Hornbostel's superior, the great
music physiologist Carl Stumpf, concluded that it was necessary to establish a phonographic archive in Berlin, as well (which was realized soon thereafter).
music physiologist Carl Stumpf, concluded that it was necessary to establish a phonographic archive in Berlin, as well (which was realized soon thereafter).
Kittler-Gramophone-Film-Typewriter
Brentano I835iI959-63, 2: 222.
26. Marker 1983, 23-24.
27. See Deleuze 19 6 5 , 3 2. "The alternative is between two purities; the false
and the true; that of responsibility and that of innocence; that of memory and that of forgetting. . . . Either one remembers words but their meaning remains ob- scure, or one apprehends the meaning, in which case the memory of the words disappears. "
28. Leroi-Gourhan, quoted in Derrida I967iI976, 333n.
29. E. T. A. Hoffmann I8I6iI969, 148 (translation modified).
30. Nadar I 899iI978, 9.
3 1 . Arnheim I933iI977, 27?
32. See Lacan I978iI988b, 278.
33. Edison, 1878, quoted in Gelatt 1977, 29. Phonographic recordings of
last words are based on the recognition that "physiological time is not re- versible," and that "in the province of rhythm, and of time in general, there is no symmetry" (Mach I886iI9I4, 256).
109.
Notes to Pages I2-2 I 275
34. SeeJoyce 1922ir969, II3? See also Brooks 1977, 213-14. ["AEG" refers to the Allgemeine Elektrizitats-Gesellschaft, one of the leading German electron- ics corporations. It was originally founded in 1 8 83 by Emil Rathenau as the Ger- man Edison Society for Applied Electricity. -Trans. ]
35? Rathenau19I8-29,4:347? Twoexamplesofdeformationprofessionelle among the dead of Necropolis: "A writer is dissatisfied with his epitaph. An em- ployee of the telephone company uses short and long intervals, a kind of Morse alphabet, to ring in a critique of his sucessor. " King Alexander, the hero of Bron- nen's Ostpolzug, says everything there is to say about telephonitis and Hades while, according to the stage directions, the "telephone is buzzing": "Oh, you black beast growing on fatty brown stems, you flower of untimeliness, you rabbit of dark rooms! Your voice is our hereafter, and it has crowded out heaven" (Bron- nen 1926ir977, 133).
38. Schafer 1983, 2.
40. See Gordon 198 1 , passim.
42. See Walze 1980, 133.
44. Heidegger 1942-4 3ir992, 8 6. 46. See Mallarme 1893ir945, 850. 48. Lacan 1978ir988b: 47?
36. The song "Example #22" actually combines the announcement and sound of "example no. 22" ("Hier spricht Edgar" / "Edgar speaking" [Schafer 1983, II]), which, strangely enough, must have migrated on a paranormal cas- sette-to-book from FreibuJ;g to the United States.
? 37. See Lacan 1966/? 977, 1 84. 39. Ibid? ,3? 1\
41. Watson 1978, 26, 410.
43. See Luhmann 1985, 20-22. 45? Keller 1865ir974: 41.
47? Lacan 1966, 720.
49? See Lacan 1966/1977, 1-7?
51. See Lacan 1978/1988b: 191-2? 5.
52. Nietzsche 1873-76ir990, IIO.
53? See Turing 1950, 441-42; Hodges 1983, 415-17.
54? Hodges 1983, 279?
55? Ibid. , 30.
56. Ibid. , 14?
57. ]. Good, September 16, 1948, quoted in ibid. , 387.
58. See Zuse, June 19, 1937, in idem 1984, 41: "Decisive thought, 19 June
1937 / Realization that there are elementary operations to which all computing and thinking operations may be reduced. / A primitive type of mechanical brain consists of storage unit, dialing system, and a simple device that can handle con- ditional chains of two or three links. / With such a form of brain it must be pos- sible to solve all operations of the mind that can be dealt with mechanically, re- gardless of the time involved. More complex brains are merely a matter of exe- cuting those operations faster. "
GRAMOPHONE
1. Chew 1967, 2. When Kafka's captured ape delivers his "Report to an Academy," the scene depicting his animal language acquisition quotes both Edi- son's "Hullo" and his storage technology: On board the ship "there was a cele-
50. See Lacan 1975, 53, 73?
276 Notes to Pages 2 I-3 5
bration of some kind, a gramophone was playing"; the ape drank the schnapps bottle "that had been carelessly left standing" in front of his cage; and, " because I could not help it, because my senses were reeling, [I] called a brief and unmis- takable 'Hallo! ' breaking into human speech, and with this outburst broke into the human community, and felt its echo: 'Listen, he's talking! ' like a caress over the whole of my sweat-drenched body" (Kafka 1917ir948, 162).
2. Three months later (and independently of Edison) the same word ap-
peared 3. 4? 5. 6 . 7. 8.
in an article on Charles Cros. See Marty 1981, 14.
Scientific American, 1 877, quoted in Read and Welch 1959, 12. Cros 1 877ir964, 5 23-24.
Cros 1908ir964, 136; trans. Daniel Katz, in Kittler 1990, 231. See Cros 1964, x.
See Derrida 1967ir976, 240.
Bruch 1979, 2 1 .
9. See the documents from the Grunderzeit in Kaes 1978, 68-69, 104 (the scriptwriter H. H. Ewers on Wagner as "teacher").
10. See Friedheim, 1983, 63 : "Wagner is probably the first dramatist to seri- ously explore the use of scream. "
II. Wagner 1882ir986, 101.
12. Wagner, Das Rheingold (1854), mm. II-20. 13. See Wagner 1880ir976, 5II-12.
14. Jalowetz 1912, 51.
IS. See Rayleigh 1 877-78, I : 7-17.
16. Levi-Strauss 1964/1969, 23.
17? See Kylstra 1977, 7.
18. See Bruch 1979, 26, and Kylstra 1977, 5.
19. See Stetson 1903.
20. See Marage 1 898.
21. See Bruch 1979, 3-4. Ong (1982, 5) even hailed Sweet (1845-1912) as the progenitor of Saussure's phoneme concept.
22. Shaw 1912ir972, 684.
23? Lothar 1924, 48-49.
24. See Shaw 1912ir972, 659-64.
25. For details, see Kittlerr985ir990, 27-53.
26. Shaw 1912ir972, 795. [My Fair Lady is by Lerner and Loewe. -Trans. ] 27. Lothar 1924, 1 2, and Kylstra 1977, 3 , respectively.
28. SeeKnies1857,iii.
29? Jarry I 895ir975, 4: 19 1 .
30. Villiers 1886ir982, 19.
3 I. "Hahnische Litteralmethode" 1783ir986, 156-57.
3 2. On understanding as a measurable source of noise parallel to hearing,
see Gutzmann 1908.
33? Lothar 1924, 51-52.
34? See Gelatt 1977, 27-28.
35. Abraham and Hornbostel 1904, 229?
36. On rock music and secret codes, see Kittler 1984b, 154-55. 37? Gelatt 1977, 52?
? Notes to Pages 36-58 277
38. Hegel I830ir927-40, IO: 346.
39. Pink Floyd I976, IO-I1.
40. Gelatt I977, 72.
41. Freud, "Project for a Scientific Psychology," in idem I895ir962, I: 381. 42. Ibid. , I: 295.
43. Freud, Beyond the Pleasure Principle, in idem I920/I962, I8: 24.
44. See Derrida I967ir978, 22I-3 1.
45. Abraham and Hornbostel I904, 231.
Hornbostel's superior, the great
music physiologist Carl Stumpf, concluded that it was necessary to establish a phonographic archive in Berlin, as well (which was realized soon thereafter). His criticism o f the exclusion o f optics led another participant i n the discussion to argue that it should be linked to a film archive (ibid. , 235-36). See Meumann I9I2, I30. . .
? 46. Hirth, I 897, J8. Sabina Spielrein proves that psychoanalysts didn't think any differently. According to her, the "treatment of hysteria" consists in "bringing about a transformation of the psychosexual components of the ego (either by way of art or simple reactions-whichever you prefer: in this way the component is
progressively weakened like a playing
I906ir986, 224.
47? 49. 5 1 . 52?
56. 58. 60. 62. 64. 66. 67. 68.
"Claire Lenoir" and the commentary in S. Weber I980, I37-44.
69. See Kafka,January 22-23, I9I3, in Kafka I974, I67-68.
70. Ibid. , I66.
71. See G. Neumann I985, IOI-2.
72. See Cocteau I930ir9sr, 28.
73. Kafka, January 22-23, I9I3, in Kafka I974, I68.
74. Campe I986, 69?
75? See Kakfa I93 5/I950, 93, and Siegert I986, 299, 3 24-25.
76. See Kafka, January I7-I8, I9I3, in Kafka I974, I58, and Campe
Rilke I9IO/I949, 146.
See Flechsig I 894, 2 I-22.
Rilke I9IOir949, I 8 5 (translation modified). Lothar I924, 58.
[sic] gramophone record ) . " Spielrein 48. Sachs I905, 4?
50. See Hamburger I966, I79-275.
53? Ibid. , 59-60.
55. Moholy-Nagy I923, I04? 57. Ibid. , I05?
59? Lothar I924, 55?
61. Pynchon I973, 405.
63. See Hodges I983, 245-46. 65. Marinetti I9I2/I97I, 87.
Ibid.
Zglinicki I956, 6I9?
Moholy-Nagy I923, I04.
See Andresen I982, 83-84.
See ibid. , 287-88.
See Valery I937ir957-60, I: 886-907.
Parzer-Miihlbacher I902, I07.
See Ribot I882, I14. For agony snapshots, see also Villiers's story
I986, 86.
77. See Campe I986, 72.
79. See Wetzel I985.
81. M. Weber I928, 9.
83. Kafka, January 22-23, I9I3, in Kafka I974, I68. 84. See Wagner I880ir976, 5I2.
78. See Lacan I973ir978, I74ff. 80. Dahms I895, 21.
82. Wellershoff I980, 2I2-14.
54? See Rilke I925ir957, 339-40.
278
Notes to Pages 59-78
85?
86.
87.
88.
89.
90.
91.
92.
93?
94.
95.
96.
97.
98.
99? Snyder 1974, II.
100. Scherer 198 6, 4 9 . For the factual history o f similarly dismembered bod-
ies, see Seeliger 1985. The major identification problem between 1826 and 1916 and in 1959 appears to have been Schiller's rather than Goethe's skull. Whether or not the corpse in the royal tomb will prove that Goethe used arsenic to poison Schiller, whether it belongs to the poet or to a young woman, whether Goethe used a file to distort its teeth-all that is still unresolved. Reason enough for Pro- fessor Pschorr to reenact the 1912 opening of tomb and coffin in 1916.
IOI. Philipp Siedler, 1962, quoted in Campe 1986, 9? .
102. I03 ? I04. IO5.
Reis I 86Iir952, 37.
Bell quoted in Snyder 1974, 14.
See Saussure I9I5ir959, 17-20.
On the algorithms of digital speech recognition, and its input and out-
Dehmel I896ir906-09, 3: II5-I6. See Kittler I985ir990, 147-48.
See Holst 1 802, 63-66.
Schlegel I799ir958, 8: 48, 42. Deleuze and Guattari I972ir983, 209. E. T. A. Hoffmann I 8 I9ir97I, 32. Lothar 1924, 7-8.
Diippengiesser 1928, quoted in Hay I975a, 124-25.
Eyth 1909, I: 457-58.
Scientific American, 1877, quoted in Read and Welch 1959, 12. See Bredow 1950, 16.
Enzensberger I970ir974, 97?
Rilke I9 IOir949, 1 3 8 .
Turing 1950, 434. See Hodges 1983, 291.
put in general, see Sickert 1983 . The particulars of continuing Pschorr's Goethe experiment are as follows: "Under the Tokyo number 320-3000, a famous dead person is talking about his work. In his own language, the French painter Pierre Auguste Renoir, who died in 19 19, is promoting an exhibition of impressionist paintings. Renoir's ghostly voice was captured on tape by scientists of the Japan Acoustic Research Laboratory-with the help of computers. The computer seance is based on electronic voice simulation and anatomical measurements: according to the researchers, various vocal features can be reconstructed from the charac- teristics of a person's nasopharyngeal cavity. In the case of Renoir, the voice of a French native speaker was gradually modulated according to the characteristics of Renoir's nasopharyngeal cavity. Japanese vocal experts, at least, consider the result to be 'pure Renoir'" ? (Der Spiegei 40, no. I [1986]: 137). Unlike Pschorr, the Japan Acoustic Research Laboratory has kept silent about the acquisition of Renoir's nasopharyngeal cavity.
106. I08. IIO. II2. I I 3 . II4?
Foucault I969ir972, 27. Friedlaender 1922, 326.
Ibid. , 326.
O. Wiener 1900, 23-24.
"The New Phonograph" 1 8 87, 422. Gelatt 1977, IOO-IOI.
107. Ibid. , 103 . I09? Ibid. , 327. III. Ibid.
I I 5 . Bruch 1979, 24?
II6. See Lerg 1970, 29-34. In the name of all German engineers, Slaby ( 19 I I , 3 69-70) found the exalting words: "At the turn of the century, words of deliverance resounding from the heights of the throne opened the path leading up- ward to the hallowed peaks of science . . . For whom do our hearts in this hour beat more passionately than for our emperor? He endowed us with rights and
privileges in the world of supreme intellectual life, he made us a full part of the struggle for the glory of the fatherland, and at its deepest roots he provided the blooming science of engineering with new ideal incentives. "
II7. For details, see Kittler 1984a, 42. [AVUS: Autoverkehrs- und Ubungs- strasse, a famous speedway in Berlin. -Trans. ]
I I 8 . Wildenbruch, 1 897, quoted in Bruch 1979, 20.
II9. Nietzsche/1882-1887ir974, 138. Hobbes stated more prosaically that "in ancient times, (before letters were in common use, the laws were many times put into verse, that the rude people taking pleasure in singing or reciting them might the more easily retain them in memory" (Hobbes 16sr/r994, 178).
1 20. See Mallarme 1 897/r94 5 , 4 5 5 . This poet's only "innovation" was
for the first time, the empty spaces between words or letters were granted typo- graphic "weight"-typewriter poetics.
121. Jensen 1917, 53.
26. Marker 1983, 23-24.
27. See Deleuze 19 6 5 , 3 2. "The alternative is between two purities; the false
and the true; that of responsibility and that of innocence; that of memory and that of forgetting. . . . Either one remembers words but their meaning remains ob- scure, or one apprehends the meaning, in which case the memory of the words disappears. "
28. Leroi-Gourhan, quoted in Derrida I967iI976, 333n.
29. E. T. A. Hoffmann I8I6iI969, 148 (translation modified).
30. Nadar I 899iI978, 9.
3 1 . Arnheim I933iI977, 27?
32. See Lacan I978iI988b, 278.
33. Edison, 1878, quoted in Gelatt 1977, 29. Phonographic recordings of
last words are based on the recognition that "physiological time is not re- versible," and that "in the province of rhythm, and of time in general, there is no symmetry" (Mach I886iI9I4, 256).
109.
Notes to Pages I2-2 I 275
34. SeeJoyce 1922ir969, II3? See also Brooks 1977, 213-14. ["AEG" refers to the Allgemeine Elektrizitats-Gesellschaft, one of the leading German electron- ics corporations. It was originally founded in 1 8 83 by Emil Rathenau as the Ger- man Edison Society for Applied Electricity. -Trans. ]
35? Rathenau19I8-29,4:347? Twoexamplesofdeformationprofessionelle among the dead of Necropolis: "A writer is dissatisfied with his epitaph. An em- ployee of the telephone company uses short and long intervals, a kind of Morse alphabet, to ring in a critique of his sucessor. " King Alexander, the hero of Bron- nen's Ostpolzug, says everything there is to say about telephonitis and Hades while, according to the stage directions, the "telephone is buzzing": "Oh, you black beast growing on fatty brown stems, you flower of untimeliness, you rabbit of dark rooms! Your voice is our hereafter, and it has crowded out heaven" (Bron- nen 1926ir977, 133).
38. Schafer 1983, 2.
40. See Gordon 198 1 , passim.
42. See Walze 1980, 133.
44. Heidegger 1942-4 3ir992, 8 6. 46. See Mallarme 1893ir945, 850. 48. Lacan 1978ir988b: 47?
36. The song "Example #22" actually combines the announcement and sound of "example no. 22" ("Hier spricht Edgar" / "Edgar speaking" [Schafer 1983, II]), which, strangely enough, must have migrated on a paranormal cas- sette-to-book from FreibuJ;g to the United States.
? 37. See Lacan 1966/? 977, 1 84. 39. Ibid? ,3? 1\
41. Watson 1978, 26, 410.
43. See Luhmann 1985, 20-22. 45? Keller 1865ir974: 41.
47? Lacan 1966, 720.
49? See Lacan 1966/1977, 1-7?
51. See Lacan 1978/1988b: 191-2? 5.
52. Nietzsche 1873-76ir990, IIO.
53? See Turing 1950, 441-42; Hodges 1983, 415-17.
54? Hodges 1983, 279?
55? Ibid. , 30.
56. Ibid. , 14?
57. ]. Good, September 16, 1948, quoted in ibid. , 387.
58. See Zuse, June 19, 1937, in idem 1984, 41: "Decisive thought, 19 June
1937 / Realization that there are elementary operations to which all computing and thinking operations may be reduced. / A primitive type of mechanical brain consists of storage unit, dialing system, and a simple device that can handle con- ditional chains of two or three links. / With such a form of brain it must be pos- sible to solve all operations of the mind that can be dealt with mechanically, re- gardless of the time involved. More complex brains are merely a matter of exe- cuting those operations faster. "
GRAMOPHONE
1. Chew 1967, 2. When Kafka's captured ape delivers his "Report to an Academy," the scene depicting his animal language acquisition quotes both Edi- son's "Hullo" and his storage technology: On board the ship "there was a cele-
50. See Lacan 1975, 53, 73?
276 Notes to Pages 2 I-3 5
bration of some kind, a gramophone was playing"; the ape drank the schnapps bottle "that had been carelessly left standing" in front of his cage; and, " because I could not help it, because my senses were reeling, [I] called a brief and unmis- takable 'Hallo! ' breaking into human speech, and with this outburst broke into the human community, and felt its echo: 'Listen, he's talking! ' like a caress over the whole of my sweat-drenched body" (Kafka 1917ir948, 162).
2. Three months later (and independently of Edison) the same word ap-
peared 3. 4? 5. 6 . 7. 8.
in an article on Charles Cros. See Marty 1981, 14.
Scientific American, 1 877, quoted in Read and Welch 1959, 12. Cros 1 877ir964, 5 23-24.
Cros 1908ir964, 136; trans. Daniel Katz, in Kittler 1990, 231. See Cros 1964, x.
See Derrida 1967ir976, 240.
Bruch 1979, 2 1 .
9. See the documents from the Grunderzeit in Kaes 1978, 68-69, 104 (the scriptwriter H. H. Ewers on Wagner as "teacher").
10. See Friedheim, 1983, 63 : "Wagner is probably the first dramatist to seri- ously explore the use of scream. "
II. Wagner 1882ir986, 101.
12. Wagner, Das Rheingold (1854), mm. II-20. 13. See Wagner 1880ir976, 5II-12.
14. Jalowetz 1912, 51.
IS. See Rayleigh 1 877-78, I : 7-17.
16. Levi-Strauss 1964/1969, 23.
17? See Kylstra 1977, 7.
18. See Bruch 1979, 26, and Kylstra 1977, 5.
19. See Stetson 1903.
20. See Marage 1 898.
21. See Bruch 1979, 3-4. Ong (1982, 5) even hailed Sweet (1845-1912) as the progenitor of Saussure's phoneme concept.
22. Shaw 1912ir972, 684.
23? Lothar 1924, 48-49.
24. See Shaw 1912ir972, 659-64.
25. For details, see Kittlerr985ir990, 27-53.
26. Shaw 1912ir972, 795. [My Fair Lady is by Lerner and Loewe. -Trans. ] 27. Lothar 1924, 1 2, and Kylstra 1977, 3 , respectively.
28. SeeKnies1857,iii.
29? Jarry I 895ir975, 4: 19 1 .
30. Villiers 1886ir982, 19.
3 I. "Hahnische Litteralmethode" 1783ir986, 156-57.
3 2. On understanding as a measurable source of noise parallel to hearing,
see Gutzmann 1908.
33? Lothar 1924, 51-52.
34? See Gelatt 1977, 27-28.
35. Abraham and Hornbostel 1904, 229?
36. On rock music and secret codes, see Kittler 1984b, 154-55. 37? Gelatt 1977, 52?
? Notes to Pages 36-58 277
38. Hegel I830ir927-40, IO: 346.
39. Pink Floyd I976, IO-I1.
40. Gelatt I977, 72.
41. Freud, "Project for a Scientific Psychology," in idem I895ir962, I: 381. 42. Ibid. , I: 295.
43. Freud, Beyond the Pleasure Principle, in idem I920/I962, I8: 24.
44. See Derrida I967ir978, 22I-3 1.
45. Abraham and Hornbostel I904, 231.
Hornbostel's superior, the great
music physiologist Carl Stumpf, concluded that it was necessary to establish a phonographic archive in Berlin, as well (which was realized soon thereafter). His criticism o f the exclusion o f optics led another participant i n the discussion to argue that it should be linked to a film archive (ibid. , 235-36). See Meumann I9I2, I30. . .
? 46. Hirth, I 897, J8. Sabina Spielrein proves that psychoanalysts didn't think any differently. According to her, the "treatment of hysteria" consists in "bringing about a transformation of the psychosexual components of the ego (either by way of art or simple reactions-whichever you prefer: in this way the component is
progressively weakened like a playing
I906ir986, 224.
47? 49. 5 1 . 52?
56. 58. 60. 62. 64. 66. 67. 68.
"Claire Lenoir" and the commentary in S. Weber I980, I37-44.
69. See Kafka,January 22-23, I9I3, in Kafka I974, I67-68.
70. Ibid. , I66.
71. See G. Neumann I985, IOI-2.
72. See Cocteau I930ir9sr, 28.
73. Kafka, January 22-23, I9I3, in Kafka I974, I68.
74. Campe I986, 69?
75? See Kakfa I93 5/I950, 93, and Siegert I986, 299, 3 24-25.
76. See Kafka, January I7-I8, I9I3, in Kafka I974, I58, and Campe
Rilke I9IO/I949, 146.
See Flechsig I 894, 2 I-22.
Rilke I9IOir949, I 8 5 (translation modified). Lothar I924, 58.
[sic] gramophone record ) . " Spielrein 48. Sachs I905, 4?
50. See Hamburger I966, I79-275.
53? Ibid. , 59-60.
55. Moholy-Nagy I923, I04? 57. Ibid. , I05?
59? Lothar I924, 55?
61. Pynchon I973, 405.
63. See Hodges I983, 245-46. 65. Marinetti I9I2/I97I, 87.
Ibid.
Zglinicki I956, 6I9?
Moholy-Nagy I923, I04.
See Andresen I982, 83-84.
See ibid. , 287-88.
See Valery I937ir957-60, I: 886-907.
Parzer-Miihlbacher I902, I07.
See Ribot I882, I14. For agony snapshots, see also Villiers's story
I986, 86.
77. See Campe I986, 72.
79. See Wetzel I985.
81. M. Weber I928, 9.
83. Kafka, January 22-23, I9I3, in Kafka I974, I68. 84. See Wagner I880ir976, 5I2.
78. See Lacan I973ir978, I74ff. 80. Dahms I895, 21.
82. Wellershoff I980, 2I2-14.
54? See Rilke I925ir957, 339-40.
278
Notes to Pages 59-78
85?
86.
87.
88.
89.
90.
91.
92.
93?
94.
95.
96.
97.
98.
99? Snyder 1974, II.
100. Scherer 198 6, 4 9 . For the factual history o f similarly dismembered bod-
ies, see Seeliger 1985. The major identification problem between 1826 and 1916 and in 1959 appears to have been Schiller's rather than Goethe's skull. Whether or not the corpse in the royal tomb will prove that Goethe used arsenic to poison Schiller, whether it belongs to the poet or to a young woman, whether Goethe used a file to distort its teeth-all that is still unresolved. Reason enough for Pro- fessor Pschorr to reenact the 1912 opening of tomb and coffin in 1916.
IOI. Philipp Siedler, 1962, quoted in Campe 1986, 9? .
102. I03 ? I04. IO5.
Reis I 86Iir952, 37.
Bell quoted in Snyder 1974, 14.
See Saussure I9I5ir959, 17-20.
On the algorithms of digital speech recognition, and its input and out-
Dehmel I896ir906-09, 3: II5-I6. See Kittler I985ir990, 147-48.
See Holst 1 802, 63-66.
Schlegel I799ir958, 8: 48, 42. Deleuze and Guattari I972ir983, 209. E. T. A. Hoffmann I 8 I9ir97I, 32. Lothar 1924, 7-8.
Diippengiesser 1928, quoted in Hay I975a, 124-25.
Eyth 1909, I: 457-58.
Scientific American, 1877, quoted in Read and Welch 1959, 12. See Bredow 1950, 16.
Enzensberger I970ir974, 97?
Rilke I9 IOir949, 1 3 8 .
Turing 1950, 434. See Hodges 1983, 291.
put in general, see Sickert 1983 . The particulars of continuing Pschorr's Goethe experiment are as follows: "Under the Tokyo number 320-3000, a famous dead person is talking about his work. In his own language, the French painter Pierre Auguste Renoir, who died in 19 19, is promoting an exhibition of impressionist paintings. Renoir's ghostly voice was captured on tape by scientists of the Japan Acoustic Research Laboratory-with the help of computers. The computer seance is based on electronic voice simulation and anatomical measurements: according to the researchers, various vocal features can be reconstructed from the charac- teristics of a person's nasopharyngeal cavity. In the case of Renoir, the voice of a French native speaker was gradually modulated according to the characteristics of Renoir's nasopharyngeal cavity. Japanese vocal experts, at least, consider the result to be 'pure Renoir'" ? (Der Spiegei 40, no. I [1986]: 137). Unlike Pschorr, the Japan Acoustic Research Laboratory has kept silent about the acquisition of Renoir's nasopharyngeal cavity.
106. I08. IIO. II2. I I 3 . II4?
Foucault I969ir972, 27. Friedlaender 1922, 326.
Ibid. , 326.
O. Wiener 1900, 23-24.
"The New Phonograph" 1 8 87, 422. Gelatt 1977, IOO-IOI.
107. Ibid. , 103 . I09? Ibid. , 327. III. Ibid.
I I 5 . Bruch 1979, 24?
II6. See Lerg 1970, 29-34. In the name of all German engineers, Slaby ( 19 I I , 3 69-70) found the exalting words: "At the turn of the century, words of deliverance resounding from the heights of the throne opened the path leading up- ward to the hallowed peaks of science . . . For whom do our hearts in this hour beat more passionately than for our emperor? He endowed us with rights and
privileges in the world of supreme intellectual life, he made us a full part of the struggle for the glory of the fatherland, and at its deepest roots he provided the blooming science of engineering with new ideal incentives. "
II7. For details, see Kittler 1984a, 42. [AVUS: Autoverkehrs- und Ubungs- strasse, a famous speedway in Berlin. -Trans. ]
I I 8 . Wildenbruch, 1 897, quoted in Bruch 1979, 20.
II9. Nietzsche/1882-1887ir974, 138. Hobbes stated more prosaically that "in ancient times, (before letters were in common use, the laws were many times put into verse, that the rude people taking pleasure in singing or reciting them might the more easily retain them in memory" (Hobbes 16sr/r994, 178).
1 20. See Mallarme 1 897/r94 5 , 4 5 5 . This poet's only "innovation" was
for the first time, the empty spaces between words or letters were granted typo- graphic "weight"-typewriter poetics.
121. Jensen 1917, 53.
