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Volta Laboratory Experimental Recording

National Museum of American History
This is an experimental sound recording made in the Volta Laboratory, Washington, D.C., on 11 March 1885. The recording process involved focusing a beam of light, projecting it through a liquid, and causing sound waves to interrupt both the light and the liquid to expose a prepared photographic plate. The recording, which starts at the center and spirals outward, is of variable density, that is the areas of exposure vary in density according to volume and pitch of the sound recorded. Process is described in U.S. Patent 341,213 awarded Alexander Graham Bell, Chichester A. Bell, and Charles Sumner Tainter on 4 May 1886. Sound was recovered from this recording in 2011. Content summary: “Mary had a little lamb” Content transcript (37 seconds): “ [?]…Sumner Tainter and H. G. Rogers. This eleventh day of March, eighteen hundred and eighty-five. [trilled r sound] [indistinct phrase] Mary had a little lamb, and its fleece was white as snow [alternatively, black as soot?] . And wherever Mary went…Oh [indistinct word]. Mary had a little lamb, and its fleece was white as snow [alternatively, black as soot?]. And wherever Mary went, the little lamb was sure to go. How is this for high? [trill]” References: Patrick Feaster, “A Discography of Volta Laboratory Recordings at the National Museum of American History” Leslie J. Newville, “Development of the Phonograph at Alexander Graham Bell's Volta Laboratory,” in Contributions from the Museum of History and Technology, United States National Museum Bulletin 218, Paper 5 (1959): 69-79. Steven E. Schoenherr, “Charles Sumner Tainter and the Graphophone,” Wile, Raymond R. "The Development of Sound Recording at the Volta Laboratory," Association for Recorded Sound Collections Journal 21, No. 2, 1990, pp. 208-225.

Oral history interview with Joseph Pulitzer, 1978 Jan. 11

Archives of American Art
Transcript: 21 p.

An interview of Joseph Pulitzer conducted 1978 Jan. 11, by Dennis Barrie, for the Archives of American Art.

Oral history interview with Michael Smith, 2018 July 30-August 1

Archives of American Art
Audio: 9 sound files (6 hr., 27 min.) digital, wav

Transcript: 97 pages.

An interview with Michael Smith conducted 2018 July 30 and August 1, by Liza Zapol, for the Archives of American Art at Smith's studio, in Brooklyn, New York.

Smith discusses memories of his home, growing up on the South Side of Chicago; his father's work in real estate in Chicago; his understanding of the contract buyers lawsuit; his recollections of the changing demographics of his neighborhood from Jewish to African American; his relationship to his mother, father, and brother; his relationship to his Jewish identity growing up; his involvement in singing, sports, and girlfriends as a teenager; the influence of television, movies, and comedy records on his childhood; his early experiences of art and watching his brother paint; his departure from Chicago and attending the University of Colorado in 1968, where his brother went, and following in his footsteps as an artist; protesting the Vietnam War and avoiding the draft; his first experience in New York City at the Whitney Independent Study Program [ISP]; his training in dance with Hanya Holm at Colorado College, his first choreographies; his studio in Boulder, and then in Chicago; his transition from painting into performance; seeing improvisation, performance, and dance in Chicago; Seeing William Wegman's work; creating his first comedy performances; influence of Jackie Vernon; developing the ideas for "Mike" and "Baby Ikki"; his early scripts and performance notes; influence of Alfred Jarry and Richard Foreman; his script, costume, and movement for "Baby Ikki"; the creation of Comedy Hour in Chicago, and other early "skits"; the inspiration for Minimal Message Movement; Coming to New York and meeting Marcia Tucker; his inclusion in Performances: Four Evenings, Four Days, at the Whitney Museum; performing at the Collective, Artists Space, Franklin Furnace, and other downtown locations; living in SoHo and the East Village in New York; developing a sense of timing and pacing in his early work; the sets and props of Let's See What's in the Refrigerator; the social commentary or politics of "Mike"; creating the composition and set of Notes for a Rec Room; his notebooks, nation and brainstorms for work. In session two, Michael Smith describes his sense of humor; Jackie Vernon and his sense of delivery; the humor of Jacques Tati and Buster Keaton; creating his first work composed for video, Secret Horror; his relationship to music, punk, New Wave, Muzak, rap, and his band the Social Climbers; his involvement with the Times Square Show and Colab; creating more video work that placed Mike in a cultural context with Government Approved Home Fallout Shelter, Go For it, Mike, Death of a Salesman, and others; collaboration with William Wegman on World of Photography; working with Steve Paul on live variety shows such as Mike's Talent Show, and Mike's TV Show; creating work for Saturday Night Live and Cinemax; creating Mike's Kiddie Show and working with Doug Skinner; the changes in arts funding in the 1990s; Working with Joshua White and creating Musco; starting to work in education and teaching in Los Angeles, at Yale, and at the University of Texas at Austin, Teaching performance art and specific assignments; a photographic series of class photographs; Creating Open House at the New Museum, and Interstitial for the installation; Returning to Baby Ikki and working with Mike Kelley on A Voyage of Growth and Discovery; his friendship with Mike Kelley; his thoughts about infantilist themes with "Baby Ikki", The theme of aging in his work and current work,; the creation of Excuse Me!?!...I'm Looking For the "Fountain of Youth," and Not Quite Under_Ground, commenting on social practice art; planning for his next project in Mexico City; his relationship to performance art; his dealers; curators, his response to critiques; his archive and thinking about his legacy. Smith also recalls Ron Clark, Malcolm Morley, Brice Marden, Carl Andre, Lawrence Weiner, Hanya Holm, Vito Acconci, Jim Self, Barbara Dilley, Mike Kelley, John Baldessari, Dike Blair, Mark Fischer, Carole Ann Klonarides, Eric Bogosian, Charlie Ahearn, Dick Connette, Mark Bingham, Alan Herman, Tim Maul, Amy Sillman, Andrea Blum, Sharon Hayes, Chuck Nanney, Annette Carlozzi, Toiny Castelli, Patty Brundrage, Christine Burgin, Emi Fontana, Chris Dercon, and Jay Sanders.

Oral history interview with Mindy Weisel, 2001 September 2-November 1

Archives of American Art
2 sound discs (1 hr.; 28 min.): digital. 2 5/8 in.

Transcript: 36 pages.

An interview with Mindy Weisel conducted 2001 September 21-November 1, by Anne Louise Bayly, for the Archives of American Art, in Washington, D.C.

Weisel speaks of her parents and their surviving the Holocaust; her mother showing her beauty as a child; being the daughter of survivors; wanting to draw as a child; studying art in college; her marriage and motherhood; balancing the role of wife, mother and artist; September 11th; her Ella Fitzgerald series; her time at the Virginia Center for the Creative Arts; process of working; creating Lily Let's Dance and It's Ok Kid; writing her books "Daughters of Absence", "Touching Quiet", "The Rainbow Diet"; art and survival.

Oral history interview with Ian McKibbin White, 1980 November 24-1981 January 9

Archives of American Art
Transcript: 126 pages

An interview of Ian McKibbin White conducted 1980 November 24-1981 January 9, by Thomas Carr Howe, for the Archives of American Art.

White speaks of his education; U.S. Navy service, 1952-1955; travel, his museum career including work at the Brooklyn Botanical Garden, the Brooklyn Museum, the Peary-MacMillan Arctic Museum at Bowdoin College, and the California Palace of the Legion of Honor; the merger of the California Palace of the Legion of Honor and the M.H. de Young Memorial Museum into the Fine Arts Museums of San Francisco; the funeral of Alma de Bretteville Spreckels; Thomas Carr Howe as his mentor; FAMSF's "blockbuster exhibitions"; membership organizations; development of the American collection; fiscal problems and museum staff. He recalls David Levine, Jack McGregor, Aaron Shikler and others.

Oral history interview with Nelli Bar Wieghardt, 1987 July 9-1989 April 29

Archives of American Art
Transcript: 105 pages

An interview of Nelli Bar Wieghardt conducted 1987 July 9-1989 April 29, by Marina Pacini, for the Archives of American Art.

Wieghardt discusses her and her husband Paul Wieghardt's art training in Germany; their move to Paris in 1931; their emigration to the United States in 1940 and their involvement with Quaker refugee programs; their move to a hostel in Cummington, Massachusetts and subsequent employment at the Cummington School in the Hills and the Berkshire Museum; their move in 1943 to Philadelphia to set up and run an art department for the Friends Neighborhood Guild; exhibitions at the Carlen Galleries and their relationship with Albert Barnes; the move in 1946 to Chicago and their teaching careers and methods at the School of the Art Institute of Chicago, Illinois Institute of Technology; the University of Chicago, and the Evanston Art Center; their exhibition history; and the Wieghardt galleries at the State Museum, Ludensheid.

Oral history interview with Beatrice Wood, 1992 March 2

Archives of American Art
Transcript: 48 pages

Audio excerpt: 1 sound file (4 min. 18 sec.) : digital

An interview of Beatrice Wood conducted 1992 March 2, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project.

Wood speaks of her memories of Gertrud & Otto Natzler and getting involved with ceramics; the future of art in America; and women in art.

Oral history interview with Edith Wyle, 1993 March 9-September 7

Archives of American Art
Transcript: 153 pages

An interview of Edith Wyle conducted 1993 March 9-September 7, by Sharon K. Emanuelli, for the Archives of American Art, Women in the Arts in Southern California Oral History Project.

Wyle speaks of her family background and her early education and interests; her studies at U.C. Berkeley and UCLA; her marriage to Frank Wyle; her friendship with Rico Lebrun; the cultural scene in Los Angeles between 1940 and 1970; the founding of the Egg and the Eye restaurant and gallery; and the founding of the Craft and Folk Art Museum and its development over the years.

Canela singing on pathways for the hunt (1959-7), 1959 [sound recording]

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Recorded in Maranhão (Brazil), R-Canela

Sound recording 04 AUG 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

WN

Disc Note:Aeh List

SEE CHU 0153, 0154, 0155, 0157, 0158 CHU CT32:CHU CT33, 7.50IPS, NARS

Aluminum disc

Sound recording 04 AUG 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

FM WN CL

Disc Note:Aeh List

SEE CHU 0162-0164, 0166-0169 CHU CT40:CHU CT41, 7.50IPS, NARS

Aluminum disc

Songs sung by Charles Roubideaux (Robidoux) and Sylvester Warrior August 1968 [sound recording]

National Anthropological Archives
Recorded in Falls City, Nebraska (Sauk of the Missouri)

Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

MPM tape 2 includes: 1. Squaw Dance Song; 2. Iowa Hethu'shka Song #1; 3. Iowa Hethu'shka Song #2; 4. Sauk War Dance Song; 5. Sauk War Dance Song; 6. Squaw Dance Song (repeat of #1); 7. Oto Peyote Song; 8. Sauk Peyote Song; 9. Oto Peyote Song: 'Jesus in the glory now'; 10. Drum Religion Song: 'Shaking hands with God'.

Kiriwinian #11 [sound recording]

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Alsea Sound Recording MAY 1941

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

SC

Disc Note:Jpm List:JPH Lr Marr Alsea Texts and Myths; Frachtenberg, Leo J; BAE Bulletin 67, 1920

Aluminum disc

Alsea Sound Recording MAY 1941

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

DT SC CL

Disc Note:Jpm List:JPH Lr Marr; Boas, Franz; BAE Bulletin 26, 1901 Handbook of American Indian Languages; Boas, Franz; BAE Bulletin 40; Part 1, 1911; Part 2, 1922

Aluminum disc

Cahuilla sound recording 08 OCT 1937

National Anthropological Archives
Digital audio file produced from 1/4" open reel tape copy.

DT SC CL

Disc Note:JPH Ls 27 May 1937:Ac List

SEE CAH 0010, 0011, 0012 CAH CT8, 32 MINS, 7.50IPS, NARS

Aluminum disc

Luiseño sound recording n.d

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Aluminum disc

Cahuilla sound recording 05 OCT 1937

National Anthropological Archives
Digital audio file produced from 1/4" open reel tape copy.

DT SC CL

Disc Note:JPH Ls 27 May 1937:Ac List

SEE CAH 0003, 0005 CAH CT4, 31 MINS, 7.50IPS, NARS

Aluminum disc

Himba Songs at Oringange, Kaokoveld, November 28, 1960 [sound recording]

National Anthropological Archives
Also available as copy on 5 inch sound tape reel, 72-R-2 and on sound cassette 72-K-18.

Ndongona Tribal History [sound recording]

National Anthropological Archives
72-K-2, related by Augustino Saloa (and his son?) with translations into Portuguese by Raimondo, a Mukumbi. Divided into three texts, each followed by a short Portuguese translation by Raimondo.

Sound recording 04 AUG 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

WN

Disc Note:Aeh List

SEE CHU 0198, 0199, 0201, 0202 CHU CT75:CHU CT76, 7.50IPS, NARS

Aluminum disc

Cahuilla Sound Recording 02 SEP 1937

National Anthropological Archives
Digital audio file produced from 1/4" open reel tape copy.

DT SC CL

Disc Note:JPH Ls 27 May 1937:Ac List

SEE CAH CT1, 29 MINS, 7.50IPS, NARS

Aluminum disc

Interview with the Augustina Family and Lucia [sound recording]

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

The interview contains many Zapotec names and family names. Recorded in Yalalag, Oaxaca in Mexico.
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