The cultural heritage that comes from our archives is communicated through the use of preserved materials. However, history can only be told from the materials that are determined worthy of saving. Preservation decisions are, therefore, drawn from an assessed secondary value, which may not be obvious or clear. In the case of sound and audiovisual archives, secondary use can be fraught with obstacles, both physical and statutory. But audiovisual materials can offer, not only the ability to evince history, but the ability to tell new stories.
This paper describes various ways that artists use recorded materials to create new works and the various ways those new works connect with scholars, students, and the public. Specifically, the author will look at three uses of materials from the Drexel Audio Archives by visual artists Jennifer Allora and Guillermo Calzadilla, British musician and composer Bitty McClean, and Wilco guitarist Nels Cline. While the use of audio materials benefited these three artists, the use also benefits the Archives by guiding preservation decisions and providing visible exploits that demonstrate the Archive's value.
