Earth Sound Earth Signal: Energies and Earth Magnitude in by Douglas Kahn

By Douglas Kahn

Earth Sound Earth sign is a learn of energies in aesthetics and the humanities, from the start of contemporary communications within the 19th century to the worldwide transmissions of the current day. Grounded within the Aeolian sphere track that Henry David Thoreau heard blowing in telegraph strains and within the Aelectrosonic sounds of traditional radio that Thomas Watson heard in mobile traces, the ebook strikes in the course of the histories of technology, media, song, and the humanities to the Nineteen Sixties, whilst the composer Alvin Lucier labored with the "natural electromagnetic sounds" current from "brainwaves to outer space," in the course of the city electromagnetism within the conceptual artwork of Robert Barry, to the power scavenging drawings and antennas by means of the artist Joyce Hinterding.

From the sounds of auroras at excessive latitudes and atmospheric electrical energy within the mountains, to underground song of earthquakes and nuclear explosions, to track bounced off the moon and the sounds of the sunlight, Earth Sound Earth sign rethinks strength at a world scale via designated discussions of artists and scientists akin to Gordon Mumma, Pauline Oliveros, John Cage, James Turrell, Karl-Birger Blomdahl, Paul DeMarinis, Semiconductor, Thomas Ashcraft, Katie Paterson, Edmond Dewan, Ludwik Liszka and plenty of others.

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Extra resources for Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts

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Ghosts walk a fish fry. Love and death shoot craps for souls. , ensconced on a bit of debris and dressed in red and black, and The Lawd's General, all in white (complete with wings), sitting on a telephone pole, as if God Himself had the show under His survey. This precision of delivery is evident in every aspect of Cabin's production—but it could not have been so well staged if it had not been so well written. Here's a story! : the almost forbiddingly strict yet loving Petunia, resourceful enough to beat dice cheaters at their own game, but vindictive and even bitchy when she shows up in a dance hall, turned out in unaccustomed sweepstakes-winner finery, for the climactic confrontation with Georgia Brown.

Another performer of the Old School bade farewell to Broadway when Eddie Cantor fulfilled a long and constantly frustrated dream of playing Erwin, the greeting-card poet of the John Cecil Holm—George Abbott comedy Three Men on a Horse. Gentle Erwin, who falls into the clutches of gamblers because of his knack for picking winning horses, was the ideal Cantor role—as Cantor had realized when the play first appeared in 1935 (with William Lynn as Erwin, Sam Levene as the lead gambler, and Shirley Booth as his moll).

When the star departs a show with no substance in itself, there is no show. Louis Kronenberger underlined the importance, to a piece of this kind, of the Three Essentials: "Those arch saboteurs of musical comedy, the book and the gags . . ruin what might have been a good show. . " Conversely, dancer Ray Bolger enjoyed a tremendous hit in By Jupiter (1942), though this piece was in its story material and character development no better than The Lady Comes Across. However, By Jupiter had a lot of bawdy gender humor, a wonderful Rodgers and Hart score, and a sharp cast supporting Bolger as a pantywaist married to the Queen of the Amazons.

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