SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2018-04-09T13:03:12+02:00 Iben Have Open Journal Systems Editorial 2018-04-09T13:03:11+02:00 Erik Granly Jensen Thomas Bjørnsten 2018-04-09T13:03:11+02:00 ##submission.copyrightStatement## Multi-Voiced Archival Performances and Sun Ra/ El Saturn Collection 2018-04-09T13:03:12+02:00 Brian Harnetty <p>This article critically explores creative reinterpretations of a sonic archive. It focusses on the Sun Ra/El Saturn Collection, a catalogue of the experimental jazz composer Sun Ra (born Herman Poole Blount, 1914-93). In 2010 the collection’s caretakers commissioned visual artists, writers and musicians, including myself, to create new works based on the recordings. Each resulting work acts as an archival performance, understood here as any embodied reimagining and recontextualisation of the archive. Together, the works suggest a process of listening to and remixing the archive ‘from below’, rather than a singular, top-down authority of archival interpretation and power. I examine these works through analysis and artist interviews, noting a tension between appropriation and recontextualisation on one hand and archival stewardship and acknowledgement on the other. I observe how exchange, conflict, solidarity and accountability are all potentially present within each archival performance.</p> 2018-04-09T13:03:11+02:00 ##submission.copyrightStatement## The Tacit Grooves of Sound Art. Aesthetic Artefacts as Analogue Archives 2018-04-09T13:03:12+02:00 Carla J. Maier Holger Schulze <p>From the perspective of sound studies and media history this article explores approaches to analogue archives coming from the fi elds of sound art and media art. The authors analyse works of art by two contemporary artists from Berlin and Aarhus focussing on archival practices of storing and retrieving: Marianthi Papalexandri-Alexandri and Morten Riis. What is actually (not merely metaphorically) ‘stored’, ‘inscribed’ or ‘archived’ in and subsequently ‘retrieved’, ‘read’ or even ‘decoded’ from a certain sound artwork? From this starting point the individual artistic practices, the research strategies and the new and surprising ways of archiving and retrieving as invented and refi ned by Papalexandri-Alexandri and Riis are described and analysed. The observed artistic practices, the authors argue, converge in the direction of sonic affordances inherent in the material instruments or storage media: These affordances are stored and retrieved, as they represent the tacit grooves of sound art.</p> 2018-04-09T13:03:12+02:00 ##submission.copyrightStatement## Theatre Sound Archiving in the Netherlands: Study and Re-Use of ‘Sleeping’ Sound Collections 2018-04-09T13:03:12+02:00 Ricarda Franzen <p>A number of recent publications feature thoughts on the neglect of the ‘unheard’ (Søndergaard, 2013) and the ‘buried’ (Hoffmann, 2015) sound archive. This article explores what types of knowledge sound archives might hold. To that end it moves between past and present when considering certain shared programmatic intents: examining future projections refl ected in the founding rationale of a specifi c Dutch theatre sound archive (Theater Instituut Nederland or TIN) in particular, while reviewing the rhetoric of ‘neglect’ and ‘re-use’ in current sound scholarship in general. Examining how the TIN archive refl ects the birth of an often quoted Dutch avant-garde theatre movement, the article seeks to address how sound documents might contribute to rethinking aspects of theatre history and perhaps aspects of historiography in general.</p> 2018-04-09T13:03:12+02:00 ##submission.copyrightStatement## Archival Silences as Historical Sources. Reconsidering Sound Recordings of Prisoners of War (1915-1918) from the Berlin Lautarchiv 2018-04-09T13:03:12+02:00 Britta Lange <p>This article aims to consider not only sound recordings of speech samples as historical sources, but also the absence of words and the content hereof: silences in speech. Its focus are sound recordings made by prisoners in German camps during World War I, today kept in the Lautarchiv (Sound Archive) of the Humboldt-Universität zu Berlin ( The World War I recordings comprise one of the archive’s three founding collections. The fi rst contains voice portraits of illustrious fi gures such as Kaiser Wilhelm II and Paul von Hindenburg, the recordings of which began during the war in connection with the autograph collection of Ludwig Darmstaedter. The second collection is made up of voice portraits of people who were not well-known or prominent individuals, but exemplary speakers of particular languages and dialects. Between 1915 and 1918, in German prisoner of war camps, the state-funded Königlich Preußische Phonographische Kommission (Royal Prussian Phonographic Commission) produced sound recordings of a range of languages, dialects and ethnic groups for the purposes of linguistic and musicological research.</p> 2018-04-09T13:03:12+02:00 ##submission.copyrightStatement##