{"value"=>"<p>Series IX contains Amacher's personal files, which are arranged alphabetically by file type or topic and chronicle her childhood, family, friendships, travel, and assorted interests. Included here are photographs, correspondence, calendars and datebooks, notes and notebooks, artwork, and recordings. Since Amacher often worked at home, there was significant overlap between her personal and professional lives. Therefore, contracts and agreements, professional travel documentation, files on audio equipment, and professional correspondence are often filed alongside personal materials.</p> <p>The correspondence dates from 1967 to 2009, the bulk of which is arranged by date and chiefly between Amacher and her colleagues and friends. There is also a significant amount of correspondence between Amacher and her parents, as well as letters her parents wrote to each other. Much of the correspondence, despite being found among her personal files, is professional in nature, and concerns events Amacher attended; performances she gave; installation requirements; travel plans; recommendations; her residencies; audio equipment purchases; research; and personal updates. Correspondence from the 1990s and 2000s is prominent, focusing on <span class=\"title\">Music for Sound-Joined Rooms</span> installations, <span class=\"title\">Sound Characters (Making the Third Ear)</span>, and Bard College instruction. This series also contains files of correspondence with both John Cage and Luis Frangella; the Cage correspondence includes a 1976 recommendation Cage wrote for Amacher, and drafts of a 1989 letter Amacher wrote to Cage about a Guggenheim Museum submission. Similar correspondence addressing installations, performances, and collaborations can be found in series I, II, and VII, as well as with the project and grant applications held in subseries VI.B.</p> <p>Photographs consist of prints and slides, and largely depict Amacher and her family. Photographs of Amacher depict her performing, working on installations, with friends, and in her home. Numerous portraits of Amacher, especially from her childhood, are included. There are family photographs present that are mostly unlabeled, and which depict Amacher's parents and other relatives from the 1890s through 1986. Additionally, there is a set of photographs and slides arranged by subject that were mostly taken by Amacher during her travels. Another set of unidentified photographs is ordered at the beginning of the photographs group; these images portray other people, assorted travel scenes, events, and audio equipment. Additional professional photographs are held with the installation files in series I, and with the performance and collaboration files in series II. Images of Amacher in a professional setting are also found in the press and publicity files in series VIII.</p> <p>Amacher's personal notes and notebooks contain jottings, lists, calculations, addresses, phone numbers, and various writings. Due to Amacher's scattered note-taking practices, these notebooks occasionally feature composition and installation notes. Calendars date from 1968 to the 1990s, and similarly feature a mix of personal and professional memos. This series also contains several pieces of artwork, some of which was likely created by Amacher, and some that was given to her as a gift.</p> <p>Of special note are files Amacher made about her clothes and fashion, including index cards of various outfit options, and notebooks inventorying her clothing. These files sometimes address specific events or locations at which Amacher intended to wear these outfits; there are research files in series V that further address Amacher's interest in fashion. Also found among the personal papers is Amacher's House File, which holds closing documents, a property map, and documentation related to her home.</p> <p>The recordings held in this series largely consist of works by other artists, as well as recordings made for Amacher. Of interest are two mixes made for Amacher by DJ Spooky, which includes a handwritten tracklist and artwork. Scanned copies are available upon request from the Music Division.</p>"}