To hide, to disguise, to camouflage: troubling visibility of sound amplifying instruments

In the 19th century, the ear trumpet became a ubiquitous attribute of deaf people. This large clumsy device was synonymous with deaf issues such as misinterpretation and other communication difficulties, leading to deafness being seen as a funny impairment, in contrast to blindness. Deaf users wanted to hide these stigmatizing devices, therefore producers invented sophisticated ways of disguising them as hats, fans or even chairs. Similarly, producers of the new electric hearing aids of the time followed this trend by designing them in the form of bags, jewelry, and glasses (it was still better to be shortsighted than hard-of-hearing). The miniaturization afforded by transistors consequently served the same aim.
However, trumpets and especially hearing aids reflect the social and cultural emancipation of deaf communities that took place over the course of the 20th century; from aids bashfully hidden to instruments available in vivid colors and styles (e.g. with animal patterns or in punk styles) and decorated with specially designed jewelry used by the “proud Deaf”.
The article is based on twofold empirical research: object-oriented analysis of the ear trumpet and hearing aid collection at Thackray’s Medical Museum (Leeds, Great Britain), and analysis of hearing aid advertisements published in Volta Review since 1910.
 

In the 19th century, the ear trumpet became a ubiquitous attribute of deaf people. This large clumsy device was synonymous with deaf issues such as misinterpretation and other communication difficulties, leading to deafness being seen as a funny impairment, in contrast to blindness. Deaf users wanted to hide these stigmatizing devices, therefore producers invented sophisticated ways of disguising them as hats, fans or even chairs. Similarly, producers of the new electric hearing aids of the time followed this trend by designing them in the form of bags, jewelry, and glasses (it was still better to be shortsighted than hard-of-hearing). The miniaturization afforded by transistors consequently served the same aim.
However, trumpets and especially hearing aids reflect the social and cultural emancipation of deaf communities that took place over the course of the 20th century; from aids bashfully hidden to instruments available in vivid colors and styles (e.g. with animal patterns or in punk styles) and decorated with specially designed jewelry used by the “proud Deaf”.
The article is based on twofold empirical research: object-oriented analysis of the ear trumpet and hearing aid collection at Thackray’s Medical Museum (Leeds, Great Britain), and analysis of hearing aid advertisements published in Volta Review since 1910.