The Artsoundscapes project explored the role of sound in how premodern societies experienced the sacred. Although the supernatural was often seen as ever-present, certain locations were considered especially conducive to spiritual encounters. Today, the significance of these places has been lost, though there is evidence – such as rock art – that hints at their sacred nature. Scholars interpret such imagery as part of ritual practices, often depicting mythological or spiritual beings. Ethnographic studies support this view, sometimes referencing music and natural sounds at rock art sites. Anthropologists have long recognized the role of sound in ritual, and many rock art sites are found in areas with unique acoustic properties. Yet this aspect had not been properly analysed – a gap the Artsoundscapes project successfully filled.
The project represented a key step forward because it offered a groundbreaking way to understand how ancient peoples experienced the sacred through sound and landscape. One key reason is its connection to heritage: by studying how sound shaped spiritual practices, it helped reconnect us with a fundamental aspect of human culture often overlooked in archaeology – our relationship with sound and sacred space. Secondly, Artsoundscapes stood out for its interdisciplinary innovation, combining archaeology, acoustic engineering, psychoacoustics, neuropsychology, and ethnography. This approach not only advanced academic knowledge but also provided a model for studying complex human experiences. A third reason was its contribution to preservation. By identifying acoustically significant rock art sites, the project supported the protection of cultural heritage and raised awareness of their sonic importance, influencing conservation strategies. It also addressed themes relevant to environmental ethics and sustainability, showing how some landscapes were perceived as alive or spiritually charged – deepening our understanding of early societies’ relationships with nature. Finally, through its findings, the project aimed to inspire new ways of engaging the public with archaeology and history, such as immersive sound experiences or educational programs.
The project was guided by five core objectives. First, it examined the acoustic characteristics of rock art landscapes used by past hunter-gatherers and early agriculturalists, assessing their potential to enhance spiritual connection. Fieldwork took place in Altai (Asia), Mediterranean Spain (Europe), the Maloti-Drakensberg Mountains and Southern Africa, and the Sonoran Desert (America). Second, it explored psychoacoustic phenomena – both subjective experiences like altered states of consciousness and measurable effects such as echoes or long-distance sound transmission. Third, it investigated how the brain responds to sound in these environments, using neuroimaging to detect patterns associated with sacred experiences. Fourth, it reviewed ethnographic and historical records to understand sound and music in sacred practices, especially in regions where the project conducted fieldwork. Finally, it developed a conceptual framework for interpreting sacred emotions in relation to prehistoric soundscapes.
