1934, First Entered West Orange High School in September, 1931
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Making Musical Magic Live
Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Bachelor of Science in Computer Science and Engineering Massachusetts Institute of Technology, 2012 Master of Sciences in Media Arts and Sciences Massachusetts Institute of Technology, 2014 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology February 2020 © 2020 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author: Benjamin Arthur Philips Bloomberg Program in Media Arts and Sciences 17 January 2020 Certified by: Tod Machover Muriel R. Cooper Professor of Music and Media Thesis Supervisor, Program in Media Arts and Sciences Accepted by: Tod Machover Muriel R. Cooper Professor of Music and Media Academic Head, Program in Media Arts and Sciences Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 17 2020, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology Abstract Fifty-two years ago, Sergeant Pepper’s Lonely Hearts Club Band redefined what it meant to make a record album. The Beatles revolution- ized the recording process using technology to achieve completely unprecedented sounds and arrangements. Until then, popular music recordings were simply faithful reproductions of a live performance. Over the past fifty years, recording and production techniques have advanced so far that another challenge has arisen: it is now very difficult for performing artists to give a live performance that has the same impact, complexity and nuance as a produced studio recording. -
The Year Book
Salem State University Digital Commons at Salem State University All Yearbooks Yearbooks 1932 The Year Book Salem Teachers College Follow this and additional works at: https://digitalcommons.salemstate.edu/all_yearbooks Recommended Citation Salem Teachers College, "The Year Book" (1932). All Yearbooks. 23. https://digitalcommons.salemstate.edu/all_yearbooks/23 This Book is brought to you for free and open access by the Yearbooks at Digital Commons at Salem State University. It has been accepted for inclusion in All Yearbooks by an authorized administrator of Digital Commons at Salem State University. Digitized by the Internet Archive in 2014 https://archive.org/details/salemstatenormal1932sale Z\)t Class of 1032 bebtcatefi tijis book to Lena jf Jftt^ugf) "QTlje mtlbcgt manners, ant) t\)c gentlest fjeart." The Tear ^Book 1932 ©ur Jfacultp DR. J. ASBURY PITMAN, President "Finally, education alone can conduct us to that enjoyment which is, at once, best in quality and infinite in quantity." 6 1932 S. T. C. (iLRTKUDE B. GOLDSMITH, M A. CHARLES E. DONER WALTER G. WHITMAN, A.M. Nature Study Penmanship Science ''Gome forth inn; the Ji^ht things, of "Diffused knowledge immortalizes itself." 'And what is reason? Be she thus denned Let Nature be your teacher." Reason is upright stature in the soul." ALEXANDER H. SPROUL, M.S. AMY E. WARE, M.A. FLORENCE Ii. CRUTTENDEN, A.M. Director Commercial Education Geography History "He is wise who cm instruct us and assist "Go where he will, the wise man is at home, "The glory of a firm capacious mind." u s in the business of daily virtuous living." His hearth the earth, his hall the azure dome. -
Modernist Women's Poetry and the Limits Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository LINES OF FEELING: MODERNIST WOMEN’S POETRY AND THE LIMITS OF SENTIMENTALITY BY MELISSA GIRARD DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2009 Urbana, Illinois Doctoral Committee: Professor Cary Nelson, Chair Professor Jed Esty, University of Pennsylvania Professor Stephanie Foote Professor Siobhan Somerville LINES OF FEELING: MODERNIST WOMEN’S POETRY AND THE LIMITS OF SENTIMENTALITY Melissa Girard, Ph.D. Department of English University of Illinois at Urbana-Champaign, 2009 Cary Nelson, Adviser Modernist sentimental poetry is frequently cast as an unfortunate literary and cultural mistake. In an era defined by its novel feats of poetic ambition, modernist sentimental poetry seems inexplicably to regress to the familiar forms and feelings of the nineteenth century. Alongside the modernist proliferation of “new” poetic forms, modernist sentimental poetry has thus been seen as decidedly “old”: an atavistic remnant of an earlier time and place, out of sync with high modernism’s progressive aesthetic vision. This is a foundational rift, which continues to divide the field of poetic modernism. Poets like T.S. Eliot, Ezra Pound, and H.D. are routinely credited with formal theories of poetic innovation. In stark contrast, the so-called “sentimental” poets who comprise this study, figures such as Edna St. Vincent Millay, Sara Teasdale, Genevieve Taggard, and Louise Bogan, have been categorized as conventional lyric poets. -
Pictures on My Wall a Lifetime in Kansas FLORENCE L
Pictures On My Wall A Lifetime in Kansas FLORENCE L. SNOW From a Portrait by Helen Hodge Pictures On My Wall A Lifetime in Kansas By FLORENCE L. SNOW UNIVERSITY OF KANSAS PRESS LAWRENCE *945 COPYRIGHT, 1945, BY THE UNIVERSITY OF KANSAS PRESS All rights reserved. No part of this book may be repro• duced in any form, except by reviewers of the public press, without written permission from the publishers. TO THE MEMORY OF MY SISTER EMILY SNOW PREFACE Kansas has often been called the perfect flowering of the New England conscience. Sometimes this is meant to be a com• pliment and at others it is plainly an insult. Either way I doubt if it is a fact. What we did get from New England, particularly in the days of ''bleeding Kansas/' was the habit of talking, writing and philosophizing about conscience. This gave the impression that we had a very active and painful conscience, though it was frequently only an excuse for talking about ourselves, like an operation. Even after our convalescence from the Civil War we never stopped talking and. writing, despite the fact that when we wanted to point out the scar we could no longer find it. In this way Kansas became the most articulate state in the Union. Whether New England should receive credit (or blame) for the habit is beside the point; the conscience and the language are pure Kansas. However, this is only one explanation. Another is that only in Kansas and New England is the climate so warm, cold, windy, calm, unpredictable and preposterous that it is always a fresh topic of conversation. -
EAGERLY Little House La the Woods
EL PASO HERALD I I XcClvre Newjaper Syndicate. Bedtime Stories For The Little Ones SCHOOL M YS Copyricbt. 1SJ8. by ByDWIGl UNCLE WIGGILY AND TOKMIE KAT. nr HOWAHD GARXS I I I I .1 Ml "E upon time, when Uncle : said Mrs. Sat. "Bat I thoturht von Buying' , Vrig-il- Long-ears- bunny rab- - wouia use 10 see ue inn. .1 Are the Folks "I do." said Uncle Wlggily. Tm glad it gentleman, was out nar his hoi- -. you called me over. Look at Tommie I llper ccWr.es wxtr rnaYil I w rtump bunpalow, taking; a walk, dance in the sheila, would your Tom-Jo- Really. e s. w Mrs. Kat, the mother of ie Tommie was flineinar and flopping" about with the empty walnut ' and Kiltie Kat, waring her soeiis stock: on nts paws, lust tm-a 7a.tc at him from the window of her though be intended to grow up and be Comm." "tkfc EAGERLY little house la the woods. a regular dancing cat. lia' wu:i ii jv mutr w j j longer ana then ae went soztly out. t tie kitten frienrie have gone to sleep not letting Tommie. Joie or Kittle see L-- J is.'le a big ball of yarn?" thought ihIm ,or ler wonW P their Ll days conclusively i past several has proven that ucle Wlggtly. That's the story I told Well, the bnnny rabbit gentleman The tou just before this one. If yon will looked all over for an adventure that ..mdly remember. "I'll just go see what day and seem to find any. -
An Engineer Cantonment Bestiary: the Art of Titian Ramsay Peale
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Mammalogy Papers: University of Nebraska State Museum Museum, University of Nebraska State 2018 An Engineer Cantonment Bestiary: The Art of Titian Ramsay Peale Hugh H. Genoways University of Nebraska - Lincoln, [email protected] Thomas E. Labedz University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/museummammalogy Part of the American Art and Architecture Commons, Archaeological Anthropology Commons, Biodiversity Commons, Biological and Physical Anthropology Commons, Entomology Commons, History of Science, Technology, and Medicine Commons, Science and Mathematics Education Commons, and the Zoology Commons Genoways, Hugh H. and Labedz, Thomas E., "An Engineer Cantonment Bestiary: The Art of Titian Ramsay Peale" (2018). Mammalogy Papers: University of Nebraska State Museum. 305. https://digitalcommons.unl.edu/museummammalogy/305 This Article is brought to you for free and open access by the Museum, University of Nebraska State at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Mammalogy Papers: University of Nebraska State Museum by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Genoways and Labedz in Archeological Investigations at Engineer Cantonment: Winter Quarters of the 1819-1820 Long Expedition, Eastern Nebraska Edited by J. R. Bozell, G. F. Carson, and R. E. Pepperl Lincoln, Nebraska: History Nebraska, 2018 Engineer Cantonment I 2 74 History Nebraska Publications in Anthropology, number 12 Copyright 2018, History Nebraska. Used by permission. 11.2 An Engineer Cantonment Bestiary: The Art of Titian Ramsay Peale Hugh H. Genoways and Thomas E. Labedz Introduction Philadelphia Museum where the images and specimens from the Long Expedition had been deposited along with The first modem biographer of Titian Ramsay the material resulting from the Lewis and Clark Expedition. -
1 American Girl Barbie in #1660 Evening Gala. 2 Blonde Bubblecut Barbie in #0872 Cinderella
1 AMERICAN GIRL BARBIE IN #1660 EVENING GALA. 2 BLONDE BUBBLECUT BARBIE IN #0872 CINDERELLA. (2) BARBIES - SKIPPER IN #1911 DAY AT THE FAIR AND TITIAN BUBBLECUT 3 IN #1624 FUN AT THE FAIR. (2) SKIPPERS - #1935 LEARNING TO RIDE AND #1928 RAINY DAY 4 CHECKERS. 5 TITIAN PONYTAIL BARBIE IN #986 SHEATH SENSATION. 6 BRUNETTE CASEY IN TAGGED FRANCIE OUTFIT. 7 TNT IN #1478 SHIFT INTO KNIT. 8 BEND LEG MIDGE IN #931 GARDEN PARTY. 9 MALIBU FRANCIE IN TAGGED OUTFIT. 10 BLONDE CASEY IN #1251 IT'S A DATE. 10A BLYTH DOLL ~ Eyes work, outfit not tagged, doll has been played with. 11 BRUNETTE BUBBLE CUT BARBIE IN #946 DINNER AT EIGHT. 12 (2) SKIPPERS - #1910 SUNNY PASTELS AND #1905 BALLET CLASS. 13 (2) FRANCIES - GROW HAIR AND TNT. 14 (2) FRANCIES INCLUDING #1267 GO, GRANNY, GO. 15 (2) BARBIE FRIENDS - MIDGE AND ALLAN IN TAGGED OUTFITS. (2) BARBIE FRIENDS - RICKY IN #1504 LITTLE LEAGUER AND SKIPPER IN 16 #1901 RED SENSATION. 17 BEND LEG FRANCIE IN #1253 TUCKERED OUT. 18 BLONDE BUBBLE CUT BARBIE IN BLACK AND WHITE SWIMSUIT. 19 BEND LEG FRANCIE IN #1274 ICED BLUE. 20 #6 BLONDE PONYTAIL BARBIE IN #1656 FASHION LUNCHEON. 21 SKOOTER IN ORIGINAL BOX WITH TAG, LINER, STAND, ETC 22 (2) SKIPPER'S - #1918 SHIP AHOY AND #1917 LAND AND SEA. (2) BARBIE FRIENDS - SKIPPER IN #1908 SKATING FUN, SKOOTER IN #1948 23 VELVET-N-LACE. 24 TNT P.J. IN ORIGINAL SWIMSUIT. 25 #5 BRUNETTE PONYTAIL BARBIE IN #0874 ARABIAN NIGHTS. 26 BRUNETTE TNT FLIP HAIR BARBIE IN #1792 MOOD MATTERS. -
Fluid Input Devices and Fluid Dynamics-Based Human-Machine Interaction
Fluid Input Devices and Fluid Dynamics-based Human-Machine Interaction Steve Mann and Ryan Janzen Department of Electrical and Computer Engineering University of Toronto http://eyetap.org Abstract—We propose a highly expressive input device having keys that each generate an acoustic sound or similar disturbance when struck, rubbed, or hit in various ways. A separate acoustic pickup is used for each key, and these pickups are connected to a computer having an array of analog inputs. Non-binary, con- tinuous sensitivity allows a smooth (“fluid”) range of control. We describe three embodiments of the input device, one that works in each of the 3 states-of-matter: solid, liquid, and gas. These use (respectively) geophones, hydrophones, and microphones as the pickup devices. When used with liquid or gas, the device becomes a fluid- dynamic user-interface, comprising an array of fluid flows that are sensitive to touch. Sounds are produced by a Karman vortex street generated across a separate shedder bar, shedder orifice, or other sound producing device for each finger hole. Data is entered by covering the holes in various ways. This gives highly intricate Fig. 1. Examples of handheld keyers with solid keys: Early prototype built variations in each keystroke by using a concept we call “finger by authors; commercially manufactured PS/2 and USB Twiddler keyers. embouchure”, akin to the embouchure expression imparted to a flute by the shape of a player’s mouth. We also present the concept of an array of frequency shifters, available to musicians, based on intricate motion of the fingers which we refer to as a shifterbank. -
Face Paint : the Story of Makeup
Editor: David Cashion Designers: Robin Derrick with Danielle Young Production Manager: True Sims Library of Congress Control Number: 2014959338 ISBN: 978-1-4197-1796-3 Text copyright © 2015 Lisa Eldridge See this page for photo credits. Published in 2015 by Abrams Image, an imprint of ABRAMS. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without written permission from the publisher. Abrams Image books are available at special discounts when purchased in quantity for premiums and promotions as well as fundraising or educational use. Special editions can also be created to specification. For details, contact [email protected] or the address below. 115 West 18th Street New York, NY 10011 www.abramsbooks.com To my mother, whose makeup got me into all of this in the first place Contents Introduction Prologue: The Painted Face Section One The Ancient Palette Red: Beauty’s Most Enduring Shade White: The Politics and Power of Pale Black: Beauty’s Dark Mark Section Two The Business of Beauty Media and Motivation: Creating the Dream The Beauty Pioneers: Visionaries and Vaudeville History in Your Handbag: Folk Remedies to Global Brands The Bleeding Edge: Into the Future Afterword: I Want to Look Like You Acknowledgments Endnotes Photo Credits Index of Searchable Terms About the Author We’ve been altering our skin with paints and oils and dabbling in artistry since the Ice Age. A Introduction Although we have been painting ourselves in a variety of ways for thousands of years, the reasons why—and how—we wear makeup in the twenty-first century have changed dramatically. -
ARREST B Fle R E J NIGHT PLAN BLUNDERS in SCHOOL W N I COS
5fET PRESS RUN AVERAGE DAILY CIItCULATlOX for the month of February, 1928 /5,108 Uember of the Andit Borean of Girculatioua VOL>XLIL, NO. 142. Classified Advertising on Page 18. MANCHESTER, CONN., FRIDAY, MARCH 16, 1928 NO MORE PARADfiS ARREST B OF BATHING BEAUTIES World Aviators’ Tribute to Lindy DRY BLOCKADE Atlantic City, N. J., March 16 — There will be no parade of beautiful young American girls LIKE WAR-TIME in bathing suits along the board walk for the purpose of select m ing a "Miss America.” It has flE R E J NIGHT been decided such spectacles are IN THE WORKS not truly representative of young American girlhood but are L-.rgely a “ congregation William Frederick, of 289 of girls seeking personal adver Addiboual Cotters and De tising and profit.” Wordless Wooing Won Hotel men held a three-hour stroyers Win Protect All Middle Turnpike East, meeting during which it was de finitely decided to abandon the Confesses to Store Hold- annual pageant. the Coasts of the United Heart Of Miss Milter Up on Wednesday Night. States Regularly. — ■■I i I \ m Paris, March 16.— Tukojirao<&this little group, whose Holkar, Indian prince and former scarcely known in • America, but Maharajak of Indore, who is to The hold-up of Charles J. Wood- PLAN BLUNDERS Washington, March 15.— A war whose rank equals that of the for time blockade will surround the marry Miss Nancy Ann Miller, of mer Maharajah, gave interesting house's East Center street store on Seattle, Wash., in India tomorrow, details of the courtship to Interna Wednesday evening was solved by United States as long as prohibition won his bride-to-be through a tional News Service today. -
Eugene Connett
Technospeak I BRING TO YOU an historical note: peared. (It had to be retyped.) We spent imagine what the man thought was being The American Museum of Fly hours and hours fiddling and adjusting said to him. Fishing has now entered the com- and commanding our monster with The memory of that scene and some puter age. The issue of The Amer- timid authority only to have our efforts minor technicalvictoriesfueled us through ican Fly Fisher you hold in your erased or twisted into bizarre symbols by the home stretch of production, so we hands marks the near completion some secret logic (illogic is more like it). were finally able to print the Spring 1991 of our transition from the relativelv Finally, after months of stretching our issue of The American Fly Fisher, which primitive method by which we formerly brains to the breaking point - having left was devoted to the salmon in honor of published this journal to our almost- the office many days with pounding our new exhibit "The World of the Salmon." hearty embrace of modern technology. headaches and crabby children attached Though there are still some technical And what a saga it's been. No more will to our legs -but more grimly determined snags to work out, this issue, Summer 1991 we send off manuscripts edited in blue to persevere, it was decided that we would (volume 17, number 2), was produced pencil to some nice, distant typesetting purchase a new font that would supply with less travail and hand-wringing, and operation, to be returned for corrections us with an elegant typeface and a new a full and interesting one it is. -
Studies on Customisation-Driven Digital Music Instruments with Strong Gesture to Sound Relationships
Studies on customisation-driven digital music instruments Bruno Zamborlin October 2014 Thesis jointly submitted to Goldsmiths, University of London and Universit´ePierre et Marie Curie - Paris 6, Ecole´ Doctorale EDITE for the degree of Doctor of Philosophy. Supervised by: Marco Gillies, Fr´ed´ericBevilacqua, Mark d'Inverno, G´erardAssayag Dedicated to Camila. Declaration This thesis is a presentation of my original research work. Whatever contri- butions of others are involved, every effort is made to indicate this clearly, with due reference to the literature, and acknowledgement of collaborative research and discussion. In my capacity as supervisor of the candidate's thesis, I certify that the above statements are true to the best of my knowledge. Date: ii Abstract From John Cage's Prepared Piano to the turntable, the history of mu- sical instruments is scattered with examples of musicians who deeply customised their instruments to fit personal artistic objectives, objec- tives that differed from the ones the instruments have been designed for. In their digital counterpart however, musical instruments are of- ten presented in the form of closed, finalised systems with a-priori symbolic rules set by their designer that leave very little room for the artists to customise the technologies for their unique art practices; in these cases the only possibility to change the mode of interaction with digital instrument is to reprogram them, a possibility available to programmers but not to musicians. This thesis presents two digital music instruments designed with the explicit goal of being highly customisable by musicians and to provide different modes of interactions, whist keeping simplicity and immedi- ateness of use.