Jähnichen, Gisa (2018). REAL MEMORIES. Audiovisual Challenges of an Archiving Musicologist in the 21st Century. Norderstedt: BoD. (original) (raw)

Resocializing recordings: Collaborative archiving and curating of sound as an agent of knowledge transfer (with Matthias Lewy, 2023)

The Journal of Latin American and Caribbean Anthropology, 2023

[resumen en español abajo] The authors discuss their methodologies for creating and relistening to recordings in collaboration with Indigenous People in Peru and Venezuela and contextualize them within the discourse about overcoming power structures that shape divides between the Global North and South, in both urban and rural trajectories, and in Western and Indigenous knowledges. When it comes to giving back or sharing sound recordings, we suggest the term resocialization rather than restitution or repatriation. In Indigenous lifeworlds, sound works much differently than in modern conceptualizations of music as art or entertainment. Indigenous theories of sound complement frameworks of copyright, which are still mainly based on modern views of human creativity. Working in archives and exhibitions, we seek collaboration with Indigenous experts when archiving, publishing, displaying, or playing recordings. We show how Indigenous and European specialists can foster eye-level bilateral knowledge transfer by fruitfully cocurating sound and multimedia installations in exhibition contexts. Enmarcados en el discurso sobre la superación de las estructuras de poder que dan forma a las brechas entre el Norte y el Sur globales, entre las trayectorias urbanas y rurales, y entre los saberes occidentales e indígenas; los autores estudian las metodologías de creación y reescucha de grabaciones en colaboración con indígenas de Perú y Venezuela. Cuando se trata de restituir o compartir grabaciones sonoras, sugerimos utilizar el término “resocialización” en vez de “restitución” o “repatriación”. En los mundos de vida indígenas, el sonido funciona de forma muy diferente a las conceptualizaciones modernas de la música como arte o entretenimiento. Las teorías indígenas sobre el sonido complementan los marcos de derechos de autor, que siguen basándose principalmente en los puntos de vista modernos sobre la creatividad humana. Por ello, al trabajar en archivos y exposiciones, buscamos la colaboración de expertos indígenas a la hora de archivar, publicar, mostrar o reproducir grabaciones. Mostramos cómo las instalaciones sonoras y de multimedia en exposiciones artísticas pueden ser comisariadas conjuntamente por especialistas indígenas y europeos, fomentando así la transferencia bilateral de los conocimientos.

Jähnichen, Gisa (2009). The „Digital Butterfly Net“ of Ethnomusicologists and its Impact on Audiovisual Archiving. IASA Journal. Ed. By Janet Topp Fargion. December 2009, 83-90.

The paper discusses the changing self-understanding of ethnomusicologists from enthu siasts pioneering in forgotten areas of the world to a species of networking researchers using all facilities of the World Wide Web and audiovisual databases. Aside from some unclear interpretations of user rights, there are important ethical challenges to observe, which are based on a fast re-positioning of humanities in the actual field of scientific efficiency. What will remain from the sublime discoverer's attitude and what will be the substance of another quality in ethnomusicological research? Talking about the "digital butterfly net" we should focus on what we call a "butterfly" and how it changes its shape, rather than re-examine its digital being. Finally we have to re-examine our supposedly universal parameters of "scientific efficiency" from different viewpoints, and we should become aware of prospective demands which need to be met by audiovisual archivists and ethnomusicologists in their socio-functional context.

Digital audiovisual archives in humanities – problems and challenges

This paper presents: 1) the audiovisual archive programme in humanities (social and human sciences) launched in 2001 by the Maison des Sciences de l’Homme (MSH) in Paris; 2) a working (indexing and annotation) environment for individual or collective users (“communities”) in order to extract audiovisual segments, to classify them in personal archives, to describe them following the particular user point of views and to reuse them in given academic and/or educational, viz. professional activities.

(2018) Bennett, S and Davies, M. School of Music RePlayed: A Case Study in Audio Archiving. In: Australasian Sound Archive. Vol. 42, pp58-73 ISSN: 0818-5646

Australasian Sound Archive, 2018

This paper presents a case study on a small audio archive, that belonging to the School of Music, Australian National University and a project focused on its digitisation. The paper first introduces the collaborative nature of the audio archiving project before addressing the various challenges, implications and pedagogical opportunities presented. Currently stored in the Australian National University’s School of Music, the archive features more than twelve hundred recital and concert tapes. The archive features multiple recordings of historical significance, yet there are various issues surrounding its preservation. Ultimately, this paper addresses matters of history and heritage, storage and preservation, as well as research and pedagogical design in audio archiving.

What Does Musicology Have to Do With Archiving? Three Experiences of Engagement

Intersections: Canadian Journal of Music

Musical practices derived from post-1960s experimental music created heterogeneous musical materials and traces-including scores, preparations and instrument modifications, electronic instruments, custom-made devices, and recordings. The Romantic work concept on which most traditional musical archives are based is unsuitable to preserve this expanded apparatus of objects and concepts, and rethinking the musical archive is becoming urgent. This colloquy collected the experiences of three researchers, engaging with five institutions, three creators, and four countries. Yet the archival issues presented are eerily similar. These experiences involve David Tudor

The sound of a sound art archive

The foundation for this text is my 10xCD opus The Sounds of Ideas Forming (2008–2012), an archive of 318 sound files featuring content from art students, children, archives and practitioners such as Yoko Ono, David Bowie, Chris Watson, Douglas Gordon, Lydia Lunch, Brian Eno and George Brecht. The Sound of a Sound Art Archive considers this particular sound archive, examining formats, narrative and the relationship between recording sound and recorded sound. I draw upon first person experiences and examples from curating, pedagogy and sound art to arrive at a series of frameworks for a sound art archive, one that is finite, educational and able to interject into everyday contexts.

Reanimating Audio Art: The Archive as Network and Community

Esse Arts Opinions, 2013

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de lNuméro 78, printemps-été 2013 URI : https://id.erudit.org/iderudit/69054ac Aller au sommaire du numéro Éditeur(s) Les éditions esse ISSN 0831-859X (imprimé) 1929-3577 (numérique) Découvrir la revue Citer cet article Kaye, L. (2013). Reanimating Audio Art: The Archive as Network and Community. esse arts + opinions, (78), 68-71.