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Always riveting, Space Is the Place is the definitive biography of "one of the great big-band leaders, pianists, and surrealists of jazz" (The New York Times)—unparalleled for his purposeful outlandishness, a man who exerted a powerful influence over a vast array of artists. Sun Ra—a/k/a Herman Poole "Sonny Blount—was born in Alabama on May 22, 1914. But like Father Divine and Elijah Muhammad, he made a lifelong effort to obscure many of the facts of his early life. After years as a rehearsal pianist for nightclub revues and in blues and swing bands, including Wynonie Harris's and Fletcher Henderson's, Sun Ra set out in the 1950s to find a way to impart his views about the galaxy, black people, and spiritual matters through the various incarnations of the Intergalactic Arkestra. His repertoire ranging from boogie-woogie, swing, and bebop to free form, fusion, and whatever, Sun Ra was above all a paragon of contradictions: profundity and vaudeville; technical pianistic virtuosity and irony; assiduous attention to arrangements and encouragement of collective improvisation; respect for tradition and celebration of the fresh. Some might have been bemused by his Afro-Platonic neo-hermeticism; others might have laughed at his egregious excesses. But Sun Ra was at once one of the great avant-gardists of the latter half of the twentieth century and a black cultural nationalist who extended Afrocentrism from ancient Egypt to the heavens.
Presents an educational resource on space sciences, provided by the California Institute of Technology. Includes facts, craft and recipe instructions, and contest information.
This thesis examines the ways in which captured and simulated aural reflections contained on and reproduced from music and other sound recordings transform the spaces with which they come into contact. It argues that these reflections, otherwise known as reverb and echo, represent the sonic portion of experience of the recorded space or spaces in question, and that such experiential spaces may be constructed and simulated in addition to recorded. Their separation from their space of origin through recording and subsequent reproduction through the playback of audio has significant implications for the ways in which space is experienced in everyday listening contexts. By combining recorded space with listening space through audio playback, there emerges a ‘third space’ which does not conform to the ontology of either constituent space, and which tangibly affects the spatial experience of those who perceive it in listening contexts involving headphones and speakers. In arguing for the transformational agency of sonic reflections, this thesis accounts for the ways in which aural reflections both artificial and natural are produced, and the ways in which these reflections come to act as a unique signature for the spaces in which they are generated. It goes on to examine the nature of digitally generated reverberation, and the ontology of the sounding technologies which produce and contain them, and argues for their indexical stability in the wake of anxieties surrounding the instability of digital media. It goes on to examine the particularities of virtual aural space in contrast to the more prevalent visual virtualities, and argues for the unique ability of virtual aural spaces to materially affect the environments in which they are experienced. Finally, this thesis examines listening in the context of recorded spatialisations, and combines the previous subject areas to synthesise an understanding of the spatial transformations which occur whenever an audio recording is projected in a concrete space. I conclude that the intersection of concrete space and recorded space creates an emergent experiential space which can be characterised by neither of its constituent parts, and which exists as a processual spatiality which arises only in conjunction with recorded audio.
Where is the earth? Where is the sun? Where are the stars? Now in a Dragonfly edition, here is an out-of-this world introduction to the universe for children. With earth as a starting point, a young astronaut leads readers on a tour past each planet and on to the stars, answering simple questions about our solar system. In clear language, drawings, and diagrams, space unfolds before a child's eyes. Colorful illustrations, filled with fun and detail, give children a lot to look for on every page and a glossary helps reinforce new words and concepts. A terrific teaching tool, Me and My Place in Space is an easy and enjoyable way to introduce the concept of space to the very youngest astronomers.
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Only $6.99! Perfect Journal, Diary, Notebook - Amazing design and high quality cover and paper. - Matte Cover. - Perfect size 6x9" - No Spiral - Use it as a journal, note taking, composition notebook, makes a great gift!
The book is divided into chapters, but several themes run across them. This is, in fact, the reason for writing a book rather than a number of independent articles; for it appears that several moments of Kant's work are characterized by similar problems, and consequently we might be unable to see the impact of these on a more 1 i mi ted canvas. But further, and perhaps no less importantly, the shared problems are likely to be indicative of the nature of the whole area under discussion. Given this, to concentrate our attention on them should provide clarification not accessible in any other way. It is one of the objects of the present book to obtai n thi s clarification, and to apply it to the area itself, rather than merely to utilize the results in Kantian exegesis and elucidation. Thus the aim is not predominantly historical. Of the various themes, the theme of Space and Time turns out to be of prime importance to the whole picture presented, and within it, the theme of space. This is not perhaps surprising, for Kant's central task is to provide for objectivity; i. e. , to explain how a "subjective" stream of perceptions can amount to a perception of the world in which there are both subjective and objective moments.

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