Papers by Viktoria Tkaczyk
University of Chicago Press eBooks, 2023
University of Chicago Press eBooks, 2023
Technology and Culture, 2019
For it will retain a perfect mechanical memory of many things which we may forget. -Thomas Edison... more For it will retain a perfect mechanical memory of many things which we may forget. -Thomas Edison 1 On 22 August 1940, the German astronomer Harald von Klüber used a gramophone to record a brief speech about universal time. In this wartime recording, von Klüber discussed the relativity of time and the need for a global time standard. Temporal convergence, he proclaimed, would facili-tate punctual communication, travel, and transportation-three aspects crucial to Germany's conduct of World War II but also relevant for a range of different research disciplines that were concerned with temporal accu-racy. As von Klüber referred to the newest technologies for measuring and synchronizing time with elaborate quartz clocks and wireless communica-tion, he was also performing what he understood by standardized time, through the medium of sound recording: in order to reproduce his meas-ured, persuasive voice, the gramophone disc needed to be played back at an exact, predefined rotation speed. 2
Brill | Fink eBooks, 2012
transcript Verlag eBooks, Dec 31, 2011
SSDH is an ongoing digitization project devoted to the history of acoustics, developed in collabo... more SSDH is an ongoing digitization project devoted to the history of acoustics, developed in collaboration with members of the research group "Epistemes of Modern Acoustics" at the Max Planck Institute for the History of Science. The digital archive provides access to and context for unique sources in the history of acoustics, such as texts, images, sound, film, and historical reenactments, along with entries on the people, places, instruments, and technologies that have shaped this history. The database is a multimedia resource for historians of science, culture, and technology, along with students and other researchers. It aims to explore the relationship between historical innovations in the study of sound and the scientific, artistic, religious, and political practices that make up their context. How did acoustic knowledge travel between a science of sound and the practice of musicians, engineers, or everyday listeners? How is that knowledge itself a product of sonic strategies, from skilled listening and musical composition to advanced audio engineering?
UvA-DARE is a service provided by the library of the University of Amsterdam () La parole et l'ap... more UvA-DARE is a service provided by the library of the University of Amsterdam () La parole et l'apprentissage par coeur Tkaczyk, V.
Oxford University Press eBooks, Aug 20, 2020
In 1901, the Berlin psychologist Otto Abraham published a lengthy study on what he called “das ab... more In 1901, the Berlin psychologist Otto Abraham published a lengthy study on what he called “das absolute Tonbewußtsein” (absolute tone consciousness), claiming that musical ability is less a natural talent than something learnable—dependent on the imprint of certain tone systems and musical experiences. In place of simple stimulus–response tests, Abraham therefore proposed a completely new method of testing musicality, based on a comprehensive test battery and a detailed questionnaire. This chapter’s investigation of Abraham’s method highlights its underlying epistemology of hearing, with particular attention to the relationship between Abraham’s notion of musicality and his mentor Carl Stumpf’s theory of tone psychology. The chapter then traces later applications of Abraham’s study in the fields of comparative musicology and music education, focusing on testing procedures at the Berlin Phonogramm-Archiv, the Berlin Academy of Music, and, in the shape of U.S. psychologist Carl Seashore’s “measures of musical talent,” American schools and music academies.
Die Geschichtsschreibung des Theaters Als wichtiges Teilgebiet der Theaterwissenschaft hat sich d... more Die Geschichtsschreibung des Theaters Als wichtiges Teilgebiet der Theaterwissenschaft hat sich die Theaterhistoriografie in den letzten Jahrzehnten zu einer Geschichtsschreibung des Theatralen und Performativen erweitert. Diese Einführung vermittelt Bachelorstudierenden ein offenes und weit gefasstes Verständnis von Theaterhistoriografie. Sie gibt Einblicke in Perspektiven, Theorien und Methoden und ermutigt dazu, eigene Fragen an die Theatergeschichte zu richten.
Artefact, Oct 1, 2016
Cet article s'intéresse à la toute première « école d'ingénierie scénique », fondée au xvii e siè... more Cet article s'intéresse à la toute première « école d'ingénierie scénique », fondée au xvii e siècle à Florence par Giulio Parigi, et à la diffusion du savoir qui en résulta parmi les artistes de cour européens. Il montre comment, depuis le xv e et le xvi e siècles, les ingénieurs scénographes ont transmis leurs connaissances au-delà des seules publications, et retrace l'apparition d'écoles dédiées à l'« ingénierie scénique » et la parution des premiers manuels et collections de dessins de machines. Avec ce changement, l'ingénierie scénique acquit de nouvelles valeurs épistémiques.
De Gruyter eBooks, Jul 17, 2015
Revue D'anthropologie Des Connaissances, Sep 1, 2019
In this article, Viktoria Tkaczyk, who leads the research team Epistemes of Modern Acoustics at t... more In this article, Viktoria Tkaczyk, who leads the research team Epistemes of Modern Acoustics at the Max Plank Institute in Berlin, discusses the ongoing works, the research perspectives and the “sound” turn within history of sciences. She introduces her working team members and their research objects, which encompass a range of several works dealing with the situation of sound and music within the sciences since the Scientific Revolution. As she highlights the importance of some actors who tend to be omitted, she points out how another conception and history of sciences arose. She also shows how sound can be used, like Mach did for example, as a tool of knowledge in order to investigate fieldworks that might not be related to sound at first sight, or to build up laboratories, to produce new objects and so on. She draws a condensed survey of works, very little known in France yet, that combine History of Sciences, Sound Studies and Music Knowledge. Music and sound are addressed from the perspective of the history sciences, including measures and standardization; and simultaneously, the history of sciences is sort of considered through a “re-sonification”.Dans cet entretien, Viktoria Tkaczyk, directrice de l'équipe Epistemes of Modern Acoustics au Max Planck Institut à Berlin traite des travaux en cours, des perspectives de recherche et du tournant sonore dans l'histoire des sciences. Elle présente son groupe de travail et leurs objets de recherche, une série de travaux sur la place du son et de la musique dans les sciences depuis la Révolution Scientifique. Elle rend compte de la façon dont émerge une conception et une autre histoire des sciences en donnant à certains acteurs une place qu’ils/elles n’avaient pas et en montrant comment le son a été utilisé, par exemple par Mach, comme un outil de connaissance pour explorer des terrains non soniques, édifier des laboratoires, produire des objets, etc. Elle résume un panorama de travaux, peu connus en France qui croisent histoire des sciences, Sound Studies et savoirs de la musique. Musique et son sont abordés sous l’angle de l’histoire des sciences, des mesures et des standardisations ; en même temps, l’histoire des sciences est en quelque sorte « resonorisée ».En esta entrevista, Viktoria Tkaczyk, directora del equipo de Epistemes of Modern Acoustics en el Instituto Max Planck de Berlín, analiza el trabajo actual, las perspectivas de investigación y el giro sonoro en la historia de la ciencia. Presenta a su grupo de trabajo y sus objetos de investigación, una serie de trabajos sobre la importancia del sonido y de la música en la ciencia desde la Revolución científica. Cuenta cómo emergen una concepción y una otra historia de la ciencia, dando a unos actores un papel que no tenían antes, y mostrando cómo se usó el sonido, por ejemplo, con Mach, como medio de conocimiento para explorar terrenos no sónicos, construir laboratorios, producir artefactos, etc. Resume un panorama de obras, poco conocidas en Francia que cruzan la historia de la ciencia, los estudios de sonido y el conocimiento de la música. La música y el sonido aparecen desde la perspectiva de la historia de la ciencia, la medición y la estandarización; al mismo tiempo, la historia de la ciencia está de alguna manera «sonorizada»
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Papers by Viktoria Tkaczyk