Smith 1999

Smith, Bruce. The Acoustic World of early Modern England: Attending to the O-Factor. Chicago: University of Chicago, 1999.

Opening

"from the listener's standpoint, there are two quite distinct ways of attending to sound: one that focuses on the thereness of the sound, on the sound-producer; and one that focuses on the hereness of the sound, on the physiological and psychological effects of sound on the listener. Both dimensions aer present all the time, and we can readily shift focus from one to the other." (7)

"Since knowledge and intentions are shaped by culture, we need to attend also to cultural differences in the construction of aural experience. The multiple cultures of early modern England may have shared with us the biological materiality of hearing, but their protocols of listening could be remarkably different from our.s We need a cultural poetics of listening. We must take into account, finally, the subjective experience of sound. We need a phenomenology of listening, which we can expect to be an amalgam of biological constants and cultural variables." (8)

silence (or lack thereof) (9)

orality vs. literacy -- Renaissance rhetoric gave primacy to orality (12)

"By and large, the artifacts that survive from early modern England ask to be heard, not seen: compared, say, to Renaissance Italy, the number of buildings, paintings, tapestries, pieces of furniture, and utilitarian objects are few. What we have, in great abundance, are verbal artifacts. Our knowledge of early modern England is based largely on words, and all evidence suggests that those words had a connection to spoken language that was stronger and more pervasive than we assume about our own culture. Can we be so sure -- especially in a culture where 'orality' and 'literacy' were reciprocally defined in ways quite different from today -- that speaking and listening were experienced as uncomplicated acts of self-presence?" (13)

Luhmann: body, psyche, media and society -- communication as "a process, not of transferring meaning, but of negotiating meaning" between these autonomous systems (16)

"If language, media, and society are configured as environments, each one functioning as such for the others, then we can identify three consensual zones, three sites of resonance, that together constitute an ecology of communication: (1) the zone between language and society, (20 the zone between language and media, and (3) the zone between media and society." (17)

"Rather than imagining a rigid distinction between oral culture and literate culture, between aural media and visual media, we should imagine a continuum between speech and vision. At one pole of the continuum are communications that have little or no direct contact with litters: ballads from oral tradition, St. George plays, morris dances. At the other pole are communications that have little or nothing to do with voice: texts in legal French, treatises on mathematics, books on geometry. In between are ranged broadside ballads, scripts for the stage, sermons and orations, familiar letters, manuscript commonplace books, accounts of the New World." (19)

"Different speech communities stand in different relationships to different media, according to how open or closed those media are to the polyphony of dialects and argots, songs and sonnets, whoops and hollers that filled the ambient air of early modern England." (25-26)

women and ballads (26)

"O as asks us to listen for multiple voices, for competing voices, even for noise." (26)

"O is not about ontology, but phenomenology. It is concerned not with 'voice,' but voice. O is not about metaphysics, but materialism -- the materialism of the human body, of sound waes, of plaster, lath, and thatch, of quill pens ,ink, and paper, of lead type." (29)

Mapping the Field

movement within speech fields -- different registers, dialects (43); middling group had largest speech field and the most extended speech networks

soundspaces: speech --> music --> ambient sound; dreasing specificity of meaning along this axis (45)

acoustic communities (47)

acoustemology (Steven Feld); "cultures establish their identities not only through things seen but through things heard and said" (48)

The Soundscapes of Early Modern England: City, Country, Court

London soundscape; less broadband sounds than today, more clattering, clacking; heard conversations (58-9)

• St. Paul's; quid novi? (what's the news; gathering before midday meal; 60); likened to a Tower of Babel
• Exchange; polyglot gathering spot before midday meal
• Westminster Hall
• Tower Wharf, guns/cannons discharged on ceremonial occasions (63)

street cries /hawkers turned into music (64-7)

pageants displaying the sights and sounds of the city in aggregate; "in these emblems-brought-to-life, the city was made to speak" (71)

Re: Membering

"In the acoustemology of early modern England the body is the site of three activities having to do with sound: voicing, listening, and recalling." (97)

"To early modern ways of considering the matter, the word 'voice' meant, first and foremost, a concatenation of bodily members: muscles, gristly tissues, fluids, and 'soul'. Voice as a political concept -- that is to say, 'voice' as it signifies in poststructuralist theory -- certainly existed in early modern English." (101)

animal spirits conveying sensations through the body (104)

sound communicated through motion and time (unlike color) (105)

communication, for Bacon, as the transmission of spirits (106)

"To understand voicing and listening in early modern culture we have to keep our sight much more focused than we are accustomed to on the material realities of metal, wood, air, and the members of the human body." (106)

moistness vs. dryness of the brain: too moist = quick learning but bad memory, too dry = long memory but slow learning (107-8)

• "Early modern physiology invited people to think of their memory as something physical and graphic: a trace in the brain tissues that could practically be seen and touched." (108)

"memory mediates between the senses and bodily actions, between bodily actions and the senses. With respect to the sense of hearing in particular, memory transforms air waves into embodied action. It remembers sound in various parts of the human body: in the other ventricles of the brain, in the ears, in the hands, in the eyes, in the body as a kinaesthetic whole." (109)

fantasy/imagination --> processed by reason --> stored in memory (109)

house of memory as a acoustic as much as visual space (110) -- memory theater vs silent repository

ballads, "sung to the tune of.." -- drawing on readers' memory (112)

"With respect to gaps on the page, 'reading' a musical score is like reading a verbal text: the reader has to fill in the music, the gaps are filled not so much by the reader's cognitive experience as by his somatic experience." (114)

"Hands can also function as sites of recalling. In marks made by is or her own hand a speaker has the power to member speech in an immediate, physical form. The sounding body actually touches the surface on which fugitive words can be remembered." (114) (see also Sherman 2008)

hands as both connecting and separating the body from writing (115)

synonymy of voice and word in early modern thought (117)

physicality of sound; reading aloud when one learns to write

• "The effect of such exercises, for the writer at least, would be to imbue his hand with the sound of his own voice." (119)

"If we step out from under the category of 'writing' and look around instead at individual acts of writing, we can distinguish not one writing technology in early modern England but several. Instead of writing we find writings." (119)

swift writing (closest connection to speech) --> calligraphy (closest connection to materiality of writing) (119-120)

graphic signs of speech in early modern writing (120)

• "What we need to look for are not morphemes, minimal units of semantic meaning, but graphemes, minmal units of visual meaning. Styles of hand, typefaces, illustrations, spaces on the page, the physical medium on which these marks are made -- all of these things can signify in a communication system that gives primacy to speech." (121)

"Graphemes mediate between sound-in-the-body and sound-on-the-page. The common denominator in this transaction is body: paper and ink as material entities stand in for muscles and air as material entities. The paper functions as a kind o membrane, or skin" (121)

"As a system of graphic signs, print exceeds even the most elegant and singular set writ in its thereness, its separation from the speaking body." (124)

three timeframes of writing: "ti remembers the past, it captures the process of thought in the present, and it opens out into the future. Printing -- or at least the act of print -- has always the quality of pastness about it"

• Brown: printing as "a technology infinitely less sensitive than writing is to the unfolding of events in time" (124)

"Gauging the relationship between handwriting and movable type, historians tend to speak in almost military terms. Print is said to 'triumph' over the script; he newer medium is said to 'conquer' the older. In oblique ways as well as direct, early modern witnesses suggest a more complicated relationship." (126-7) -- readers responding to oral cues

"'Sentences,' the early modern term for those membered and re-membered texts, catches the oral basis ... A reader might even transfer remembered passages into a commonplace book, but he or she would do so, not to fix the text like a flower pressed between the leaves of a book, but to keep the text even handier for use in the reader's own conversation." (128)

"In hindsight, it is easy for us to talk about the 'triumph' of printing in early modern Europe. What we are apt to miss is the resistance of voice to the new medium. In a culture that still gave precedence to voice -- in legal practice, in rhetorical theory, in art made out of words, in the transactions of daily life -- we should be looking, not for evidence of the hegemony of type technology, but for all the ways in which that newly discovered resources was colonized by regimes of oral communication." (128-9)

graphemes of sound in early modern writing not as symbols but indices with a metonymical connection between sign and signified

"A reader takes in hand a printed book, but she turns the fixed body of type into a living, sounding thing by marking 'sentences,' copying them down perhaps in a commonplace book and making them part of her own conservation." (129)