Theremin: Ether Music and Espionage Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Theremin: Ether Music and Espionage Pdf, Epub, Ebook THEREMIN: ETHER MUSIC AND ESPIONAGE PDF, EPUB, EBOOK Albert Glinsky,Robert Moog | 480 pages | 02 Feb 2005 | University of Illinois Press | 9780252072758 | English | Baltimore, United States Theremin: Ether Music and Espionage PDF Book No trivia or quizzes yet. Cancel Submit. Devowasright rated it it was amazing Jul 28, The th anniversary of the theremin is less than 2 years away, and we've already heard about a number of concerts, music releases, and other events being planned to help celebrate. July 31, History. Albert Glinsky Amazon, affiliate link Leon Theremin. Community Reviews. Ask a question Ask a question If you would like to share feedback with us about pricing, delivery or other customer service issues, please contact customer service directly. The electromagnetic fields are relatively weak; a tiny fraction of a mobile phone in use. His life emerges as no less than a metaphor for the divergence of communism and capitalism. His story is well told and documented, and is a must read for electronic music fans as well as students of history and technology during the cold war. The Boston Globe. The theremin is played and identified as such in use in the Jerry Lewis movie The Delicate Delinquent. Diario Uchile. Although credited with a "Thereman" [ sic ] on the "Mysterons" track from the album Dummy , Portishead actually used a monophonic synthesizer to achieve theremin-like effects, as confirmed by Adrian Utley , who is credited as playing the instrument; [50] on the songs "Half Day Closing", "Humming", "The Rip", and "Machine Gun" he has actually used a custom made theremin. This book is not just a fascinating and detailed biography of one of the earliest pioneers in electronic music and other strange and stealthy inventions. Recent searches Clear All. Perhaps the most significant miscalculation on the part of RCA was the perception that the theremin was easy to play. Views Read Edit View history. Throughout, he spins whimsy and treachery into an astonishing drama of one man's hidden loyalties, mixed motivations, and irrepressibly creative spirit. On assignment in Depression-era America, he worked the engines of capitalist commerce while passing data on US industrial technology to the Soviet apparat. At that frequency, the antenna and its linearisation coil present an inductive impedance; and when connected, behaves as an inductor in parallel with the oscillator. Since the release of the film Theremin: An Electronic Odyssey in , the instrument has enjoyed a resurgence in interest and has become more widely used by contemporary musicians. This field, which extends to an active distance of a few feet, emanates from the two antennas; the vertical pitch control rod on the top of the cabinet, and the horizontal volume control loop on the side. As in the tone circuit, the distance between the performer's hand and the volume control antenna determines the capacitance and hence natural resonant frequency of an LC circuit inductively coupled to another fixed LC oscillator circuit operating at a slightly higher resonant frequency. Problems playing this file? May 06, Carol rated it really liked it. The ethereal and wavy sound of the nothing, creeping inside like a kitten, and growing stronger and more wild with each movement. Anyone who has dabbled in electronic music in the past half century, with its synthesizers, drum machines, amplification circuitry, and such, perhaps owes a great debt to the spirit of Lev Terman, known in the West as he was by the name of Leon Theremin. Glinsky's book! Retrieved 2 April Start your review of Theremin: Ether Music and Espionage. Using optimized pitch field linearisation, circuits can be made where a change in capacitance between the performer and the instrument in the order of 0. Somerville Journal. Theremin: Ether Music and Espionage Writer Among his parents' coterie of friends, the cello soloist of the Imperial Ballet Orchestra, A. Under this condition, the effective inductance in the tank circuit is at its minimum and the oscillation frequency is at its maximum. He was pushed through a six-month shortened course at the Military Engineering School and relayed immediately to the doors of the Graduate Electrotechnical School for Officers to major in military radio engineering. In , Lev was relocated to Petrograd. Schonberg described the sound of the theremin as " a cello lost in a dense fog, crying because it does not know how to get home. Plans were underway to close all factories so workers might be sent to the front. Theremin's world of espionage and invention is an amazing drama of hidden loyalties, mixed motivations, and an irrepressibly creative spirit. In reality, the eerie sound was produced by an electro-theremin or Tannerin, the creation of session musician Paul Tanner. The Principle of the Theremin. Very interestiong bio, I wasn't aware Theremin had such a crazy life. This is the unbelievable but true story of the eponymous Leon Theremin, whose instrument can be heard in many science fiction movies due its eerie sound quality my favorite is The Day the Earth Stood Still. It was about objects around us connected to our feelings In a simple lab experiment, Hertz had released a burst of energy by inducing a spark to jump across a gap between two electrically charged rods. Wild and wonderful! See media help. A creative genius and prolific inventor, Theremin launched the field of electronic music virtually singlehandedly in with the musical instrument that bears his name. The theremin--the only musical instrument that is played without being touched--created a sensation worldwide and paved the way for the modern synthesizer. Petersburg, where a Russian branch of the family was established. July 31, History. Enter Location. Every moment houses are searched by mariners or bands of factory girls, stealing everything eatable and dragging the inhabitants into the courts, accusing them of every crime. Mode Records. The Bolshevik party leader, Vladimir Ilyich Lenin, orchestrated a complete army insurrection, disarming the government and commandeering bridges, government buildings, communications, transport services, and munitions supplies in Petrograd. Forster's irrepressible interest in music, providing plentiful examples of how Its otherworldly sound became familiar in sci-fi films and even in rock music. He directed another commander to "carry out relentless terror against the kulaks [wealthy peasant farmers], the priests and the White Guards," and among his own military commanders he purposefully sowed the seeds of fear and paranoia to discourage any dissent. His parents played four-hand arrangements at the piano and Lev coaxed lessons out of them when he was five. Louder notes are played by moving the hand away from the volume antenna. Archived from the original on 7 July Must read-1 Meaningful An Improved Version of the Minimum Theremin. The RCA Theremin holds a place in history as the first manufactured electronic musical instrument, and is credited with laying the foundation for all electronic music to come. Theremin: Ether Music and Espionage Reviews University of Illinois. His life emerges as no less than a metaphor for the divergence of communism and capitalism. It would secure prompt withdrawal from the war and seize private and church land for the soviets, to be parceled up and distributed among the peasants. Walmart Keith rated it liked it Aug 08, He supervised physics students and sometimes dabbled with hypnosis. It is alluded. It's kind of slow. For six days, with no sleep, we loaded everything on railway cars, and sent them toward the Ural Mountains. Dec 02, Nefariousbig rated it it was ok Shelves: reviewed. Such was the fate of the Albigensian sect of the twelfth and thirteenth centuries, routed in southern France by a bloody Inquisition. From Scratch: Writings in Music Theory. The Principle of the Theremin. Every time you get to a great, suspenseful part, there's a long tangent about something like the status of each of Theremin's patents. Absolutely fantastic. Original Title. He had stepped into a realm with no exits. Throughout his life, Theremin developed many other electronic wonders, including one of the earliest televisions, and multimedia devices that anticipated performance art and virtual reality by decades. Related Papers. Homes were searched, and thousands of citizens were seized and rounded up without warning by lieutenants, sergeants-at-arms, spies, and other informants. It was difficult for food, and difficult to carry on technical work, especially the design of a radio station on a high technical level. The lawyer's son would have to face up to the corrupt political and moral fabric of a society he had taken for granted: "It was the last year before the Revolution, and there was mental fermentation in the army. Albert Glinsky has created an interdisciplinary presentation, Termen-ology, based on the life and work of Leon Theremin. And if anyone has forgotten the paranoia and horror of Stalin's Russia and the gulags, this book will vividly remind them. Theremin is in America, making deals, securing patents, putting on concerts and so forth -- all this is told through whatever public documents the author has managed to dig up, with a heavy reliance on marketi It's kind of slow. Remember me on this computer. Food riots, antigovernment strikes, and street demonstrations began to foment a climate of revolution. Twombly are forthcoming in gave the composition a quality re- driving forces behind the develop- Electroacoustic Music: Analytical sembling quicksilver, both flowing ment of electroacoustic music are Perspectives Thomas Licata, editor smoothly and bouncing sharply and exactly those characteristics of en- from Greenwood Press. Download Free PDF. Robert Moog developed the original Moog electronic music synthesizer and was the president of Moog Music Inc. He was pushed through a six-month shortened course at the Military Engineering School and relayed immediately to the doors of the Graduate Electrotechnical School for Officers to major in military radio engineering.
Recommended publications
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Ether Music and Espionage. a History of Art Dealing in the United States
    LANDSCAPE WITH FIGURES: place. European dealers such as Alfred A History of Art Dealing in Knoedler and the Scotch-Irish William the United States. Macbeth recognized the value of the American By Malcolm Goldstein. Oxford Univ. product, and American dealers such as Peggy Press. 370 pp. $30 Guggenheim promoted and supported Euro- In 1937 Peggy Guggenheim, whose Uncle pean modernists. Solomon founded that famously circular The narrative lingers at midcentury, when the museum, opened an art gallery in London. author was a poor student traveling down from Hilla Rebay, the German artist who was help- Columbia University to 57th Street to buy ing Solomon amass his collection, chided the paintings he could ill afford, on installment. The fledgling dealer: “It is extremely distaste- dealers he met then—Grace Borgenicht, ful...when the name Guggenheim stands for Edith Halpert, and Antoinette Kraushaar— an ideal in art, to see it used for commerce. were informed, generous with their time, and Commerce with real art cannot exist. You not unprincipled. By Goldstein’s reckoning, will soon find you are propagating mediocrity; they, and those who followed them (especially if not trash.” By 1940, Peggy had closed her Betty Parsons, Sidney Janis, and Leo Castelli), London gallery—not because she took Rebay’s genuinely advanced the cause of serious art. point, but because she hadn’t turned a profit. While Goldstein gives scant attention to art She went to Paris, checkbook in hand, buying dealings’ last few confused decades, no one a picture a day on the cheap for her own little could yet call them historic, and perhaps no one museum.
    [Show full text]
  • Mike Hadreas Is Perfume Genius
    ARTISTʼS PROFILE Mike Hadreas Is Perfume Genius COLIN CARMAN MH: Thanks. I remember buying Liz mood in mind for how things should look. Phair’s Whip-Smart with my babysitting For “Grid,” I had this idea of pulsating O FAMILY is safe when I money. Then I went back and bought her dancers around me. It ends up being more a sashay,” sings Mike Hadreas, [1993 debut] Exile in Guyville. collaboration with the director. With both of “Notherwise known as “Perfume those videos, everybody’s crazy ideas are Genius,” on “Queen,” the haunting first CC: What was the first openly gay song jumbled into a dream sequence. That’s how single on the new album Too Bright. The that you wrote? Has your sexuality always I like it. video for “Queen” is the deranged been part of your songwriting? lovechild of Fellini and Waters, a bizarre MH: When I first started writing, it was just CC: What about the song “I’m a Mother,” escapade in which the 32-year-old Hadreas writing for me. There were gay themes be- which sounds to me like the most gothic cruises an Elvis impersonator with a pros- cause I’m a gay person. So it wasn’t a delib- song on Too Bright? Where did that come thetic leg only to jump off a rooftop. De- erate statement, at first. With the new from? pending on your interpretation, Hadreas album, I knew more people were going to MH: My boyfriend and I have been to- either dies or metamorphoses into a cheer- hear it, so it was important to me to be spe- gether for five years and I want a house.
    [Show full text]
  • New Juilliard Ensemble Photo by Claudio Papapietro
    New Juilliard Ensemble Photo by Claudio Papapietro Juilliard Scholarship Fund The Juilliard School is the vibrant home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music. Behind every Juilliard artist is all of Juilliard—including you. For more information please contact Tori Brand at (212) 799-5000, ext. 692, or [email protected]. Give online at giving.juilliard.edu/scholarship. iii The Juilliard School presents New Juilliard Ensemble Joel Sachs, Founding Director and Conductor Stella Chen, Violin Alvin Zhu, Piano Regina De Vera, Narrator Tuesday, October 2, 2018, 7:30pm Peter Jay Sharp Theater SUNBIN KIM Four Studies on Darkness—After Mark Rothko (2018) (b. Korea, 1990) Black, Red and Black Rust, Blacks on Plum Green Divided by Blue Black on Grey (played without pause) World premiere, commissioned by NJE JOSEFINO CHINO TOLEDO Agos (2017) (b. Philippines, 1959) Text: Joi Barrios-Leblanc Regina De Vera, Narrator World premiere Intermission AKIRA NISHIMURA Mirror of Stars (2010) (b. Japan, 1953) Alvin Zhu, Piano First performance outside Japan VIRKO BALEY Violin Concerto No. 1, “Quasi una Fantasia” (1987) (b. Ukraine, 1938) Lacrymosa Dies Irae Lux Aeterna Agon Stella Chen, Violin An 80th birthday salute to the composer This performance is supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium.
    [Show full text]
  • INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
    SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses.
    [Show full text]
  • Atmospherics Steven Connor
    Atmospherics Steven Connor What would the sun be itself, if it were a mere blank orb of fire that did not multiply its splendours through millions of rays refracted and reflected, or if its glory were not endlessly caught, splintered, and thrown back by atmospheric repercussions?1 Radio, or, more strictly because more broadly, wireless signalling, unleashed a dream of absolute communication and universal contact. Contemporary communications – or the material imagination which makes sense of them – still have as their ideal horizon a universe of absolute transparency and traversibility. In such a world, everywhere will be maximally accessible to everywhere else, and delay, obscurity and interference will be done away with. It will be the opposite of Hobbes’s vision of ‘war of all against all’: rather, it will the communication of all with all. Atmospherics are the buzzing fly in that utopian ointment. W .E. Ayrton’s evocation of this world during a lecture given at the Imperial Institute in 1897 has frequently been quoted: there is no doubt that the day will come, maybe when you or I are forgotten, when copper wires, gutta percha covering, and iron sheathings will be relegated to the museum of antiquities. Then when a person wants to telegraph to a friend, he knows not where, he will call in an electromagnetic voice, which will be heard loud by him who has the electromagnetic ear, but will be silent to everyone else, he will call, “W here are you?” and the reply will come loud to the man with the electromagnetic ear, “I am at the bottom of the coal- mine, or crossing the Andes, or in the middle of the Pacific.” Or perhaps no voice will come at all, and he may then expect the friend is dead.2 There are two features of this that are worth comment.
    [Show full text]
  • Orchestra in a Field
    ORCHESTRA IN A FIELD Date 2012 Region South West Artform Music Audience numbers 3,461 Annabel Jackson Associates Ltd role We evaluated Orchestra in a Field Methodology Online audience survey Background Orchestra in a Field was a two-day classical music festival at Glastonbury Abbey in Somerset developed and hosted by British conductor, Charles Hazlewood. The festival was piloted in 2009 and then held on 30th June and 1st July 2012. Description The festival was a joyful mix of classical and contemporary music, talks and live performances, camping and children's entertainment. Performers included Adrian Utley (Portishead) and Will Gregory (Goldfrapp) the Scrapheap Orchestra, the British Paraorchestra, Prof Green and Labrinth, with a fully staged performance of Carmen by a cast of professionals and local choirs. There were 2,636 adults audience members and 825 children (who were free), plus 160 professional artists and 780 other performers. Audience views There was a good balance between people attending as part of a family group, with friends, in a couple, and some on their own. Audience members were attracted by the mix of music, the link to Charles Hazlewood, the insight into performance from live rehearsals, the reasonable cost, the informality and the novelty. Flying Seagulls parade, Oil Photograph by Shoshana More than 80% of 160 respondents said that Orchestra in a Field was probably or definitely memorable, welcoming, enjoyable, relevant to them and inspiring. 94% of respondents said that Orchestra in a Field was special/different ________________________________________________________________________ ©Annabel Jackson Associates Ltd October 2012 from other music events. All of the respondents said it was a good idea to have a festival to bring classical music to more people.
    [Show full text]
  • Mark Linkous Sparkles: the Life (And Short Death) of a Legend | the Hook - Charlottes
    Mark Linkous sparkles: The life (and short death) of a legend | The Hook - Charlottes ... Page 1 of 3 Mark Linkous sparkles: The life (and short death) of a legend By James Graham | [email protected] Published online 9:00am Thursday Feb 28th, 2002 and in print issue #0104 dated Thursday Feb 28th, 2002 Mark Linkous is somewhere in the darkened recording booth, but the only thing I can see in the blackness is my own shadow, cast by the light streaming in the entrance. “Could you shut the door?” Linkous pleads in a gravelly tone immediately recognizable from his albums. Acoustic foam must be hard to clean, as there’s a distinct dusty smell— although our whispers are sonically perfect. “I’ve been getting these awful migraines,” he continues, not so much in apology as from desperation. “I hope it goes away.” Essential Sparklehorse listening Vivadixiesubmarinetransmissionpl “By the way, can you get me my Levi’s jacket? It’s hanging up in the ot studio.” Released on Capitol Records, Maybe it’s the atmosphere. Maybe it’s the knowledge that the man 26 September 1995. I’m talking to has been (but is, of course, no longer) legally dead. One way or the other, Mark Linkous is creeping me out. This is the most erratic and least Photo by Jen Fariello focused of Linkous’ albums, but * * * * * that’s half the fun. There’s a little something for every mood, This is the story of a band called Sparklehorse and the remarkable man who fronts it, a tale as bipolar as the although it can take a bit of music it spawned.
    [Show full text]
  • Billy Drummond U
    Ravi Coltrane I EXCLUSIVE Marian McPartland Book Excerpt DOWNBEAT JACK DEJOHNETTE JACK // RAVI RAVI C OLT R ANE // Jack MA R IAN MCPA IAN DeJohnette’s R TLAN D BIG SOUND // JOEL JOEL Joel Harrison H A rr Endless Guitar ISON // BILLY D BILLY Drum School » Billy Drummond R U mm BLINDFOLD TEST ON D » Bill Stewart TRANSCRIPTION » Tommy Igoe MASTER CLASS » Dan Weiss PRO SESSION NOVEMBER 2012 U.K. £3.50 NOVE M B E R 2012 DOWNBEAT.COM NOVEMBER 2012 VOLUME 79 – NuMBER 11 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • The Passion of Joan of Arc with Adrian Utley, Will Gregory and Charles Hazlewood Supported by Hauser & Wirth Somerset
    HAUSER & WIRTH Press Release The Passion of Joan of Arc With Adrian Utley, Will Gregory and Charles Hazlewood Supported by Hauser & Wirth Somerset Wells Cathedral, Somerset, England Friday 7 October 2016, 8 pm Hauser & Wirth Somerset, in collaboration with Adrian Utley (Portishead), Will Gregory (Goldfrapp) and award- winning conductor Charles Hazlewood, presents a special live orchestral performance and film screening in the magnificent medieval setting of Wells Cathedral. Adrian Utley and Will Gregory have devised a new score sound-tracking the dramatic and moving narrative of Danish film director Carl Theodor Dreyer’s ‘The Passion of Joan of Arc’ (1928), which chronicles Joan of Arc’s trial and execution during her captivity in France. Initially commissioned by the Colston Hall and supported by The Watershed, Bristol, the inventive new score will be performed live alongside a screening of the film, led by Charles Hazlewood with members of the Monteverdi Choir, percussion, horns, harp and synthesizers. Wells Cathedral is located at the heart of England’s smallest city, Wells in Somerset, situated 13 miles from Hauser & Wirth Somerset. Cited as one of the earliest English cathedrals to be constructed in Gothic style, the building is a treasured and significant architectural landmark in the south west of England. The distinguished setting will provide a unique opportunity to witness Hazlewood, Utley and Gregory’s breathtaking and inspired production. Located on the outskirts of Bruton, Hauser & Wirth Somerset is an innovative world-class gallery and arts centre that works in partnership with many local institutions, businesses and organisations to foster local creative talent and champion charities related to art, community, conservation and education.
    [Show full text]
  • The Thing About Microphones
    Title The Thing About Microphones Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14244/ Dat e 2 0 1 6 Citation Wright, Mark Peter (2016) The Thing About Microphones. Leonardo Music Journal (special issue on Sound Art), 26. pp. 60-63. ISSN 0961-1215 Cr e a to rs Wright, Mark Peter Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Thing about Microphones MARK PET ER WRIGHT This article examines the microphone and its connective political and people Theremin has other stories, one of which involves his nonhuman ecologies. A media archaeological excavation of Leon pivotal role in a covert eavesdropping operation at the height RACT Theremin’s role in the development of a specific bugging device (“The of the Cold War. Thing”) facilitates discussion throughout. Situating the microphone within ABST a networked history of power relations and ethical consequences, the Theremin was the creator of a unique listening device author draws upon contexts of surveillance, parasites and horror in order (bug) that was housed within the carved front of the Great to ask whether microphones are agential actors and, if so, what the Seal of the United States. Presented as a gift on 4 July 1945 to consequences might be. Averell Harriman, U.S. ambassador to Moscow, the plaque was mounted on a wall inside his Moscow office [3]. Unbe- knownst to Harriman or any other U.S.
    [Show full text]
  • Activity & Achievements
    Activity & Achievements Introduction ‘Watershed is one of the most culturally upbeat and lively venues in the UK.’ Mark Kermode, Journalist /Film Critic Watershed opened on 7th June 1982 in the first floor of two refurbished Grade II listed dockside sheds on Bristol’s historic harbourside - the same year saw the launch of Channel 4, the Commodore 64 and Sony’s first CD player. Watershed opened as Britain’s first Media Centre, championing independent media creativity and emergent art forms. It has held to the founding principles of open access, cultural diversity and innovation, forging an international reputation for developing audiences, ideas and talent. Stormy Shed. ‘ Watershed has been a beacon for film and the arts more generally. It has been Photography by Toby Farrow consistently ahead of the pack in the way it meets the needs of audiences and has delivered real benefit not just to Bristol and the South West but to the UK’s creative economy as a whole.’ Lord Puttnam of Queensgate, CBE Since 1999, the original focus on film and photography has developed to embrace cultural and technical change enabled by digital technologies. Working with Bristol based companies and individuals from the local creative cluster, and researchers from University of Bristol Computer Science and University of the West of England Arts & Creative Industries, Watershed has become a pioneer in producing digital creativity collaborations crossing cultural, commercial and academic sectors. ‘ Watershed is a prime example of a highly connected, flexible, porous piece of cultural and creative infrastructure. Watershed is more than just an arts cinema. It Electric December Ambassadors.
    [Show full text]