Dissonant Waves

An investigation of the cultures and technologies of early radio and how a generation of cultural operators—with Schoen at the center—addressed crisis and adversity. Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might. Dissonant Waves tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises. An exploration of the ripples of radio waves, the circuits of experimentation and friendship, and the proposals that half-found a route into the world—and might yet spark political-technical experimentation.

On interpreting musical phenomena in terms of mental function

This edition of the guide to audio has been expanded to include the latest on digital audio technology and features new sections on multimedia, the Web, surround sound and mastering.

About "Uninformed Conscience" John F. Kavanaugh, S.J. says "If a nation or church forms its people to accept assertions blindly, without supporting evidence, it will form a community not of moral agents but of menaces. They may be sincere, but they will be sincere menaces." [AMERICA, June 21-28, 2010, pg 9] Conscience speaks to the meaning of Eucharist. If we buy in to the Eucharistic Theology of the Cosmic Christ, we must be open to the vital coinage of death. The multiplication of many from one is the miracle of divine/ human hypostasis, the miracle of the largesse of symbiotic life. The amplification of life speaks to the truth that less is more, that unless the seed dies there is no flourishing and amplification of life. Individuality resources multiplicity even as multiplicity resources individuality; spirituality is resurrection-consciousness, the energy of prevision and provision that does not die but transforms and transfers into multiplicity. Resurrection is the consciousness of self-reflective vitality. About Eucharist, right as grain says it best. It is in dying that we live; it is in giving that we receive; that we become one with Other-the personal oneness of Eucharist in the Cosmic Christ. Wisdom is Eucharistic consciousness, the intentional embrace of transformation. In mindfulness we become the "good seed" that greens the greater abundance of life. The greening of life from the dying seed informs the adage "better to give than receive." And so must be our individual relationship with each other and nature. What Self Donation Is is about living the fulfilled, abundant life of informed conscience, not by blind submission to cultural death as imposed by worldview blindness of staticism and centrism. Faith in absolutism is blind; openness to evolution is visionary. Absolutism misinforms conscience and cultures premature death; transformation informs and matures open life.

This book explores light and other types of waves, using this as a window into other aspects of physics. It emphasizes a conceptual understanding, using examples chosen from everyday life and the natural environment. For example, it explains how hummingbird feathers create shimmering colors, how musical instruments produce sound, and how atoms stick together to form molecules. It provides a unique perspective on physics by emphasizing commonalities among different types of waves, including string waves, water waves, sound waves, light waves, the matter waves of quantum mechanics, and the gravitational waves of general relativity. This book is targeted toward college non-science majors, advanced high school students, and adults who are curious about our physical world. It assumes familiarity with algebra but no further mathematics and is classroom-ready with many worked examples, exercises, exploratory puzzles, and appendices to support students from a variety of backgrounds.

Tuning, Timbre, Spectrum, Scale focuses on perceptions of consonance and dissonance, and how these are dependent on timbre. This also relates to musical scale: certain timbres sound more consonant in some scales than others. Sensory consonance and the ability to measure it have important implications for the design of audio devices and for musical theory and analysis. Applications include methods of adapting sounds for arbitrary scales, ways to specify scales for nonharmonic sounds, and techniques of sound manipulation based on maximizing (or minimizing) consonance. Special consideration is given here to a new method of adaptive tuning that can automatically adjust the tuning of a piece based its timbral character so as to minimize dissonance. Audio examples illustrating the ideas presented are provided on an accompanying CD. This unique analysis of sound and scale will be of interest to physicists and engineers working in acoustics, as well as to musicians and psychologists.

In the four centuries leading up to the death of Euripides, Greek singers, poets, and theorists delved deeply into auditory experience. They charted its capacity to develop topologies distinct from those of the other senses; contemplated its use as a communicator of information; calculated its power to express and cause extreme emotion. They made sound too, artfully and self-consciously creating songs and poems that reveled in sonorousness. Dissonance reveals the commonalities between ancient Greek auditory art and the concerns of contemporary sound studies, avant-garde music, and aesthetics, making the argument that “classical” Greek song and drama were, in fact, an early European avant-garde, a proto-exploration of the aesthetics of noise. The book thus develops an alternative to that romantic ideal which sees antiquity as a frozen and silent world.

Excerpt from the editorial in The Journal of New Historical Perspectives, Vol. 3, #4, 2011: On the night of July 15, 1903, Nikola Tesla powered up his 190-foot tower in Wardenclyffe on Long Island’s north shore. The bolts of energy radiating from the apical dome were visible as far away as New Haven, Connecticut. This was the first and last time anyone would witness such a display. Three years later, broke and unable to secure further funding, Tesla abandoned the Wardenclyffe tower and his dream of worldwide wireless power. He returned to Manhattan where he promptly suffered a nervous breakdown. So say the history books. But new evidence has surfaced that a shadowy fraternal order stepped in and provided generous funding after J. P. Morgan reneged. Witnesses state that testing of the tower continued but only on foggy days when the discharges would not be noticed. The final test took place on April 18, 1906. Around dawn, in heavy fog, the tower was charged to maximum capacity; across the Atlantic, in Abereiddy, Wales, two copper prongs attached to a 50-watt lightbulb were thrust into the ground. The bulb lit. Tesla had proved that worldwide wireless power was possible. Why then, at the moment of his greatest vindication, did Nikola Tesla abandon his project? What could possibly have transpired at Wardenclyffe that day to so rattle him that he would deny the world his transformative technology? We may never know.