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Book Description Lgf, Seller Inventory MG. More information about this seller Contact this seller. Book Description Le Livre de Poche, Condition: D'occasion - Comme Neuf. Seller Inventory LP 86 Book Description Hachette, Soft cover. Condition: Good. Seller Inventory WK Condition: D'occasion - Comme neuf. Brand new book. Livre comme neuf.
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Seller Inventory Condition: Used: Like New. Book Description Le livre de poche Paris, Hier et Demain Contes et Nouvelles. Jules Verne. Publisher: Le Livre de Poche , No less than instruments you hold in your hand, imaginary instruments act as interfaces between mind and world, limning the edges of what we may think and do. We have also sound-houses, where we practice and demonstrate all sounds and their generation. We have harmonies, which you have not, of quarter-sounds and lesser slides of sounds.
Divers instruments of music likewise to you unknown, some sweeter than any you have, together with bells and rings that are dainty and sweet.
We represent small sounds as great and deep, likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sounds, which in their original are entire. We represent and imitate all articulate sounds and letters, and the voices and notes of beasts and birds. We have certain helps which set to the ear do further the hearing greatly. We also have divers strange and artificial echoes, reflecting the voice many times, and as it were tossing it, and some that give back the voice louder than it came, some shriller and some deeper; yea, some rendering the voice differing in the letters or articulate sound from that they receive.
List of Jules Verne’s “Extraordinary Voyages”
We have also means to convey sounds in trunks and pipes, in strange lines and distances. But to read the sound-houses in this way displaces them from their own time, and the experiments with pipes, bells and string instruments from which Bacon extrapolated. By reducing their role to one of prediction, furthermore, it sets the imaginary at a powerless remove from the real. In , she posted the passage about sound-houses on the door of the Radiophonic Workshop, the newly founded department within the BBC dedicated to electronic music, which she helped establish.
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At this early moment in electronic music, it was far from clear what techniques and sounds would prove valuable, what aspects of past musical practice would translate. Imaginary instruments help ideas circulate together with the desire for or fear of their realization. But the process can run the other way around as well. As Bonanni explained, the tubo cochleato would amplify the voice much more than a straight tube; the evidence came from nature, from the fact that the ears of hares and other timid animals were formed in the spiral shape.
In fact, the tubo cochleato was purely speculative.
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But only in light of later theories of sound propagation would the design appear fundamentally flawed, the concept out of line with basic physics in addition to human craftsmanship. For Kircher and Bonanni, the instrument was real. Similarly hovering between the speculative and empirical is the curious device known as the cat piano. The earliest known image of a set of cats arrayed as sound-producing elements to be activated by the fingers dates to the late sixteenth century, that is, over a hundred years before the invention of the piano, at a time when it would more properly be called a cat harpsichord or clavichord.
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From a comical image of cacophony, the cat piano underwent a series of unexpected functional transformations. By the s it was a legendary music therapy: supposedly, an Italian prince was cured of his melancholy by the device when he found its meowing cats, triggered by driving spikes through their tails, irresistibly funny. As he vividly explained, the cats would. And a keyboard fitted out with sharpened nails would be set over them.
The struck cats would provide the sound.