By Ovidiu Tichindeleanu
"The picture Sound. An Archeology of Sound, know-how and information at 1900" is a
study of the epistemic box of past due 19th century Western Europe, within the wake of
Michel Foucault's archeology of information and Friedrich Kittler's media thought. I
address the structure of information in terms of listening to and sound, and the relations
between such wisdom formations, know-how and tool apparatuses in the course of the
Second business Revolution (1871-1900) in France and Germany.
The beginning of recent media has introduced the dispersion of discursive regimes which still
defines the fabric chances of sleek tradition industries, cut up among the channels
of visible, aural and textual media. What then, establishes the chances of common
sense among what may be heard, obvious and browse?
Following an summary of the hot theoretical literature on Sound tradition experiences and
New German Media thought, I exhibit to begin with that the spoken excessive idioms of French,
German, and English are the new fabricated from disciplinary strength mechanisms aiming to
create a phonetically homogeneous house of discursivity. The repression of dialects
produces new stipulations of discursivity, making attainable the emergence of experimental
phonetics, dialectology and linguistic geography .
A moment element of insertion is the normalization of played Western track, evidenced
in the institution of equivalent temperament and conventional pitch as rules governing
musical functionality. smooth colonialism and sound copy have introduced the high
idiom of Western song involved with the novel distinction of the Other's song. I
follow the explanation of this method within the first information of "exotic" sound recordings, the Berlin Phonogram Archive, and consequent emergence of the hot self-discipline of comparative musicology .
Thirdly, I reopen Carl Stumpf's tone psychology , an research of the chances of
pre-discursive notion interested in aural notion, in comparison with Wilhelm Dilthey's
critique of ancient reason.
In end, a brand new kind of epistemic item appears to be like on the element of dispersion of
discourses. The rising disciplines are in response to distinction, hybridity and non-signifying correspondences among aural, visible and textual regimens. The functionality of
technology and biopolitical strength mechanisms is to show the anonymity of the empirical
fact right into a efficient epistemic positivity.
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Additional resources for The Graphic Sound: An Archeology of Sound, Technology and Knowledge at 1900
Thus, in the analytical chapters, taking up from where Foucault has left the issue of the modern episteme, and reopening Friedrich Kittler's discourse analysis, I follow the ordering of the phonetic substance of the main vehicle of cultural exchange, language, in the cultural practices and scholar theories that have constituted the science of linguistics and the governmental practices of linguistic education in nineteenth century Europe, as well as the ordering of the sonorous substance of world music in the emerging science of comparative ethnomusicology.
It lifts the dust-cover off a world that we take for granted. "23 These simple words are articulating what is actually a very ambitious mode of theorizing, reaching toward nothing else but the very conditions of possibility of truth. One can think therefore of archaeology as a mode of writing theory with the peripheral eye: theory is not normative, does not try to lead the way, but follows trails with a sense of curiosity, joy and caution, moving thought in relation to a carefully defined archive or statement rather than a world of ideas.
Such transformations are said to be 'a priori' because they are impervious to the living experience or awareness of the witness, the first-order observer. They are certainly not "a priori" to the second-order observer. Therefore, not only that the historical a priori does not constitute the cause of knowledge, but there is rigorously no causal or logical connection between two historical a priori – only a discontinuous space in history that is called an epistemic break. An historical a priori does not explain the cause of culture and is not a deeper strata, an invisible message hidden in the archive.