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Encountering the Sonic Artifact in the Digital Archive

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Encountering the Sonic Artifact in the Digital Archive to 1962 (the year Jones’s monograph on Breuer HUMA GUPTA Historians are thus more likely to deal with was published), the intermittently told history the digital archive and not its analog antérieur. of the Heinersdorff multi-lens window speaks But how does this shift affect the method of detachment and assimilation between image Encountering by which a historian can know the past through and material. It also records the channels sound?2 It raises a number of questions, such and influences that modern architecture the Sonic Artifact in as what types of critical listening apparatus does followed in its path toward institutionalization: the Digital Archive one need to encounter the sonic artifact in the multiplication of myths, metaphors, and the digital archive? How does one deal with the misunderstandings traveled alongside images inaccessibility and flattening of the sonic whose visual impact facilitated material and So when we imagine we are hearing the past, past? How should one interrogate the colonial 27 aesthetic evolution in postwar modernism. we are always only listening to the archive. context of an archive’s production and its Downloaded from http://direct.mit.edu/thld/article-pdf/doi/10.1162/thld_a_00679/1611607/thld_a_00679.pdf by guest on 23 September 2021 The Heinersdorff window acted as a postwar Caroline A. Jones, “The Mediated Sensorium” 1 underlying claims to facticity? This article will rhetorical apparatus, an ersatz of an original address these questions through the author’s that never existed. As such, the glass panel INTRODUCTION own experience of historicizing a digital was born and disseminated as a reproduction version of a rare, century-old sonic artifact without a proper original—it was never The technological apparatus of the post- that promised insights into a nearly extinct an acting window in the Heinersdorff house— 1895 shellac gramophone record facilitated tradition of performative storytelling selectively circulating in black-and-white the creation of modern sonic archives. in the Indian subcontinent.3 copies in the US through publications and These archives contained comparable sets exhibitions. Its presentation in Sun and Shadow of ethnolinguistic and musical recordings 1. THE ‘LAST GREATEST was an unacknowledged tribute to the or “data” inscribed onto 78-rpm records. STORYTELLER’ OF DILLI intersection between movement, light, and They were seven, ten, or twelve inches architecture. Eventually, we find the window wide, single- or double-sided, with recording The Dilli, or Delhi, that Sir Syed Ahmad Khan performing, literally, as a visual narrator lengths that varied from two to four (1817–1898) described in his 1847 Asar-al-Sanadid documenting an historical development in minutes. Today, the decreasing cost of (The Remnant Signs of Ancient Heroes) the complex relationships between objects, digitization has resulted in unprecedented was populated by storytellers sitting on a reed materials, images, and architecture. The access to older sonic archives, a process stool on the steps outside the northern gate fascination with the image of the multi-lens spearheaded by central institutions of the of the Jama Mosque, narrating tales from window diminishes as soon as the history knowledge economy, such as the Bibliothèque the Hamzanameh that included fantastic and of its materialization and circulation begins nationale de France (BnF), the British often ribald tales of jinns, sorceresses, mythical to play. The image changed in every historical Library, the Library of Congress, and The creatures, and heroes.4 A storyteller in this iteration, invoking the past only to resonate Internet Archive. tradition was called a dastango, and the dastans with contemporary and future expressions in Breuer’s work (figs. 10, 11). The reemergence HUMA GUPTA is a PhD candidate in For instance, see Mark M. Smith, ed., Experience, Science, and Art. The set of the image in different locations and via History, Theory, and Criticism in the Hearing History (Athens, GA: University of of questions this article raises extensively different media deserves our attention, as the Department of Architecture at MIT. She is Georgia Press, 2004); Mark M. Smith, builds on the questions previously a fellow in the Aga Khan Program for Listening to Nineteenth-Century America raised in their own scholarship. reinterpretation of his past works underpins Islamic Architecture. Her dissertation is (Chapel Hill, NC: The University of 4. C. M. Naim, “Syed Ahmad and His Two the relation between Breuer’s changing tentatively titled “The State Between North Carolina Press, 2001); Shane White Books Called ‘Asar-al-Sanadid’,” Modern Dwelling & Building: Sarifa Settlements and Graham White, The Sounds of Slavery: Asian Studies 45, no. 3 (May 2011): 5; aesthetic subjectivity and a renewed postwar and the Formation of Iraq” Discovering African American History Pasha Mohamad Khan, “The Broken modern materiality. through Songs, Sermons, and Speech (Boston: Spell: The Romance Genre in Late 1. Caroline A. Jones, “The Mediated Beacon, 2005); and Jennifer Lynn Stoever, Mughal India.” PhD diss., Columbia Sensorium,” in Sensorium: Embodied The Sonic Color Line: Race and the Cultural University, 2013. Experience, Technology, and Contemporary Politics of Listening (New York: New York 7. Delhi, Lucknow, Hyderabad, and Art, ed. Caroline A. Jones (Cambridge, University Press, 2016). See also Emily Rampur were considered key centers, MA: MIT Press, 2006), 22. Thompson, The Soundscape of Modernity: where dastangos could rely on different 2. This is a question that has been Architectural Acoustics and the Culture of forms of patronage from princely increasingly addressed over the past two Listening in America, 1900–1933 (Cambridge, courts, landed gentry, and the growing decades by aural historians, who have MA: MIT Press, 2002); and Hillel middle class, to popular attendance. examined sound recordings, speeches, Schwartz, Making Noise: From Babel to the See Ghaus Ansari, “Lucknow: The blueprints, and personal memories Big Bang and Beyond (Cambridge, MA: City of Palace Culture” in Urban to enrich and complicate histories of, for Zone Books, 2011). Symbolism, ed. Peter J.M. Nas (Leiden: 27. Not even in art historian Giulio Carlo at this late date as part of the interior example, race, place, architecture, 3. This article owes a tremendous intellectual E.J. Brill, 1993): 329–44. Argan’s 1957 book on Breuer was there a decoration of the Berlin villa, a house not and modernity. This article builds on this debt to Caroline A. Jones and reference to the actual origins of the demolished until 1972. recent scholarship and tries to pose Stefan Helmreich, who supervised and multi-lens glass, despite the fact that an new methodological questions given the encouraged this research during image of the window appeared in its pages proliferation of digital sonic archives. a 2014 seminar titled Resonance: Sonic 118 (epics) that s/he narrated were drawn from paradoxical configuration, the orality that is born in a new imperial capitalist economy or what Mark Katz terms the “unique what is broadly referred to as the qissah (romance) lost can only be communicated by the very that instilled both fear and awe in its listeners.10 spatial and temporal identity” of an art form.13 genre.5 In the public sphere, this Indo-Islamic technologies that stand accused for its decline. Shellac records were composed of lac, Moreover, if we are to follow Benjamin’s performative art of storytelling, or dastangoi, was There are actually two recordings of which is an organic insect resin scraped from insistence that the storyteller submerges the performed for a wide variety of audiences Baqir Ali from 1920. One is the recording of tree bark and considered a natural form of story or event into the life of the storyteller, then in cafés, bazaars, streets, opium dens, gardens, his dastangoi that garners the attention of plastic that is susceptible to decay. In the early each iteration of Baqir Ali’s narration would and princely courts. Each site would add its revivalists, and the second is a Hindustani twentieth century, British India was the be linked not only to the tradition of dastangoi, particular acoustical signature to the performance version of the parable of the prodigal son. While largest producer of lac in the world, and it but to his very being. Or in the vein of Alvin as the voice of the dastango reverberated the physical records are fragile and somewhat supplied the raw material for the gramophone Lucier, the resonant frequencies of the person within and through the space. inaccessible, both artifacts are available to be industry in Germany, Great Britain, and are articulated through their narration. Mir Baqir Ali is remembered as the “last streamed on the BnF website, where the Downloaded from http://direct.mit.edu/thld/article-pdf/doi/10.1162/thld_a_00679/1611607/thld_a_00679.pdf by guest on 23 September 2021 the United States. Although shellac came from Roland Barthes’s conceptualization of listening greatest storyteller” of Delhi. His death in 1928 is streaming story is accompanied by a photograph India, records were generally manufactured to the grain of a voice as “the materiality of also considered the symbolic death of dastangoi.6 of a 78-rpm record (fig. 1).8 However, there is abroad and then exported back to the Indian the body speaking its mother tongue” is similarly I first encountered this “lost” art form at a nothing in this cropped and manipulated image market where they were sold at a premium. apt here.14 However, these early recordings performance by dastangoi revivalists at the Indian that would immediately identify it as the analog The circulation and production of records could not capture the reverberations and gestural Embassy in Kabul, Afghanistan, in 2012. housing of a Baqir Ali recording. It is only the thus followed the routine logic of colonial dynamics between audience feedback The performers cast a long shadow of melancholy web page’s metadata that confirms that this is economics applied to other consumer and artist improvisation that were integral back in time to the decline of dastangoi, which indeed that prized and rare sonic artifact.
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