The Paracas culture of Late Formative Period south coastal Peru (c. 900–100 BC) is renowned for its elaborate and colourful ceramics—particularly those decorated using the post-fire painting technique. The materials and the methods used to achieve post-fire painting, however, remain elusive. To investigate the evolution of, and regional variation in, this technology, the authors deploy a range of techniques to analyse a sample of Paracas ceramics curated in museum collections. The results indicate diachronic and regional variations in the paint binders and colourants used by the Paracas potters, which correlate with changes in vessel form and iconography over time.

The thriving study of acoustic archaeology is here applied to an excavated plaza site in Peru, where the authors show that an intimate sound-space was intended, one which featured panpipe music as well as the spoken word. Their method involved the measurement of three sound levels of speech at various distances from the plaza, giving us an easy-to-use mode of on-site investigation, which will surely win wide application. The study also showed a dramatic change from the use of acoustics in a previous period, where sound was canalised in U-shaped temples in order to address large numbers of people.