Pamela Jordan is a registered architect (LEED AP) who uses acoustic methodologies to analyze built environments, such as ancient sanctuaries, places of worship, military installations, infrastructural ruins, and cultural landscapes. Her work has been presented in peer-reviewed journals, international conferences, and art installations. Her research has been supported by the Alexander von Humboldt Foundation (DE), the HEAD Genuit Foundation (DE), the Netherlands Organization for Scientific Research (NL), and the Society of Architectural Historians (US). Jordan holds master’s degrees in both architecture and historic preservation from the University of Pennsylvania and is currently a doctoral candidate at the University of Amsterdam’s Centre for Ancient Studies and Archaeology.

Florence Feiereisen is associate professor of German at Middlebury College. She has published books and articles in the fields of German contemporary literature as well as in acoustic ecology / sound studies, among them Der Text als Soundtrack—der Autor als DJ: Postmoderne und postkoloniale Samples bei Thomas Meinecke (Königshausen & Neumann, 2011) and Germany in the Loud Twentieth Century (Oxford University Press, 2012; coedited with Alexandra Hill). Lately, Dr. Feiereisen has been very interested in digital tools to explore the intersection of urban history, architecture, and sound.

Erin Sassin received her PhD in the history of art and architecture from Brown University in 2012 and was awarded tenure at Middlebury College in 2020. At Middlebury she teaches courses on the history of art, architecture, and urbanism, with a particular focus on class and gender. Her book, titled Single People and Mass Housing in Germany (1850–1930): (No) Home Away from Home (Bloomsbury Academic, 2020) was awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts.

Miriam A. Kolar‘s cultural acoustics research employs acoustical and auditory science in a transdisciplinary approach to anthropological archaeology and the study of humanenvironmental interrelationships. Since 2008, she has led archaeoacoustics and music archaeology investigations at the UNESCO World Heritage Centre archaeological site Chavín de Huántar, Perú. Kolar conducted the first acoustical survey at the Inca administrative center, Huánuco Pampa, in 2015. Co-organizer of the NEH-granted project “Digital Preservation and Access to Aural Heritage via a Scalable, Extensible Method,” Kolar was recently a Weatherhead Fellow at the School for Advanced Research and previously the Mellon Five College Postdoctoral Fellow in Digital Humanities.

Annie Goh, PhD, is an artist and researcher working primarily with sound, space, electronic media and generative processes within their social and cultural contexts. She is currently a lecturer in XD pathway in BA fine art at Central Saint Martins, University of Arts London, and an associate lecturer in sound arts at London College of Communication. Her PhD, a critical investigation of knowledge production in archaeoacoustics, funded by CHASE/AHRC, was awarded by Goldsmiths College, University of London in 2019. She was a Stuart Hall Foundation PhD Fellow.

Elías Gálvez-Arango served as a pututu player and designed the performance synchronization (clapping) experiment during the group’s fieldwork at Chavín. He currently works as a geospatial analyst and cartographer associated with the Stanford Program on Water, Health & Development while finishing his undergraduate studies. His thesis centers on the creation of a bilingual atlas that introduces readers to the cities of Latin America via engaging cartography and accessible analysis. His research interests include urban and regional geography, sense of place, and infrastructure.

Brian Morris majored in mathematics at Stanford University, with interests in economics and political redistricting. In addition to participating in archaeoacoustics fieldwork, they contributed to the spatial evaluation of seashell excavations at the site as a participant of the Stanford Archaeology Center’s 2018 fieldschool in Chavín de Huántar.

Alexa Romano recently graduated from Stanford University with an MA in anthropology following her BA in anthropology with minors in ethics in society and photography. Her undergraduate research discussed the production of “heritage” in both the central Andean town and the UNESCO archeological site of Chavín de Huantar, Perú. Examining affective and bureaucratic understandings of heritage, it shifted focus from what is produced via excavation/recovery to what is produced via present-day social interactions among archeologists, townspeople, and transients. Her master’s research investigated the coffee commodity chain beginning with women and youth small-holder coffee producers in Costa Rica.

Samantha Turley is a PhD student in the Anthropology Department at Vanderbilt University. Her work examines how architecture in southern Perú in the early colonial period (1530–1630) structured and was structured by the spatial patterns and labor relations between Andean peoples. These reciprocal relationships materialized changing indigenous notions about space and entrained new religious rituals, architectural forms, and building technologies. Her research interests include spatial analysis, digital modeling, methods of practice, and historical archaeology. A former professional musician, she was very excited to participate in the 2018 season of the “Chavín de Huántar Archaeological Acoustics Project.”

Sophia Colello is a coterminal student pursuing a master’s in classical archaeology in the Department of Classics at Stanford University and is a member of the Stanford Archaeology Center. She currently works on the archaeology of the kingdom of Armenia studying Roman, Armenian, and Parthian iconographical approaches to power in the region. Her work challenges disciplinary divisions through the application of a range of experiential approaches to archaeological work, including heritage and phenomenology.

William Penniman is a scholar of Latin American culture and literature, with a passion for literary translation. After his undergraduate years he received a Fulbright Fellowship, which brought him to Pernambuco, Brazil, where he studied the Portuguese language and the culture of the Brazilian Northeast. He is currently pursuing an MA in Latin American studies at Tulane University, focusing his research on the colonial histories of the cities of Recife and New Orleans.

Jack Boffa studied computer science and archaeology at Stanford University and currently works at a startup doing 3D animation. His primary interests lie in the virtual recreation of physical spaces, and he has worked to model environments for stereo audio rendering. In addition to archaeoacoustics, Jack’s contributions to Chavín archaeology research included designing computer representations of the site, photogrammetry, and building robots to explore its narrow ducts.

Celine Wang is a master’s student studying mechanical engineering (mechatronics) at Stanford University. As a Stanford undergraduate, she was copresident of Engineers for a Sustainable World, which contributed three “Engineering for Archaeology” projects to the research and conservation program at Chavín, including gallery climate monitoring systems, archaeological exploration robotics, and roofing for the excavation protection. She led research on the monitoring systems, spending two years on that project and working on site in Chavín for one summer. Her dream is to make environmental monitoring systems more affordable so that more people (archaeologists included!) can use them at their work sites.

Gregory DePaul is currently pursuing a doctorate in mathematics at the University of California, Davis. Greg is an avid cyclist and world traveler, equipped with a mild appreciation for Indigenous knowledge systems (IKS). He definitely had a lot of fun contributing to this project!

Kevin Keene‘s research at Chavín de Huántar, in addition to archaeoacoustics fieldwork, was creating a building information model (BIM) of the archaeological site and a structural analysis of certain areas of the site to evaluate earthquake risks. Kevin is currently a researcher and engineer at Pacific Northwest National Laboratory studying occupant health, indoor environmental quality, and energy efficiency. The intersectionality of humans and the built environment continues to drive Kevin’s career even beyond his work at Chavín and Stanford University.

Zorana Đorđević received a doctoral degree in history and philosophy of natural sciences and technology at the University of Belgrade and a master’s degree at the Faculty of Architecture, University of Belgrade. As a research associate, she is currently employed at the Institute for Multidisciplinary Research, University of Belgrade. Her field of research includes archaeoacoustics, cultural heritage, and vernacular architecture.

Dragan Novković is professor of acoustics and audio engineering at the Audio and Video Department of the School of Electrical and Computer Engineering in Belgrade. His main topic of interest is room acoustics and archaeoacoustics. He is active in the field of live sound engineering and music production, and involved in the process of innovation of DML and piano MIDI converter technologies. He is an initiator of several international projects in the field of art and science, including the “Quantum Music” project.

Filip Pantelić received a doctoral degree in the field of acoustics at the Faculty of Electrical Engineering in Belgrade, and at the Faculty of Philology and Arts in Kragujevac he graduated as a double bass player. His field of research includes musical acoustics, room acoustics, sound, and vibration. During his career, he has published more than thirty papers in this field. He lectures at the School of Electrical and Computer Engineering in Belgrade.

Mark A. Pottinger is associate professor of musicology and chair of the Department of Music and Theater at Manhattan College, where he initiated a new major in sound studies, an area of research that is at the intersection of musicology, acoustics, audio technology, and performance studies. He is the author of a number of publications on the music and cultural life of nineteenth-century Europe and the contemporary listening environment. Winner of the prestigious Berlin Prize in 2017, he began his study of concert hall acoustics while a fellow at the American Academy in Berlin, where he became increasingly interested in the politics of live music listening in the United States and in Germany.

Jun Zheng is professor at the Chinese Academy of Cultural Heritage, an ICOMOS world heritage adviser, and a board member of ICOMOS China. He obtained his PhD at the University of London on conservation planning for heritage sites. Dr. Zheng has been working in the field of heritage conservation and management for more than thirty years, with experience in both theoretical research and practical conservation, including roles as team leader, project director, and facilitator. He was a member of the expert group for the revision of the Principles for the Conservation of Heritage Sites in China.

Visit Project Muse to read the articles featured in this issue.