By R. N. Thurston, Allan D. Pierce
This twenty-fourth quantity of the long-running Physical Acoustics sequence offers a subject matter and writer cumulative index and tables of contents for all earlier volumes for simple reference.
Read Online or Download Physical acoustics, vol.25: Cumulative Subject and Author Index, including Tables of Contents PDF
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This definitive textbook offers scholars with a accomplished advent to acoustics. starting with the elemental actual principles, Acoustics balances the basics with engineering elements, purposes and electroacoustics, additionally masking song, speech and the houses of human listening to. The suggestions of acoustics are uncovered and utilized in: room acoustics sound insulation in structures noise regulate underwater sound and ultrasound.
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Extra info for Physical acoustics, vol.25: Cumulative Subject and Author Index, including Tables of Contents
While these moving phantoms and disembodied voices have become domesticated and are now familiar guests in our theaters, classrooms, and homes, I do not feel we have fully completed the investigation of our technological doubles or completely understood the degree to which, in our modern world of mechanically reproduced images and sounds, we are all, like Rimbaud, somehow another. Notes 1. Andre Bazin, “The Myth of Total Cinema,” in What Is Cinema? vol. 1, trans. and ed. Hugh Gray (Berkeley: University of California Press, 1967), 21.
As a fetish, however, this recaptured wholeness must also display in some way its arti¤cial stopgap nature, its incomplete restoration of coherence. No act of the popular imagination could overturn the forces of modernization, and great works of speculative imagination understood this. Villiers makes clear the sa- Doing for the Eye What the Phonograph Does for the Ear 23 tirical nature of his arti¤cial woman, Hadaly, and her recorded poetic speech as a fetishistic denial of reality. ”45 Verne approaches the fetish more sentimentally than the ennui-ridden symbolist, but equally clearly, in Carpathian Castle as he presents this reconstituted illusion as an act of mourning for the dead, a desperate gesture against ultimate loss.
The most successful of these, Farber’s Talking Machine displayed at Barnum’s Museum, which used a bellows and complex machinery to reproduce speech, still included a human head as a residual emblem of the earlier ambition to recreate the voice as part of the arti¤cial creation of a total mechanical human being. 32 The phonograph, however, limited its mimesis to the human voice; its apparatus had no visual resemblance to a human ¤gure. But again this splitting of the human senses, the isolation of sound, seemed to strike some people as unnatural.