A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, (...) and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice—as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts—literature, oratory, song—and the nature of aesthetic experience. (shrink)

I examine some aspects of Mach’s concern for photographs and phonographs. I start with the phonographs, and I examine in particular Mach’s reference to this device in his account of the development of written language. My second point is a comparison between Mach's reference to phonographs and hieroglyphs and some very similar insights in Wittgenstein’s Tractatus. Lastly, I address some aspects of Mach’s interest in photographical techniques, and I try to draw a parallel between Mach’s conception of mental economical pictures (...) and the method of composite portraiture developed by Galton. (shrink)

‘Morgan's canon’ is a rule for making inferences from animal behaviour about animal minds, proposed in 1892 by the Bristol geologist and zoologist C. Lloyd Morgan, and celebrated for promoting scepticism about the reasoning powers of animals. Here I offer a new account of the origins and early career of the canon. Built into the canon, I argue, is the doctrine of the Oxford philologist F. Max Müller that animals, lacking language, necessarily lack reason. Restoring the Müllerian origins of the (...) canon in turn illuminates a number of changes in Morgan's position between 1892 and 1894. I explain these changes as responses to the work of the American naturalist R. L. Garner. Where Morgan had a rule for interpreting experiments with animals, Garner had an instrument for doing them: the Edison cylinder phonograph. Using the phonograph, Garner claimed to provide experimental proof that animals indeed spoke and reasoned. (shrink)

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development (...) of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back"--Provided by publisher. (shrink)

I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially (...) helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’. (shrink)

An individual has a theory of mind if he imputes mental states to himself and others. A system of inferences of this kind is properly viewed as a theory because such states are not directly observable, and the system can be used to make predictions about the behavior of others. As to the mental states the chimpanzee may infer, consider those inferred by our own species, for example, purpose or intention, as well as knowledge, belief, thinking, doubt, guessing, pretending, liking, (...) and so forth. To determine whether or not the chimpanzee infers states of this kind, we showed an adult chimpanzee a series of videotaped scenes of a human actor struggling with a variety of problems. Some problems were simple, involving inaccessible food as in the original Kohler problems; others were more complex, involving an actor unable to extricate himself from a locked cage, shivering because of a malfunctioning heater, or unable to play a phonograph because it was unplugged. With each videotape the chimpanzee was given several photographs, one a solution to the problem, such as a stick for the inaccessible bananas, a key for the locked up actor, a lit wick for the malfunctioning heater. The chimpanzee's consistent choice of the correct photographs can be understood by assuming that the animal recognized the videotape as representing a problem, understood the actor's purpose, and chose alternatives compatible with that purpose. (shrink)

Digital and analog: What do these terms mean today? The use and meaning of such terms change through time. The analog, in particular, seems to go through various phases of popularity and disuse, its appeal pegged most frequently to nostalgic longings for nontechnical or romantic modes of art and culture. The definition of the digital vacillates as well, its precise definition often eclipsed by a kind of fever-pitched industrial bonanza around the latest technologies and the latest commercial ventures. One common (...) response to the question of the digital is to make reference to things like Twitter, Playstation, or computers in general. Here one might be correct, but only coincidentally, for the basic order of digitality (the digitality of digitality) has not yet been demonstrated through mere denotation. And the second question—the question of the analog—is harder still, with responses often also consisting of mere denotations of things: sound waves, the phonograph needle, magnetic tape, a sundial. At least denotation itself is analogical. This article will aim to define the analog explicitly and argue, perhaps counterintuitively, that the golden age of analog thinking was not a few decades past, prior to the wide-spread adoption of the computer. In fact, the fields of structuralism and poststructuralism that emerged in the middle to late twentieth century, concurrent with the deployment of the digital computer, were characteristically digital, what with their focus on the symbolic order and logical economies. If anything, the golden age of analog is happening today, all around us, as evidenced by the proliferation of characteristically analog concerns: sensation, materiality, experience, affect, ethics, and aesthetics. (shrink)

In the early 1890s the theory of evolution gained an unexpected ally: the Edison phonograph. An amateur scientist used the new machine—one of the technological wonders of the age—to record monkey calls, play them back to the monkeys, and watch their reactions. From these soon-famous experiments he judged that he had discovered “the simian tongue,” made up of words he was beginning to translate, and containing the rudiments from which human language evolved. Yet for most of the next century, (...) the simian tongue and the means for its study existed at the scientific periphery. Both returned to great acclaim only in the early 1980s, after a team of ethologists announced that experimental playback showed certain African monkeys to have rudimentarily meaningful calls. -/- Drawing on newly discovered archival sources and interviews with key scientists, Gregory Radick here reconstructs the remarkable trajectory of a technique invented and reinvented to listen in on primate communication. Richly documented and powerfully argued, The Simian Tongue charts the scientific controversies over the evolution of language from Darwin’s day to our own, resurrecting the forgotten debts of psychology, anthropology, and other behavioral sciences to the Victorian debate about the animal roots of human language. (shrink)

A widespread view among philosophers and scientists is that recorded sounds and assisted hearing differ fundamentally from natural sounds and direct hearing. It is commonly claimed, for example, that the sounds we hear over the phone are not sounds emitted by the voice of our interlocutor, but the sounds reproduced by the phone’s loudspeaker. According to this view, hearing distant sounds through communication and audio equipment is at best indirect and at worst illusory. In what follows, I shall reject these (...) claims and argue in favor of a transparent view of auditory media, including radio, telephone, phonograph, etc. According to this approach, the great gift of Scott de Martinville and Edison is not to have invented devices able to reproduce vanished sounds but rather to have created technological instruments literally able to store and transmit them to future and distant listeners. (shrink)

From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and (...) twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general. (shrink)

In the year 1900, the German philosopher Carl Stumpf made one of the earliest phonograph recordings to document an example of traditional music. The ensemble he recorded was the Siamese Court Orchestra which was performing in Germany at that time. This led to the establishment of the Berlin Phonogramm-Archiv and the beginning of the extensive recording of world traditional music. While written scores have begun to break traditional music away from its dependence on initiation and apprenticeship, the recording of (...) music has had an even more powerful impact on the role of memory in traditional music. No longer is one required to attend a performance, one can simply listen to a recording. Likewise, one can use recordings and videos to learn a piece without the presence of a teacher and can learn the music of another tradition. To consider the future of traditional music, the transformations created by the externalization of memory needs to be examined. This paper hopes to take a step in this direction. It will first consider the psychology of music developed by Stumpf himself. Especially the opposition between the phenomenological reception of music and it’s tempering by the consciousness which allows for aesthetic experience. It will extend this by considering Alain Daniélou’s reflections on the impact of writing and recording on musical creativity. The externalization of memory and the recording of traditional music, leads to may benefits - we have historical records of beautiful musical performances and traditions, many of which have already been lost - but simultaneously this externalization of memory threatens the very essence of traditional and religious music. Finally, the paper will address these paradoxes by applying Jacques Derrida and Bernard Stiegler’s idea of the ‘pharmacon’, and ‘positive pharmacology’ to understand how to navigate these contradictions which face this externalization of musical memory. (shrink)

The “information age” is often thought in terms of the digital revolution that begins with Turing’s 1937 paper, “On computable numbers, with an application to the Entscheidungsproblem.” However, this can only be partially correct. There are two aspects to Turing’s work: one dealing with questions of computation that leads to computer science and another concerned with building computing machines that leads to computer engineering. Here, we emphasize the latter because it shows us a Turing connected with mechanisms of information flow (...) rather than solely with the mathematical and logical problems of computability for which he is better known. Our reasons for doing so will become clear in what follows. In fact, the 1937 paper just mentioned provides a general schematic for building a computing machine; this mechanical connection puts Turing on an historical continuum with others who discovered mechanisms to cope with information. Of those involved in this quest in the 19th Century, two people in particular, Edison and Bell, had explicit visions of an information age that would follow from their work. Because they were explicitly aware of what they were doing and partly brought it about long before 1937, they deserve substantial credit for the information age they set out to inaugurate. Regarding one purely mechanical and non-electronic technology, Edison noted ten uses for the phonograph, including not only the replication of sound, but also “connection with the telephone, so as to make that instrument an auxiliary in the transmission of permanent and invaluable records, instead of being the recipient of momentary and fleeting communication”. Even though the telephone was only two years old when Edison wrote of a network made up of mechanical hard storage systems and people connected by wire, the network vision was already clearly in his head. (shrink)

The playback experiment -- the playing back of recorded animal sounds to the animals in order to observe their responses -- has twice become central to celebrated researches on non-human primates. First, in the years around 1890, Richard Garner, an amateur scientist and evolutionary enthusiast, used the new wax cylinder phonograph to record and reproduce monkey utterances with the aim of translating them. Second, in the years around 1980, the ethologists Peter Marler, Robert Seyfarth, and Dorothy Cheney used tape (...) recorders in a broadly similar way to test whether the different predator calls of one monkey species, vervet monkeys, warn about different kinds of predator. This paper explores the circumstances leading to the ca. 1890 invention and the ca. 1980 reinvention of the primate playback experiment. In both instances, I show, the experiment served as a riposte to those arguing, on scientific grounds, that an unbridgeable gap divides human language from animal communication. I also consider how far progress in technology explains the timing of invention and reinvention. I conclude with some reflections on sifting contingent from inevitable aspects of the history of the primate playback experiment, and of scientific achievements more generally. (shrink)

Summary During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental (...) training and a solid musical education, typical of their Bildungsbu ü rgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions. (shrink)

In this commentary, I am going to focus on the earlier sections of Lapointe’s paper in which she defends an interpretation of Frege’s account of the individuation of lexical types. According to Lapointe, Frege rejects the view that two signs – concrete particulars – belong to the same lexical type just in case they are tokens of the same orthographic or phonographic type. Instead Frege’s position is that two signs belong to the same lexical type “only if they are recognized (...) as belonging to the same lexical type.” [p. 1] And recognizing that a (currently perceived) sign is of the same lexical type as previous perceived sign requires recognizing (i) that the current sign was produced and deployed with communicative intentions and (ii) that the speaker/ inscriber of the current sign and the speaker/ inscriber of the previous sign have “the same mental state or mental states that are similar in some essential manner.” [p. (shrink)

This article defends a Platonist view of streaming. It is opposite to the mainstream representation that streaming has “liquidated” the structure both objective and collective of musical experience. On the contrary, streaming is the support of a new kind of musical object, which is distinct both from the allographic notational objects and from the phonographic ones. This third kind of object has to be characterized as a flux-object. The way it is diffused and accessible implies a new kind of experience. (...) Cyberspace in which this experience takes place is characterized as an “hyperobjective noosphere”: the relation of streaming with the subjects of musical experience is akin to the relation of atmosphere or biosphere to the living beings. This article invites to an ascetic exercise: the everyday experience of the listener has to become mindful of the “swarm community” in which s/he participates by streaming. Thus it develops a renewed musical Platonism, as a kind of response to “object-oriented ontologies”. According to this renewed Platonism, dispositional properties are essential to the objects. Objects have no sense apart from the relation to individual and collective subjectivations that are potential parts of them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 485-494 [Access article in PDF] Art of the Piano Denis Dutton CHARLES ROSEN is so familiar to readers as an acute music theorist and historian of European ideas and literature that it is easy to forget that he is one of most stimulating and compelling pianists of the last fifty years. In Piano Notes: The World of the Pianist (Free Press, $25.00), he combines (...) his intellectual and musical gifts to take stock of his profession as concert pianist. The result is engaging, insightful, and for lovers of piano artistry, not a little disturbing.The piano, in case no one has noticed, is in steep, serious decline. My piano tuner, Adam Linning, began his career in Glasgow. He worked for the largest piano retailer in the city: it had seventeen tuners on the road in 1954, the year Glaswegians first got television. By 1959, when he left for New Zealand, there were three other tuners working with him. Adam explains the decline in terms of Glasgow apartment space. The piano and the TV had to share the living room, and so long as the room flickered with gray-blue light, the piano had to remain silent.People used to gather around and sing together at the piano—in my childhood experience, any group of a dozen middle-class adults would contain at least one competent sight-reader who could play, if not Beethoven, then Christmas carols, reductions of Your Hit Parade songs, or scraps of boogie-woogie. This meant that there was abroad in the land a critical mass of amateur pianists who knew enough about music literature, notation, and performance to constitute a core audience for the piano masters of the day—Horowitz, Rubinstein, Arrau, Cherkassky, and the like—and who also had an appreciation of jazz greats such as Art Tatum.The decline in the number of amateur pianists, people with knowledgeable admiration of piano playing, has tracked the decline of the [End Page 485] piano virtuoso as classical star. Recording too has played a role in these changes. I doubt that there was a greater love of classical music fifty years ago than now. But attendance at live performances of anything is no longer required in order to attain familiarity with repertoire. Recording, particularly from the LP era on, enormously enlarged general knowledge of the musical literature: people who a hundred years earlier would have been lucky to hear three Haydn symphonies or two Handel operas in a lifetime can now, no matter where they live, listen to them all. Recording did to music something like what the Roman alphabet and moveable type did for news and literature: it enabled the universal dispersal of all of music's products, the worst to the best. For years professional musicians tended not to appreciate this. While it is true that there are fewer people about who can actually play Scarlatti sonatas, that has to be balanced against the agreeable fact that knowledge of these small masterpieces is no longer limited to the fifty or sixty included in early editions, from which was derived the same two dozen that we would hear from pianists over and over. Now we can hear all 550+, and learn about them for ourselves (Arts & Letters Daily even links to a website where you can find any Scarlatti sonata in seconds, click on it, and listen.)This is a big change. Keyboard virtuosity goes back a long time, even before Bach, although it was Liszt, as inspired by Paganini, who gave the piano its first real idol. Enter Edison a few decades later, and with his appearance it became possible for people to joke, "The only instrument I play is the phonograph." If there are fewer pianists able to make a living performing the classical repertoire today, it is because a world of mostly non-pianists that is oversupplied with CDs just doesn't need them all, either to hear the playing or enjoy the music.A notable aspect of Charles Rosen's regard for piano playing is that he conveys no dewy-eyed nostalgia about... (shrink)

Cet ouvrage porte sur la notion de surface, ses plans, ses dimensions et ses propriétés, mais surtout sur ses fonctions dans l'univers artistique. Dès les premiers collages cubistes, ce sont les avant-gardes du début du XXe siècle qui ont fait de cette entité l'élément principal de l'art, de ses opérations et de ses visions. Avec l'invention du cinématographe, du phonographe, et la nouvelle typographie, elle a été repensée en profondeur, vouée à une existence renouvelée au travers de procédés artistiques comme (...) le collage et le montage. C'est dire qu'elle n'a rien d'une catégorie figée et qu'il s'agit d'en faire l'histoire en même temps que la théorie. C'est ce à quoi s'attache cette étude, véritable traversée des avant-gardes occidentales (arts plastiques, cinéma, théâtre, poésie) élaborée au filtre d'une logique des surfaces généralisée. De Picasso à Abel Gance, de Braque à Fernand Léger, d'Apollinaire à Eisenstein, c'est tout un pan de la pensée et de la création qui est ici mis puissamment en perspective au moyen d'analyses aussi précises dans la saisie de leurs objets que dans la traversée de la littérature qu'ils ont suscitée. On y découvrira non seulement une nouvelle histoire des avant-gardes, largement critique par rapport à l'approche formaliste des surfaces (celle de Clement Greenberg notamment), mais aussi une nouvelle histoire de la quatrième dimension, enjeu majeur d'un grand nombre de travaux modernistes. Des surfaces donc ou d'une vision profondément renouvelée du sens et des effets de la création."--back cover. (shrink)

It was not until the emergence, in the 19th century, of new technical devices – such as the telegraph and the phonograph – that the term medius came to serve as a collective noun (media) for advanced communication technologies. Although mediation is extensively theorized in philosophy and sociology, and is approached by medium theory and media studies, the concept remains undertheorized in the field of communication theory.By exploring the problem of mediation and by challenging its representationalist and transmissive accounts, (...) this paper posits mediation beyond the medium. It traces mediation as a relational principle which can be best understood as modulation involving inherent translation, inflection and movement. Mediation is not a simple transportation of meaning through a passive intermediary. It is not just something which stands or comes between things otherwise separated or opposed. Mediation is neither a middle-thing linking separate entities, nor do things get mediated: They are already forms of mediation. Mediation is, foremost, a connecting mean that generates modified experiences and relations, a modulating process that re-connects at the moment it separates. (shrink)

In the early 20th century anthropologists collected sounds, images and artifacts to represent traditional cultures. Under the direction of Franz Boas, anthropologists working for the American Museum of Natural History's JesupNorth Pacific Expedition documented a variety of northeastern Siberian shamanisms. Demonstrations staged for the phonograph and the camera served as models for museum representations. These ethnographic inscriptions, together with the collection of texts and sacred objects, documented shamanistic traditions; yet ceremonial traditions remained partially obscured, resisting full intelligibility. The complexity (...) of variations suggests that mystification and opacity are central to shamanic efficacy and the continued vitality of performative ritual, and that Siberian shamanic practices are inherently resistant to anthropological modes of interpretation. (shrink)

ABSTRACT The present article, which is theoretical, bibliographical as well as phonographic-documental in nature, aims to reflect on how daily life influenced Jackson do Pandeiro’s compositions and interpretations. Moments of Jackson do Pandeiro’s trajectory and excerpts of songs were selected to expose the importance of daily life for his work. The article shows that Jackson do Pandeiro’s works establish a dialectic relationship with the society that raised him, enabling listeners to access a critical potency. This potentiality grants them a new (...) set of lenses to interpret daily life, which, in turn, is the cradle of artists’ inspiration. This set of factors led the musical sphere as well as some of the Brazilian intellectual elite to consider Jackson do Pandeiro the King of Rhythm in the Música Popular Brasileira, MPB [Brazilian Folk Music]. (shrink)

The ArgumentThis article uses the history of early sound recording technology in the united States between 1878 and 1915 to show how published discourse contributed to the way the talking machine was defined and situated as a commercially viable product. Comparing the published accounts of Edison's phonograph and Berliners gramophone in popular scientific articles between 1878 and 1896 illustrates that technological advances in sound recording technology take on important cultural meanings. Critical to these meanings is the way in which (...) the technological “fidelity” is linguistically transformed into an aesthetic quality, projected and interpreted within demonstrable values of musical culture. Beginning in 1902, the Victor Talking Machine Company, formed to market the gramophone, took advantage of these cultural meanings to claim a technological advantage over Edison's cylinder recorder. Whose voice was recorded became part of the claim to technological superiority. The Victor Company succeeded in capitalizing “Culture” by promoting their recordings of opera stars like Enrico Caruso as technologically and culturally faithful to live musical performance and as a democratically available access to a privileged lifestyle. Thus did the Victor Company use a terrier and a tenor to legitimate their talking machine as an American musical instrument. (shrink)

Because English faculty are the ones most commonly trusted with the historic, aesthetic, and ideological study of verbally based art forms, they are the ones who will ultimately decide the fate of studies in American phonographic rhapsody . Thus, it is a significant problem that English faculty neither study American rhapsody nor receive training in the art and science of analytic listening, a prerequisite to the successful study of U.S. recorded poetic sound art. More importantly, they have failed to develop (...) field related information and understanding necessary to the development of criticisms of American phonographic rhapsody. This dissertation seeks to redress the present circumstance by providing English faculty with the kinds of rudimentary, foundational knowledges they would need if they were to open the history of U.S. recorded sound poetries to academic inquiry. Chapter One establishes that English faculty turned their back on sound art studies for reasons having nothing to do with the historic importance, artistic merit, and ideological content of poetic sound art. Rather, departments of English, under the direction of an extra-literary historical process, encountered and passed over the historic study of American recorded sound art without ever knowing why they did it. Chapter Two proceeds from the newly established position that English faculty are unjustified in their continued neglect of American phonographic rhapsody. Having noted that English faculty achieve their rank without learning how to think about recorded sound as an object of investigation, the chapter offers a short treatise on the fundamental principles of sound art research which include radio and phonography are divergent modeling systems; the phonographic medium is a first content of any recording; sound art recorded prior to broadcast is recorded sound art; phonographic intention accounts for the "live radio" recording; recorded poetic sound art is "Rhapsody." In the end, this dissertation refrains from attempting to stimulate interest in poetic sound art, opting instead to lay solid historic and theoretic foundations upon which scholars may base and steady their future studies of American rhapsody. (shrink)

Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium. Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny and sometimes (...) profound understanding of their medium—from Buster Keaton’s encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx’s lip-sync turn with a phonograph in Monkey Business (1931) to Jerry Lewis’s film-on-film performance in The Errand Boy (1961). The Slapstick Camera follows the observation of philosopher Stanley Cavell that self-reference is one way in which “film exists in a state of philosophy.” By moving historically across the studio era, the book looks at a series of comedies that play with the changing technologies and economic practices behind film production and describes how comedians offered their own understanding of the nature of film and filmmaking. Hilsabeck locates the hidden intricacies of Hollywood cinema in a place where one might least expect them—the clowns, idiots, and scoundrels of slapstick comedy. “From its analysis of the vaudevillian Victorian origins to early Hollywood expressions, and from defining classical performances by the likes of Keaton to recent postmodern recapitulations, Hilsabeck’s theoretically rigorous and wide-ranging study masterfully weaves a path through the historical, technical, and philosophical art of slapstick comedy. A must for scholars working in this field.” — Daniel Varndell, author ofHollywood Remakes, Deleuze and the Grandfather Paradox. (shrink)

Islamic law employs a classification of acts that divides each into one of five categories, ranging from forbidden to obligatory. When the phonograph became a popular instrument at the end of the nineteenth century, the use of this new machine, which reproduced both the Quran being recited and the song of an unknown woman, had to be categorized. The present article presents the edition for the first time, with translation and analysis, of a fatwa on the permissibility of the (...) phonograph, issued in 1908 by the Meccan scholar ʿAbdallāh Muḥammad Ṣāliḥ al-Zawāwī. Fatwas on phonography by the Indonesian scholar Sayyid ʿUthmān and the later shaykh al-Azhar Muḥammad Bakhīt al-Muṭīʿī are also analyzed. Two European scholars who recorded Quranic phonography are paid attention as well: Christiaan Snouck Hurgronje and Gotthelf Bergsträsser. Their involvement with Quranic sound recording is placed within its historical context. Finally, a short impression is given of what survives of these early recordings. (shrink)

From the New York Times-bestselling author of Where Good Ideas Come From and Everything Bad Is Good for You, a new look at the power and legacy of great ideas. In this illustrated volume, Steven Johnson explores the history of innovation over centuries, tracing facets of modern life (refrigeration, clocks, and eyeglass lenses, to name a few) from their creation by hobbyists, amateurs, and entrepreneurs to their unintended historical consequences. Filled with surprising stories of accidental genius and brilliant mistakes-from the (...) French publisher who invented the phonograph before Edison but forgot to include playback, to the Hollywood movie star who helped invent the technology behind Wi-Fi and Bluetooth-How We Got to Now investigates the secret history behind the everyday objects of contemporary life. In his trademark style, Johnson examines unexpected connections between seemingly unrelated fields: how the invention of air-conditioning enabled the largest migration of human beings in the history of the species-to cities such as Dubai or Phoenix, which would otherwise be virtually uninhabitable; how pendulum clocks helped trigger the industrial revolution; and how clean water made it possible to manufacture computer chips. Accompanied by a major six-part television series on PBS, How We Got to Now is the story of collaborative networks building the modern world, written in the provocative, informative, and engaging style that has earned Johnson fans around the globe. (shrink)