specialised cells, known as \u201cneurons\u201d, that make up our brain. When a stimulus reaches our sensory organs, the unique characteristics of that stimulus (for example, the pitch or loudness of a sound) are processed in multiple steps by many interconnected neurons. Specifically, at a microscopic level, the information from the external stimuli takes the form of electrically charged atoms (ions) and enters individual neurons from its dendrites to its cell body (Figure 1).\u00a0<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bbauto|auto|auto|auto|false|false\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure1_Neuron.jpg\u00bb alt=\u00bbMargarita D\u00edaz-Andreu y Neemias Santos en el aeropuerto\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure1_Neuron\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bbauto|auto|auto|auto|false|false\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Figure 1. Image of a neuron and its main parts (adapted from Ram\u00f3n y Cajal).<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n The entry of ions into the neurons produces an electrical change within their cell body. If this charge is strong enough, then an all-or-nothing phenomenon known as \u201caction potential\u201d occurs (Hodgkin & Huxley, 1952). An action potential is the transmission of an electrical impulse from the cell body through the axon of a neuron to its axon terminal. When an action potential is produced, molecules, known as neurotransmitters, are released outside the neuron. These neurotransmitters will come into contact with the dendrites of other neurons and potentially generate further action potentials in them. In this way, information is processed and passed from one neuron to the other.\u00a0<\/span><\/p>\n What we end up consciously perceiving or feeling is believed to be represented by the interconnected and patterned activity of many neurons (Schneidman et al., 2011). Luckily for us \u2013 the neuroscientists \u2013 the macroscopic changes produced by this synchronised activity can be easily measured. We do this by placing electrodes (small conductive metal discs) on human scalps. This almost centennial and non-invasive technique to measure brain activity is known as an electroencephalogram (or EEG) (see Figure 2).<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure2_EEGcap.jpg\u00bb alt=\u00bbEscena interpretada como baile colectivo, Voro\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure2_EEGcap\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb50%\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Figure 2. Electroencephalography cap from the Brainlab \u2013 Cognitive Neuroscience Research Group. <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n The macroscopic synchronised patterns we measure with the EEG take the form of oscillations due to the underlying microscopic dynamics of individual neurons (Jensen et al., 2014). Oscillations are very common in nature and can be found everywhere, from the up and down motion of small boats on the sea to the motion of the strings on musical instruments. Given any oscillation, you can always measure its frequency, which is the rate per second of a vibration that constitutes a wave (see Figure 3).\u00a0<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure3_Oscillation.jpg\u00bb alt=\u00bbVistas desde la Cueva de la Vieja.\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure3_Oscillation\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Figure 3. Oscillations and frequency calculation. <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n Therefore, one approach to analysing brain activity measured with EEG is to quantify the amount of oscillatory activity at different frequencies. This is known as spectral analysis. Using this technique and correlating the different frequencies to cognitive processes, neuroscientists have classified the many frequencies of electrical brain activity into delta, theta, alpha, beta and gamma (Jasper & Andrews, 1936) (see Table 1). <\/span><\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Table1_FrequencyBands.jpg\u00bb alt=\u00bbFotograf\u00eda del grupo dispuesto a visitar el Abrigo Grande de Minateda.\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Table1_FrequencyBands\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Table 1.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n Different frequency bands can temporally coexist in the same or different brain structures. Their presence and combinations are closely linked to various brain states, such as the stages of sleep and the arousal levels of waking. Therefore, mental states can be characterised by different combinations of the EEG frequency bands. For example, a recent study (Jap et al., 2009) explored mental states while driving measured with EEG frequency bands. It found that fatigue while driving is associated with stable delta and theta activities over time, a slight decrease in alpha activity, and a significant decrease in beta activity.\u00a0<\/span><\/p>\n Analysing the spectral features of the EEG is still a widespread practice in neuroscience. However, it only allows for the exploration of which frequency bands are modulated in the condition of interest (e.g. meditation) compared to a baseline condition (e.g. normal waking). This technique does not allow for an in-depth explanation of how specific auditory stimuli activate neural populations and produce a special human experience. At least, it does not explain it in the same way as a mechanical process can be understood. Therefore, reaching an understanding of the brain mechanisms underlying mental states often requires more sophisticated techniques.\u00a0\u00a0<\/span><\/p>\n A fundamental neural mechanism underlying brain function is the synchronisation in activity of different neuronal populations (Chawla et al., 1999). You can think of it this way: radio signals are broadcast at different frequencies so that listeners can tune into one particular frequency and listen to their preferred radio station. By aligning the frequency of emission and the frequency of reception, the machinery can ignore all the information that is not important at that moment and play only what we want to hear. In a similar manner, when two neural populations communicate with each other they do so by aligning the frequency of activity. There is only a small delay in the synchronisation depending on the direction of the communication (Fries, 2005; Fries et al., 2007; Fries et al., 2008). Based on this physiological behaviour, there has been increasing interest in measuring the synchronisation between brain signals. These measurements would help scientists understand how brain regions communicate with each other in different conditions (see Figure 4).\u00a0<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure4pt1_Radio.jpg\u00bb alt=\u00bbVsta del Barranco de Los Grajos con los abrigos II y I\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure4pt1_Radio\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure4pt2_BrainSynch.jpg\u00bb alt=\u00bbVsta del Barranco de Los Grajos con los abrigos II y I\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure4pt2_BrainSynch\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Figure 4. Brain and radio analogy. Brain areas communicating with one another synchronise their activity in frequency like a radio receiver.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n The typical finding using EEG synchronisation analyses is that during a particular perceptual, cognitive or motor task the EEG synchrony measures either increase or decrease. This observation suaggests that different neural populations are aligning their activity to work in harmony for cognitive or behavioural performance. However, there is an important point to take into account for understanding the findings allowed by this analysis. As described above, EEG is recorded by placing electrodes distributed across the scalp. The electrical activity elicited by neurons has to travel from the brain to the electrodes on the scalp. On its way, this electrical activity has to pass through the head tissues and the skull, which has high resistivity. Moreover, neurons are not all optimally orientated towards the skull surface, so there are many signal cancellations and amplifications from various parts of the brain. Therefore, EEG lacks good spatial resolution and it is difficult to know exactly where the recorded activity is originating from within the brain, a difficulty known as the \u201cinverse problem\u201d (Balish & Muratore, 1990) (see Figure 5).\u00a0<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure5_InverseProblem.jpg\u00bb alt=\u00bbEl Rinc\u00f3n de las Cuevas de Benizar\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure5_InverseProblem\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Figure 5. When trying to infer the source of the neural activity recorded with electroencephalography we face the inverse problem.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n Due to advances in technology, a solution has been found to the EEG inverse problem and we can now estimate where signals are generated in the brain. This estimation is made by using head models and localising where the EEG signal generators are. Consequently, EEG synchronisation can be obtained mainly in two ways (see Figure 6). One is by calculating the synchronisation between the scalp electrodes, without the requirement to solve the inverse problem. The other is by working out the synchronisation of estimated activity sources. This can be done with standardised inverse solution methods (such as low-resolution brain electromagnetic tomography \u2013 sLORETA \u2013 and exact low resolution brain electromagnetic tomography \u2013 eLORETA \u2013). Using one type of analysis or the other will allow for different depths of abstraction.\u00a0<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/06\/AparicioR_BlogApril2021_vfinal_Figure6_EEGsynchAnalyses.jpg\u00bb alt=\u00bbLos autores con Salvador Lude\u00f1a en el \u00e1rea del Abrigo de Capel\u00bb title_text=\u00bbAparicio,R_BlogApril2021_vfinal_Figure6_EEGsynchAnalyses\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Figure 6. The two main electroencephalography (EEG) synchronisation analyses used to characterise mental states.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n One example in which the neural correlates of a mental state were characterised by measuring the synchronisation between scalp electrodes is the work conducted by Abraham and Duffy in 2001. They wanted to explore the chronic visual hallucinations that some people get after the consumption of lysergic acid diethylamide (LSD). To do so, they used measurements of coherence between local and medium distance scalp electrodes. The results showed that people with chronic visual hallucinations who kept their eyes open showed a widespread reduction in coherence. However, with their eyes closed the same group showed augmented regional coherence in the occipital region (a large brain area that is known to be modulated by visual activity). The authors suggested that when closing one\u2019s eyes, the increased local hypersynchrony may facilitate hallucinatory experiences.\u00a0<\/span><\/p>\n Kometer et al. (2015) used eLORETA to explore the hallucinatory experience produced by psilocybin, also known as \u201cmagic mushrooms\u201d. This substance has been associated with an increase in the delay of synchronisation. It has also been linked to a decrease in the theta and alpha oscillations in brain areas that strongly overlap with the default mode network (DMN). The DMN is a collection of brain regions that is apparently inactive during any specific cognitive function. It has been associated with altered states of consciousness induced by anaesthetics (Boly et al., 2008) or meditation (Brewer et al., 2011), among others. The DMN has also been implicated in self-referential processing (Gusnard et al., 2011) (<\/span>self-referential processing is the cognitive process of relating information, often from the external world, to the self)<\/span>. Therefore the authors suggest that the disruption of normal processing in the DMN may alter self-referential processes and lead to alterations in the state of consciousness. As seen in these two examples, both techniques \u2013 i.e. coherence between scalp electrodes and eLORETA \u2013 are useful for explaining, to a greater or lesser extent, the neural processes that mediate the mental states produced by the consumption of external substances.\u00a0<\/span><\/p>\n Three main techniques for measuring mental states with EEG are described above: measurement of EEG frequency bands, measurement of synchronisation between scalp electrodes (e.g. scalp EEG coherence) and measurement of synchronisation between estimated signal generators (e.g. eLORETA intracortical coherence). Although they differ in terms of complexity, they have all been used efficiently to characterise or explain the neuroscience behind various mental states. Investigating modulations in the EEG frequency bands is mainly descriptive and can only be used to differentiate or look for similarities between neural signatures of mental states. However, exploring the synchronisation between estimated signal generators can give us a deeper insight into how human experience is created beginning with simple electrical signals. The use of one technique or another will always depend on the research question at hand.\u00a0<\/span><\/p>\n Coming soon in Research Line 3 of the Artsoundscapes project, we will use the techniques described here, among others, to investigate how rock art soundscapes might modulate mental states. The result of our work will be a phenomenological understanding of the role of acoustics in the production of rock art. <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb]<\/p>\n <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" [et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb] By\u00a0 Raquel Aparicio, PhD Candidate; Samantha L\u00f3pez, PhD Candidate; Dr Carles Escera, Senior Staff. There has always been a close relationship between art and humans. In Europe there are some claims that even Neanderthals were producing cave art about 70,000 years ago and anatomically […]<\/p>\n","protected":false},"author":4,"featured_media":8106,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" Por Margarita D\u00edaz-Andreu<\/a>, Principal Investigator Artsounscapes y Neemias Santos da Rosa<\/a>, Junior Postdoctoral Researcher.<\/strong><\/p> Del 5 al 13 de octubre el Proyecto Artsoundscapes volvi\u00f3 a salir de trabajo de campo, aunque en este caso solo se cont\u00f3 con dos miembros del equipo, la investigadora principal Margarita D\u00edaz-Andreu y el investigador postdoctoral Neemias Santos da Rosa, autores de este post. El calendario era apretado y hab\u00eda llevado semanas de preparaci\u00f3n, ya que \u00edbamos a visitar muchos sitios repartidos por cuatro comunidades aut\u00f3nomas diferentes de Espa\u00f1a: Valencia, Castilla-La Mancha, Murcia y Andaluc\u00eda. El prop\u00f3sito de este trabajo de campo era identificar y tomar algunas notas b\u00e1sicas sobre varios sitios de arte rupestre Levantino en vista a la preparaci\u00f3n de las futuras pruebas ac\u00fasticas una vez que se hayan obtenido los permisos adecuados. En este blog, incluiremos parte de la informaci\u00f3n ya proporcionada peri\u00f3dicamente en nuestra p\u00e1gina de Facebook<\/a> , y a\u00f1adiremos algunos detalles nuevos.<\/p> Nuestro viaje comienza en Valencia, donde llegamos en tren y desde donde nos dirigimos hacia las monta\u00f1as del macizo del Caroig para encontrarnos con el especialista en arte rupestre Ximo Martorell. En nuestra primera parada, el Abrigo de Voro, nos impresiona la gran cantidad de figuras finamente trazadas, incluyendo muchos motivos femeninos y un grupo de cuatro guerreros interpretados como la representaci\u00f3n de una danza colectiva masculina. A unos cien metros al norte tambi\u00e9n visitamos las Cuevecicas del Esti\u00e9rcol, un abrigo muy largo y estrecho, con tres peque\u00f1as figuras femeninas, una de ellas desarrollando una inusual escena de recolecci\u00f3n. En la otra orilla del r\u00edo nos encontramos con El Garrofero, un abrigo rocoso de f\u00e1cil acceso con los restos de una gran figura femenina, posiblemente datada en los primeros periodos de la tradici\u00f3n del arte rupestre Levantino.<\/p> Dejando a Ximo atr\u00e1s, nos movemos\u00a0hacia el sureste,\u00a0cruzando\u00a0el l\u00edmite entre las comunidades aut\u00f3nomas de la\u00a0Comunitat\u00a0Valenciana y Castilla-La Mancha buscando algunos de los sitios de arte rupestre m\u00e1s conocidos del arte\u00a0Levantino. Estos\u00a0abrigos, situados en el extremo oriental de la provincia de Albacete, fueron descubiertos hace unos cien a\u00f1os: el alto n\u00famero de figuras pintadas en ellos hab\u00eda inevitablemente llamado la atenci\u00f3n de los locales que mencionaron su existencia a los inquisitivos arque\u00f3logos. Nuestra visita incluye\u00a0la Cueva de la Vieja, en\u00a0Alpera, y el Abrigo Grande en\u00a0Minateda\u00a0separados por\u00a0unos cien kil\u00f3metros de distancia\u00a0y vueltos a estudiar recientemente por Anna Alonso, Alexandre Grimal y Juan Francisco Ruiz L\u00f3pez. Ambos\u00a0abrigos rocosos\u00a0se localizan\u00a0en paisajes espectaculares con grandes vistas\u00a0hacia\u00a0la planicie\u00a0que se despliega frente\u00a0a\u00a0ellos. Adem\u00e1s,\u00a0se advierte en ellos\u00a0una impresionante variabilidad tem\u00e1tica, con\u00a0algunas\u00a0figuras\u00a0pintadas\u00a0con\u00a0un notable\u00a0nivel t\u00e9cnico.\u00a0Nos resulta\u00a0muy interesante notar el orgullo de los\u00a0habitantes\u00a0locales por\u00a0el arte rupestre,\u00a0no solo por la consideraci\u00f3n de la concejal de cultura de acompa\u00f1arnos sino adem\u00e1s por la\u00a0visibilizaci\u00f3n\u00a0del inter\u00e9s local en la plasmaci\u00f3n de\u00a0la\u00a0reproducci\u00f3n\u00a0del panel principal de la Cueva de la Vieja\u00a0en una pared\u00a0junto\u00a0a\u00a0una de las\u00a0arterias viales\u00a0principales\u00a0de\u00a0la localidad\u00a0de\u00a0Alpera. Este\u00a0inter\u00e9s\u00a0se\u00a0observa\u00a0tambi\u00e9n en otros lugares menos pol\u00edticamente correctos como los ba\u00f1os de la sede de la secci\u00f3n de Cultura del Ayuntamiento del pueblo: all\u00ed\u00a0se han dibujado\u00a0sendas\u00a0figuras\u00a0Levantinas, una\u00a0masculina y otra femenina,\u00a0para indicar\u00a0los aseos. Este recurso\u00a0lo encontrar\u00edamos\u00a0tambi\u00e9n\u00a0m\u00e1s tarde\u00a0a lo largo de\u00a0nuestro viaje:\u00a0en\u00a0el\u00a0\u00a0Centro de Interpretaci\u00f3n de Arte Rupestre de\u00a0Moratalla<\/a> y en\u00a0el bar de\u00a0Za\u00e9n\u00a0de Arriba.<\/p> La Cueva de la Vieja en\u00a0Alpera\u00a0y el Abrigo Grande\u00a0de\u00a0Minateda\u00a0no son los \u00fanicos en la zona. No lejos del primero de ellos, con el arquitecto Chimo Garc\u00eda y uno de sus familiares,\u00a0vamos\u00a0a ver\u00a0otros\u00a0sitios m\u00e1s peque\u00f1os. Estos son considerados menores porque\u00a0albergan\u00a0un n\u00famero\u00a0m\u00e1s reducido\u00a0de figuras y\u00a0normalmente\u00a0- pero no siempre - tienen una visibilidad limitada.<\/p> El Abrigo Grande est\u00e1 cerca de la aldea de Minateda. El grupo que visit\u00f3\u00a0el sitio estaba compuesto, adem\u00e1s de los autores de este blog, por la gu\u00eda local Gemma Ortiz y nuestros amigos de la vecina Jumilla:\u00a0Emiliano Hern\u00e1ndez y Myriam Ruiz L\u00f3pez.<\/p> A veces pensamos que vamos a recordar c\u00f3mo llegar a un sitio\u00a0y, sin embargo, diez a\u00f1os despu\u00e9s de que uno de nosotros visitara el Barranco de Los Grajos,\u00a0no fue as\u00ed.\u00a0Claro que no ayud\u00f3 el que\u00a0este fuera el \u00fanico\u00a0municipio\u00a0en el que no se nos ofreci\u00f3 ninguna ayuda,\u00a0al contrario de\u00a0los\u00a0otros\u00a0con\u00a0los\u00a0que nos pusimos en contacto en las cuatro provincias.\u00a0Lamentablemente para nosotros, la carretera que una vez\u00a0serv\u00eda para acceder\u00a0al lugar\u00a0se encuentra ahora pr\u00e1cticamente destrozada\u00a0y, temiendo\u00a0por nuestras\u00a0vidas,\u00a0nos decidimos a\u00a0abandonar\u00a0el coche en lo que creemos que\u00a0es\u00a0una zona cercana a los sitios. Ahora solo podemos re\u00edrnos a carcajadas de la aventura, pero ese d\u00eda, cuando por fin llegamos al peque\u00f1o\u00a0barranco de Los Grajos, nos sent\u00edamos\u00a0cansados, hambrientos y sedientos, aunque a\u00a0veces\u00a0vale la pena experimentar el terreno como lo hicimos en ese fat\u00eddico d\u00eda.\u00a0Ya en el barranco\u00a0los sitios\u00a0se nos muestran\u00a0tan impresionantes como siempre, y\u00a0podemos observar, a trav\u00e9s de la valla, la escena de baile en Los Grajos. Confusamente, mientras que el\u00a0abrigo\u00a0con la escena de baile se ha conocido tradicionalmente como Los Grajos I (incluyendo Alonso y Grimal 1997, Presas 1984: 162, Jord\u00e1n 1995-96, Mart\u00ednez S\u00e1nchez 1996, Montes y Cabrera 1991-92, Walker 2019), algunos arque\u00f3logos lo denominan como Los Grajos II (Lomba y Salmer\u00f3n 1995, Lomba\u00a0Maurandi\u00a02018).\u00a0Nos ha llevado\u00a0horas de revisi\u00f3n de la bibliograf\u00eda para\u00a0darnos\u00a0cuenta de esta confusi\u00f3n.<\/p> Despu\u00e9s de\u00a0Alpera,\u00a0Minateda\u00a0y Cieza pasamos dos d\u00edas en el pueblo de\u00a0Moratalla. El 8 de octubre nos\u00a0hace de gu\u00eda\u00a0Esteban Sicilia, del Ayuntamiento de\u00a0Moratalla. Primero nos dirigimos a la pedan\u00eda de\u00a0Benizar\u00a0donde, no muy lejos del asentamiento, se encuentra el atractivo Rinc\u00f3n de las Cuevas,\u00a0en el que\u00a0el arte rupestre es realmente muy dif\u00edcil de ver.\u00a0Es interesante observar que\u00a0el sentido espiritual del lugar sigue presente en un moderno altar que probablemente se utiliza para la romer\u00eda\u00a0local.<\/p> Con la inspecci\u00f3n de los sitios del Molino de Bagil y los impresionantes abrigos de Fuensanta se completa la ma\u00f1ana, para luego terminar con un almuerzo a unas horas ya intempestivas en la terraza del bar local de Za\u00e9n de Arriba con Enem\u00e9rito Mu\u00f1iz<\/p> El d\u00eda termina\u00a0con las visitas al Abrigo de Capel y, casi con las \u00faltimas luces del d\u00eda, al fant\u00e1stico grupo de sitios de La Risca, donde\u00a0nos encontramos con\u00a0las conocidas representaciones femeninas\u00a0del abrigo I. Se trata de dos grandes y alargadas figuras femeninas, la m\u00e1s larga de las cuales es aproximadamente el doble de la altura de la que est\u00e1 a su derecha, y que se puede ver en un nicho a tres metros del nivel del suelo. No es tan inusual encontrar representaciones de mujeres en pares, pero el tama\u00f1o que tienen\u00a0estas de la Risca I\u00a0es \u00fanico. La bibliograf\u00eda ha mencionado repetidamente que podr\u00edan estar bailando y, de hecho, sus posturas similares\u00a0as\u00ed\u00a0parecen\u00a0indicarlo.<\/p> El 9 de octubre ha sido marcado como el D\u00eda Europeo del Arte Rupestre. Ese d\u00eda en 1902, \u00c9mile Cartailhac envi\u00f3 a la hija de Marcelino Sanz de Sautuola, Mar\u00eda, una carta reconociendo su error al haberse negado a\u00f1os atr\u00e1s a aceptar la autenticidad de las pinturas rupestres de Altamira descubiertas por su difunto padre. 98 a\u00f1os m\u00e1s tarde se llevan a cabo varios actos en las seis Comunidades Aut\u00f3nomas del territorio Levantino, incluyendo Murcia<\/a>. Estas grandes celebraciones se ven multiplicadas por algunos eventos organizados a nivel municipal, como es el caso de Moratalla. A las 10 de la ma\u00f1ana, aprovechando un peque\u00f1o retraso en su comienzo, hacemos una breve visita a la Oficina de Informaci\u00f3n Tur\u00edstica, donde se han incluido en su logotipo las dos figuras femeninas de La Risca I. Poco despu\u00e9s nos encontramos frente al Ayuntamiento donde el alcalde, rodeado de varios concejales y del director del\u00a0Centro de Interpretaci\u00f3n del Arte Rupestre<\/a>, pronuncia un breve discurso ante las c\u00e1maras. Posteriormente tambi\u00e9n nos entrevistan a nosotros y nuestra presencia es destacada en la prensa local: en los peri\u00f3dicos \u2013 en El Diario<\/a> y La Opini\u00f3n<\/a>\u00a0 \u2013; y en la radio en Onda Regional<\/a>.<\/p> Nos alegra comprobar que el\u00a0Centro de Interpretaci\u00f3n de Arte Rupestre Casa de Cristo<\/a> se ha abierto finalmente despu\u00e9s de a\u00f1os con el candado echado. \u00a1Qu\u00e9 bien organizado est\u00e1 todo! Nos lo ense\u00f1a su director, Salvador Lude\u00f1a, que tambi\u00e9n gu\u00eda a grupos de turistas a visitar las pinturas rupestres.<\/p> Despu\u00e9s de esta parada en el\u00a0Centro\u00a0de Interpretaci\u00f3n, visitamos\u00a0varios abrigos rupestres\u00a0y observamos escenas, superposiciones, colores y tantos otros detalles que hacen que las pinturas\u00a0Levantinas sean tan\u00a0atrayentes. Sitios como el grupo de Fuente del Sabuco y\u00a0Ca\u00f1aica\u00a0del Calar est\u00e1n\u00a0en nuestra lista este d\u00eda que\u00a0finalmente\u00a0termina en el tranquilo\u00a0\u00a0-casi oasis-\u00a0hotel\u00a0de Casa\u00a0Pern\u00edas, en\u00a0el \u00e1rea\u00a0de Campo de San Juan.<\/p> El 10 de octubre cruzamos de nuevo a la provincia de Albacete, pero ahora a su extremo sur, para visitar los grandiosos yacimientos de arte rupestre de Solana de las Covachas, Torcal de las Bojadillas y otros sitios menores del municipio de Nerpio. En los dos primeros, acompa\u00f1ados por Nuria \u00c1lvarez, de la Oficina de Turismo, observamos que las propiedades ac\u00fasticas de los abrigos son indudablemente interesantes y que el arte es realmente magn\u00edfico. Nos impresionan las figuras humanas con una especie de peinado exc\u00e9ntrico y las muchas figuras diminutas que probablemente se daten en la \u00faltima fase del arte Levantino. Por la tarde tenemos el honor de llevar como gu\u00eda el experto local Antonio Carre\u00f1o, el motor de la investigaci\u00f3n del arte rupestre en esta zona durante los \u00faltimos treinta a\u00f1os junto con su compa\u00f1ero habitual durante al menos dos d\u00e9cadas, Miguel \u00c1ngel Mateo Saura.<\/p> El domingo 11 de octubre Antonio Carre\u00f1o nos lleva primero a ver el sitio de arte rupestre del Prado del Tornero, justo al lado del pueblo de Nerpio. Como en muchos otros sitios, las figuras de arte rupestre se han perdido en gran parte, pero aparecen por arte de magia aplicando el plugin D-Stretch<\/a> a las fotograf\u00edas. M\u00e1s tarde, en Hornacina de la Pareja, despu\u00e9s de una fuerte subida nos sorprende uno de esos motivos con su muy particular tocado que solo se encuentra en esta zona. Neemias y Antonio se enfrascan en un debate sobre las t\u00e9cnicas de realizaci\u00f3n de las pinturas, tema de la reciente tesis doctoral de Neemias. Si se les hubiera dejado, todav\u00eda estar\u00edamos all\u00ed, hablando de todas las minucias de la\u00a0cha\u00eene\u00a0op\u00e9ratoire<\/em>\u00a0relacionadas con\u00a0el proceso pict\u00f3rico\u00a0del\u00a0arte rupestre\u00a0Levantino... De vuelta en\u00a0la poblaci\u00f3n, finalmente nos despedimos de Antonio y del arte rupestre de\u00a0Nerpio.<\/p> El 12 de octubre es festivo, pero decidimos continuar nuestra gira y cambiar una vez m\u00e1s de provincia y de comunidad aut\u00f3noma traslad\u00e1ndonos a Ja\u00e9n, en Andaluc\u00eda. Nuestro gu\u00eda local, Emilio, nos ayuda a encontrar el sitio de Cuevas del Engarbo y se maravilla de las figuras que le vamos descubriendo en sus paredes.<\/p> Ya de vuelta nos encontramos con cabras salvajes y ciervos junto a la carretera. La sensaci\u00f3n es de estar en un lugar perdido, lejos de todas partes...<\/p> En nuestro \u00faltimo d\u00eda de campo\u00a0tenemos\u00a0en nuestra lista el Barranco Segovia, un lugar tan dif\u00edcil de alcanzar que, a pesar de las indicaciones de Juan Francisco Jord\u00e1n Montes, necesitamos\u00a0de nuevo la\u00a0ayuda de\u00a0Enem\u00e9rito\u00a0Mu\u00f1iz. En el lugar, nos sorprenden las fant\u00e1sticas vistas y las intrigantes figuras.<\/p>References<\/h6>\n
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