Neolithic Art, Archaeoacoustics and Neuroscience

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Neolithic art, Archaeoacoustics and Neuroscience

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Fernando Augusto Coimbra Centro Português de Geo-históiria e Pré-História, Lisboa, Portugal

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2016 Yearof Global Understanding

Publication of the 2015 Conference in Istanbul, Turkev SCIENTIFIC REV1EW COMMITTEE

Fernando Coimbra, Polytechnic Instiiute of Tomar (Portugal) Paolo Debertolis, University of Trieste (Italy) legor Reznikoff, University of Paris (France)

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ACKNOWLEDGEMENTS

Selin Kúçiik Josette Portelli Nancy Vella Kcrem Akalin Eren Akalin Easzlo Korosi Lee Clare Mustata Sahin Sophia Argyris CONTENTS

Fernando Coimbra Neoliíhic art, Archaeoacoustics and Neuroscience 15

Diego Chapinal Oracles and Sound - Their Imporíance At The Sanctuary OfDodona 25

Paulo Debcrtolis, Daniele Gullà New Technologies OfAnalysis In Archaeoacoustics 33

Zorana Dordcvic, Ivan Cale, Stefan Dimitrijevic Ácoustical heritage of medieval Serbia: 51 The case oftwo Moravian slyle churches

Anne Habermehl Dating Prehistoric Musical Instruments: The Two Timelines 61

Gino lannace, Amélia Trematerra The Acoustics ofCumaean Sibyl Cave (Ilaly) 69

Esthir Lemi Visual Narralion In Sonic Ambience: A Case Sludy 81 Based On Tiberius Grotto

Irén Lovász Voicing Cave: Experience And Melaphor, 93 From Archaeoacoustics To Voice Therapy

Slobodan Dan Paích Bringing Cave Echoes and Sanctuary Resonances Home - 103 Possible Pilgrimage Influences As Remnants Of Prehistoric Music In Folkloric Traditions

Steven J. Waller Recent Advances in Archaeoacoustics: u9 \Echo "Spirits" and Thunder "Gods" Predicted aí Archaeological Sites

Ezra B W Zubrow, Torill Christine Lindstrõm Wittgen$tein's Poker: The Skeptical Realily In Archaeoacoustics 125

Bónus Report from Sogmatar in Southeast Turkey Paolo Debertolis, Danicle Gullà 137

13 l Pa Neolithic Art, Archaeoacoustics and Neuroscience

Fernando A. Coimbra

FERNANDO A. COIMBRA, PhD in Prehístory and Archaeology (with Extraordinary Prize from the University of Salamanca), is an archaeoiogist and rock art researcher. He's a Visiting Professor of the tirasmus Mundus Master Course of Prehistoric Archaeology and Rock Art {Polytechnic Institute of Tomar, Portugal) and an Internai Researcher of the Centre for Geosciences írom the University of Coimbra, Portugal, coim bra. rockart@yah oo. com

ABSTRACT: The author analyses some cases of mind/body experiences, with acoustic orígins, occurred within prehistoric chambers with Neolithic art, relating them with the discoveries of recent neurophysiologic research based on hearing non-semantic sounds. Acoustic phenomcna such as standing waves, and infrasound and resonant frequencies are also considered regarding the effects that íhey could have produccd in the mínds of prehistoric and protohistoric people. Lt will be discussed if some cases of Neolithic art can be the "depiction" of the mentioned mind/body experiences or the rcsult of other phenomena with acoustic origins.

KEYWORDS: Neolithic Art, Archaeoacoustics, Neuroscience, standing waves, infrasound.

Introductory Note waves and infrasound, which may have influenccd the minds of prehistoric people. s it is well known, several examples of ANeolithic art can be found insidc Resides funerary chambers, monuments funerary monuments such as Newgrange. such as Stonehenge, which hás also Loughcrcw, Knowth (ali in Ircland), prehistoric art, were also studied regarding Maeshowe (Orkney, Scotland), Gavrinis, its acoustics (Watson and Keating, 1999; Tablc dês Marchands (Francc) and Hal Till, 2010). The samc happened more Saflieni (Malta), among othcr cases. recently regarding the Neolithic settlements of Skara Brae and Ness of Brodgar, in Tnside some of these chamhers acoustie Orkney, not far from Maeshowe, which expcriments took place, namely in have also interesting acoustic properties and Newgrange and Loughcrew (Jahn et ai., some rock art (Watson, n/dated). 1995), Maeshowe (Watson, 1997; 2007) and Hal Saflieni (Eneix, 2014)1, showing that In this article we analyze some cases of they possess interesttng acoustic properties, mind/body experiences, with acoustic leading to phenomena such as standing origins occurred within prehistoric chambers with Neolithic art and we also

1 Archaeoacoustics: The Archaeology of Sound. volume see mainly the articles by Till, Coimbra, OTS Foundation, Myakka City, Florida: In this Reznikoff, Debertolís.

151 Pa gê consíder some acousíic phcnomena which Indeed, "responses to infrasonics may vary take placc in thosc archaeological sites. between individuais" (Watson and Keating, 1999: 333), leading to diverse psychological and physiological responses. For example, Archaeoacoustics and IVlind/bodily different írom the unp l easant results Experiences mcntioned above, Paul Dcvcreux mentions tbat D. Keating, during one acoustic Man is the master ofeverything he knows cxperimcnt at Maeshowe, "reported being and lhe slave ofeverything he ignores put into a state in which his body became (Baruch Spinoza, 1632-1677) rclaxed but his mind alert, an initial stagc of deep trance" (Landscape-perception, n/dated). It's well known that sound hás a large influencc on peoplc, being "an integral part Also the author of this papcr expcrienced of human experiencc" (McBride, 2014: 1). bodily sensations caused by sounds, during the experiments carried out at Hal Saflieni In the middle of the TI millennium BC thc in February of 2014. In fact, standing in Vedanta tradition (4.22) mentions that "by front of the prehistoric paintings in room 20, sound víbration one bccomes liberated", the sound of a horn played in the Oracle meaning that sound is already known to be Room was felt "crossing" the author's body a vibration by thosc times. This seems also at high speed, leaving a sensation of to be related with the practice of certain relaxation. After a short break the sounds (maybc inaniras) with the aim o f instrument was played again, thc result getting an expected influence on individuais being similar but cven more rclaxing, or, in a more general way, in soeiety. Like it followed by the illusion that the sound was happens in other Hastern tradiíions, this rcflected from the authors body to the wall knowledgc expressed by the Vedanta hás its with the engravings (Coimbra, 2014; origins in earlier times. Coimbra, in press).

The archaeologist Aaron Watson and the In the sequence of these two cases of acoustician David Keating carried out some mind/bodily cxperiences, with acoustic acousíic tcsts at Maeshowc using a single origins, reported by two different drum, which caused a resonanee with a rescarchers and in two different places, írequency of 2Hz. Despite the fact that this some questions arise: did Ncolithic human infrasound cannol be heard by bumans, it bcings feel similar sensations, caused by can be "fell", inducing a variety of sound, while staying inside chambered sensations such as di/.ziness, headaches and monumcnts? Could the prehistoric art that disorientation (Watson, n/dated). Some exists in some of thesc chambcrs be rclated individuais that participated in similar with eventual bodily experíences with acoustic tests within chambered cairns acoustic origins? rcported other physiological cfíects such as changes in breathing and pulse pattern The answer to lhesc questions is (Watson and Keating, 1999). Furthermore, undoubtedly difficult, but it's a subject that according to P. Debertolis and N. Bisconti deserves to bc cxamincd and discussed. For (2014), infrasound can create feelings of example, the Swedish archaeologist J. awe or fear in humans, in some cases Goldhahn (2002: 41), argues that "bodily rcsulting in a misplaced belief that some experiences of a place are vital for the strange or supernatural event is taking place. interpretation of tbe prehistoric 'mindscape1

16 of that landscape", quoting reputed authors monument as these sounds could not have such as Tilley, Nash and Ouzman. been rcproduced anywherc else".

According to several authors, megalithic art Acoustic cxperiments carried out at the "might have cclebraícd the passage of the chambered cairns o f Camster (Caithness, deceased into another world" (Bradley et Scotland) revcaled remarkable results. For ai., 2000: 64). Could thc production of this example, drumming in thc chamber of kind of art be also related with acoustic Camster Round created a bass sound that phenomena? was felt around the back of the monument like it was "emerging írom bcneath the This idea is going to be discussed in the ncxt ground rather than from inside the cairn" scction, but first it's necessary to rcmember (Watson, 2007). The sound of that that the end of lhe 20lh century assisted-a drumming was hcard within another progressivo breaking down of disciplinary chamber (Camster Long), 200m apart, boundaries with a growing importance of despite it couldn" t be deíectcd in the open air philosophica) issues in archaeology (Lucas, between the two monuments. 1995), that maybe led R. Bradley to write that "Archaeology only can mature when the philosopher and the archacologist are the same person".2 Bearing these statements in mind, we can now continue the present -r / v article. ^7 f

','"?>* ', ^ís.f.. A^-~=— ----- ' 2 — Acoustic Phenomena in -'"V-, f ' ' \-,y" \ Neolithic Monuments '"""•, \ í ", In the chambers of several megalithic 1V- •< Vv '' monuments írom the U K, an acoustic cffect known as standing waves occurs. According to A. Watson (2007) sound waves interact while reílected between the walls of the 50 m chamber, be ing e ither enhanced o r cancelled, changing the nature ofthe sound. For example, to a listener passing by the Fig. l - Knowth and its satellite tombs patterns of these standing waves some (Afler Watson and Keating, 1999) effects may happen, such as thc sounds becoming louder with distance from the Aaron Watson and D. Kcating (1999: 330) source.-Some frequencies can also resonate argue that "drumming could have been used parts of the body. Thc same author (2007) as a form of communicatíon between tombs argues that "standing waves might have which wcre in closc proximity", mentioning been undcrstood as the voices of spirits, the examples from Camster and also from ancestors or othcr forces. They might have Knowth, "whcre a largc tomb is surroundcd contributed to the spccial character of the by a number of smaller cairns" (idem,

2 Author's translation of a quote from Bradley's excavation of King Arthur's Round Table. article in Portuguesa (1998), after the original in Proceedings ofthe Prehistoric Socieíy, 60, pp.27-34, English: BRADLEY, R. 1994 The philosopher and London. the ficld archaeologist: Collingwood, Bersu and the

17 ibidcra). Curiously, "manyof these satellite The Neolithic settlemení of Skara Brae hás tombs have their passages oricnted towards well conserved "dressers" that could have íhe main mound, perhaps assisting the been used as shrines or altars, due to the transmission of sound between what wcrc presence of art and unusual artefacts otherwise separate components of a (Watson, n/dated; Card and Thomas, 2012). cemetery" (Watson and Keating, 1999: 330- Acousties tests proved tbat "the dresser in House l was found to act as a resonant ehamber that can enhance the sound of the Certainly the megalithic monuments where voice" (Watson, n/dated). In several othcr the acoustic phenomena deseribed above houscs, there are similar dressers in íront of happen were not built with such intention. It a hearth with a stonc between, intcrpreted as would be naive to think só. However, a seat. Watson argues that ícthe occupant of prehistoric people, who used to participate this seat would be lit by flickering firelight in funerary ceremonies and produce art in and visually framed by the dresser beyond, the chambered walls, were very probably perhaps increasing their visibility and status. aware of the acoustic properties of the place, Audible enhancemcnts to speech, or other maybe associating them with supernatural vocalisation, may have rurther heightened beings. their impact or síatus" (Watson, n/dated). The building o f these dressers is not a Neverthcless there are some cases where it conerete proof of acoustic intentionality by secms possible to detect intentionality itself, but their location, systematieally in rcgarding the use of sounds inside front ofa hearth, with a seat between tbem, prehistoric monuments. For example, in reveals a pattern that must have to do with Stonehenge the interior of some monoliths some intentionality. was intentionally polished into a concave shape in order to reflect the sound better At Ness of Brodgar, another nearby similar (Till, 2010). At Ital Saílieni, the top of the settlement, there is also the samc kind of back wall of the só called Oracle Room hás dressers, but ín a worst levei of a kind of carved channel that according to conservation. One curious aspect is that G. Kreisberg (2014) was used as a sound these two settlements have incised carvings wave guide. The samc author argues that (Card and Thomas, 2012) with the same this chamber "hás characteristics that typology of others found inside Maeshowe, apparently projcct sound energy in a highly seeming to "create a sense of community in focused manner, allowing the audio wavcs which the dcccased remained involved in to easily distribute to the other arcas and the cveryday activities of the living" rooms in the large, multilevelcd complex" (Bradlcyetal.,2000:64). (Kreisberg, 2014: 267).3 Still regarding acoustic phenomena inside Still in Hal Saflieni, according to 1. Neolithic monuments one controvérsia! buí Reznikoff (2014: 49), "the most resonant important aspect is the case of resonant rooms have ochre paintings". This is not a frequencies. concrcte proof of intentionality but it must be íaken in consideration. Archaeoacoustic research inside prehistoric chambers such as Newgrange, Loughcrcw, Chun Quoit (Cornwall) and Wayland's

1 Indccd, Hke mentioned before, the sound ofa horn played in the Oracle Room was fcll arrivíng at great speed.

18 2015 Contercticc in ísíanhuL Turkev Smithy (Berkshire), among others, magnetic resonance imaging, in experienced identified acoustic resonances with a practitioners of meditation, revealed that frequency bctween 95Hz and 120Hz (Jahn this practice "increascd activity in the et ai, 1995; Devereux, 2006). In a later preírontal córtex, showing a largc cluster iicuroprrysiologic study it was argued that with the point of máxima] aetivation in the brain activiíy when hearing an acoustic straight gyrus, covering a large part of the sound at llOHz is significantly lowcr than right orbio frontal córtex as well as medial at other frequencíes, regarding language prefrontal áreas" (Xu et ai. 2014: 5). The centres, allowing other processes to become same authors (2014: 9) argue that this more prominent; this process resulting also activity "is relaled to the relaxed focus of in "a shift in prefrontal activity that may be attention, which allows spontaneous related to emotional processing" (Cook et thoughts, images, sensations, memories and ai., 2008: 96). emotions."

A similar more recent study carried out at It was found that in Stonehengc there's a the Hypogeum o f Cividale dei Friuli (Italy), fundamental frequency of l OHz, that "whcn by P. Debertolis, G. Tirellí and F. Monti detected in the brain is described as an alpha revealed íhal the activity in the left temporal wave pattern" (Till, 2010: 7). This type of region was found to be significantly lower, alpha waves is "associated with relaxation, cíoser to 11 OHz than at other frequencies. altered states of consciousness, meditation" Additionally, it was found that the pattern o f (idern, ibidem). asymmetric acíiviíy over the prefrontal córtex shifted from one of higher activity, Curiously, in fíal Saflíeni, archaeological on the left at most frequencies, to right-sided excavations revealed terracotta figurines dominance at 110 Hz. laid on a couch in a relaxing attitude (Fig.2; Fig.3). This practice, carried out in a highly The results of thesc experinients in Italy resonant chambcr, could be related to the act concluded that each volunteer hás his/her of comfortably hearing reverberating own individual frequency of activation, sounds and getting any kind of mind/bodily which can be significantly different Irom experienee through them4, involving llOHz, but always between a range of 90- probably similar experiences as those 1201ÍZ (Debertolis et ai., 2014). These reported by Xu et ai. (2014: 9), such as researchers reported that the volunteers with "spontaneous thoughts, images, sensations, frontal lobe prevalencc, during the tone memories and emotions". hearing, received ideas and thoughts similar to what happens during mcditation, whilst those with occipital íobe prevalence visualized images (Debertolis et ai., 2014).

Recent neurophysiologie research regarding mcditation based on hearing a traditional mantra, or a non-semantic meditation sound, seems to support these last arguments of Debertolis, Tirreli and Monti. Indeed, Fig.2 - Terracota fígurinc laid on a couch. studies assessing brain activity by functional Photo: F. Coimbra

4 Paul Devereux argues that íhe Hypogeum could practice that was widespread in at least the later have been "paríially a dream incubation templc, a ancient Mediterranean worlu"" {Devereux, 2009: 226).

19 Probabiy the só called Slecping Lady (Fig.3) is not just slecping after ali.

Fig.3 -The "Sleeping Lady". FÍg.4 A comparíson of (a) phosphenc motifs with (b-e) the motif ranges ofearly palaeoart. (After Bednarik, n/dated) In the end of the 19th ccntury, the writer Thomas Hardy reports that the wind at Stonehenge "playing upon the edificc, produced a booming tune, like the note of some gigantic one-slringed harp" (Hardy, quoted by Till, 2010)5. According to R. Till (2010: 5) Hardy "describes that strong winds make the site resonate with a loud, low frequency hum, or booming tune. This seems likely to be a standing wavc, a resonance".

The builders of Neo l ithic chambers obviously didn't havc the technical skills to Fig.5 Phosphene spiral motif (l) comparcd with construct them with a specific resonant prehistoric paintings (2). frequency. However, what matters is that as (Drawing 2, courtesy of OTSF) mentioned above, inside some chambers there are frequencies capable of producing psychological and physiological responses, maybe altered states of consciousness, rcsultíng in the perception of phosphcnes6, some of them very similar withNeolithic art (Fig.4 - Fig.6).

5 Rupert Till (2014: 25) refers that the expcriments optical, or magnetic stimulatíon of ncurons in the made by Watson and Keating led them to realize that visual córtex or other parts of the visual system "Stonehenge acts almost likc a musical inslrument (Watson, 2009). For example, frenetic dancing (to itself. the sound of instruments), sleep or food deprívation, 1 Some publications havc referred to phosphenes as psychoactive substances, and só on, which were the result of the use of psychoactive substances by probably used in several prehistoric rituais, may prehistoric man, but they may be induced by a wide result in a certain trance, according to ethnographic variety of influences: acoustic, metabolic, chemical. parallels (Coimbra, 2014).

20 l ícatíon never ending process of making sense (Hodder et ai 1995).

Besides thaí, in the last decade, neurophysíoiogic research and acoustic experiments lead to the existence of several intcresting facts that cannot be denied, such as standing waves, resonanl frequencies, their influencc in the human brain, and só on. In the sequence of these facts, we cannot forget the following argument of Colin Renfrew (1994: 10): "in the light of recent developmcnís in the philosophy of science (...) facts modify theory, while theory is Fig.6 - Phosphene waving lines motif (1) compared with megalithic art (2). uscd in the detcrmination of facts". Indeed (Drawing 2 adapted rrom Sanches, 2008-2009). the facts brought to light through Archaeoacoustics nced a theory, or in other words, a methodology,7 ínorderto avoid too The frequencies of lOHz (Till, 2010), much subjcclivity. In my opinion, research HOHz (Jahn et ai. 1995; Cook et ai. 2008; in Archaeoacoustics can bcnefít a lot if a Debcrtolis et ai. 2014), 114Hz (Debertolis et methodológica! approach combining Posl ai. 2015) and others, reported wilhin Processual Archaco logy wiíh Cognitive Ncolithic monuments, are certainly a Processual Archaeology would be applied8. fortuitous by-product of architecture. Irlowever, it seems unlikely that the existing Furthcrmore, as l. Cross and A. Watson acouslic phenomena ín Neolithic chambers (2006: 115) very well outlined, "it is criticai "would have gonc unnoticed in prehistory" lhat, alongside the application of rigorous (Cook & Watson, 2006: 107). methods, acoustical investigations acknowledge the social contexts within which sound may have been experienced Final Statements and remain aware that is easy to impose modern cultural undcr standing s and It's possiblc to concludc that some cases of experiences onto past societies" and, Neolithic arí can bc the result of therefore, "to risk hearing only echoes of psychological and physiological responses, ourselves" (Cross and Watson, 2006: 115)9. rcsulting in the pcrccption ofphosphenes, in lhe sequence of acoustic phenomena ínside This danger of looking at the past with the Neolithic monuments. lt"s a coherent mind of a 21sl century person is rather possibilíty thaí makes sensc. After ali, prcsent in some áreas connected with A rchaeo acoustic s can be considered into a archacological research, what led C. post-proccssua! archacological perspective, Renfrew to be again decisive in what where interpretation is considered to be a concerns interprctation, when he stated that

7 The fact that Archaeoacoustics lacks of 9 Similar ideas are stated on another article by A. methodology was already nientioned by R. Till Watson (2006: f 1) when he wrote that "one of the (2014) and F. Coimbra (2014). greatest challenges to our interpretations of the 8 These two theories of Archaeology are not Neolithic is the impositíon ofmodcrn values onto the incompatible as thcy look in the firsl place buí rather past". complementary (Alarcão, 1999).

ARCHAEOACOUSTíCS: The Archaeolosv of Sound 21 | Pa gê "in ali attcrnpts to investigate the carly past BRADLEY, R. (1998) O filósofo e o arqueólogo. there is thc risk lhat we fírst conceptual i/e, Trabalhos de Antropologia e Etnologia, 38, Sociedade Portuguesa de Antropologia e Etnologia, sctting up a whole series of catcgories ofour Porto: 171-183. own construction, and then order our data (our observations bearing upon the past) in BRADLEY, R.; PHILLIPS, T.; R1CHARDS, C.; terms of such caíegories" (Renfrew, 1994: WEBB, M. (2000) - Decorating the Houses of the 47). Dead: Incised and Pecked Moti fs in Orkney Chambered Tombs. Cambridge Archaeological Journal. Cambridge. 11:1, p. 45-67. Indeed it"s not enough to measure very preciscly standing waves, resonant patterns CARD, N.; THOMAS, A. (2012) Paintingapicture and other sound effects if the past social of Ncolithic Orkney: decoratcd stonework from thc contexts and ways of thought where those Ness of Brodgar. In COCHRANE, A.; JONES, A. M. (eds.). Visualising the Ncolithic: Abstraction, acoustic phenomena wcre experienced are Figuration, Performance, Representai i on. Oxbow ignored. Surely, Archacoacoustics cannot Books, London: 111-124. bc disassociated from Archaeology; othcrwise it can be easily labeled as COIMBRA F. A. (2014) - An Interdisciplinary pseudo se iencc. Approach: the Contribution of Rock Art for Archaeoacoustic Studics, in ENEIX, L. (cd.). Archacoacoustics: The Archaeoiogy of Sound. OTS David Lubman very well mentioned that Foundation, Myakka City, Florida: 51-58. "Archaeoiogy without acoustics is deaf, but one can add that Archaeo acoustic s COIMBRA, F.A. (In press) - Archaeology, Rock without Archaeoiogy is just noise. Art, Archaeoacoustics and Neuroscience: What kind of rclatíon? In ANATI, E. (ed.), The ínlelleclual and spiritual cxpressions of non-literate peoples. Nevertheless, as C. Scarre (2006: 9} Proceedings of thc XVIIIUPPS Confcrence, Burgos rcferred, "the ar chaeo acoustic s of (2014). prehistoric contexts is potcntially a vital part of the understanding of the íived experiencc COOK, 1. A.; PAJOT, S. K.; LEUCHTER, A. F. (2008) - Ancient Architectural Acoustic Resonance of past societics". Lindstrom and Zubrow Patterns and Regional Brain Activíty. Time and (2014: 255) added later that Mind Volume l, hsue /. Berg Publishers, Oxford: "Archacoacoustics (the study of past 95-104 sounds) is a new way to enter the past". CROSS, L; WATSON, A. (2006) - Acoustics andthe Human Experience of Socially-organízed Sound. In, In fact, a multidisciplinary research Archacoacoustics. Scarre, C; Lawson, G. (eds.). involving archaeology, rock art, McDonald Institute for Archaeological Research, archacoacoustics and neuroscience can be Cambridge: 107-116. very useful for better understanding past ways of thought of non-Hterate societies. DF.BERTOL1S, P.; BISCONTI, N. (2014) Archacoacouslics analysis of an ancicnl hypogeum in Italy. In ENEIX, L. (ed) Archacoacoustics. The Archaeology of Sound. OTS Foundalion, Myakka City, Florida: 131-139. Bibliography DEBERTOLIS, P.; COIMBRA, F. A.; ENEIX, L. ALARCÃO, J. de (1999) - On archaeological (2015) - Archaeoacoustic Analysis of the Fiai interpretation. Journal of Iberian Archaeoiogy, Vol. Saflieni Hypogeum in Malla. Journal of l. ADECAP, Porto: 7-13. Anthropology and Archaeology, Vol. 3, No. 1. American Research Institute for Policy BEDNARIK, R. G. (n/dated). Universais in arts Development: 59-79 http://homc.vicnet.net.au/--auranet/interprct/wcb/uni htlp://dx.doi.org/IQ.15640/iaa.v3nla4 ver s. htm i Acessed on 22-October-2015 Acesscd on 17-october-2015

22 l P a e Publication of lhe 2015 Conterence in i si an buí. Turkev DEBERTOUS, P.; TIRELLI, G.; MONTI, F. (2014) http://dx.doi.org/10.IQ80/00438243.2014.909150 - Systems of acoustic resonance at ancient sites and Acessed on 22-July-2015 related brain activity: preliminary results of research. In ENE I X, L. (ed) Archaeoacoustics. The RENFREW, C. (1994) - Towards a cognitive Archaeology of Sound. OTS Foundation, Myakka archaeology. In RENFREW, C.; ZUBROW, E. City, Florida: 59-65. (eds). The ancient mmd. Elcments of cognitive archaeology. Cambridge University Press, DEVEREUX, P. (2006) Ears & Years: Aspects of Cambridge: 3-12. Acoustics and Intentionalky in Antiquity, In, Archaeoacoustics. Scarre, C; Lawson, G. (eds.). REZN1KOFF, I. (2014) - The Hal Saflieni McDonald Instítutc for Archacologícal Research, Hypogeum: a linkbetween Palaeolithic painted Cambridgc: 23-30. caves and Romanesque chapeis? In ENEIX, L. (ed) Archaeoacoustics. The Archaeology of Sound. OTS DEVEREUX, P. (2009) - A Ceiling Painting in the Foundation, Myakka City, Florida: 45-50. Hal -Saflieni Hypogcum as Acoustically-Rclated Imagery: A Preliminary Note. Time and Mind, SANCHES, M. de J. (2008-2009) - Arte dos Volume 2, Issue 2. Berg Publishers, Oxford: 225- dólmenes do noroeste da Península Ibérica: uma 231. revisão analítica. Portugália, Nova Série, XXIX-XXX. Faculdade de Letras da Universidade do Porto: 5-42. ENEIX, L. (2034) - Archaeoacoustics. The Archaeology of Sound. OTSF Foundation, Myakka SCARRE, C. (2006) - Sound, Placc and Space: City, Florida. 270p. Towards an Archaeology of Acoustics. Ln, Archaeoacoustics. SCARRE, C; LAWSON, G. GOLDHAHN, J. (2002) Roaring Rocks: An (eds.). McDonald Institute for Archaeological Audio-Visual Perspective on Hunter-Gatherer Research, Cambridge: 1-10. Engravings in Northem Sweden and Scandinavía. Norwegian Archaeological Review, Vol 35, No. 1. TILL, R. (2010) - Songs of the stones: an Taylor & Francis: 29-61. investigation into the Acoustic Culture of Stonehenge. Journal of the International Association IIODDKR, I.; SHANKS, M.; ALEXANDRI, A.; for the Study of Popular Music. BUCHLI, V.; CARMAN, J.; LAST, J.; LUCAS, G. dói: 10.5429/2079-3871(20] 0)víi2.10en (l 995) - Interpreting Archaeology. Finding Meaning Accessed on 21-july-2015. in the Pasl. Routledge, London: 232-248, TILL, R. (2014) Sound Archaeology: an JAHN, R.G.; DEVEREUX, P.; IBISON, M. (1995)- interdiscíplinary perspective. In ENEIX, L. (ed) Acoustical ressonances of Assortcd Ancient Archaeoacoustics. The Archaeoiogy of Sound. OTS Stmctures. Journal of the Acoustics Society of Foundation, Myakka City, Florida: 23-32. America, 99, Princeton Universiíy: 649-658. XU, J.; VIK, A.; GROOTE, LR; LAGOPOULOS, J.; KRE1SBERG, G. (2014) Thoughts on My HOLEN, A.; ELL1NGSEN, 0.; HÂBERG, A. K.; & Hypogeum Experience. In ENEIX, L. (ed) DAVANGER, S. (2014) - Nondirective meditation Archaeoacoustics. The Archaeology of Sound. OTS activates default mode network and áreas associated Foundation, Myakka City, Florida: 267-268. with memory retrieval and emotional processíng. Frontiers in Human Neuroscience, S, I- LANDSCAPE-PERCEPTION - Archaeoacoustics 10. (n/dated) www.landscape-pcrception.com/archacoacoustics/ WATSON, A. (2006) - (Un)intentional Sound? Accessed on 8-February-20l5 Acoustics and Neolithic Monurnents. In, Archaeoacoustics. SCARRE. C; LAWSON, G. LUCAS, G. (1995) - Interpreta ti on in contemporary (eds.). McDonald Institute for Archaeological archaeology: some philosophical issues, in Research, Cambridge: 11-22. Interpreíing Archaeology. Finding mcaning in the past. Routledge, London: 37-44. WATSON, A. (n/dated) - Archaeoacoustics www.monuinentai.uk.com McBRIDE, A. (2014) - The acoustics of Accessed on 22-Seplcmber-2015 archaeological architecture in the Near Eastcm Neolithic. World Archaeology, XXXX. Routledge, WATSON, A.; KEATING, D. (1999) - London: 1-13. Architecture and sound: An Acoustic Analysis of

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