Introduction

Lingold, Mary Caton; Mueller, Darren; Trettien, Whitney

doi:10.1215/9780822371991-001

Cited by 4 publications

(1 citation statement)

References 40 publications

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“…According to archival studies scholars Kate Eichhorn (2009) and Anette Hoffman (2015), sound archives have received scarce attention, likely due to their disciplinary specificity and the hermeneutic form of many of the collections. More recently, in the anthology Digital Sound Studies, the editors argue that because of the fraught histories of early sound collections, many of the institutions now housing them are grappling with questions of how to preserve this material equitably in an era of mass digitization (Trettien et. al.…”

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confidence: 99%

Listening With/in Context

Collina

2023

IASA Journal

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Despite increasing attention to the preservation and development of sound archives in academic research and cultural heritage institutions, they are yet to be more substantially embraced in larger theoretical debates on archival theory and practice. Fraught with contested histories through the legacy of ethnomusicology, rooted in the enterprises of colonial imperialism, now in the era of mass digitization and distribution, many sound collections are attempting to develop ethical and empowering methodologies that support community involvement and a vigorous remediation between sound and visuality. Addressing this confluence of concerns, this article considers the ways in which contemporary digital sound archival projects are encouraging an engagement with cultural history and memory in innovative and complex ways, mobilizing the affordances of digital tools and community-based support material with careful attention to the negotiation between its sonic and visual constituents. Through an analysis of two case studies – The Roaring ‘Twenties and Smoke Signals Radio Show Archive – this article examines how contemporary digital archival projects activate and remediate sonic documents and their contextual counterparts to invite a diverse, multifaceted, and multi-sensory encounter with history, memory, knowledge, and the past.

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confidence: 99%

Listening With/in Context

Collina

2023

IASA Journal

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Modeling Media History

Snickars

2022

Media History

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Sampling as ethnographic method/remixing Gulu City

Bitter

2022

American Anthropologist

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This article describes the process of producing Gulu SoundTracks, a digital sonic ethnographic project accessible at gulusoundtracks.org, with four Ugandan music producers based in Gulu. The album comprises eight digital audio tracks that tell stories about Gulu musically through the compositional mixing of field soundscape recordings. Using field recordings as samples opened up sampling as a multimodal method for ethnographic storytelling which entails listening that is “vexed” (Weheliye 2005), archival, multiple, and generative. Pointing to insights from the project's creative process, the author explores sound praxis as a modality for amplifying fruitful connections between ethnographic and Afrodiasporic arts traditions. In conversation with others using sound methods in anthropology, ethnomusicology, and digital sound studies, this article stages a dialogue between sound‐based work, critical treatments of Black and Afrosonic cultural production, and experimental ethnography. Sampling as method centers ethnographic imagination and points to critical possibilities field recording holds for anthropological knowledge production.

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Introduction

Cited by 4 publications

References 40 publications

Listening With/in Context

Listening With/in Context

Modeling Media History

Sampling as ethnographic method/remixing Gulu City

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