{"value"=>"<p>Subseries I.A. holds chronologically arranged files and recordings from Amacher's <span class=\"title\">City-Links</span> installations, which date from 1967 to 1988. The materials in this subseries cover all aspects of the installation project including descriptions, notes, artwork, recordings, and images. The subseries commences with a group of materials addressing the installation more generally, as well as files that cover multiple installation sites or projects. This is followed by a chronological list of installations by location. Although the recordings are labeled as originating from these specific locations, it is likely Amacher used them in subsequent installations and performances. It is also possible that additional recordings from <span class=\"title\">City-Links</span> are held in series III.</p> <p>The most comprehensive materials are from Buffalo, New York and Massachusetts, both of which include a large cache of recordings identified by their specific locations and time of day Amacher made the recordings. The Buffalo materials include installation descriptions, a WNED-TV contract, slides, and audio recordings. The recordings, most of which are dated from 1967, feature source footage from Ellicott Square, Pillsbury Flour Machines, and Grain Mills. There are also two recordings labeled as being from WBFO, Buffalo's National Public Radio affiliate.</p> <p>The Massachusetts materials hold recordings and papers that date from 1972 to 1979, which partially corresponds to Amacher's tenure at MIT's Center For Advanced Visual Studies (CAVS). There are source recordings present from <span class=\"title\">Time and the Wind Places</span> (1973), <span class=\"title\">Tone and Place</span> (1974-1976), and <span class=\"title\">Incoming Night, Eberhard Blum at Pier 6, Boston Harbor</span> (1975) installations. Of note is the <span class=\"title\">Boston to WBAI to Paris</span> test broadcast recording that likely dates from 1976.</p> <p>Amacher's work at the Walker Art Center in Minneapolis, Minnesota, dates from 1974 to 1975, and consists of files and recordings for both <span class=\"title\">Hearing the Space, Day by Day Live</span> and <span class=\"title\">No More Miles</span>. Included here are posters, project blueprints, project descriptions, notes, production schedules, photocopied images, negatives, slides, and a map of Minneapolis. Of special interest is a large group of recordings Amacher made near the Mississippi River in Louisiana and Mississippi which she utilized in her Walker Art Center installations. Many of these recordings are heavily annotated, and scanned images are available upon request from the Music Division.</p> <p>The Chicago, Illinois materials include files and recordings from <span class=\"title\">Everything-in-Air</span> and <span class=\"title\">Hearing in Synchronicity</span>, both of which are from 1974. The files contain draft project descriptions, notes, photographs, contact sheets, negatives, and slides. There are also source recordings from both installations, many of which were made at Navy Pier in Chicago.</p> <p>Also present are files and recordings from Amacher's work in Oakland, California and Miami, Florida. Additionally, there is one large group of recordings from 1979 to 1980 identified as \"New York City Harbor Recordings.\" These recordings contain no accompanying notes or documentation, but do include the precise dates of each recording. Some of these recordings may have been used in Amacher's <span class=\"title\">No More Miles</span> installation at Mills College in Oakland, California the following year.</p>"}