Dear Friends of Maryanne,

We need your help! Over the past year we have made significant progress on the archive and moved to create a not-for profit organization, Additional Tones LTD that will be the long-term structure for Maryanne’s legacy. We’ve also made finding aids (partial indexing) of 75 boxes, imaged 5000 documents, cataloged 450 audio tapes, begun transferring audio to hard disk, recursively backed up all of Maryanne’s computer data, and supported a number of public MA events and research projects. This has been a volunteer effort, using equipment we’ve donated ourselves, but the project is too ambitious and important to sustain in this way. The costs of just housing the archive are ~$500/month, well beyond our means.

At this time we ask for your financial support. Through our official fiscal sponsor, Fractured Atlas, a non-profit arts service organization in the USA you can donate online using a credit card here: https://www.fracturedatlas.org/s/campaign/111 . We are still waiting on the official declaration of our own organization’s tax-free status and so in the interim we can accept donations through this channel.

Your funds will go 100% to supporting the preservation of Maryanne Amacher’s legacy. We are a tiny operation where a small amount of money can go a long way, and we are hoping that with some basic financial backing the project can race ahead in the next 12 months.

Below is the mission statement for Additional Tones which describes the philosophy behind this project and our long-term goals. Please join us!

To donate: https://www.fracturedatlas.org/s/campaign/111

To setup a time to talk about the project by phone/skype/email: archive@maryanneamacher.org.

Micah & Robert

MISSION OF ADDITIONAL TONES LTD

1. To preserve and protect the work and research of Maryanne Amacher. This entails:
A. Locating, securing, cataloging and transferring to more stable and accessible analog and digital formats her creative materials, works and intellectual property - namely her writings, compositions, correspondence in all formats, performance/installation notes, artwork, treatments, scores, media (audio, video, photographic, and digital), Internet queries, or any other forms or expressions of hers discovered through the ongoing process of establishing her archive.
B. Inventorying, registering, and clarifying the copyrights on her creative materials and works.
C. Archiving her works and investigations in a way that is dynamic, interactive and accessible to artistic and research communities at large - the aim being to create a “living” archive that takes full advantage of current technologies, tools and techniques. As of 2010, this means using the Internet and the latest in database, and content management software to create an adaptable archive that can be accessed, augmented and updated by contributors and researchers, and (in a more limited, moderated way) the general web public. With care and discretion with regards to privacy and copyright issues- the spirit of this project is to be as open and sharing of information as possible.

2. To serve as an educational and creative resource for artists, musicians, scholars, researchers wishing to understand Maryanne's works, ideas, questions, and vision.

3. To ensure her creative legacy is a living one.
A. First and foremost, and using great care and judgment towards her artistic concerns and vision – to determine which, if any, of her creative works and investigations can still be presented, encourage and promote their presentation, and support their realization with primary source documentation and performance materials.
B. To promote the following:
i. New works by contemporary artists and musicians which build on or address Maryanne's interests in psychoacoustics, perception, structure-borne sound, sound spatialization, telepresence, new creative intelligences, and other interests as discovered through the establishing of her archive.
ii. Research into psychoacoustics, perception, structure born sound, sound spatialization, telepresence, new creative intelligences, and other interests as discovered through the establishing of her archive.
iii. New archive projects, and the development of generalized templates and models for these projects based on experience gained from creating and maintaining Maryanne's “living” archive described above. This is to encourage a critical perspective on her archive's progress, and to solve a problem she saw in the “static” nature of many archives, which are difficult and often expensive for even dedicated researchers to access.