AR / Archaeological Records is a collective of researchers and producers moved by the desire to explore the deep history of sound.

Furthermore, the motivation for which we structured AR is to experiment and to affirm alternative ways of producing culture: by gradually abandoning the production of physical media, delicting the costs of distribution, practicing and encouraging diy, refusing traditional copyright practices, and above all by allocating the income deriving from the commercialization of cultural content to rewilding projects.

Our most recent release, after a gestation of over three years, is the album Terminalia Amazonia [AR R.02] – in distribution via HoM – that is a composition played and recorded by the artists of the Zu collective ( who were in this configuration: Lorenzo Stecconi, Luca T. Mai, Massimo Pupillo, Jacopo Battaglia ) together with the Shipibo-Conibo curandero Oscar.




AR is a collective organization operating as an ongoing curatorial project with a focus on experimental music archaeology.

What is music archaeology? What 'music' has never been recorded? 

Ancient music is poorly catalogued and remains largely unknown, but with research these forgotten forms, ancient melodies and instruments can be re-imagined and reborn. ‘Archaeological record’ is a term used in archaeology to denote all archaeological evidence. It includes the physical remains of past human activities as well as contemporary artifacts. 

AR is a project based on the belief that research into new and existing archaeological records can be analysed and theorized in new ways. This re-evaluation will be examined by researchers and sound designers, musicians and audio explorers who will develop ideas of unheard territories and uncharted channels, creating the 'new' from the 'ancient'. 

AR will focus on the history of music and the apparently unknowable. 

For AR, exploring the history of sound is a mission beyond time, through ineffable dimensions. A mission that requires original observation and thought which will document and define 'archaeological sound'. 

According to the International Study Group of Music Archaeology’s “Meaning and Goals” : 

... ultimately what was played in ancient times must remain in the dark of the past, and much fantasy is needed by modern musicians to imagine how melodies and rhythms may have been composed. Strictly speaking, only the sound of the instruments can be revived – these are the possibilities and limits of Music Archaeology. 

Determined to find new possibilities, AR supports projects that look at ( and stress ) the elasticity of the epistemological limits described by ISGMA: projects curated by researchers and artists together. Believing that the blurring of the genres is the most desirable approach when planning art projects inspired by science ( or vice versa ).

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