Editor’s Note: Sound Studies is often accused of being a presentist enterprise, too fascinated with digital technologies and altogether too wed to the history of sound recording. Sounding Out!‘s last forum of 2013, “Sound in the Nineteenth Century,” addresses this critique by showcasing the cutting edge work of three scholars whose diverse, interdisciplinary research is located soundly in the era just before the advent of sound recording: Mary Caton Lingold (Duke), Caitlin Marshall (Berkeley), and Daniel Cavicchi (Rhode Island School of Design). In examining nineteenth century America’s musical practices, listening habits, and auditory desires through SO!‘s digital platform, Lingold, Marshall, and Cavicchi perform the rare task of showcasing how history’s sonics had a striking resonance long past their contemporary vibrations while performing the power of the digital medium as a tool through which to, as Early Modern scholar Bruce R. Smith dubs it, “unair” past auditory phenomena –all the while sharing unique methodologies that neither rely on recording nor bemoan their lack. Last week, the series began with Mary Caton Lingold‘s exploration of the materialities of Solomon Northup’s fiddling as self-represented in 12 Years a Slave. This week, Caitlin Marshall treats us to a fascinating new take on Harriet Beecher Stowe’s listening practice and dubious rhetorical remixing of black sonic resistance with white conceptions of revolutionary independence. —Jennifer Stoever-Ackerman, Editor-in-Chief
Harriet Beecher Stowe: novelist, anti-slavery agitator, antebellum DJ? In 1852, Stowe penned one of the most famous works of fiction in American history: Uncle Tom’s Cabin. A sentimental work, the novel dramatized the lives of fictional slaves searching for freedom. Eager to achieve a national hearing of her anti-slavery agenda, Stowe’s novel required a voice that could “speak” in morally efficacious tones against slavery. To stage this voice, one that hinged on a sonic appeal to inter-racial sympathy, Stowe sampled and mixed two powerfully persuasive, if diametrically opposed, cultures of speaking and listening in the United States.
The first of these cultures revolved around revolutionary American understandings of political rhetoric. According to Jay Fliegelman, this tradition of republican oratory drew upon 18th century philosophical principles to recast Declaring Independence as a speech act. In his Declaration, Jefferson announced the ‘self-evidence’ of an American people by performing a nationally specific common sense in two important ways. First, he displayed a breed of American moral feeling in direct contrast to that of the colonial British; second, he did so through an oratorical style that inaugurated a common, American modality for articulating and hearing truth. The felt and sounded show of a common ‘self’ evidenced Americans’ natural rights to independence, and installed a markedly white revolutionary acoustics of freedom.
Stowe’s second sample was a misappropriation of a new mode of hearing in the 1845 Narrative of the Life of Frederick Douglass, An American Slave. As Sounding Out! Editor in Chief Jennifer Stoever-Ackerman has argued in “The Word and the Sound: Listening to the Sonic Colour-line in Frederick Douglass’s 1845 Narrative,” Douglass’s narrative was a direct attempt to bend and subvert what she terms “the sonic colour-line” (21). An acoustic schema that racialized sound and recruited the ear in black subjection, the sonic color line was epitomized by the republican oratorical tradition wherein meaning was linked to white articulation, and meaninglessness to black utterance, heard simply as ‘noise.’
Contrastingly, the reformed sonic model presented in the Narrative sought to position black sound as a site of meaning and resistance, and challenged Northern readers to question and remap both their hearing of such sounds and their ethical relationship to black meaning. Jonathan Cruz, in Culture on the Margins, terms this new mode of hearing “ethnosympathy” and defines it as an “interpretive ethos of pathos” (3). Importantly, Stoever-Ackerman highlights that Douglass did not seek to cast black sound as “a sentimental appeal to truth,” but “rather [as] a challenge to dominant notions of truth produced and disseminated through the ear” (31). Stowe however, did not hear Douglass’s message so subtlety, and like many Abolitionists, was quick to commandeer black sound for a white social justice platform wherein it served as the innately moral (and romantically racialized) sound of sentimental suffering. Thus, it was this mishearing of the strains of black resistance that Stowe remixed with the white tones of revolutionary independence to spin a brand new soundtrack for the antebellum era. I term this soundtrack the acoustics of passing.
A vocal melodrama (a literal speech act) in black and white, the acoustics of passing was an amalgamated grid of sonic intelligibility invested in the political power of voice that encapsulated the seemingly antithetical (to white America) tones of republican virtue and black experience, and was deployed by Stowe to narrate the fantastical passage of African Americans from bondage to freedom. Composed first through Uncle Tom’s Cabin, and propagated later in her paternalistic relationships with black female artists, Stowe’s acoustics was ostensibly a powerful tool in the fight against slavery, but was ultimately used by the author to recapitulate her whitewashed vision of America.
Stowe’s acoustics appear in Uncle Tom’s Cabin in novel’s first passing scene: George Harris’s Spanish masquerade. Stowe frames this scene prominently with the fugitive slave advertisement that George’s master, Mr. Harris, has posted. Many scholars have pointed to the way in which the visual organizes the practice of passing, but it is important to note that in this scene, the oral/aural is equally emphasized as key to a passing performance; Mr. Harris, for one, notes in his advertisement that George’s keen eloquence and literacy are the fugitive’s distinguishing features. Moreover, the advertisement seems to warn, in combination with George’s European complexion, he is rendered seemingly indistinguishable from a white man. Mr. Harris expects George to attempt such a passing ruse, and therefore clearly identifies the marks that will testify to George’s slave status. George
is deeply scarred on his back and shoulders; has been branded in his right hand with the letter H (95).
Contrary to Mr. Harris’ predictions, however, George enters the roadhouse disguised as a Spanish gentleman. To pull off this guise George darkens his skin and hair. In the essay, “Spanish Masquerade and the Drama of Racial Identity in Uncle Tom’s Cabin,” Julia Stern argues that George’s third term identity, “nonblack, nonwhite,” is radical because it upsets the logic of the antebellum racial dichotomy. However, we should note that this dark masquerade allows Stowe to symbolically align George, a mixed race man, with both his black and white parentage. In darkening his skin George pays tribute to his slave mother, while by adopting a well-known Anglican slaveholding surname, Henry Butler, George references his absentee father. Thus, the Spanish disguise is Stowe’s reminder that George is passing for who he claims to be.
Yet before George can break from the tavern on his way towards Canada, he must reveal himself to his former employer, Mr. Wilson, who, George believes, has recognized him. In the long speech that follows, George must convince Mr. Wilson to discard a juridical sense of right in favor of an ethical one. Carefully arranged through Stowe’s acoustics of passing, George’s oratory presents equal parts white republican sentiment and black pathos, sentimentally persuading Wilson (and a listening America) of the moral justice in permitting him to pass to freedom.
Well aware that her readers at home would have been reciting the text of Uncle Tom’s Cabin aloud, Stowe is careful score George’s speech for both sonic whiteness and blackness–leaving intertextual clues that act like dynamic musical notation to indicate how George’s performance should sound. To begin, Stowe spells out her source material for George’s speech by directly citing Jefferson’s “Declaration” in a footnote to George’s opening salvo. Stowe wants readers to hear George’s speech as the realization of the American Republican promise. Americans, Stowe argues, are in a state no better than the British of the 1770’s: like the tyrannical father/monarch King George, Americans are “deaf to the voice of justice & of consanguinity.” A lengthy address, George’s monologue is an account of the domestic crimes of slavery, and, like the Declaration, is a complaint of personal injury at the hands of a nation that has been as negligent in looking after its blood kin as has George Harris’s father. Concluding with the passionate exclamation, “I’ll fight for my liberty to the last breath I breathe! You say your fathers did it; if it was right for them, it is right for me!” (102), George’s Declaration claims the rhetorical, and therefore natural, rights that are his white, paternal inheritance.
The sonic difference in George’s speech however, is the pathos of it, the “tears, and flashing eyes, and despairing gesture,” here meant to index the orator’s audible black suffering. Though setup as racially inscrutable in this scene, Stowe takes great pains to ‘out’ George’s hidden blackness. Not only does Stowe symbolically darken George to cite his mother’s race, but she draws attention to the black body through repeated citation of his scars. This figuration of speaking wounds was prevalent in the popular imagination of Stowe’s day, and represented the white fantasy that black speech was the ‘playback’ of slave experience as recorded in the grooves of the traumatized and marked black body. Frederick Douglass, for example, recounts in My Bondage and My Freedom that he was first introduced as a speaker to the Abolitionist lecture circuit as a “graduate from the peculiar institution…with my diploma written on my back!” (359).
Miraculously, at the climax of George’s sonically mixed oration, Mr. Wilson is overcome with a revised sense of justice, one consonant with George’s bid for freedom. In this overdetermined acoustic schema, Stowe aligns progressive white ethos and republican sentiment with the distinct sounds of black pathos, and positions any mode of hearing contrary to this inter-racial sonic sympathy as un-Christian, un-patriotic, and detrimental to the future of the Union.
Yet Stowe’s acoustics of passing is decidedly supremacist. To begin, George’s mixed sound is haunted by the specter of forced conception and familial alienation ubiquitous to slavery. Additionally, while Stowe deploys the acoustics of passing towards an anti-slavery platform, her sonic schema ultimately preserves the social and political function of whiteness. Thus, while George’s sonic blackness is essential for playing out the moral justice of Stowe’s cause, it is this same audible blackness that permits Stowe to ultimately write the political problem of inter-racial integration off to Liberia with the entire Harris family.
Herein is the problem of Stowe’s acoustics: its sonic inter-racial sympathy at once promised speakers of color the agency of a sounded path to freedom (that which George performs and narrates) while ultimately deploying white practices of containment. And Stowe indeed dramaturged the lives of several mixed race artists through these acoustics, most notably the Dramatic Reader, Mary Elizabeth Webb and the concert vocalist Elizabeth Taylor Greenfield.
As I continue to investigate the careers of women of color like Greenfield and Webb, I think about how Stowe’s acoustics could have empowered and constrained their bids for resistance, rights and recognition.
Featured Image: “Representative Americans” Image of Harriet Beecher Stowe surrounded by characters from Uncle Tom’s Cabin, 1893, Remixed by Jennifer Stoever-Ackerman
Caitlin Marshall is a PhD Candidate in Performance Studies at UC Berkeley. A vocalist herself, Caitlin applies her practice-based knowledge of voice towards the study of what it meant to ‘sound American’ during the nation’s first independent century. Focusing on ‘Othered’ American vernaculars at the intersections of race, disability, gender, and ethnicity, her dissertation, ‘Power in the Tongue’: Crippled Speech & Vocal Culture in Antebellum America, takes seriously the metaphor of voice in American democracy, and works at the confluence of Performance, Sound, and Disability Studies to mobilize speech impairment as a broad material and theoretical category for investigating how American citizenship was established as an exclusionary vocal limit in the antebellum era.
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Today, Society for the Humanities Director Timothy Murray sings us back home with a meditation on the soundscapes of study at the A.D. White House this year, closing out our spring “Live from the SHC” series covering new research on “Sound: Culture, Theory, Practice, Politics.” The 2011-2012 Fellows have got to say goodbye for the summer–and sadly beyond–but we all hope that next years’ Fellows (2012-2013 Theme: Risk @ Humanities) enjoy all the good vibrations we will leave behind, and that you, Dear SO! readers, have enjoyed our broadcast! Our summer series, “Tuning In the Past,” on radio and legacy of broadcaster Norman Corwin, featuring Neil Verma, Shawn VanCour, and Alex Russo begins at the end of June. And, of course, every Monday in between and beyond, we’ll keep giving you something you can feel. –JSA, Editor in Chief (and 2011-2012 SHC Fellow)
Many thanks to Jennifer Stoever-Ackerman for hosting “Live from the SHC” on Sounding Out! What a fantastic experience it’s been to have Jennifer screening and tweaking Sounding Out! from her garret office overlooking the gardens behind the A.D. White House, the Cornell home of the Cornell’s Society for the Humanities. Readers of “Live from the SHC” have read various strains of this year’s focal theme, “Sound: Culture, Theory, Practice, Politics.” The aim of this year’s residential research project was to contemplate and analyze the resonance of historical and contemporary representations, movements, ideas, and negations of sound.
Open to study of the broadest cross-cultural range of contexts and media that cross the boundaries of time and space–from East and West/South and North–the Fellows’ research delved into the complex ways that sound abounds in visual, textual, and aural realms. From “voicing” to “listening,” sound shaped the framework of our critical and philosophical analyses of the body, affect, and social publics. Sound came to be appreciated for its shaping of the parameters of psycho-cultural imaginaries, social practice, religious ritual, and political regulation throughout history and across the globe. Just as sound differs in the global context of capitalism and cosmopolitanism, not to mention the specificities of ethnic difference and cultural diversity, “voice,” “hearing,” and “listening” frame the humanities disciplines in relation to their aesthetic properties and political ramifications.
The Fellows found themselves reflecting on several key issues. Which criteria differentiates natural from artificial sounds? Does sound challenge disciplinary distinctions between the visual and the oral/aural/tactile? Can the loud noises of industrial culture be distinguished from the synthetic sounds of electronic music, the stammerings of performance and the vibrations of philosophical manifestos? It should come as no surprise to followers of Sounding Out! that sound marks the passage of time, the correlation of the aural to the movement of the body in dance and performance, the sonic promise of cartographic projects of social movements and migrations, and the cultural and ethnic specificities of acoustic fields and rhythms in the age of sampling and mixing, not to mention the gender, racial, and ethnic import of voice and spoken narrative.
Adding vibrant texture to our year-long discussions were the three weeks spent in extended dialogue with the Society’s Senior Invited Fellows. Emily Thompson (The Soundscape of Modernity) charted the histories of the architectonic sounds of cinema houses as well as the untraceable wealth of the historical sounds of New York City as its peripheries morphed from country estate to urban zone. Brandon LaBelle came from Norway to take us on a journey of artistic imagination and phenomenological hopefulness as he cruised his writings on Acoustic Territories and Site Specific Sound while sampling the background noises of his multimedia installations. Then Norie Neumark, fresh off the release of VOICE: Vocal Aesthetics in Digital Arts and Media (co-edited with Ross Gibson and Theo Van Leewen), arrived from Australia to follow up on our 2003 online seminar on Sound Cultures. She reminded us of the deep history of sound studies down under, while focusing our attention on voicings and her own multimedia art practice that blends spoken narrative, synthetic noise, mouthed breath, and shocks in the ear. [The “Live From the SHC” logo is a piece from Neumark and Maria Miranda’s “Shock in the Ear”–ED].
Various other visitors throughout the year included multimedia artists Mendi and Keith Obadike whose “not” Afrofuturism walked us through their exciting series of performance works,“Four Electric Ghosts,” Caitlin Marshall from Berkeley who brought cyborg speech to life with her prosthetic soundings, and renowned choreographer William Forsythe, whose four-hour choreography piece “Nowhere and Everywhere at the Same Time“–performed amidst amidst over 150 hanging pendulums–combined dance and environment as a means of physically manifesting the process of thought. Marjorie Garber from Harvard rode our acoustic wave to reflect on the future of the humanities while Norma Coates came down from Western Ontario to sensitize us to the mixes of pop sound and culture.
In listening back to the echoes of the year past, rather than here retracing the specific projects of our Fellows (you can consult the critical tales already Sound[ed] Out! by Damien Keane, Tom McEnaney, Nina Sun Eidsheim, Jonathan Skinner, Eric Lott, Jennifer Stoever-Ackerman, and Jeanette Jouili), I find myself sampling the sounds, noises, and glitches that provided unexpected reverbs for the academic writing happening behind closed office doors throughout the A. D. White House.
Sounds of glee, delight, and play first arrived on the scene at the end of August with gaggles of laughing and screaming kids running wild and climbing trees in the gardens, surrounded by bemused adults and envious dogs. Accompanying partners brought to the mix the diverse soundings of African film, suspicious packages, software beats, performance art, critical geography, and real estate hawking. No wonder the assembled Fellows strayed so readily, if not unconventionally, from the promised strictures of already exceptional research projects that brought to our weekly seminar table the street sounds of Egypt, Turkey, Korea, early modern Germany, contemporary Islam, American hip hop, contemporary art, circuit bending, gaming, German, Irish, U.S. and Latin American radio, voices of performers, animals, and posthumans, urban soundscapes, and, here making a loud call out to one Stoever-Ackerman, sonic color-lines.
Resounding throughout the year to give cadence and timbre to our serious ponderings were the spontaneous soundings that seemed always to give ample depth to the provocative interstices of intellectual life. There were the noises of glitch, circuit-bending, and Guitar Hero that stretched and extended the purpose of music and machinics. There were spontaneous voice lessons that turned anxious performers into wild choreographic objects. Singing above in the hidden alcoves–when not streaming through the high Victorian ceilings of the A. D. White House–were our flying mammal friends whose echolocation extended beyond the reach of our mere human ears. Then were the sudden noisy reminders of the vulnerability of our corporeal organs. Who could forget the reported imaginary of the crunch of human leg against car as two of our Fellows found themselves under assault from a crazed pizza delivery guy – luckily no lasting damage?
Our fellows will carry away the subliminal lacings of the lighter sounds of improvisation and camaraderie. There were the poundings of feet and slappings of bodies dancing late into the night after hours of laborious conferencing to the beats of DJs Marcus Boon, Art Jones, and Earmuffs.
At the end of the year, Fellows grooved to the beat of Tom McEnaney playing bass with The Vix Krater out at the Rongo in Trumansburg, NY (down the road from the home of Moog), before retreating to the bowels of the A. D. White House basement for another dusty, late night jam session with drums, synthesizer, guitars, bass, and various acoustics, led by the ultimate sound blogger herself, the guitar heroesse, Jenny S-A. [Well, I’m learning. So far I know E-Minor. It was Trevor that really broke my strings in! –ED].
And, yes, there was always the accompaniment of the clinks of glasses and bottles bearing the liquid life blood of any noisy crew.
The French philososopher, Jean-Luc Nancy, reminds us in Listening (2007) that the shared space of noise and sound entails “a totality of referrals: from a sign to a thing, from a state of things to a quality, from a subject to another subject or to itself, all simultaneously. Sound is also made of referrals: it spreads in space, where it resounds while still resounding ‘in me'” (7). What resounded and referred this year at the Society for the Humanities was the very immaterial and inchoate touch of sound, which is a-live in intensity and force. But who would have imagined the intensity of the noise of referral that remained so constant throughout the year to envelop the solid academic work of our Fellows in the wilding vibrations of jouissance? Indeed, perhaps the best lesson of the year, at a moment when the humanities finds itself threatened and in transition by the supposed certainty of metric and assessment, is that the Society’s scholarship in sound was driven by the relentless noise of referral and the unpredictable delight of the commune.
Featured Image Credit: Brandon La Belle, Duck Duck Goose Installation, Ausland, Berlin
Timothy Murray is Professor of Comparative Literature and English and Curator of the Rose Goldsen Archive of New Media Art. He is the Cornell Principal Investigator of the Central Humanities Corridor, generously supported by a grant from the Andrew W. Mellon Foundation, and he sits on the International Advisory Board of the Consortium of the Humanities Centers and Institutes (CHCI) and the Steering Committee of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC). He is Co-Moderator of the –empyre- new media listserv and the author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008); Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art (Routledge, 1997); Like a Film: Ideological Fantasy on Screen, Camera, and Canvas (Routledge, 1993); Theatrical Legitimation: Allegories of Genius in XVIIth-Century England and France (Oxford, 1987). He is editor of Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought (Michigan, 1997) and, with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture (Minnesota, 1997). His curatorial projects include CTHEORY MULTIMEDIA and Contact Zones: The Art of the CD-Rom.