TECHNOLOGY AND CULTURE Book Reviews 425 To provide perspective on what the telephone did and did not do, the examination of the telephone is paralleled by a less detailed survey of the historical diffusion of the automobile. This is a meaningful comparison, for both can be seen as examples of space-compressing technologies that gained widespread acceptance, although at different rates of adoption (it is rather surprising to read that, during the late 1920s and the 1930s, working-class families were much more likely to have cars than to have telephones). At the same time, the car and the telephone represented potentially competing technologies, as illustrated by the absolute drop in rural telephone installation during the 1930s, a time when automobile ownership remained constant. By considering the two in tandem, Fischer is able to note the parallel and the separate reasons for their appeal, as well as the different sources of the resistance they encountered. Although it is impossible to reconstruct with complete accuracy how technologies were used and perceived decades ago, America Callinggives us a convincing picture ofhow a particular technologybecame part ofeveryday life. Readers expecting a narrative ofvast social and cultural changes flowing from telephone usage will be disappointed, but those willing to accept a more complex exposition will find in America Calling a model for future studies of the interaction of technology and other sources of change. Rudi Voi.ti Dr, Voi.ti is professor of sociology at Pitzer College and the author of Society and Technological Change (New York, 1992). Wireless Imagination: Sound, Radio, and the Avante-Garde. Edited by Doug las Kahn and Gregory Whitehead. Cambridge, Mass: MIT Press, 1992. Pp. xi+452; notes, index. $35.00. The essays assembled by Douglas Kahn and GregoryWhitehead in Wireless Imaginationare fascinating and frustrating. Fascinatingbecause they open up for exploration a realm ofculture too long neglected by scholars, the realm ofsound. Frustrating because the analyses included here do not consider as fully as they might the various technologies that inspired and generated the sounds created by the artists whose work is considered. Wireless Imagination is presented by its editors as a “collection of first utterances” whose goal is to begin to chart this unexplored culture of the acoustic, to break “the deafening silence surrounding sound” (p. xi). The project begins not at any identifiable cultural center, but self-consciously at the margins, with the avant-garde. Raymond Roussel, Marcel Duchamp, Antonin Artaud,John Cage, and William S. Burroughs are among the disparate souls—sculptors, writers, and musicians— who reflected on the meaning and purpose of sounds and then manipulated them to examine deeper questions about mankind, lan guage, and identity. Their various acoustic experiments, performances, 426 Book Reviews TECHNOLOGY AND CULTURE and writings are considered by the art historians, literary critics, and performing artists who contributed to this volume. Essays range from analyses of literary texts to interpretations of visual art and musical performances to simple catalogs of artists and their works. A few primary documents are also included, some appearing in English for the first time. Most satisfying are Mark Cory’s account of German radio art, as well as the essays by Frances Dyson and Robin Lydenberg which treat, respectively, the works of Cage and Burroughs. These three authors describe how their subjects perceived and realized new artistic possibilities in the acoustic technologies of broadcast radio, recording studio, and tape recorder. Even these studies, however, would have been enriched by a fuller examination of the technologies employed. Too often, technology is accepted as a preexistent given, rather than as a transformable and transforming artifact of human processes. Technology enables the new art, but the art of technology is seldom evident. An undercurrent of determinism is even apparent at times, as when Kahn, in the editor’s introduction, refers to the “inevitable march of technological devices” (p. 9). This criticism is intended, not primarily to censure the authors, but instead to encourage historians of technology to take up this material and add their voices to the dialogue begun in this volume. A firm foundation exists in the works of authors like Hugh Aitken and Susan Douglas, but there remain vast unexplored areas in the social, cultural, and...