This book offers a methodology for studying sound, providing a flexible and widely applicable set of elements that can be adapted for use in a broad range of archaeological and heritage contexts.

Edited by two pioneers in the field of sensory archaeology, this Handbook comprises a key point of reference for the ever-expanding field of sensory archaeology: one that surpasses previous books in this field, both in scope and critical intent. This Handbook provides an extensive set of specially commissioned chapters, each of which summarizes and critically reflects on progress made in this dynamic field during the early years of the twenty-first century. The authors identify and discuss the key current concepts and debates of sensory archaeology, providing overviews and commentaries on its methods and its place in interdisciplinary sensual culture studies. Through a set of thematic studies, they explore diverse sensorial practices, contexts and materials, and offer a selection of archaeological case-studies from different parts of the world. In the light of this, the research methods now being brought into the service of sensory archaeology are re-examined. Of interest to scholars, students and others with an interest in archaeology around the world, this book will be invaluable to archaeologists and is also of relevance to scholars working in disciplines contributing to sensory studies: aesthetics, anthropology, architecture, art history, communication studies, history (including history of science), geography, literary and cultural studies, material culture studies, museology, philosophy, psychology, and sociology.

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

The concept of the “Soundscapes” includes all of the sounds in one’s environment and focuses not only on the sounds itself. Instead, it focuses on the interrelationships between person and activity and place, both in space and time. Soundscape also include influences on the acoustic environment through auditory sensation, its interpretation, and the responses to the acoustic environment in context. The conceptual framework of Soundscape describes the “process of perceiving or experiencing and/or understanding an acoustic environment, highlighting general concepts and their relationships: context, sound sources, acoustic environment, auditory sensation, interpretation of auditory sensation, responses, and outcomes” (International Organization for Standardization, ISO 12913-1:2014 Acoustics Soundscape Part Definition and Conceptual Framework, ISO, Geneva, 2014). With soundscape, one achieves a deeper understanding of acoustic environment and its effects on people. The ISO standard 12931-1 on soundscape provides an important, and rigorous, distinction in the use of “Soundscape.” But, it is recognizable that some individuals, particularly planners, designers, lay persons, and even those primarily interested in management of the acoustic environment through environmental noise control, will find it convenient to use “Soundscape” as a synonym for the physical acoustic environment. When it comes to noise management and urban planning, soundscape research has the potential to promote healthy urban environments by sharing and incorporating the significant knowledge of all concerned parties. Understandably, this shows that the communication with regard to noise management has to be forced to guarantee that the specifics of Soundscapes (i.e., the relevance of perception) are seriously considered alongside the whole. This book will bridge the gap between soundscape theory and practice and therefore it will be different from our earlier publications as “Soundscape and the built environment” (ed. by J. Kang and B. Schulte-Fortkamp CRC Press, Taylor and Francis Group, Boca Raton, Fl 2016) and also from the respective Special Issues on Soundscapes in 2012 in The Journal of the Acoustical Society of America (ed. by B. Schulte-Fortkamp and J. Kang), and also the Special Issue in Acta Acustica 2006 *(ed. by B. Schulte-Fortkamp and D. Dubois), and the E-book on soundscape This volume will be driven by the difficult process of standardization of Soundscape and its evaluation procedures. The main goal of the proposed volume is to present and review the developments in Soundscape, reflecting the standardization procedure and the diverse inputs. the needs in management and planning in urban acoustic environments, the book will also focus on the difficulties, as well as the solutions, in interdisciplinary grounded communication, that is, on the one hand, related to science, but on the other to application, that needs guidance.

Reanimating Industrial Spaces explores the relationships between people and the places of former industry through approaches that incorporate and critique memory-work. The chapters in this volume consider four broad questions: What is the relationship between industrial heritage and memory? How is memory involved in the process of place-making in regards to industrial spaces? What are the strengths and pitfalls of conducting memory-work? What can be learned from cross-disciplinary perspectives and methods? The contributors have created a set of diverse case studies (including iron-smelting in Uganda, Puerto Rican sugar mills and concrete factories in Albania) which examine differing socio-economic contexts and approaches to industrial spaces both in the past and in contemporary society. A range of memory-work is also illustrated: from ethnography, oral history, digital technologies, excavation, and archival and documentary research.

Recent developments in computer technology are providing historians with new ways to see—and seek to hear, touch, or smell—traces of the past. Place-based augmented reality applications are an increasingly common feature at heritage sites and museums, allowing historians to create immersive, multifaceted learning experiences. Now that computer vision can be directed at the past, research involving thousands of images can recreate lost or destroyed objects or environments, and discern patterns in vast datasets that could not be perceived by the naked eye. Seeing the Past with Computers is a collection of twelve thought-pieces on the current and potential uses of augmented reality and computer vision in historical research, teaching, and presentation. The experts gathered here reflect upon their experiences working with new technologies, share their ideas for best practices, and assess the implications of—and imagine future possibilities for—new methods of historical study. Among the experimental topics they explore are the use of augmented reality that empowers students to challenge the presentation of historical material in their textbooks; the application of seeing computers to unlock unusual cultural knowledge, such as the secrets of vaudevillian stage magic; hacking facial recognition technology to reveal victims of racism in a century-old Australian archive; and rebuilding the soundscape of an Iron Age village with aural augmented reality. This volume is a valuable resource for scholars and students of history and the digital humanities more broadly. It will inspire them to apply innovative methods to open new paths for conducting and sharing their own research.

"(Un)settling the Neolithic is a radical redirection in the study of the central and east European Neolithic (6500-3500 cal BC). Attacking the essentialisms of traditional approaches to the period, the volume pushes forward with new thinking about how best to understand human existence at this time in a critical region. Containing major statements by the key authorities on the topic, (un)settling the Neolithic challenges scholars, students, excavators and teachers to think again about the fundamental conceptions with which the Neolithic has been defined since the origins of its academic study."--BOOK JACKET.

Discusses the findings of various archaeological explorations of the island, which began in the 1980's.