Through my work within the format of multichannel sound-installations, I always felt the need to
preserve ephemeral works in a recorded form for archiving purposes and to showcase my work to
curators, art institutions, and the general public. The attempt to preserve ephemeral sonic work raises
two questions: How do I translate a multichannel audio-work into a recorded form without losing the
spatial properties? And how do I make such audio-work accessible without immense technical
equipment? This paper will examine different spatial audio recording and reproduction techniques to
obtain a sufficient method that can preserve and playback ephemeral work with a spatial component.
The conversion of multichannel sound-installations into a recorded form also raised questions related
to sound and media art theory, i.e. how does the recorded version relate to the original version – is it
still the same piece of work? Preceded by a case study on archiving ephemeral sonic work, I explore in
the last segment of this thesis three creative principles of preserving ephemeral work based on my eight
channel sound-installation Candid III. These three different methods will be examined and evaluated
with regard to their abilities to accurately capture the spatial properties of Candid III. My research in
experimenting with binaural formats aims toward making sonically immersive work more easily and
authentically accessible. Further, it could also be of use in the context of cultural institutions that are
confronted with similar problems when dealing with ephemeral sonic works containing spatial
components.