Abstract:
With the invention of the phonograph – or sound/voice writer – by Thomas Alva
Edison in 1877, the human voice could become an object. What so far had been the elusive, ephemeral effect of sound waves could be captured and stored on Edison wax cylinders. As an object the voice could at once be separated from its source and social setting, become transportable, but also indexical to its absent referent. The phonograph, writes Erika Brady, ‘was distinctively the product of 19th century scientific and social preoccupations’ (1999, p. 11) of which the collecting of (exotic) objects was certainly one. The voice, conserved on wax cylinders, could become part of ‘accumulative, itemcentered, indexic’ collections that were treasured by museums, academic institutions, as well as medical collections (1999, p. 14). The new technology of voice-recording was almost immediately introduced to the study of folklore and to anthropology. Shortly after the recording of voice had become possible, its storage was institutionalised. In Berlin the Phonogramm-Archiv was founded in 1900. Erich von Hornbostel, the Director of the Archive between 1905 and 1933, saw the aim of the archive as creating a collection of musical phonograms of all peoples of the world. The recordings were thought to provide comparative material of modes of expression – both in language and in music – that were deemed key to the cultural character of peoples.1 Today the Phonogramm-Archiv in Berlin is one of several archives in Europe that host immense historical sound and voice collections from many formerly colonised countries.2 To ensure the accumulation of such a comprehensive collection, it was the strategy of the archive to equip German researchers and travellers with a phonograph and wax cylinders. The German artist Hans Lichtenecker was one
of them.
