A segment on a recent episode of Radiolab discussed the work of experimental music composer William Basinski. As one line of exploration in the past, Basinski took classical or Muzak-type recordings, dubbed short sections of them and applied various distortions such as adjusting tape speed, and then
AudioVisual Preservation Solutions Senior Consultant Kara Van Malssen will be speaking with New York Public Radio/WNYC Archive Manager John Passmore this Friday at the 2011 Association of Moving Image Archivists Digital Asset Symposium in Hollywood, CA. The Symposium provides a non-judgmental space
The rumor stops short of claiming that William Shakespeare was the producer on all of the recordings (or should that be that there is absolutely no way Shakespeare could have produced all of them), but the content-hungry nature of the internet demands that such attention-grabbing statements receive attention.
We chose to tell success stories because there seems to be plenty of focus on the opposite as people get caught up in the list of problems laid out ahead, almost inversing the old quote about success having a thousand fathers. Making people aware of the challenges faced in media archiving has its place in garnering support, but maintaining that backing and further encouraging its growth means showing the positive results of support.
Despite the sometimes rustiness or lower energy of the performers, the music is undeniably good and the audience energy is always buzzing from that. However, the program and Schaefer’s follow up blog post (linked above) touch on two wider cultural issues: Why does the audience for a revived musical genre form when and in the makeup it does, and do we really need to preserve every little bit of cultural production?