"Certaines roches frappées d’un coup sec par percussion directe ont la propriété d’émettre une sonorité qui continue à résonner pendant un temps plus ou moins long".
As Èrik Gonthier puts it, the sound is transitory and its traces are intangible. Music is a challenge for the archaeological research, and this challenge was one of the first inspirations for AR. But music industry consumes a lot, and produces a lot of waste.
However little impact on the environment ours may be, any activity still has a cost: hence the research to offset the environmental impact of Archaeological Records.
We do this by supporting projects that engage in afforestation, the avoidance of deforestation or sustainable land management.
For each record production we select a different cause to support, always focused on reducing our carbon footprint.
AR R.00 • There have been no direct income from the sale of the AR artifacts R.00 because our share of copies was sold at cost price to the artist herself. Despite this we have optioned part of the earnings expected for the following release in order to offset the impact of the approximately 100 vinyls we sent to press for this project. To do so we chose to subscribe the annual membership at:
FSC® Forest Stewardship Council International, a forest certification organization with 25 years of experience in sustainable forest management worldwide.
Based in Bonn (53113), Germany • https://fsc.org
We chose to support FSC® especially for their focus on indigenous peoples’ legal and customary rights of ownership, use and management of land.
AR R.01 • The share of proceeds due to AR from the sale (direct, to a private collector) of the AR artifact R.01, net of expenses, was used to associate and support:
IO NON HO PAURA DEL LUPO, an A.P.S. (Associazione di Promozione Sociale) listed at the Emilia-Romagna A.P.S. register and based in Borgotaro (43043, PR), Italy • www.iononhopauradellupo.it
Through their activism the team of IO NON HO PAURA DEL LUPO works to favor the conservation of the wolf on the Italian territory. To do so, among their many actions, they promote rewilding processes that aim to create or preserve ecological corridors and areas of naturalistic interest.
AR R.02 • Although AR was not involved in printing the physical media, curating the R.02 project offered us the chance to contribute to a reforestation project in Peruvian Amazonia. By virtue of an intrinsic cultural debt in "Terminalia Amazonia", we wanted to support:
FECONADIC Federacion de Comunidades Nativas de Distrito de Calleria
based in Pucallpa (25000), Peru • www.feconadic.org.pe
FECONADIC research and practice innovative reforestation models, working to eliminate deforestation and degradation in the Peruvian Amazon. Communities take an active position in conserving primary forests within the Amazon for a more sustainable future. This Federation's projects are mainly aimed at lessening the pressure on primary forests by creating a tree plantation close to communities, avoiding the clearing of virgin primary forests in order to meet the need for income.
AR R.03 • R.03 is an art box that also contains a live recording. We wanted, in line with the collective experience at the origin of the content, to offset the carbon footprint of these audio cassettes by supporting an aggregation project:
REWILDING EUROPE European Young Rewilders, non-for-profit foundation (ANBI) based in Nijmegen (6524), the Netherlands • https://rewildingeurope.com/young-rewilders-community/ – https://youngrewilders.com
The Rewilding Europe initiative called 'European Young Rewilders' is a community aimed at inspiring the next generation of European conservationists. Their mission is to create a network and provide members with the tools they need to become active players in the rewilding movement.