A realistic though relaxed effort to record story, place, and memory remains crucial to each narrator’s sense of past, present, and future storytelling. To perform memory during audio recording starts with keystone interview questions to help encourage memory recall: the speakers speak, the listeners listen and inquire further, and stories unfolds in the time it takes for conversation over coffee.
Oral History is not antiquated; more so, a social psychology dyad interview approach to discovery, attention, and content management has been made widely available through technological use of recording devices.
I believe that a new home within digital archives –– including community access over the internet –– continues to develop and improve the ability to record stories, narratives, and memory.
For instance, digital recordings –– later reproduced via sound to listener, researcher, and audience –– create viable potentials for learning across the connected globe, and perhaps with spoken insights particular to each new shared community narrative.
Without narrators, access does not exist.
Content provided during narrator stories demand interpretation by wider audiences than academic interviewers, sound technicians, and transcribers. Today’s sound and memory recordings are constructed thanks to technology, and the shared human ability to interact and record experience. This does not mean the OH discipline does not overlap with other communication and media content fields, and certainly that its complexities can, and will, appear numerous to novice interviewers and sound recordists.
Personal representation, for a short time, becomes recorded presentation of memory.
In my view, collection and interpretation of narrator produced content may or may not be an unlimited resource. When localized community members and individual life-history collaborators tell stories, together we become recorded witnesses of collective retelling of public and personal memory.