Abstract
The text interprets Svetlana Maraš's electroacoustic radiophonic composition Post-Excavation Activities (2020). The compositional principle, which the author calls the inversion of concrete music, and which includes work with sounds of digital origin whose purpose is to resemble found sound artifacts, has been compared with the imaginary archives. Following the intention of Svetlana Maraš to present the medium as a sounding compositional layer, an analysis was made of which sound objects in this work can be representationally determined and how they participate in the communicativeness of the work of music. The importance of radio as a medium was emphasized, but also the context of the Electronic Studio of Radio Belgrade in which the materials for the composition were created.
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