Skip to main content Accessibility help
×
Home
Hostname: page-component-544b6db54f-lmg95 Total loading time: 0.251 Render date: 2021-10-19T00:52:50.325Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "metricsAbstractViews": false, "figures": true, "newCiteModal": false, "newCitedByModal": true, "newEcommerce": true, "newUsageEvents": true }

Tape: Or, Rewinding the Phonographic Regime

Published online by Cambridge University Press:  10 March 2017

Abstract

Magnetic tape follows the contours of the twentieth century in striking ways, from the overtly sonic and musical to less obvious political and social transformations. This introductory article sets the tone for this special issue, an effort to connect discrete histories of tape through a focus on its materialities. We posit the existence of a phonographic regime that coheres around a loose set of assumptions that often appear in tandem with broad claims about what ‘sound recording’ or even ‘analogue media’ are. This regime dates back to the invention of phonography but persists through many contemporary histories of sound recording. We challenge the regime by thinking with and through tape recording. One of tape's critical media operations, ‘rewind’, serves as a central focus for our push-back against the regime. As a button-interface, it highlights the physical engagement of humans with materialities, including the corporal labours of using technology, with iconography that digital technologies still employ. As a mechanism of respooling, it points to the industrial histories of various spooling forerunners from textiles to film reels. As we explore its cultural techniques in musical practices, we consider rewind, above all, as a temporal gesture that offers new paths backward into history.

Type
Articles
Copyright
Copyright © Cambridge University Press, 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

We are thankful for comments by and conversations with Brigid Cohen, Michael Heller, Julian Johnson, Clara Latham, John Durham Peters, Alice Shields, Jason Stanyek, Jonathan Sterne, and Benjamin Tausig, as well as the collaboration with the contributors to this special issue.

References

Abraham, Otto and von Hornbostel, Erich. ‘Über die Bedeutung des Phonographen für die vergleichende Musikwissenschaft’. Zeitschrift für Ethnologie 36/2 (1904), 222–36.Google Scholar
Adorno, Theodor W. ‘Opera and the Long-Playing Record’, trans. Levin, Thomas Y.. October 55 (Winter 1990), 62–6.CrossRefGoogle Scholar
Adorno, Theodor W.. Current of Music: Elements of a Radio Theory, ed. Hullot-Kentner, Robert. Cambridge: Polity, 2009.Google Scholar
Algar, Hamid. Roots of the Islamic Revolution in Iran. Oneonta, NY: Islamic Publications International, 2001.Google Scholar
Ampex Electric Corporation. Instruction Book: Model 200A Magnetic Tape Recorder. San Carlos, CA: Ampex Electric Corporation, no date (c. 1948).Google Scholar
Bashe, Charles J., Johnson, Lyle R., Palmer, John H., and Pugh, Emerson W.. IBM's Early Computers: A Technical History. Cambridge, MA: MIT Press, 1986.Google Scholar
Berliner, Emile. ‘The Gramophone: Etching the Human Voice’. Journal of the Franklin Institute 75/6 (June 1888), 425–46.CrossRefGoogle Scholar
Bernstein, David W., ed., The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. Berkeley: University of California Press, 2008.Google Scholar
Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Avant-Garde. Berkeley: University of California Press, 1995.CrossRefGoogle Scholar
Brady, Erika. A Spiral Way: How the Phonograph Changed Ethnography. Jackson: University Press of Mississippi, 1999.Google Scholar
Bruck, Eugene. Liner notes to Sounds of New Music, LP, Folkways Records, FX6160, 1957.Google Scholar
Bull, Michael. Sounding Out the City: Personal Stereos and the Management of Everyday Life. Oxford and New York: Berg, 2000.Google Scholar
Carlos, Wendy. Liner notes to Switched-On Bach 2000. CD, Telarc, CD-80323, 1992.Google Scholar
Connor, Steven. Beckett, Modernism and the Material Imagination. Cambridge: Cambridge University Press, 2014.CrossRefGoogle Scholar
Daniel, Eric D., Mee, C. Denis, and Clark, Mark H., eds. Magnetic Recording: The First 100 Years. Piscataway, NJ: IEEE Press, 1999.Google Scholar
Daughtry, J. Martin. ‘Acoustic Palimpsests and the Politics of Listening’. Music and Politics 7/1 (2013). http://quod.lib.umich.edu/m/mp/9460447.0007.101/–acoustic-palimpsests-and-the-politics-of-listening?rgn=main;view=fulltext (accessed 30 June 2016).Google Scholar
Denning, Michael. Noise Uprising: The Audiopolitics of a World Music Revolution. London: Verso, 2015.Google Scholar
DeRouchey, Bill. ‘1887: Pushbuttons in the Times archives’, Push Click Touch. Blog, 16 June 2008. www.pushclicktouch.com/blog/?p=219 (accessed 30 June 2016).Google Scholar
Edison, Thomas. ‘The Phonograph and Its Future’. The North American Review 126/262 (May–June, 1878), 527–36.Google Scholar
Engel, Friedrich. Zeitschichten: Magnetbandtechnik als Kulturträger. Potsdam: Polzer Media Group, 2008.Google Scholar
Engh, Barbara. ‘After “His Master's Voice”: Post-Phonographic Aurality’. PhD diss., University of Minnesota, 1997.Google Scholar
Ernst, Wolfgang. ‘Dis/Continuities: Does the Archive Become Metaphorical in Multi-Media Space?’, in Digital Memory and the Archive. Minneapolis: University of Minnesota Press, 2013. 113–40.Google Scholar
Ernst, Wolfgang. Im Medium erklingt die Zeit: Technologische Tempor(e)alitäten und das Sonische als ihre priviligierte Erkenntnisform. Berlin: Kadmos, 2015.Google Scholar
Fickers, Andreas. ‘Visibly Audible: The Radio Dial as Mediating Interface’, in The Oxford Handbook of Sound Studies, ed. Pinch, Trevor and Bijsterveld, Karin. Oxford: Oxford University Press, 2011. 411–39.Google Scholar
Gitelman, Lisa. Always Already New: Media, History, and the Data of Culture. Cambridge, MA: MIT Press, 2006.Google Scholar
Hirschkind, Charles. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York: Columbia University Press, 2006.Google Scholar
Hodges, Andrew. Alan Turing: The Enigma. New York: Simon and Schuster, 1983.Google Scholar
Horning, Rob. ‘The Death of the Hipster’, Pop Matters, 13 April 2009, www.popmatters.com/tools/print/72950/ (accessed 15 June 2016).Google Scholar
Hosokawa, Shuhei. ‘The Walkman Effect’. Popular Music 4 (1984), 165–80.CrossRefGoogle Scholar
Jay, Martin. ‘The Scopic Regimes of Modernity’, in Vision and Visuality, ed. Foster, Hal. Seattle: Bay Press, 1988. 323.Google Scholar
Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004.Google Scholar
Kind-Kovacs, Friederike and Labov, Jessie, eds. Samizdat, Tamizdat, and Beyond: Transnational Media During and after Socialism. Oxford and New York: Berghahn Press, 2013.Google Scholar
Kittler, Friedrich. Gramophone, Film, Typewriter. Trans. Winthrop-Young, Geoffrey. Stanford: Stanford University Press, 1999.Google Scholar
Kittler, Friedrich. Interview. ‘Friedrich Kittler – Warum Pink Floyd?’. Vimeo video, posted by Markus Heidingsfelder, 25 November 2012. https://vimeo.com/54235974 (accessed 15 June 2016).Google Scholar
Kittler, Friedrich. ‘Preparing the Arrival of the Gods’, in Kittler Now: Current Perspectives in Kittler Studies, ed. Sale, Stephen and Salisbury, Laura. Cambridge: Polity, 2015. 95112.Google Scholar
Kursell, Julia. ‘A Gray Box: The Phonograph in Laboratory Experiments and Fieldwork, 1900–1920’, in The Oxford Handbook of Sound Studies, ed. Pinch, Trevor and Bijsterveld, Karin. Oxford: Oxford University Press, 2011. 176–97.Google Scholar
Lastra, James. ‘Reading, Writing, and Representing Sound’, in Sound Theory/Sound Practice, ed. Altman, Rick. New York: Routledge/AFI, 1992. 6586.Google Scholar
Manuel, Peter. Cassette Culture: Popular Music Technology in North India. Chicago: University of Chicago Press, 1993.Google Scholar
Martland, Peter. Since Records Began: EMI – The First 100 Years. London: Batsford, 1997.Google Scholar
Miller, Flagg. The Moral Resonance of Arab Media: Audiocassette Poetry and Culture in Yemen. Cambridge, MA: Harvard University Press, 2007.Google Scholar
Miller, Flagg. The Audacious Ascetic: What the Bin Laden Tapes Reveal About al-Qa'ida. New York: Oxford University Press, 2015.Google Scholar
Monson, Ingrid. ‘The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse’. Journal of the American Musicological Society 48/3 (1995), 396422.CrossRefGoogle Scholar
Moseley, Roger. ‘Digital Analogies: The Keyboard as Field of Musical Play’. Journal of the American Musicological Society 68/1 (Spring 2015), 151228.CrossRefGoogle Scholar
Moseley, Roger. Keys to Play: Music as a Ludic Medium from Apollo to Nintendo. Oakland: University of California Press, 2016.CrossRefGoogle Scholar
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books, 2006.Google Scholar
Novak, David. Japanoise: Music at the Edge of Circulation. Durham: Duke University Press, 2013.CrossRefGoogle Scholar
Osborne, Richard. 2013. Vinyl: A History of the Analogue Record. London: Routledge, 2013.Google Scholar
Phillips, William B. ‘Data Storage on Tape’, in Magnetic Recording: The First 100 Years, ed. Daniel, Eric D., Mee, C. Denis, and Clark, Mark H.. Piscataway, NJ: IEEE Press, 1999. 254–60.Google Scholar
Porcello, Thomas. ‘“Tails out”: Social Phenomenology and the Ethnographic Representation of Technology in Music-Making’. Ethnomusicology 42/3 (1998), 485510.CrossRefGoogle Scholar
Rice, Timothy. May It Fill Your Soul: Experiencing Bulgarian Music. Chicago: University of Chicago Press, 1994.Google Scholar
Ro, Ronin. Prince: Inside the Music and the Masks. New York: St Martin's Press, 2011.Google Scholar
Savage, Mark. ‘Born to Redo It: Craig David on His “Crazy” Career Revival’. BBC News, 4 Feb. 2016. www.bbc.com/news/entertainment-arts-35483863 (accessed 15 June 2016).Google Scholar
Sayers, Jentery. ‘How Text Lost Its Source: Magnetic Recording Cultures’. PhD diss., University of Washington, 2011.Google Scholar
Sreberny-Mohammadi, Annabelle and Mohammadi, Ali. Small Media, Big Revolution: Communication, Culture and the Iranian Revolution. Minneapolis: University of Minnesota Press, 1994.Google Scholar
Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press, 2003.CrossRefGoogle Scholar
Sterne, Jonathan. ‘Enemy Voice’. Social Text 25/3 (2008), 79100.CrossRefGoogle Scholar
Sterne, Jonathan. MP3: The Meaning of a Format. Durham: Duke University Press, 2012.CrossRefGoogle Scholar
Stoker, Bram. Dracula. London: Penguin Classics, 2010 (1897).Google Scholar
Taruskin, Richard. Music in the Late Twentieth Century: The Oxford History of Western Music, Vol. 5. Oxford: Oxford University Press, 2010.Google Scholar
Touré, . I Would Die 4 U: Why Prince Became an Icon. New York: Atria, 2013.Google Scholar
Tewksbury, George E. A Complete Manual of the Edison Phonograph. Kent: G.L. Frow ‘Salterns’, 1897.Google Scholar
Ussachevsky, Vladimir. ‘Notes on a Piece for Tape Recorder’. Musical Quarterly 46/2 (Apr. 1960), 202–9.CrossRefGoogle Scholar
Ussachevsky, Vladimir. ‘Sound of Hell: Score for Film Version of No Exit’. Newsweek 60 (10 Dec. 1962), 86.Google Scholar
Walker, Benjamen and Lambert, Alix. ‘Loud and Clear’. 99% Invisible. Podcast, episode 214, May 24, 2016. http://99percentinvisible.org/episode/loud-and-clear/ (accessed 15 June 2016).Google Scholar
Watkinson, John R. ‘The History of Digital Audio’, in Magnetic Recording: The First 100 Years, ed. Daniel, Eric D., Mee, C. Denis, and Clark, Mark H. (Piscataway: IEEE Press, 1999). 110–23.Google Scholar
Winthrop-Young, Geoffrey. ‘Undead Networks: Information Processing and Media Boundary Conflicts in Dracula, in Literature and Science, ed. Bruce, Donald and Purdy, Anthony (Atlanta: Rodopi, 1994). 107–29.Google Scholar
6
Cited by

Send article to Kindle

To send this article to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle.

Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Tape: Or, Rewinding the Phonographic Regime
Available formats
×

Send article to Dropbox

To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your <service> account. Find out more about sending content to Dropbox.

Tape: Or, Rewinding the Phonographic Regime
Available formats
×

Send article to Google Drive

To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your <service> account. Find out more about sending content to Google Drive.

Tape: Or, Rewinding the Phonographic Regime
Available formats
×
×

Reply to: Submit a response

Please enter your response.

Your details

Please enter a valid email address.

Conflicting interests

Do you have any conflicting interests? *