The song of air and water: Acoustic experiments with an Ecuadorian Whistle Bottle (c.900 BC–100 BC)
| Autor: | Miguel Molina-Alarcón, Galo Fernando Gallardo Carrillo, Mónica Amparo Ayala Esparza |
|---|---|
| Jazyk: | angličtina |
| Rok vydání: | 2019 |
| Předmět: |
010506 paleontology
Archeology Chorrera culture Social memory video 01 natural sciences The arts whistle bottle Visual arts Political science audio 0601 history and archaeology lcsh:CC1-960 Ecuador Chorrera culture ancestral acoustics whistle bottle sounds by hydraulic action 0105 earth and related environmental sciences 060102 archaeology National museum Video Whistle bottle 06 humanities and the arts sounds by hydraulic action Ancestral acoustics Sounds by hydraulic action ancestral acoustics Audio lcsh:Archaeology ESCULTURA Christian ministry Ecuador |
| Zdroj: | Internet Archaeology, Iss 52 (2019) RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia instname |
| ISSN: | 1363-5387 |
| Popis: | [EN] In Ecuador, bottles as containers for liquids appeared in the Late Formative period at the end of the Machalilla culture (1600 BC to 800 BC). Whistle bottles were created and perfected during the Chorrera culture (900 BC to 100 BC), and finally evolved into polyphonic bottles during the Bahía culture (500 BC to 650 AD). During the Chorrera phase, moulded aesthetic elements were developed and incorporated:, such as zoomorphs and anthropomorphs, phytomorphs, architectural forms, whose animated references were related to the acoustics they produced, giving 'onomatopoeic' sounds of nature (e.g. birds, monkeys, frogs). The current research focused on the structural and systematic study of a double ellipsoid ornithomorph bottle with a whistle from the Chorrera-Bahía culture (900 BC to 100 BC), an object that is currently in the National Archaeological Reserve of the Ministry of Culture in the city of Quito, Republic of Ecuador (Ch-B-1-38-69) (Figure 1). Two replicas and the original were investigated in situ by the Universidad Central del Ecuador and it was possible to determine that both blowing into and moving the objects when filled with water produced the sound. We interpret this as a need to 'automate' the sound production, and the acoustics derived from the movement of water is what possibly motivated Crespo (1966) to call them 'magical objects'. Thanks are due to the Ministry of Culture and Patrimony of Ecuador for facilitating our entry into the National Reserve; to Ivett Celi, Sub-secretary of Social Memory; to Esthelina Quinatoa, curator of the National Reserve; Renee Guaitara, Network Coordinator of Museums, National Museum of Ecuador. To the Faculty of Arts of the Central University of Ecuador, for having facilitated the laboratories to accomplish the research; to Jorge Zamora for the collaboration in the initial ceramic process study. To Arnaud Gérard for his contribution in the acoustic analysis. Thanks also to Santiago Ortiz, research assistant. |
| Databáze: | OpenAIRE |
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