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Personal Cockpits and Sound Capsules the Advent Of PERSONAL COCKPITS AND SOUND CAPSULES THE ADVENT OF HEADPHONES’CULTURE Herlander Elias Índice 348). We look around and we see in cities, and also outside the cities, in the suburbs, in people INTRODUCTION ...............1 walking to their jobs, jogging, shopping, always 1 HISTORY,BRANDS AND FICTION ...1 wearing their headphones. However, the headpho- 2 THEORY .................2 nes are not something entirely new. Thompson, for CONCLUSION ................4 instance, argues that “In the 1950s, John C. Koss REFERENCES ................4 invented a set of stereo headphones ’designed ex- plicitly for personal music consumption’” (2012, para.6). This we shall say, it is the official kicks- tart of the headphones’ model as we know it to- INTRODUCTION day, the two speakers with an arm, cushions and HE headphones’ culture is an interesting phe- plugged on a portable media device, which these T nomenon. It has its own specific background. days became the smartphone with up to 1 terabyte One cannot deny its scope and range because it is and a half on storage space. According to Thomp- enough for us to walk in the streets and see how son, Koss is the founder of the model that now is many people use in-ear earphones, on-ear earpho- everywhere, with people using these devices on nes and over the ear headphones. These devices the street, from hip-hoppers to millennials. The and headsets have a history of their own. Today headphones are a fashion symbol and also a state- they make sense for us since we got used to the ment of being fond of a certain brand of audio gear. concept of “portable music” and we enjoy staying They are a status symbol and display a lifestyle. sharp in our own “audio environments”. Much In another stage of the history of the headpho- can be said about the personal cockpits of our jobs nes we have the United States Navy, since that for and the sound capsules we are fond of using while communication purposes they came up with a mo- on commuting and on-the-go. In this text we will del of a headset that had both headphones and a sketch its theoretical framework, its history and its microphone. This too is part of the history of the appearance in some key works of fiction. headphones culture. There is also a military back- ground up to it. We are told by Thompson that 1 HISTORY,BRANDS AND FICTION “Baldwin’s invention for the Navy has become a social accessory with an explicit message: I am When it comes to headphones there are several ty- here, but I am separate. In a wreck of people and pes of headphones, as mentioned previously, but activity, two plastic pieces connected by a wire we will address them as commonly as possible, so create an aura of privacy” (2012, para.10). And we chose the term “headphones”. It is undenia- this is the tipping point for the headphones’ culture ble that headphones as a culture are an advent of because it has triggered the personal cockpits its what Bull points out as “street aesthetics” (2005, users are fond of and also the notion that the audio ção da totalidade ou de parte desta obra carece de expressa auto- c 2019, Herlander Elias. rização do editor e do(s) seu(s) autor(es). O artigo, bem como a c 2019, Universidade da Beira Interior. autorização de publicação das imagens, são da exclusiva respon- O conteúdo deste artigo está protegido por Lei. Qualquer forma sabilidade do(s) autor(es). de reprodução, distribuição, comunicação pública ou transforma- Herlander Elias environment could at once be personal, free of ex- nes. The music industry moved totally into the terior noise, sharpening focus to whatever tasks we streaming territory, so people are streaming more have at hand. We want to be in the real world, but music than they are purchasing CDs. It all began with our own soundtrack. That is what the prehis- with the establishment of Spotify, the music strea- tory of the headphones kicks off, the beginning of ming service back in 2008. Then came Tidal, Pan- the sound capsule, us being able to be cocooned dora and Apple Music in 2016. Beats by Dr.Dre, with our portable sound machines. In his enlighte- a headphone manufacturer marketed at pop cul- ning way, Marsden provides us a bit more context ture and street culture youth was sold to Apple for regarding the advent of the headphones’ culture: $3bn in May 2014. Also, brands such as Sennhei- “The history of headphones, however, has had ser, Bang & Olufsen, JBL, Bose, not to mention little to do with style; it’s more a story of pro- Sony, AKG and Samsung, all addressed the wire- blem solving. Thomas Edison created a primitive less speakers, the smart speakers and the wireless version in order to listen to his new creation, the headphones market. Though, in fiction these devi- phonograph in the 1870s. The 1881 Internatio- ces already had appeared. Cyberpunk science fic- nal Exposition of Electricity in Paris showcased a tion envisioned societies plugged in with devices new service called the Théâtrophone, which piped for the ears and the eyes as well. operatic performances into wealthy people’s ho- In François Truffaut’s 60s version of Fahre- mes over telephone lines. It eventually launched nheit 451, Bradbury and Truffaut envisioned a in Lisbon in 1885 (at the behest of King Luis), and world in which small earbuds were used for talking subscribers to the service were provided with one and listening to music. This was a precursor image of the very first sets of headphones” (2015, para.1). of Apple Airpods, the iconic White Bluetooth- Surprisingly, the headphones became much enabled earphones. In Johnny Mnemonic (Robert more than a Théâtrophone, because then it relied Longo, 1995) the protagonist uses EyePhones for on physical connection. Today most headpho- Virtual Reality, so he calls them phones for the nes are Bluetooth-enabled, meaning they are to- eyes. William Gibson in Idoru also portrays a si- tally wireless, allowing freedom of movements, milar scenario when a girl is connecting to VR. It and also these new headphones can last for days was called “Thomson Eyeware”. Especially in cy- on a change thanks to an improved battery life. berpunk fiction we see characters either watching “How did we got here?” is an interesting ques- videoclips or in the streets, with their earbuds, clo- tion. First there was the birth of the World Wide sed into their own private sound capsules, an 80s Web in the 1990s and so the MP3 music file for- dream that came to be real. So we should best mat was the format of choice to share and down- comprehend the theory behind these sound capsu- load music. People began to listen to MP3. When les and personal cockpits that fascinates users of in 2001 Jonathan Ive at Apple designs the iPod it audio gear and trendsetters. became a monster hit. The iPod was basically a hard drive and a pair of white-branded headpho- 2 THEORY nes plugged in. The music player reproduced MP3 and it meant a bigger change. People were transla- Sherry Turkle speaks about “cockpit behaviour” ting their Compact Discs to the iPod by resorting (2011) in her books, addressing the way teenagers to a computer with iTunes installed as a mediator. use social media and their digital media to “zone People were also allowed to purchase records on out”. And this is exactly what the crowd from the the iTunes store in a Mac computer. But before headphones is doing too, they are zoning out. They the iPod there was a major agent that introduced do not want to be where they are, so music via he- the hardware format. In 1979 Sony releases the adphones takes where they are into the most. Walkman, a portable music player with a pair of In 1971, George Steiner in the Book In Blue- headphones. Today we have more futuristic gear beard’s Castle. Some Notes Towards The Redefi- like the Google Glasses for Augmented Reality, nition of Culture, the author is one of the first to but for example Apple Airpods seem very futu- speak of the “sound capsule” concept. Again he ristic for the pair of Bluetooth-enabled earphones was referring to the youth using headphones. Back that they are. Since 2017 the Airpods have become in the 60s, McLuhan spoke of “acoustic space” trendy and now they are a fashion statement con- (1994), which for him were spaces that, unlike cerning digital gear. the visual space, could penetrate each other, over- In the meantime, a lot has happened that enfor- lay and provide what Elias (1999) calls “sounds- ces the usage of the new age of wireless headpho- capes”, the landscapes of sound. Erik Davis too www.bocc.ubi.pt 2 /6 Personal Cockpits And Sound Capsules. The Advent of Headphones’ Culture addresses the issue of the acoustic space and ex- fect for disconnecting from the outside space of plores its polyrhythmic potential. noise. While wearing headphones and listening to In 2010 Gibson allures to the fact of how the our soundtracks we feel like heroes in our own nar- Walkman changed our cities. In Petrusich view, rative. there is a lot to say about the advent of headpho- The author Edward T. Hall in the book The nes’ culture: “Is the ubiquity of headphones just Hidden Dimension [1986] explores the concept of another emblem of catastrophic social decline, ed- “personal space” and “proxemics”. Hall tells us ging us even deeper into narcissism and unsociabi- that people have a “personal space” and they tend lity?” (2016, para.1).
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