fraudulent voices

Even the fraudulent image of the crucified Orpheus can be thought of as an utterance - a sort of iconographic and textual lie. And, because a particular collector believed the lie, the seal ended up in the archive - more specifically, the Kaiser Friedrich Museum in Berlin, where it was studied by Otto Kern and transcribed in his collected edition of orphic fragments published in 1922. In fact, I'm really *very* interested in this. It foregrounds the materiality of voices - the fact that they exist in records which may be real or may be forgeries, which may survive or be destroyed, that may be transcribed and translated more or less accurately. And all of these processes are, of course, functions of the practice of archiving voices.