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• W656329863 abstract "Pictures of Sound: One Thousand Years of Educed Audio, 980-1980. By Patrick Feaster. Atlanta, GA: Dust-to-Digital, 2012. 144pp plus CD with 28 tracks (TT=77:21). $40 Hardcover, Cloth Patrick Feaster is well-known to ARSC members. He and his research partner David Giovannoni have given several conference presentations describing their ongoing work on the phonautograms of Edouard-Leon Scott de Martinville, and Feaster published an article on that project in the ARSC Journal (2010;41(1):43-82). A thorough overview of this project, information on the latest developments, and clips, can be found on their First Sounds website (www.firstsounds.org; the site also contains information on related projects). As most readers will know, Leon Scott developed a writing device in 1857 for the purpose of recording and visually analyzing vibrations. Scott's Phonautograph captured vibrations and etched them on paper coated with the black soot from an oil lamp. The result was a physical picture of the vibrations which could be studied and analyzed --an ancestor of the modern oscilloscope. Scott did not intend that these recordings be played back, and had no means of playing them, since the two-dimensional picture was incapable of driving any type of mechanical reproducer. Scott deposited several dozen of his Phonautograms with the Academie des Sciences of the Institut de France, some fifty of which have survived, and in 2007 Feaster and Giovannoni began researching the possibility of retrieving and playing their audio content. From where most recording historians sit, this seems like a perfectly reasonable prospect, indeed a landmark find in the field of recording history, but there are bound to be disagreements. As Feaster points out in the introduction to Pictures of Sound, reactions to their work were varied. A headline in the Los Angeles Times read Recording is Older than You Thought, while a note posted on YouTube read was NOT a recording. This is a graphic representation of waves. There was never any intent to record audible for the purpose of listening to it. [Scott] was studying what waves LOOKED like. The viewpoint expressed on YouTube seems, at the very least, silly. I find it impossible to argue with the notion that Scott's Phonautograms are recordings of (is that any different from a sound recording?), and the fact that he did not intend to play them--quite possibly because he did not have the means--does not make them any less so. Fortunately the YouTube comment represents a decidedly-minority viewpoint and most recording historians, myself included, consider Feaster and Giovannoni's research to be groundbreaking, redefining the early history of recording. Pictures of Sound challenges the very idea of what constitutes a recording, and if playback of Scott's Phonautograms provoked controversy many of the examples treated by Feaster in this book will raise eyebrows even further, some much further. The book consists of twenty-eight examples, each given its own explanatory chapter and track on the accompanying audio CD. Feaster discusses, in detail, the nature of each example, his sources, and explains the process by which the examples were converted into playable audio. In 2008 Feaster and Giovannoni collaborated with Carl Haber and Earl Cornell at Lawrence Berkeley National Laboratory. A scan made by Giovannoni of an 1860 Phonautogram of the song Au Clair de la Lune was converted into playable audio at Lawrence Berkeley using a virtual stylus technique whereby the scanned wave was tracked as though it was a groove on a vinyl LP. That audio recovery can be heard on the First Sounds web site, and was issued on a 7-inch, 33-1/3-rpm vinyl record (Parlortone PT-1001). Since then, Feaster has developed an optical film soundtrack technique, which is more forgiving of certain types of distortion (he describes this method in a sidebar on page 33). …" @default.
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