Abstract
Audio measurements reveal that prehistoric rock art was typically placed in caves and canyons with particularly intense echoes, including reverberation mimicking thunder. Sound reflection gives the illusion of a virtual source behind the reflecting surface. In the past, this was perceived as answers emanating from non-corporeal beings dwelling within the rocks, as attested by ancient myths from around the world describing echo spirits. Thunder myths contain thunder god descriptions matching rock art motifs found in reverberating locations: thunderbirds, wide-eyed Tlaloc figures, Lightning Brothers and hoofed animals. Indeed, greater than 90% of European cave art depicts thundering stampedes of ungulates, located in portions of caves where a single clap results in thunderous reverberation sounding like hoofbeats. An acoustical connection with rainmaking rituals is suggested. Together with cultural information contained in myths, the quantitative acoustic data lead to the conclusion that the artists intentionally selected strongly sound-reflecting locations. Thus much rock art may represent manifestations of locally focused ritualistic behaviour expressing global beliefs of acoustic phenomena perceived in spiritual contexts. This acoustic theory harmonises with other rock art theories such as animism, structuralism, hunting magic and weather control. These observations comprise evidence that sound was used ritually in highly reverberant spaces.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Al-Tamimi, S., & Al-Tamimi, S. (1997). Medical anthropology and evidences in rock art. In J. Isaacs, S. Hubbard, & C. Clapp (Eds.), Utah rock art: Papers of the sixteenth annual symposium, Green River, Utah, September 1996 (section 12, pp. 1–15). Salt Lake City, UT: Utah Rock Art Research Association.
Begley, S. (2002, November 29). Ancient artists seen mixing cave drawings with sound effects. The Wall Street Journal, A-11.
Berrier, M. K. (2000). Proposed documentation and storage of data related to acoustical phenomena at rock art sites. In P. Whitehead & L. Loendorf (Eds.), International Rock Art Congress proceedings, volume 1: Papers presented at the twelfth International Rock Art Congress, Ripon, Wisconsin (pp. 7–18). Tucson, AZ: American Rock Art Research Association.
Bjork, C. (1997). Why here? Bay Area Rock Art News, XV(2), 1–7.
Bulfinch, T. (1855) [2000]. Bulfinch’s Greek and Roman mythology: The age of fable (Dover thrift editions). Mineola, NY: Dover Publications.
Charatan, K. (1998). La Pileta: A lithophone is its Upper Palaeolithic context. Unpublished BA dissertation, University of Wales, Lampeter.
Chinula, T., & Talbot, V. (2002). Zimbabwe (fourth edition). Oakland, CA: Lonely Planet.
Coimbra, F. (2014). Archaeology, rock art, archaeoacoustics and neuroscience: What kind of relation? EXPRESSION: Bi-monthly E-letter of the Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples, 6, 62–70.
Coimbra, F. (2016). Archaeology, rock art, archaeoacoustics and neuroscience: What kind of relation? In E. Anati (Ed.), Intellectual and spiritual expression of non-literate peoples: Proceedings of the XVII UISPP Congress (1–7 September, Burgos, Spain) , volume 1/s ession a20 (pp. 121–131). Archaeopress: Oxford.
Conway, T. (1993). Painted dreams: Native American rock art. Minocqua, WI: Northword.
Dauvois, M. (1989). Sons et musique Paleolithiques. Les Dossiers d’Archeologie, 142, 2–11.
Dauvois, M. (1996). Evidence of sound-making and the acoustic character of the decorated caves of the western Paleolithic world. International Newsletter on Rock Art, 13, 23–25.
Dauvois, M., & Boutillon, X. (1990). Etudes acoustiques au reseau clastres: Salle des peintures et lithophones naturels. Bulletin de la Société Préhistorique Ariège-Pyrénées, 45, 175–186.
Devereux, P. (2008). The association of prehistoric rock-art and rock selection with acoustically significant landscape locations. In G. Nash & G. Children (Eds.), The archaeology of semiotics and the social order of things. British archaeological reports (international series) 1833 (pp. 19–29). Oxford: Archaeopress.
Díaz-Andreu, M., & García Benito, C. (2012). Acoustics and Levantine rock art: Auditory perceptions in La Valltorta Gorge (Spain). Journal of Archaeological Science, 39(12), 3591–3599.
Díaz-Andreu, M., & García Benito, C. (2015). Acoustic rock art landscapes: A comparison between the acoustics of three Levantine rock art areas in Mediterranean Spain. Rock Art Research, 32(1), 46–62.
Díaz-Andreu, M., Garcia Benito, C., & Lazarich, M. (2014). The sound of rock art: The acoustics of the rock art of southern Andalusia (Spain). Oxford Journal of Archaeology, 33(1), 1–18.
Díaz-Andreu, M., García Benito, C., & Mattioli, T. (2015). Arqueoacústica: Un nuevo enfoque en los estudios arqueológicos de la Península Ibérica. La Linde, 5, 14–38.
Díaz-Andreu, M., García Benito, C., Lazarich, M., Ramos, A., Cruz, M. J., & Gao, Q. (2013). Archaeoacoustics and the location of rock art in Spain. In P. Whitehead & M. Greer (Eds.), Ancient hands around the world: International Federation of Rock Art Organizations 2013 proceedings. American Indian rock art (Albuquerque) volume 40 (pp. 661–670). Glendale, AZ: American Rock Art Research Association.
Díaz-Andreu, M., & Mattioli, T. (2016). Archaeoacoustics of rock art: Quantitative approaches to the acoustics and soundscape of rock art. In S. Campana, R. Scopigno, G. Carpentiero, & M. Cirill (Eds.), Keep the revolution going: Proceedings of the 43rd annual conference on Computer Applications and Quantitative Methods in Archaeology, volumes 1 and 2 (pp. 1049–1058). Oxford: Archaeopress.
Díaz-Andreu, M., & Mattioli, T. (2017). Rock art, music, and acoustics: A global overview. In B. David & I. J. McNiven (Eds.), The Oxford handbook of the archaeology and anthropology of rock art. Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190607357.013.8.
Fazenda, B. M., Scarre, C., Till, R., Pasalodos, R. J., Guerra, M. R., Tejedor, C., Peredo, R. O., Watson, A., Wyatt, S., Benito, C. G., Drinkall, H., & Foulds, F. (2017). Cave acoustics in prehistory: Exploring the association of Palaeolithic visual motifs and acoustic response. The Journal of the Acoustical Society of America, 142(3), 1332–1349.
Furtman, M. (2000). Magic on the rocks: Canoe Country pictographs. Duluth, MN: Birch Portage Press.
Garfinkel, P., & Waller, S. J. (2012). Sounds and symbolism from the netherworld: Acoustic archaeology at the animal master’s portal. Pacific Coast Archaeological Society Quarterly, 46(4), 37–60.
Goldhahn, J. (2002). Roaring rocks: An audio-visual perspective on hunter-gatherer engravings in northern Sweden and Scandinavia. Norwegian Archaeological Review, 35, 29–61.
Goodall, R., Bartley, J., & David, B. (1996). Non-destructive techniques for the analysis and characterisation of pigments from archaeological sites: The case of Fern cave. In S. Ulm, L. Lilley, & A. Ross (Eds.), Australian archaeology ‘95: Proceedings of the 1995 Australian Archaeological Association annual conference, volume 6 (pp. 219–229). St. Lucia: University of Queensland.
Hedges, K. (1993). Places to see and places to hear: Rock art and features of the sacred landscape. In J. Steinbring, A. Watchman, P. Faulstich, & P. Taçon (Eds.), Time and space: Dating and spatial considerations in rock art research. Occasional AURA publication no. 8 (pp. 121–127). Melbourne: Australian Rock Art Research Association.
Hickmann, E. (1999). Rock art and music archaeology: An introduction. In News 95. International Rock Art Congress: Proceedings. Pinerolo: Centro Studi e Museo d’Arte Preistorica.
Hultman, M. (2014). Soundscape archaeology: Ringing stone research in Sweden. Time and Mind: The Journal of Archaeology, Consciousness and Culture, 7(1), 3–12.
Jones, J. A. (1830). Traditions of the North American Indians: Being a second and revised edition of “tales of an Indian camp” (volume 2). London: Henry Colburn and Richard Bentley.
Kleinitz, C. (2004). Rock art and ‘rock gongs’ in the fourth Nile cataract region: The Ishashi Island rock art survey. Sudan and Nubia, 8, 12–17.
Leroi-Gourhan, A. (1967). Treasures of prehistoric art. New York, NY: Harry N. Abrams, Inc.
Leroi-Gourhan, A. (1981). Die religionen der vorgeschichte: Paläolithikum. Frankfurt: Suhrkamp.
Lever, J. (1997). Sound with rock art. In J. Isaacs, S. Hubbard, & C. Clapp (Eds.), Utah rock art: Papers of the sixteenth annual symposium, Green River, Utah, September 1996 (section 9, pp. 1–5). Salt Lake City, UT: Utah Rock Art Research Association.
Marymor, L. (2016). Rock art studies: A bibliographic database. https://musnaz.org/search_rock_art_studies_db/. Accessed 21 Jan 2018.
Mattioli, T., & Díaz-Andreu, M. (2017). Hearing rock art landscapes: A survey of the acoustical perception in the Sierra de san Serván area in Extremadura (Spain). Time and Mind: The Journal of Archaeology, Consciousness and Culture, 10(1), 81–96.
Mazel, A. (2011). Time, color, and sound: Revisiting the rock art of Didima Gorge, South Africa. Time and Mind: The Journal of Archaeology, Consciousness and Culture, 4(3), 283–296.
Ouzman, S. (2005). Chapter 17. Seeing is deceiving: Rock art and the non-visual. In T. Heyd & J. Clegg (Eds.), Aesthetics and rock art (pp. 253–269). Aldershot: Ashgate Publishing Ltd.
Pfanz, H., Yüce, G., D’Andria, F., D’Alessandro, W., Pfanz, B., Manetas, Y., & Papatheodorou, G. (2014). The ancient gates to hell and their relevance to geogenic CO2. In P. Wexler (Ed.), History of toxicology and environmental health: Toxicology in antiquity, volume 1 (pp. 92–117). Amsterdam: Academic Press.
Rainbird, P. (2002). Making sense of petroglyphs: The sound of rock-art. In B. David & M. Wilson (Eds.), Inscribed landscapes: Marking and making place (pp. 93–103). Honolulu, HI: University of Hawai'i Press.
Reznikoff, I. (1995). On the sound dimension of prehistoric painted caves and rocks. In E. Tarasti (Ed.), Musical signification: Essays on the semiotic theory and analysis of music. Approaches to semiotics series, volume 121 (pp. 541–557). New York, NY: Mount de Gruyter.
Reznikoff, I. (2008). Sound resonance in prehistoric times: A study of Paleolithic painted caves and rocks. Acoustics, 123, 3603.
Reznikoff, I., & Dauvois, M. (1988). La dimension sonore des grottes ornées. Bulletin de la Société Préhistorique Française, 85(8), 238–246.
Scarre, C. (1989). Painting by resonance. Nature, 338(6214), 382.
Spence, L. (1913). The myths of Mexico and Peru. New York, NY: Thomas Y. Crowell.
Thompson, S. (1929). Tales of the North American Indians. Bloomington: Indiana University Press.
Till, R. (2014). Sound archaeology: Terminology, Palaeolithic cave art and the soundscape. World Archaeology, 46(3), 292–304.
Ucko, P., & Rosenfeld, A. (1967). Palaeolithic cave art. New York, NY: McGraw-Hill.
U’mista Cultural Society. (2003). Echo mask. http://archive.umista.ca/masks_story/en/ht/tlasalaEcho.html. Accessed 4 February 2018.
Waller, S. J. (1993a). Sound and rock art. Nature, 363(6429), 501.
Waller, S. J. (1993b). Sound reflections as an explanation for the content and context of rock art. Rock Art Research, 10(2), 91–101.
Waller, S. J. (2000). Spatial correlation of acoustics and rock art exemplified in horseshoe canyon. In F. G. Bock (Ed.), American Indian rock art, La Junta, volume 24 (pp. 85–94). Tucson, AZ: American Rock Art Research Association.
Waller, S. J. (2002a). Sounds of the spirit world: Auditory perceptions of depth at rock art sites. In A. Woody (Ed.), American Indian rock art, Pendleton, Oregon, volume 28 (pp. 53–56). Tucson, AZ: American Rock Art Research Association.
Waller, S. J. (2002b). Rock art acoustics in the past, present and future. In P. Whitehead, L. L. Loendorf, W. Whitehead, & W. B. Murray (Eds.), American Indian rock art volume 26: International Rock Art Congress (IRAC) proceedings. Papers presented at the twelfth International Rock Art Congress, Ripon, Wisconsin, May 23–31, 1999 (pp. 11–20). Tucson, AZ: American Rock Art Research Association.
Waller, S. J. (2002c). Psychoacoustic influences of the echoing environment of prehistoric art. Journal of the Acoustical Society of America, 112(5), 2284.
Waller, S. J. (2003). Conservation of rock art acoustics: ‘Unexpected’ echoes at petroglyph national monument. In K. Hedges (Ed.), Rock art papers volume 16. San Diego Museum papers 41 (pp. 31–38). San Diego, CA: San Diego Museum of Man.
Waller, S. J. (2004). Psychoacoustic implications of prehistoric art inferred from sound measurements and echo myths. In J. O’Connor (Ed.), American Indian rock art, San Bernardino, volume 30 (pp. 157–164). Tucson, AZ: American Rock Art Research Association.
Waller, S. J. (2005a). Morphologic similarities between rock art motifs and the spirit beings described in echo myths. In K. Hedges (Ed.), Rock art papers volume 17. San Diego Museum papers 43 (pp. 155–160). San Diego, CA: San Diego Museum of Man.
Waller, S. J. (2005b). Archaeoacoustics: A key role of echoes at Utah rock art sites. In C. B. Patterson (Ed.), Utah rock art volume XXIV: Papers presented at the twenty-fourth annual symposium of the Utah Rock Art Research Association, Kanab, Utah, October 2004 (pp. 43–50). Salt Lake City, UT: Utah Rock Art Research Association.
Waller, S. J. (2006a). The divine echo twin depicted at echoing rock art sites: Acoustic testing to substantiate interpretations. In A. Quinlan & A. McConnell (Eds.), American Indian rock art, Sparks, Nevada, volume 32 (pp. 63–74). Phoenix, AZ: American Rock Art Research Association.
Waller, S. J. (2006b). Intentionality of rock-art placement deduced from acoustical measurements and echo myths. In C. Scarre & G. Lawson (Eds.), Archaeoacoustics (pp. 31–39). Cambridge: McDonald Institute for Archaeological Research.
Waller, S. J. (2006c). Acoustical characteristics of North American rock art sites. In D. Hamann, F. G. Bock, A. J. Bock, G. Lee, J. Clegg, & E. Krupp (Eds.), American Indian rock art, Flagstaff, Arizona, volume 21: International Rock Art Congress (IRAC) proceedings, volume 3 (pp. 237–240). Phoenix, AZ: American Rock Art Research Association.
Waller, S. J. (2011). Thunderous reverberations and rock art storm imagery. In M. Greer, J. Greer, & P. Whitehead (Eds.), American Indian rock art, Del Rio, Texas, volume 37 (pp. 237–250). Tucson, AZ: American Rock Art Research Association.
Waller, S. J. (2012). Acoustic mapping of rock art soundscapes: Depicting echoes visibly. In E. W. Ritter, M. Greer, & P. Whitehead (Eds.), American Indian rock art, Idaho Falls, Idaho, volume 38 (pp. 181–188). Glendale, AZ: American Rock Art Research Association.
Waller, S. J. (2015a). Thunder gods in prehistoric art: Mimicking thunder for rainmaking rituals and the psychoacoustics of reverberation. EXPRESSION: Quarterly e-Journal of Atelier in Cooperation with UISPP-CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples, 10, 69–72.
Waller, S. J. (2015b). Communicating with the spirits: Artists who pre-dated sound wave theory selected echoing and reverberant environments to depict echo and thunder spirits in attempts to communicate with these spirits. EXPRESSION: Quarterly e-Journal of Atelier in Cooperation with UISPP-CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples, 9, 123.
Waller, S. J. (2016a). Little Black Mountain petroglyphs as examples of conceivable sound symbols in echoing context. In K. Hedges (Ed.), Rock art papers, volume 18 (pp. 95–99). San Diego, CA: San Diego Rock art Association (SDRAA).
Waller, S. J. (2016b). Soundscapes of rock art: Cultural significance in the past and implications today. In A. M. Wright (Ed.), New Horizons for Southwestern Rock Art: Tucson Archaeology Southwest Magazine, 30(2), 26.
Waller, S. J., & Arsenault, D. (2008). Echo spirits who paint rocks: Memegwashio dwell within echoing rock art site EiGf-2. In J. D. Keyser, D. Kaiser, G. Poetschat, & M. W. Taylor (Eds.), American Indian rock art, Billings, Montana, volume 34 (pp. 191–201). Tucson, AZ: American Rock Art Research Association.
Waller, S. J., Lubman, D., & Kiser, B. (1999). Digital acoustic recording techniques applied to rock art sites. In S. M. Freers (Ed.), American Indian rock art, Ridgecrest, California, volume 25 (pp. 179–190). San Miguel, CA: American Rock Art Research Association.
Westervelt, W. D. (1915). Hawaiian legends of old Honolulu. Boston, MA: G. H. Ellis Press.
Whitley, D. S. (2005). Introduction to rock art research. Walnut Creek, CA: Left Coast Press.
Williams, G. E. (2009). Rock art and sacredness of place in the landscape of west-central Colorado as identified by visual and acoustic indicators of prehistoric ritual behavior. Unpublished MA dissertation, University of Colorado.
Williams, G. E. (2012). Rock art and pre-historic ritual behaviour: A landscape and acoustic approach. Rock Art Research, 29(1), 35–46.
Winstedt, R. O. (1925). Shaman, Saiva and Sufi: A study of the evolution of Malay magic. London: Constable & Company Ltd.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2019 Springer Nature Switzerland AG
About this chapter
Cite this chapter
Waller, S.J. (2019). Hear Here: Prehistoric Artists Preferentially Selected Reverberant Spaces and Choice of Subject Matter Underscores Ritualistic Use of Sound. In: Büster, L., Warmenbol, E., Mlekuž, D. (eds) Between Worlds. Springer, Cham. https://doi.org/10.1007/978-3-319-99022-4_12
Download citation
DOI: https://doi.org/10.1007/978-3-319-99022-4_12
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-319-99021-7
Online ISBN: 978-3-319-99022-4
eBook Packages: Social SciencesSocial Sciences (R0)