{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/4f1mg7g49r/manifest","type":"Manifest","label":{"en":["Phonographs on the Road in Latin America: The Technology of Sound Recording during the Acoustic Era"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Sergio Ospina-Romero (Presenter)","David Seubert (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-05-11 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThe possibility of capturing and reproducing sound at will set in motion a vast array of business ventures, capitalizing on the exploitation of both the fascination with the technology and the reproducibility of favorite music numbers. Between 1905 and 1926, recording scouts of the Victor Talking Machine Company traveled multiple times across Latin America capturing local musics on wax. These scouts faced multiple challenges, including identifying local talent, negotiating copyright deals and, sometimes, wrangling tardy, drunken performers into the studio. At the same time, they had to deal with the possibilities and limitations of the technology of acoustic recording while setting up makeshift studios. Thus, this paper unveils how sound recordings were made in fieldtrips during the acoustic era. By focusing on the activities of Charles Althouse, Raymond Sooy, and other scouts in Mexico, Peru, Argentina, and Colombia, I examine the material procedures and technological challenges of making in situ recordings during the acoustic period. I also compare the technical standards in Victor’s state-of-the-art studios in New Jersey with the unforeseen scenario of the field trips. Furthermore, building on the work of Miller, Hochman, Denning, and others I discuss the extent to which ethnographic and commercial discourses were mutually informed in relation to the technological procedures of sound recording long before the advent of “world music.”\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eThe possibility of capturing and reproducing sound at will set in motion a vast array of business ventures, capitalizing on the exploitation of both the fascination with the technology and the reproducibility of favorite music numbers. Between 1905 and 1926, recording scouts of the Victor Talking Machine Company traveled multiple times across Latin America capturing local musics on wax. These scouts faced multiple challenges, including identifying local talent, negotiating copyright deals and, sometimes, wrangling tardy, drunken performers into the studio. At the same time, they had to deal with the possibilities and limitations of the technology of acoustic recording while setting up makeshift studios. Thus, this paper unveils how sound recordings were made in fieldtrips during the acoustic era. By focusing on the activities of Charles Althouse, Raymond Sooy, and other scouts in Mexico, Peru, Argentina, and Colombia, I examine the material procedures and technological challenges of making in situ recordings during the acoustic period. I also compare the technical standards in Victor\u0026rsquo;s state-of-the-art studios in New Jersey with the unforeseen scenario of the field trips. Furthermore, building on the work of Miller, Hochman, Denning, and others I discuss the extent to which ethnographic and commercial discourses were mutually informed in relation to the technological procedures of sound recording long before the advent of \u0026ldquo;world music.\u0026rdquo;\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/728/small/open-uri20200922-6764-1f9vqnm_1600819552.jpg?1600805188","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/97728","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1f9vqnm.mp4"]},"duration":1989.80267,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/728/small/open-uri20200922-6764-1f9vqnm_1600819552.jpg?1600805188","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/97728/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/97728/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/728/original/open-uri20200922-6764-1f9vqnm.mp4?1600805144","type":"Video","format":"video/mp4","duration":1989.80267,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/97728","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/256140","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2018_Ospina-Romero_audio.mp3"]},"duration":1968.84744,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/256140/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/256140/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/140/original/ARSC_conf_2018_Ospina-Romero_audio.mp3?1730834344","type":"Audio","format":"audio/mpeg","duration":1968.84744,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29805/file/256140","metadata":[]}]}],"annotations":[]}]}