How can sound be used to study the ancient use of a built landscape, particularly when the buildings have largely vanished? This paper describes the integration of soundscape analysis into archaeological fieldwork at the Hellenic Greek Sanctuary to Zeus on Mount Lykaion in the Arcadian Peloponnese. Here, a Lower Sanctuary ...
(Show more)How can sound be used to study the ancient use of a built landscape, particularly when the buildings have largely vanished? This paper describes the integration of soundscape analysis into archaeological fieldwork at the Hellenic Greek Sanctuary to Zeus on Mount Lykaion in the Arcadian Peloponnese. Here, a Lower Sanctuary was positioned near the summit to host ritualized athletic competitions in the fourth century BC. An extant hippodrome and scattered stone building fragments still provide visual confirmation of the scope of the original constructed landscape and some of its basic components. But intriguingly, the mountainous terrain also allows a spoken conversation over 75 meters in one location, then sonic disconnection only a few meters away. The relatively stable landscape remains isolated and mostly undeveloped in any way today; as such, it retains much of its material, geometric, and spatial attributes likely present in antiquity as well. It thus functions as an intact architectural remnant from antiquity as much as the building fragments.
While scant documentation survives about ritual use patterns at this site, observed synergies between the architectural fragments (building entrances), landscape features (possible processional ways), and acoustic observations suggest the possibility of the sanctuary design having been driven, at least in part, by latent sonic features of the landscape. Employing binaural recordings and psychoacoustic analyses of data recorded in the field allows for technical and experiential phenomena of sound interactions in situ, raising specific questions for our understanding of Mount Lykaion’s past. Could ritual practices have incorporated sonic amplification, isolation, connectivity, or even direct communication between participatory groups? Could such practices have in turn guided ancient Greek architects in later permanent building placements? Furthermore, how could sound have impacted ancient activity, such as determining layers of public and private ritual engagement and implied spatial boundaries between groups or events?
This paper asserts that the history of Mount Lykaion, and perhaps other contemporaneous ritual sites, can only be appropriately understood through the larger framework of sound studies, bringing together sensory archaeology, psychoacoustics, and soundscape studies into a single interdisciplinary project. Bridging methods from acoustic engineering with archaeological survey techniques, this study proposes a methodology that reactivates the remaining original soundscape through a series of calibrated field tests, scrutinizing potential relationships by tracing aspects such as sonic connectivity, clarity of certain frequencies, and perceived loudness of recorded files played from precise positions of interest in the landscape. Audio field samples of test sounds are recorded binaurally to enable their detailed analysis and systematic, objective comparison according to psychoacoustics. This allows for the production of a human perception-based aural study of the entire cultural landscape of Mount Lykaion through a sonically-annotated digital reconstruction of the site and its contributing surroundings, offering new tactics for interpreting ancient architectural designs and ritualized engagements with the landscape that might otherwise remain unconsidered when studying physical remains alone.
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