{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/4b2x34p72g/manifest","type":"Manifest","label":{"en":["From Echo to Tinfoil: The Early Phonograph in Light of its Prehistory"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Patrick Feaster (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2008-03-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eToday we tend to understand the advent of the phonograph in 1877-78 in terms of what was to come later. But it meant something very different to commentators of its own time, who knew only what had gone before Ð including various past predictions about future sound media that continued to shape their expectations. For some time, inventors and speculative writers had been pursuing three elusive goals: a Òspeaking automaton,Ó a Òphotography of sound,Ó and a means of furnishing live music and speech on demand Òlike gas.Ó They shared consistent ideas about how each of these developments could change the world: what it would be good for and what its drawbacks might be. Such precursors as FaberÕs talking machine and ScottÕs phonautograph werenÕt mere scientific curiosities but had invited a lot of heady futuristic speculation in their own right, ranging in subject from the automated political speech to the preservation of the vocal performances of the dead Ð sound familiar? Then came the phonograph, which held out the promise of fulfilling all three of these goals at once but which, at the same time, turned those goals on their head. After all, it did not do quite what the critics had been expecting but instead forced together what had, until then, been regarded as incompatible and contradictory ideals of speech and music. In framing the phonographÕs invention in terms of the earlier limits of imagination and technology it overturned, this Òpre-phonographicÓ perspective places the exhibition practices and journalistic hype of the tinfoil era in a new and revealing light.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eToday we tend to understand the advent of the phonograph in 1877-78 in terms of what was to come later. But it meant something very different to commentators of its own time, who knew only what had gone before \u0026ETH; including various past predictions about future sound media that continued to shape their expectations. For some time, inventors and speculative writers had been pursuing three elusive goals: a \u0026Ograve;speaking automaton,\u0026Oacute; a \u0026Ograve;photography of sound,\u0026Oacute; and a means of furnishing live music and speech on demand \u0026Ograve;like gas.\u0026Oacute; They shared consistent ideas about how each of these developments could change the world: what it would be good for and what its drawbacks might be. Such precursors as Faber\u0026Otilde;s talking machine and Scott\u0026Otilde;s phonautograph weren\u0026Otilde;t mere scientific curiosities but had invited a lot of heady futuristic speculation in their own right, ranging in subject from the automated political speech to the preservation of the vocal performances of the dead \u0026ETH; sound familiar? Then came the phonograph, which held out the promise of fulfilling all three of these goals at once but which, at the same time, turned those goals on their head. After all, it did not do quite what the critics had been expecting but instead forced together what had, until then, been regarded as incompatible and contradictory ideals of speech and music. In framing the phonograph\u0026Otilde;s invention in terms of the earlier limits of imagination and technology it overturned, this \u0026Ograve;pre-phonographic\u0026Oacute; perspective places the exhibition practices and journalistic hype of the tinfoil era in a new and revealing light.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128623/file/240127","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20240504-2220384-25p7le.mpga"]},"duration":1914.70513,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128623/file/240127/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128623/file/240127/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/127/original/open-uri20240504-2220384-25p7le.mpga?1714790409","type":"Audio","format":"audio/mpeg","duration":1914.70513,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128623/file/240127","metadata":[]}]}],"annotations":[]}]}