The Influence of Johann Wolfgang von Goethe on the Legacy of the Bauhaus

This paper addresses three color theorists of the Bauhaus and their connection to a single historical source, Johann Wolfgang von Goethe. It begins with an overview of the Bauhaus and a brief chronology of the school, and then moves into a description of Goethe’s work, primarily Theory of Color. I then discuss Wassily Kandinsky, his writings in Concerning the Spiritual in Art and From Point and Line to Plane, and his impact on the other teachers of the Bauhaus. The third chapter addresses Johannes Itten’s book. The Art of Color, and his influence on the Bauhaus and its students through his introductory course, the Vorkurs. The final chapter discusses Josef Albers, a Bauhaus student-turned-teacher and painter, who taught at Black Mountain College for over twenty years and wrote interaction of Color, I attempt to connect them using Goethe’s psychological and physiological color classifications, as well as establishing a physical link between them. I propose that Goethe’s focus on the beholder rather than the color itself carried through to the work of Kandinsky, Itten and Albers, and attempt to establish this through their writings as well as their work

The Effect of Learning on Sentence Prosody in Japanese

This study investigates the effect of learning on prosodic production competence in native English L2 speakers of Japanese. Intonation contour and speech rate as indicators of competency were examined. It was hypothesized that more experience with Japanese would lead to more native-like prosody. The study tested the production of fourteen L2 learners, ten non-learners and six native speakers. Participants recorded twenty-three sentences of Japanese. Acoustic data was analyzed for speech rate and fundamental frequency (F0). Results showed that experience is positively correlated with speech rate and not correlated with deviation from the Japanese mean intonation contour

The verification of seat effective amplitude transmissibility (SEAT) value as a reliable metric to evaluate dynamic seat comfort

Thesis (MScIng)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: A rough road vibration stimulus was reconstructed on a shaker platform to assess the dynamic comfort of seven seats by six human subjects. The virtual seat method was combined with a paired comparison procedure to assess subjective dynamic seat comfort. The psychometric method of constants, 1-up-1-down Levitt procedure and a 2-up-1-down Levitt procedure were compared experimentally to find the most accurate and efficient paired comparison scheme. A two-track interleaved, 2-up-1-down Levitt procedure was used for the subjective dynamic seat comfort assessment. SEAT value is an objective metric and has been widely used to determine seat vibration isolation efficiency. There was an excellent correlation (R2 = 0.97) between the subjective ratings and estimated SEAT values on the seat top when the values are averaged over the six subjects. This study suggests that the SEAT values, estimated from averaged seat top transmissibility of six carefully selected subjects, could be used to select the best seat for a specific road vibration input.AFRIKAANSE OPSOMMING: Ses persone het deelgeneem aan ‘n eksperiment, om die dinamiese ritgemak van sewe stoele te karakteriseer. ‘n Rowwe padvibrasie is vir die doel op ‘n skudplatform geherkonstrueer. Subjektiewe ritgemak is bepaal deur die virtuelestoel metode met ‘n gepaarde, vergelykingstoets te kombineer. Die psigometriese metode van konstantes, die 1-op-1-af Levitt procedure en die 2-op- 1-af Levitt procedure is vergelyk om die mees effektiewe en akkurate vergelykingstoets te vind. ‘n Tweebaan, vervlegde , 2-op-1-af Levitt prosedure het die beste resultate gelewer en is gekies vir die subjektiewe evaluasie van dinamiese ritgemak. SEAT-waarde is ‘n objektiewe maatstaf, wat gebruik word om te bepaal hoe effektief ‘n stoel die insittende van voertuigvibrasie isoleer. Daar was ‘n uitstekende korrelasie (R2 = 0.97) tussen subjektiewe dinamiese ritgemakevaluesies en SEAT-waardes in die vertikale rigting op die stoelkussing as die gemiddelde oor die ses persone bereken word. Uit die resultate van hierdie studie blyk dit dat SEAT-waardes, wat bereken is vanaf die gemiddelde sitplektransmissie van die ses persone, wat verteenwoordigend van die teikenbevolking is, gebruik kan word om die beste stoel vir ‘n spesifieke vibrasieinset te kies

Inventing Cinema

With machines mediating most of our cultural practices, and innovations, obsolescence and revivals constantly transforming our relation with images and sounds, media feel more unstable than ever. But was there ever a ‘stable’ moment in media history? *Inventing Cinema* proposes to approach this question through an archaeology and epistemology of media machines. The archaeology analyses them as archives of users’ gestures, as well as of modes of perception. The epistemology reconstructs the problems that the machines’ designers and users have strived to solve, and the network of concepts they have elaborated to understand these problems. Drawing on the philosophy of technology and anthropology, *Inventing Cinema* argues that networks of gestures, problems, perception and concepts are inscribed in vision machines, from the camera obscura to the stereoscope, the Cinématographe, and digital cinema. The invention of cinema is ultimately seen as an ongoing process irreducible to a single moment in history

Eye to I

Thesis (S.M. in Science Writing)--Massachusetts Institute of Technology, Dept. of Humanities, Graduate Program in Science Writing, 2007."September 2007."Includes bibliographical references (leaves 50-51).This is the story of the language of eyes - what they say about our emotions, what they reveal about our intentions, how they interact with our face, and how they connect us to one another. The story follows our experience with eyes from infancy when we first learn to connect looking with knowing. This connection forms the foundation of our social understanding and has evolutionary implications. From there the story moves to gaze in love, and other social encounters. I look at the role of eye gaze in the judgments we make about others - the way in which direct eye contact may affect how likable or attractive we find another person. I then turn to these questions: how much of an eye does it take for us to feel watched? Do pictures of eyes affect us? What about the eyes of a robot - do we respond to them as we do to human eyes? I show that for those who have normally functioning eyes, attention to the eye region plays a critical role in how we learn about the social world and our place in it.by Ada Brunstein.S.M.in Science Writin

(A Pause for the Alphabet) A Fantastic Excess in Twenty Six Parts

(A Pause for the Alphabet) is a multi-genre text (a genre tower) with a polyphonic intent. It was written between January and May 2001 as an attempt to reconsider narrative and language on basic, although not necessarily fundamental or foundational, levels

Recorders and electronics: an introduction to the performance of electroacoustic music

Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology. Many different electronic devices are used in composition and performance, and this can be daunting for a performer with no previous experience in the field. This resource is designed to assist the performer in the transition from acoustic to electroacoustic performer, and aims to reach performers and teachers of the recorder to encourage more performances of works in this exciting genre. This thesis is primarily of interest to recorder players, but is also useful for composers interested in using recorders in an electroacoustic context. It examines aspects of the recorder which make the instrument particularly well suited to the electroacoustic genre, including acoustics and timbre shifting potential of recorders, and provides information about some compositional ideas which are relevant to the performer. An understanding of the importance of audience perception and the expression of gesture and texture in the electroacoustic genre creates a more sensitive performance, where the performer is aware of their role within the context of the music. A discussion of repertoire is arranged in a progression of least to most complicated electronics; this is to assist the performer in learning to use various electronic devices in performance. All recorders and electronics required for performance of selected works are described in relation to each piece, and performance notes are included as well. This knowledge can be applied to the performance of other electroacoustic works, and it is hoped the thesis will encourage performers and composers to collaborate in the production of new works to contribute to the huge body of electroacoustic repertoire for recorders

Recorders and electronics: an introduction to the performance of electroacoustic music

Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology. Many different electronic devices are used in composition and performance, and this can be daunting for a performer with no previous experience in the field. This resource is designed to assist the performer in the transition from acoustic to electroacoustic performer, and aims to reach performers and teachers of the recorder to encourage more performances of works in this exciting genre. This thesis is primarily of interest to recorder players, but is also useful for composers interested in using recorders in an electroacoustic context. It examines aspects of the recorder which make the instrument particularly well suited to the electroacoustic genre, including acoustics and timbre shifting potential of recorders, and provides information about some compositional ideas which are relevant to the performer. An understanding of the importance of audience perception and the expression of gesture and texture in the electroacoustic genre creates a more sensitive performance, where the performer is aware of their role within the context of the music. A discussion of repertoire is arranged in a progression of least to most complicated electronics; this is to assist the performer in learning to use various electronic devices in performance. All recorders and electronics required for performance of selected works are described in relation to each piece, and performance notes are included as well. This knowledge can be applied to the performance of other electroacoustic works, and it is hoped the thesis will encourage performers and composers to collaborate in the production of new works to contribute to the huge body of electroacoustic repertoire for recorders

The Sampling of Bodily Sound in Contemporary Composition: towards an embodied analysis

Full version unavailable due to 3rd party copyright restrictions.The listener’s experience as an embodied subject is at the centre of this work. Embodied experience forms the basis for analyses of three contemporary compositions that sample bodily sound, in order to question how such works represent and mediate the body. The possible applications of this embodied methodology are illustrated through three case studies: Crackers by Christof Migone (2001), A Chance to Cut is a Chance to Cure by Matmos (2001) and Ground Techniques (2009) by Neil Luck. The findings of each analysis are placed within discussion of critical and theoretical concerns related to the (re)presentation, mediation and manipulation of the body both as materiality and as social construct, using, in particular, work by Hansen (2004) and Wegenstein (2006). The sampling practices of these works lead to the fragmentation of the represented bodies, in which margins between bodily interiors and exteriors are frequently crossed, bringing about a reconfiguration of the musical subject. Furthermore, the celebration of the bodily origins of these works complicates notions of recorded sound as disembodied. The analytical methodology developed in this thesis derives from a consideration of approaches in a number of fields: feminist musicology, music psychology, embodied cognition, phenomenology, music and gesture and new media theory. The sensations and affective responses of the listening body are discussed alongside an examination of how listening is shaped by processes of technological mediation. This thesis attends to both the body that is listening and the body that is listened to. I argue that it is not adequate to understand the works studied as merely representing the body, but suggest it would be more appropriate to understand the relationship between work and body as multi-faceted, conceptualising the body and recorded sound as mutually framing. This uncovers not only technology as mediation, but also the body as mediation. Finally, the case studies are used to reflect upon the limits of the embodied analysis methodology and its potential for wider application.This study was part-financed with the aid of a studentship from University College Falmouth and a grant from The Sir Richard Stapley Educational Trust

Surprise. Aesthetics and Sensibilities of Rhetorics

This dissertation investigates relationships scholars have with information and art associated with aesthetic and theoretical disruptions. Its governing metaphor is the surprise affect, figured as a rhetorical and aesthetic event. My purposes are to evaluate institutional and scholastic responses to both desirable and disastrous information-aesthetic liminalities, trial performative engagements with surprises, and propose viable ways of engaging innovation for writing instruction. It is argued that aesthetic (i.e., relational in the sense that it is not immediate), performative, and temporal engagements with surprising objects of study are relatively viable options when considered alongside the critical manuscript. While the aesthetic has sometimes occupied a minor and inferior position relative to codified and metricized intelligences, such relegation rests on false and pernicious but well known and persistent dichotomies including intelligibility v. sensibility, knowing v. feeling, thinking v. experiencing, and aesthetic v. epistemic. The intelligibility presupposed by the critical model, however, cannot achieve immediate engagement with its ostensible object ; it therefore remains relational and aesthetic. Few would counter the claim, yet actual performances of relation are rare. To test its payoff, the dissertation performs two engagements with challenging objects associated with surprise: novelty or the new as such, and the currency of idiosyncrasy in the timbre of recent electronic music. While not incidental, novelty and timbre are examples in the project\u27s larger attempt to rethink not just any given surprise, but ways of treating and dealing with the inevitability of metaphysical shock and overhaul