Acoustic Tile as a mediating technology of organization

2019 ◽  
pp. 14-25
Author(s):  
Reinhold Martin
Keyword(s):  
Twentieth Century ◽  
Mechanical Systems ◽  
Early Twentieth Century ◽  
Organizational Effects ◽  
The Difference ◽  
Environmental Technologies

This chapter considers the history and organizational effects of the suspended acoustical tile ceiling in terms of the difference between ‘space’ (below) and ‘plenum’ (above). Reviewing the development of the acoustic tile since the early twentieth century, and the construction systems with which it was suspended to create a plenum between ceiling below and floor above, the chapter argues that this separation gave the ceiling new meaning. Increasingly, by isolating the mechanical hum of environmental technologies within the plenum, the suspended acoustical tile ceiling maintains a difference between the silence of ‘space’ and the noise of the mechanical systems that serve it.

The Sovereign Logic of Jack London’s Sea Stories

2017 ◽  
Author(s):  
Hank Scotch
Keyword(s):  
Twentieth Century ◽  
New World ◽  
World Order ◽  
The Self ◽  
New World Order ◽  
Early Twentieth Century ◽  
Spatial Differences ◽  
The Difference

Jack London’s maritime writing often interrogates the difference between the savage space of the “outside” sea and the relative domesticity of land’s civilized interior, as well as the ways in which this spatial distinction supports the sovereignty of space, society, and the self. But instead of maintaining these spatial differences, London’s work is all about exposing their increasing indistinction in the early twentieth century and the effects such a spatial destabilization had on sovereignty itself. This interrogation of the new world order and its effects on previous forms of sovereignty, the chapter argues, is what makes London’s contribution to American maritime writing (especially The Sea-Wolf and The Cruise of the Snark) so important. London’s sea stories not only acknowledge the world’s new “nomos” but the effects this order has on political and personal forms of autonomy and coherence.

The Influence of Early Twentieth-Century Technology

Jazz in China ◽  
2018 ◽  
pp. 21-31
Author(s):  
Eugene Marlow
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Early Twentieth Century ◽  
Communications Technologies ◽  
The World ◽  
The Difference ◽  
Music For Dance ◽  
Opium Wars

The superior war-making technology of the Western colonial powers—the steam-driven warship and cannon—made the difference between China prevailing and its defeat during the Opium Wars. It resulted in the colonial powers controlling Shanghai, tantamount to controlling China. In turn, the colonial powers brought their culture with them to Shanghai, which included jazz in the first quarter of the twentieth century. Within a couple of decades, jazz became not only the music of Shanghai but was global. This chapter asks how jazz traveled halfway around the world to China (and in the other direction, to Europe) so quickly? And how did the non-American musicians in Shanghai (Russians, Filipinos, and Chinese) learn to play the music for dance hall purposes? Transportation and communications technologies of the early twentieth century—the steamship, the locomotive, the gramophone, and early film—also were major influences in bringing jazz to China's shores.

The Brahmsian Hairpin

2012 ◽  
Vol 36 (1) ◽  
pp. 46-57 ◽  
Author(s):  
David Hyun-Su Kim
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Careful Examination ◽  
The Core ◽  
Early Twentieth Century ◽  
The Difference

Abstract Hairpins, the notation symbols < and >, are today universally accepted as equivalent to the markings crescendo and diminuendo, calling for an increase or decrease in volume. This view is irreconcilable with the scores of the core German repertoire of the nineteenth century. This article offers a new understanding of hairpins based on careful examination of the scores of Brahms and of early-twentieth-century recordings by artists close to him. In Brahms's milieu hairpins did not prescribe sounds, but rather described meanings. The difference between prescription and description is central, suggesting that instead of “growing louder/quieter,” hairpins are better understood as “becoming more/less.” The means by which “more/less” was realized by nineteenth-century musicians included many techniques beyond dynamics, most notably agogic inflection.

scholarly journals Secular polar motion observed by GRACE

2021 ◽  
Vol 95 (4) ◽  
Author(s):  
Ki-Weon Seo ◽  
Jae-Seung Kim ◽  
Kookhyoun Youm ◽  
Jianli Chen ◽  
Clark R. Wilson
Keyword(s):  
Climate Change ◽  
Twentieth Century ◽  
Polar Motion ◽  
Linear Trend ◽  
Surface Mass ◽  
Early Twentieth Century ◽  
Grace Data ◽  
Mass Load ◽  
The Difference ◽  
Mass Loads

AbstractA long-term drift in polar motion (PM) has been observed for more than a century, and Glacial Isostatic Adjustment (GIA) has been understood as an important cause. However, observed PM includes contributions from other sources, including contemporary climate change and perhaps others associated with Earth’s interior dynamics. It has been difficult to separate these effects, because there is considerable scatter among GIA models concerning predicted PM rates. Here we develop a new method to estimate GIA PM using data from the GRACE mission. Changes in GRACE degree 2, order 1 spherical harmonic coefficients are due both to GIA and contemporary surface mass load changes. We estimate the surface mass load contribution to degree 2, order 1 coefficients using GRACE data, relying on higher-degree GRACE coefficients that are dominantly affected by surface loads. Then the GIA PM trend is obtained from the difference between observed PM trend (which includes effects from GIA and surface mass loads) and the estimated PM trend mostly associated with surface mass loads. A previous estimate of the GIA PM trend from PM observations for the period 1900–1978 is toward 79.90° W at a speed of 3.53 mas/year (10.91 cm/year). Our new estimate for the GIA trend is in a direction of 61.77° W at a speed of 2.18 mas/year (6.74 cm/year), similar to the observed PM trend during the early twentieth century. This is consistent with the view that the early twentieth-century trend was dominated by GIA and that more recently there is an increasing contribution from contemporary surface mass load redistribution associated with climate change. Our GIA PM also agrees with the linear mean pole during 1900–2017. Contributions from other solid Earth process such as mantle convection would also produce a linear trend in PM and could be included in our GIA estimate.

scholarly journals RHYTHM AND METRIC FEATURES OF YANKA KUPALA'S PRE-OCTOBER PERIOD POETRY

Keruen ◽  
2021 ◽  
Vol 70 (1) ◽  
Author(s):  
A. Aleychenko ◽  
◽  
Keyword(s):  
Twentieth Century ◽  
Organic Synthesis ◽  
Structural Characteristics ◽  
Semantic Role ◽  
Dimensional Approach ◽  
Objective Information ◽  
Systems Research ◽  
Early Twentieth Century ◽  
The Difference

The article deals with the research of Yanka Kupala's versification of the pre-October period in an integrated multi-dimensional approach. It is considered the difference of functional and structural characteristics of metric and rhythmic verse levels. It is identified the semantic role of rhythm-forming components and the semantic range of certain meters in Yanks Kupala's works. With the help of statistical and comparative-typological methods there are extracted the objective information about the rhythmic-metric features of the books «Zhaleyka», «Guslyar», «Slyasham zhyccia», traced the evolution of the creative heritage of the poet. It is dealt with the ways of the establishing of syllabic and accentual verse principles in Belarusian poetry of the early twentieth century by Yanka Kupala, as well as the objective laws of the organic synthesis of syllabic-tonic and tonic verse systems. Research prepares materials for creation of directory poetic dimensions of the creative heritage of the poet, theoretical and practical course on Yanka Kupala's versification, the same way as a relevant monographic studies.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

V1214: Edward Loughborough Keyes: An Early Twentieth Century Leader In Urology

2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor
Keyword(s):  
Twentieth Century ◽  
Early Twentieth Century
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