Book Description
Beautifully designed and illustrated, Women Artists: Works from the National Museum of Women in the Arts features eighty-six notable women artists who have helped shape the world of art for the past five hundred years, from the Renaissance to the present. Written by the art historian Nancy G. Heller and showcasing the most noteworthy artists and key holdings of the National Museum of Women in the Arts in Washington, D.C., Women Artists authoritatively records the history of women in art.
Among the artists featured are the Italian Renaissance painter Lavinia Fontanta, considered Western Europe's first professional woman artist; the eighteenth-century silversmith Louisa Courtauld of England, one of the most important women of her time in the silver trade; modern-day artists such as Louise Bourgeois, Elizabeth Catlett, and Nan Goldin; and other legendary artists, including Berenice Abbott, Mary Cassatt, Louise Dahl-Wolfe, Helen Frankenthaler, Frida Kahlo, Lee Krasner, María Montoya Martínez, and Georgia O'Keeffe, among many others. Artists' books from the collection are featured in a special section.
Women Artists presents the artists and their works in eight sections representing chronological and regional groupings. Each section opens with an introductory essay that places the works in a historical context, providing a general overview of the social and political forces that shaped the era and region in which the works were created. In addition to illustrating the artists' works in full color, Women Artists provides a portrait of each artist, a brief biographical entry, and a discussion of her work. Included is a complete listing of the artists whose works constitute the museum's 2,600 holdings.
Book Description
Interview by Thurston Moore. Essay by Exene. Introduction by Marc Jacobs. 1977: Punk rock music and fashion blew out of New York City, exploded in London, and caught like wildfire in San Francisco, Los Angeles and the world over. It developed concurrently everywhere, and every region had it's own identity. But it was in San Francisco and L.A. where the most radical behavior in stateside punk rockk style and attitude was exhibited. It was anti-hippie, anti-disco, anti-parent and anti-"nice". And it was shockingly new. These photos are ground zero of punk rock style - delirious innovation and a snarling takeover of youth culture still resonating more than 20 years hence. Jim Jocoy, traveling between S.F. and L.A., shot portraits of every interesting punk rock personality who caught his eye - with each subject posed amidst the scene's ruinous and chaotic environment. Some were musicians and some were artists. All were fans and enthusiasts. And they were the original creators of what is regarded as the most potent subculture of the late 20th century. Some of the more celebrated individuals of punk legend featured in this book are Darby Crash, Iggy Pop, Lydia Lunch, Sid Vicious, John Waters, Bruce Connor and members of X, The Cramps, The Avengers, Flipper, The Screamers, The Nuns, and many others.
Customer Reviews:
THIS BOOK LICKS B@llz!.......2005-04-22
Man was I ripped off! I read the reviews and found myself somehow, really really interested in this book. I purchased it and waited for it to arrive. I finally got my hands on it, boy was I sorry. I started looking and searching for all the "cool things" it was supposed to have, but man, this book just sucks.
Its cool if you want to check out the 70s 80s punk rock fashion and style this kids had. But nothing incredible. Its also very little so the pictures arent that great. Blows!
Brilliant!!.......2003-07-19
This is an absolutely brilliant book. It chronicles a time when punk was more than just some retarded fashion statement made for MTV (admittedly, MTV didn't exist...) Jim Jocoy has done his thing well, and efficiently shown the attitude of punk in the late 70's. One of the best things about this book is the fact that he didn't sift through people and pick out the ones that looked like models, or the pretty singers, he took anyone and everyone he could find that contributed to the punk rock movement. Even greater is the fact that he has pictures of bands and singers right next to the "normal" people, and to the untrained eye, nobody would know the difference. Everyone was impressive. I also loved the prose at the end by Exene Cervenka. It's very well-done and beautifully written.
The San Francisco Punk Scene told in Photographs........2003-04-06
When I first heard about this Book, I eagerly awaited it's arrival. An Excellent documentation of the Looks and visual attitude that was unique to the San Francisco Scene. Even though the Photos include LA, London and NYC Stars, that original San Francisco feeling still emerges overall. It cries out for more books exploring it's values different from other Punk or Rock scenes. But at least we have Jim's Excellent Documentations and memories. Hopefully More Books coming from him in the future!
before punk fashion was sold at the mall.............2003-01-19
....the West Coast punk rock scenesters created a style that looks surprisingly fresh and edgy even today: pink 60s leather coats, striped tees, shredded preppy button-ups, busted jeans, high heels with anklets, asymetrical haircuts, teddy boy coats, geometric print 80s, shrunken suits w/ skinny ties, and more. This is a great book for DIY fashion ideas-- from a time when ripped tee-shirts didn't cost $75 at trendy boutiques and jeans didn't come pre-sandpapered.
Customer Reviews:
Like the best cup of cocoa.......2007-08-28
I hesitated to buy this book at first because the cover was unappealing (silly me). However, I had been reading the artist's other work, Black Sun Silver Moon and was enjoying it tremendously. Soon after I realized Beyond My Touch was by the same artist! So on a second go-around I decided to give this book a chance.
The book contains three very sweet stories. The and first story, which is titled the same as the book (Beyond My Touch) is overall the best one (they're all good~). It focuses heavily on the loneliness of a young man's soul and how a ghost(dead) can breath life back into him by haunting him everyday. Or something like that. The artist displays her talent for portraying inner emotions quite well in this story.
The second story I feel is the weakest of the three. Although I loved reading about the protagonist Hoshiba's feelings and sexual confusion. His reaction to his friend (a boy) kissing him for the first time was very believable, "Next time I see him, I'm gonna punch him a couple more times. I'm gonna say every cruel thing I can think of. And then... And then...What am I gonna do after that? ... Is that the end of it? Can we go back to the way we were - as if nothing happened?"
The third story was very cute and hyper, which is not the artist's usual style but she pulls it off. A young man bakes sweets for his childhood friend everyday to get him to say "it's delicious" not just "tasty". At first he treats his baking as a challenge to prove his self-worth - but eventually he finds out that he wants to bake sweets for his friend for different reasons ;)
At the end of the book the artist actually apologizes for the stories not being smutty enough. She also says this was her first try at boy's love and understanding homosexuality. I think she portrayed human emotions perfectly and therefore made a perfect boy's love manga ... no smut necessary :)
This book is great. Like the best hot cocoa.
My favorite Shounen Ai title - about learning to live and love.......2006-08-29
I bought this book because the summary sounded interesting/strange enough that I may as well check it out. I read it at the same time as several other titles (including Antique Bakery, Only The Ring Finger Knows, and Yellow vol 1) and found it to be very refreshing. There is no forcing of love from one to another in this, but it is definitely shounen ai, and not yaoi. The most that happens in the entire manga is kissing and hugging.
This book is actually three stories, which really confused me at first because there is not a clear distinction between the end of Beyond My Touch and the beginning of Cool Lips. There is only a small title in the corner, which I thought was just the title of a new chapter. Plus, the dark-haired, bespectacled boy could have passed for an older version of Mizuno, which I mistook him for at first. All three stories have similar-looking main characters (in that there's always one dark-haired long-banged boy and one messy-haired blond boy) but I didn't find it to be too repetitive. There is enough difference that even if they were all lined up next to each other, I'd be able to distinguish them. Tomo Maeda *does* work with .. somewhat similar character types, but they are not all carbon copies of each other. There tends to be one quiet, aloof character, and one upbeat one, but there are differences in their personalities that do appear, and the characterization is worked into the plotline differently each time. The distinction between the second story, Cool Lips, and the third, Recipe, is far more obvious with a large cover page.
The main storyline is about Mizuno, a quiet, dark-haired boy who remains aloof in the corner of his high school room. At the funeral of his recently-deceased classmate, Mamoru Takayama, he finds himself rather surprisingly haunted by Mamoru's ghost. Mamoru's one regret from life is that he never got to know Mizuno better (specifically, he never kissed him), and so he must follow Mizuno around until he can fulfill his wish so he can pass on. Mamoru is now hell-bent on kissing Mizuno, who seems more interested in ignoring the hyperactive ghost than working with him, and wondering why in the world he's been cursed with this ghost's grudge when he wants to lose himself in silence.
Despite how that sounds, Mamoru does not force anything on Mizuno, and over time Mizuno comes to realize what he really feels for Mamoru, and how empty his life was before. Mizuno lives alone, so he is accustomed to having no one around... but now he can see what life could be like -- silence and being alone can become loneliness, and it could take a ghost to make a person become truly alive.
I absolutely *loved* that first story. There are some really cute moments, other places made me laugh, and other scenes were bittersweet or.. heartwrenching, except not quite so strong a word. Mamoru is upbeat and cute, and Mizuno is pretty and quiet. It's funny to see the two interacting, since they have such different personalities, and it was also fun to watch where Mamoru's body faded away (usually around his feet). There are some very nice expressions in this, especially of Mizuno; enough that I remember thinking there were a few panels that would make good icons.
While Mamoru knows he likes Mizuno from the start, the story is about Mamoru developing just like Mizuno does. Both are becoming used to the other, learning things they never knew (Mizuno barely even knew Mamoru existed until he died, even though they were in the same class), and in general just slowly falling in love. A lot of it is just plain cute, like how Mamoru keeps trying desperately to make breakfast for Mizuno, but since he's a ghost things fall through him suddenly, making a mess on the ground while Mamoru looks sheepish. There are little side comments in many of the panels, and though it seemed like a lot of information the first time I read through, most of them were cute or amusing.
The only problem I have with the first story is that it ends too soon. There is a resolution, which is done well enough and makes sense with the story, but there could have been so much more. It's rather like Demon Diary, I suppose, in that the ending worked, but I really just wanted to read more about these characters so it was disappointing that this was it.
The second story, Cool Lips, is about quiet, dark-haired Natsuo Ozuki, who is generally considered a weird guy. He sits in the corner and doesn't say much. Light-haired Hashiba Toda, who is fairly popular, all but forgets about Natsuo until one day Natsuo suddenly mentions that they live near each other, and invites him to walk home. They become friends, until Natsuo kisses Toda unexpectedly. Confused, Toda rejects Natsuo and spends a few days feeling irritated and angsty. But then Natsuo disappears from school, and when Toda realizes it's because he's ill and in the hospital, he becomes very upset and has to question why he reacts that way.
The third story, Recipe, is about Takashi (the dark-haired one) and Minoru (the light-haired one), childhood friends. Takashi bakes delicious desserts every day and presents them to Minoru at school, hoping for an excited reaction. Instead, all he gets is a blank-faced, "This is good," which frustrates Takashi immensely. He becomes obsessed with making the best treat ever, while classmates swoon in the background and take all the food that Minoru didn't finish. Takashi decides he will not stop until he can get the same reaction from Minoru that he used to get from childhood.
All three stories are cute, with Beyond My Touch having a nice range of emotions (centering on sweet and sad), Cool Lips a little angstier, and Recipe fairly light and humorous.
Beyond My Touch is my favorite shounen-ai because it has a good plot, there is definite character development, and I just really enjoyed the art style. Mizuno is especially beautifully rendered, and when he gets shocked or upset, his all-dark eyes turn white when his pupils contract, which may sound weird but made for an emphatic change in his visual emotions. And Mamoru, who is generally grinning and bright-eyed, looks beautiful when he truly smiles from the heart. I have rabidly been trying to search for anything else by this mangaka, because I would pick it up in a heartbeat, even if I thought the plot sounded weird. I have definite faith that anything else would be great, because there are few manga that I find myself rereading sporadically and still loving just as much.
If you like Only The Ring Finger Knows, or Little Butterfly (both of which I also highly recommend), then I think you should give Beyond My Touch a try. Like I said, the only problem I really had with it is that the first story could have gone so much longer. Initially, I was disappointed and irritated that those two extra stories were in there if the main storyline wasn't going to be continued, but in the end they were decent stories so it's alright. I just wish Tomo Maeda would make more manga.
Beyond My Touch.......2006-07-17
The stories are segmented into parts. I really wished it was one novel itself--it would have been easier to read.
A good break in-between!.......2006-01-07
I have a tendency to reread my mangas after a while. Beyond my touch was no expection. On first reading in 2005, I like it and rated it 4 stars. But on second & third reading in 2006, I appreciate this shounen-ai manga simply for its sweetness
and innocence. Beyond My Touch is a good break when one is into Yaoi/Slash/Gay romance & eroticas like me.
Also, I love this mangaka's fluid and graceful artwork, especially the facial expressions which are vividly alive.
Definitely "shounenai"........2006-01-01
Pros: Not a series (this book finishes it), GREAT artwork, adorible stories, humor and cuteness.
Cons: Softcore (if that's not what you're looking for), stories are short (again, if that's not what you're looking for).
To sum up, if you're a fan of Eerie Queerie (aka GHOST) or HANDS OFF! (I haven't read it, but I've heard that it's similar), then you'll probably like Beyond My Touch. This book includes Beyond My Touch, a three episode story - Gift, a short epilogue to BMT - Cool Lips, a one episode story - and Recipe, another one episode story. The plots for all three, especially the last two, are very original and well-done. The first one is a bit cliched, but the adorible-ness and interesting way it's done make up for it. For the record, the farthest any of these stories gets is a chaste kiss. Which is totally fine if you're looking for fluff, which I actually really like. But if you're looking for the more "hardcore" stuff, then this isn't it.
Sooooo, final verdict...
ART: 5
STORY: 4
OVERALL BOOK DESIGN: 4
OVERALL EVERYTHING: 4.5
Book Description
Stephen Prince has written the first book to examine the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. He explains how Hollywood's filmmakers designed violence in response to the regulations of the Production Code and regional censors. Graphic violence in today's movies actually has its roots in these early films. Hollywood's filmmakers were drawn to violent scenes and "pushed the envelope" of what they could depict by manipulating the Production Code Administration (PCA).
Prince shows that many choices about camera position, editing, and blocking of the action and sound were functional responses by filmmakers to regulatory constraints, necessary for approval from the PCA and then in surviving scrutiny by state and municipal censor boards.
This book is the first stylistic history of American screen violence that is grounded in industry documentation. Using PCA files, Prince traces the negotiations over violence carried out by filmmakers and officials and shows how the outcome left its traces on picture and sound in the films.
Almost everything revealed by this research is contrary to what most have believed about Hollywood and film violence. With chapters such as "Throwing the Extra Punch" and "Cruelty, Sadism, and the Horror Film," this book will become the defining work on classical film violence and its connection to the graphic mayhem of today's movies.
Customer Reviews:
Eye Opening.......2004-12-19
This is one of the best books I've read about movies in a few years. Prince looks at the PCA papers for movies from the early talkies to the start of the "ratings system" in the Sixties. He looks at how the films depicted violence, and how they got into trouble with the Code Authority. (Prince doesn't use the word censor, and he shows he has a valid point for this.)
The result is simply eye-opening. It will make you want to see Frankenstein, The Public Enemy, Scarface (1931) and G-Men again. Prince shows how the PCA was especially troubled by violence in horror and gangster films and by edge weapons more than guns. He also shows how "film noir" was a sustained assault on the conventions of screen violence handed down in the Thirties. (Oddly, Prince hardly uses the term "film noir" although the films he mentions: The Glass Key, Brute Force, Kiss Me Deadly, are all from the noir canon.)
Not only does Prince tell the history of American screen violence, but he analyzes the techniques by which filmmakers depicted violence. He never becomes dry or academic as he discusses these films.
Strongly recommended for anyone with an interest in the horror film, gangster movies or film noir.
Book Description
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era.
Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston's Symphony Hall, New York's office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound -- clear, direct, efficient, and nonreverberant -- had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
Customer Reviews:
Good history of modern sound system development.......2007-07-30
My review will be brief. I basically agree with several other reviewers. This book is well written. Given that it is an MIT Press publication it is academic in approach. So it can be wordy and a little dry, but is well researched and documented. I appreciate the thorough references & illustrations.
Basically this book reinforces that many of the major concepts that are fundamental to audio systems and acoustics were developed by the 1930s. It clearly reinforces that we stand on the shoulders of those that came before us.
As a side note I think the basis of analog color television was worked out in the '20s. It's amazing the power of concentration and insight early designers had, and they lacked the modern tools we have today.
This is a must read for a history of acoustics & sound system development in the previous century and it's impact on out modern world. However, it is not a light, topical title.
Brilliant and innovative approach to the history of architectural acoustics.......2006-01-16
The way that this book approaches the history of sound in the early twentieth-century is truly unique. Thompson catalogs the events from 1900-1933 from four different perspectives, each perspective in its own chapter. The explanation of the science involved in the evolution in sound is done extremely well; easily understandable to the non-technical person, and yet with enough detail to satisfy the technically minded. I am an engineering student and bought this book for a project for my noise control engineering class-a graduate level class-and it provided extremely useful to me in describing how the scientific community changed and evolved in the area of acoustics.
So many differently things were happening all at once during this time period. Books that focus solely on science and the scientific community totally disregard the social atmosphere that drove the scientific community to achieve as they did. Also, any social history would be remiss in omitting the contributions of the scientific community in a time period where science was celebrated and embraced by society. Thompson does a wonderful job of showing the history of both areas and how they interrelate to one another.
What follows is a brief outline of what the book includes and how it is presented:
Thomspon uses architecture, and the science of acoustics used to aid in design, as milestones in the development of what she refers to as the 'soundscape'. She begins with opening night at Symphony Hall in Boston on October 15, 1900, and ends with Radio City Music Hall, which opened December 27, 1932.
The introduction and brief overview is given in Chapter 1. Chapter 2 begins with opening night of Symphony Hall and how the work of Wallace Sabine impacted the design of music hall. It also gives a brief history of earlier attempts at sound control, which illustrates just how significant Sabine's work was for both the scientific and architectural community. Chapters 3 through 6 each cover the time period 1900 to 1933 from four different perspectives.
Chapter 3 follows the work of the scientists throughout this period who, by building on the work of Sabine, focused their careers in the study of sound and developing the science of "New Acoustics". The chapter catalogs the development of the new tools available to accurately measure sound, new techniques to measure sound and the new language used to define sound.
During this time period, the sounds of a city dramatically changed from human sources to mechanical sources. This created new challenges in noise control, which had previously been addressed by controlling the behavior of the people causing the noise. This type of noise control became obsolete once mechanical noise became prevalent. Chapter 4 addresses these changes and how the public dealt with the changes in the problem and meaning of noise.
Chapter 5 restarts the period again, this time focusing on how the technology of architectural acoustics, the science that Sabine basically invented with his groundbreaking work outlined in Chapter 1 & 2, was used indoors to alleviate the problem of noise. This chapter follows the new acoustical material industry which was focused on new building technologies dedicated to isolating and absorbing sound. It tracks scientific knowledge being applied to create sound-engineered buildings, which were designed to keep noise out of a building, and how this eventually became known as 'modern noise control'.
Chapter 6 shows how the electro acoustical technology moved out of the lab, where it was developed to measure sound, into the world. Microphones, loudspeakers, radios, public address systems and sound motion pictures were all world applications of the lab technology which filled the soundscape with electro acoustical signals. It also shows the rapid change in the soundscape that this new electric acoustic sound bears little resemblance to the sound of 1900. So little resemblance that Sabine's reverberation formula failed to describe it, forcing the equation to be revised, signaling the final transformation of the soundscape.
Chapter 7 finishes off the time period with the opening of Radio City Music Hall.
Impacts of the ideals of modernity.......2003-01-23
Thompson focuses on the role of modernist tendencies in the construction and commodification of the auditory culture of America in the early twentieth century. She looks not only at the science of architectural acoustics but their linkage to the new recording technologies and general changes in the aural landscape of New York and elsewhere. We discover the completeness of the modernist retreat from the world into skyscrapers which had among their attributes the ability to silence all the outside noise of life. Thompson displays how the perception and creation of sound is absolutely coupled to a culture and its historicity. By doing so she links herself to the great French historian of the senses, Alain Corbin, who wrote Village Bells and allowed us to rediscover the sounds of the eighteenth French countryside and the culture that created it. To read a work written in such a provocative and entertaining way is a wonderful experience and to have such an experience with a book that centers around a topic as possibly dull as architectural acoustics is doubly impressive. As more talented historians are "coming out of the woodwork" and lending their abilities to the study of aurality our picture of the world past is quickly becoming a more vivid and less silent one.
Secondly, I fell the need to criticize one reviewer's critique. One, though F Murray Schafer may have helped create a new field of study and generated concern for a the loss of a particular kind of soundscape I think criticizing an entire book because you have a semantic disagreement about the title with the author is slightly ridiculous. Thompson states her differences with Schafer in the first couple hundred words. If it was that upsetting, just take the book back. I personally find Schafer's writing quite lacking in theoretical vigor and drawing on questionable statistical evidence. Secondly, Thompson does in fact go well beyond just discussing the technical "progress" made in the field of acoustics by looking at the reasons that a culture would look to alter its sound in the first place.
A fantastic book. I hope she writes more.
The Soundscape of Modernity.......2003-01-14
"The Soundscape of Modernity," is the title of Emily Thompson's book. However, it has little to do with soundscapes or modernity and everything to do with the less-sexy sub-title (in very small print), "Architectural Acoustics and the Culture of Listening in America, 1900-1033."
Despite the author's attempts to re-define R. M. Schafer's meaning of "soundscapes," she fails to connect the thrust of her exposition to the more resonant and common significance of the term and thus obscures and distorts the meaning of both the term and concept. The author confines her discussion to changes of the performance, creation, and perception of sound in our culture during the first third of the last century due largely to the engineering and construction of interior architectural spaces and related supporting technologies. Unless one can successfully bestow on the interior of Boston's Symphony Hall or the Radio City Music Hall the rational equivalent of soundscape (aural) as landscape (visual), one cannot expect to make the transition and apply the term "soundscape" to the acoustic result of those designs with any authority. It simply doesn't fit. The book, in the end, speaks nothing of soundscapes as they have come to be understood in the arts and sciences, but addresses, instead, architectural acoustics and the technologies that drive and/or enhance them. While the text is readable and historically loaded with informative discussion on the transformation of architectural acoustics, it is not consistent with the expectations contained in the title of this book.
I bought the book because the title suggested an illumination on the manner in which soundscapes - human and natural - changed during the first three decades of the 20th century. It delivered, instead, a very different, misleading, but nonetheless instructive narrative. As my interest in the work was more along the lines of that anticipation, I was somewhat disappointed especially because the book is so expensive.
Sounding the History of Acoustics.......2002-10-02
Those invited to read an academic book on acoustics might well decline because of a headache, or an urgent need to wash the cat, or the constant press of quality daytime television. It would be hard to convince them that such a book could be exciting, or even interesting, especially if it weighs in with the heft of a textbook. But a remarkable work by historian Emily Thompson, _The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900 - 1933_, ought to be enjoyed by non-specialists and those who know nothing about the science of acoustics. Thompson has written a comprehensive, well-referenced, but witty and entertaining book about an important subject whose influence is surprisingly pervasive.
Thompson briskly reviews acoustic history; before this century, listeners knew there were better auditoriums and worse, but no one really knew why. To create a new venue for the important Boston Symphony Orchestra, the architect consulted a young Harvard assistant professor of physics, Wallace Sabine, who may be dubbed the Father of American Acoustics. In 1895, Sabine had been asked by the president of Harvard to improve the terrible acoustics of the lecture hall in the new Fogg Art Museum. In studying the problem, Sabine learned that the important thing to measure within a hall was the time of reverberation, the dying out of sound echoing through the room. This seems obvious now, but was the founding insight for all subsequent acoustical thought. He developed an equation relating the absorbing power of the room and its furnishings to the reverberation time. When Boston's Symphony Hall opened in 1900, the acoustics were an overwhelming success with critics. There were carpers who gradually dissented from the praise, but the musicians and the audiences became familiar with the sound, and its reputation remains high. Making beautiful sounds is but one aspect of acoustics treated in Thompson's book. Chapters are also devoted to the shielding from ugly sounds which the machine age was producing. Legal remedies for noise were largely unsuccessful, but there were brilliant successes in architectural use of sound-absorbing material to keep out the din. Movies changed the way auditoriums sounded, and making them presented its own peculiar problems. They had to have their camera sounds deadened and their studio lots coated to damp echoes, and the air conditioning (necessitated because the noisy carbon arc lighting had been replaced by quieter but hotter incandescent) had to be acoustically insulated from the production.
Thompson ends her fascinating study with the Radio City Music Hall, a progeny of the new electroacoustic science. The hall was designed for the capture of sound by stage microphones and the projection of amplified sound into the highly absorbent and cavernous hall. The system worked very well, but ironically, although the audience could hear every speaker as if they were close to the stage, only those physically close could see with equal clarity. Live spectaculars failed, and the hall became a white elephant, playing mostly movies that people could see cheaper elsewhere. But the theatrical amplification of sound became a standard; as the century wore on, theaters were designed to be "tunable" to sound gothic, baroque, or modern, without one "best" setting. The soundscape we have become used to will continue to change, but Thompson's volume, full of clear, small essays and biographies, and cheerfully laced with humor and unobtrusive puns, is an insightful description of the origins of the sounds of the future.
Book Description
This digital document is an article from Architectural Science Review, published by University of Sydney, Faculty of Architecture on March 1, 2003. The length of the article is 881 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: History of Acoustics. (Book Reviews).(The Soundscape of Modernity - Architectural Acoustics and the Culture of Listening in America, 1900 - 1933)(Book Review)
Publication:
Architectural Science Review (Refereed)
Date: March 1, 2003
Publisher: University of Sydney, Faculty of Architecture
Volume: 46
Issue: 1
Page: 100(2)
Article Type: Book Review
Distributed by Thomson Gale
Customer Reviews:
Great.......1999-10-05
This book has it all. It is a must have for any wizard. With the other 3 books you will have thousands of spells that are easy to find and understand.
Useful but unbalanced.......1999-06-25
The breakdown of the spells into various groups helps players check spells fast.
But beware, play balance of the spells are poorly done for nearly all spells cast by Elminster, Khelbun, Seven sisters and the major characters in FR.
The rest are alright execpt for some balantly munchkin ones (unidirectional wall of force??). Discretion required.
Pretty Cool.......1999-06-25
A good compilation of spells. I like the tables in the front of this (the first) book. I understand this is not meant to be a rule book, but some help on where to find rules on chronomancers would be nice, since there are a fair number of spells for them in here. Recommend getting 1st and 4th books before obtaining rest so that you get the tables and index.
very useful. great spell tables and specialties........1999-05-25
this volume was the pinacle of the spell compendium. It has spells listed in dozens of different lists with different themes. It includes many specialties from dragon magazine. it also includes optional rules like psionic enchantments and spell paths. A+ material.
The cream of the crop........1999-05-11
Anyone who thinks that this book is redundant, or just repeats spells, is insane. Thousands of spells were collected from every adventure, and magazine to make this the most complete listing of spells avalible. Many have also been updated to work with AD&D rules.
Book Description
Turn weekend home-improvement projects into big money!
Did you know you and your spouse can sell your home every two years and pay no taxes on profits up to $500,000? It's true! In fact, you should think of your home as an investment as much as a place to live. Simple renovations can dramatically increase the value of your home, and you can undertake most of them on your own and in your spare time. Renovate to Riches shows you how to turn your sweat into equity and your home into a moneymaker.
Millions of people across America are making their do-it-yourself weekend projects pay off-and you can too. This straightforward guide will show you how to secure financing for your home, accomplish the renovations that add the most value, and get the highest price when you sell. It shows you how to design your own custom plan for creating wealth over five, ten, or even twenty years, and includes detailed case studies that help you avoid common mistakes.
Renovate to Riches also includes:
- An explanation of complicated federal tax codes
- Tips on finding great homes at bargain prices
- Advice on financing options
- Which renovations add the most value
- Professional guidance on interior design, landscaping, and other home improvement projects
- Which projects you should be able to handle yourself and which will require a professional contractor
- How to work with contractors and keep it cheap
- Practical advice from the experts-real estate agents, brokers and bankers, tax advisors, contractors and carpenters, landscapers, interior and lighting designers, home inspectors, and appraisers
Renovate to Riches is not a get-rich-quick scheme. It's a practical, step-by-step guide to building long-term wealth. You don't need the skills of a contractor or the experience of a real estate agent; all you need is a little extra time, a little extra money-and this unbeatable guide.
Download Description
How to create wealth using home renovation and capital gains tax exclusions
Renovate to Riches shows novice real estate investors how to create wealth by purchasing homes, renovating them, and selling them at a profit. Because an individual or couple can sell a home every two years, often times without paying capital gains taxes, renovating homes is one of the most reliable ways to build wealth over time. This book shows readers how to develop a renovation strategy, secure financing, accomplish renovations on their own, sell for the best price, and much more. It also includes plans for renovating on a full-time or part-time basis, and details on how couples can work together to build wealth.
MIKE DULWORTH and TERESA GOODWIN have earned hundreds of thousands of dollars renovating homes in their spare
time. Mike is the Managing Director of Executive Development Associates (www.executivedevelopment.com), and Teresa is a trained interior designer and independent producer for Second City Communications, the business theater group of The Second City in Chicago. Visit their website at renovatetoriches.com.
Customer Reviews:
good book.......2007-03-10
Good information in the book, but the more I read online the more I question if flipping is right for me
Renovate to Riches.......2004-03-05
Renovate to Riches is a very well written guide to successful Renovation projects. The book highlights all the important aspects of renovating a home, from the pitfalls to the potential gains. It is valuable to the beginner as well as the professional remodeler, especially the chapter about how to finance your project. The most important component to solid investing is adequate funding, and Sashi McEntee, a local mortgage consultant, details effective strategies to acheive your goals.
"Real World" Home Renovation Blueprint.......2004-01-13
I've remodeled and sold several houses and this book is as close to real world as any I've read. The step-by-step approach is understandable, detailed and readable. Dulworth and Goodwin have superbly highlighted one of the few non-taxable investment opportunities available to everyday Americans.
An excellent book.......2004-01-08
This is an excellent book. It provides detailed studies and analysis of how to make money through home renovation and the recent changes in the tax laws. The book includes legal, financial and how to information which should be useful to anyone seeking to purchase, renovate, enjoy, and ultimately sell a house as a means to increasing net worth. Highly recommended!
Books:
- Woodtli
- World Graphic Design: Contemporary Graphics from Africa, the Far East, Latin America and the Middle East
- A Cavalier History of Surrealism
- A Thousand Years of Czech Culture: Riches from the National Museum in Prague
- A Wounded Innocence: Sketches for a Theology of Art
- Aircraft of the Aces: Legends World War 2
- Alexey Titarenko: Photographs
- All the Way Home: The Art and Words of Robert Sexton
- Anna Gaskell
- Antique Trader Metalwares Price Guide (Antique Trader's Metalwares Price Guide)
Books Index
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Women Artists: An Illustrated History
Mirror Mirror: Self-Portraits by Women Artists
Women Artists: The National Museum of Women in the Arts (Tiny Folios Series)
Women, Art, and Society (World of Art)
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