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Partial charges and discharges that combine to 100% are counted as a single full cycle

research says

I’m sure that after a century of being “the noisiest city on Earth,” folks have gotten creative about it.

Moreover, if we accounted for the history of zoning in the neighborhoods that have the most or the least complaints it would add another layer of analysis to the data.  Are some of these neighborhoods used as entertainment zones, for example? Is it easier to open up bars there than elsewhere in the city?

Although it may not be possible to gather who the 311 callers are, including factors such as race and class may lead to very different noise maps.  For example, what would a noise map of Manhattan look like if researchers brought income into the equation?

This is where the data falls short. Can it be assumed that those who are calling about the noise are mostly people who live in the neighborhood?

At a glance, loud parties, loud people, and loud car stereos seem to be the major complaints in those areas, according to Sluis’s visualizations

This is key information because it reminds viewers that this neighborhood is a lot more ethnically diverse than other neighborhoods with a smaller number of complaints. It brings to mind: what role does race play in these complaints, in terms of those who complain and those who are the focus of the complaints?

The city may be noisy, but “noisy” is relative. Sluis’s map shows some predictably noisy areas for those of us familiar with Manhattan’s soundscape (Union Square, Times Square) but it also draws attention to other areas not as predictable in the mainstream imagination (East Harlem South, Hamilton Heights).

what stands out is that the major circles of noise complaints are also places where there are different racial and ethnic groups mingling (for example, Times Square) or places that are populated by mostly minorities (Hamilton Heights).  Whereas Sluis flattens out the noise complaints, demographic stats point to the racial/ethnic contours of each neighborhood.

Drawn from 2010 census data, the CUNY map clearly delineates neighborhoods and color-codes the groups in each neighborhood per block: blue for whites, green for Latino, orange for black, purple for Asian, and grey for “Other.” Although the Center for Urban Research, CUNY Graduate Center’s maps cannot be superimposed on Sluis’s maps, they help give a general idea as to where neighborhoods are located in addition to racial demographics.

We must remember that annoyance oftentimes stems not just from physical reactions to noise but rather one’s perceptions about noise

40, 412 complaints, to be exact

but neither takes into account the fact that some of the areas with a higher concentration of noise complaints are not just densely populated but densely populated with racial and ethnic minorities

New York City isn’t the only loud city out there

Although New York City isn’t the only loud city out there, there are many reasons it’s called “The City That Never Sleeps”—and sound has a lot to do with it, depending on which neighborhood you call home.

of Wikibase for historical research early on.

Rhizome, an arts organization

preparing them for the idea of designing a new system that is native to the web

Facebook does not allow third-party apps to display your newsfeed. This applies to Hootsuite. For this reason, you’ll always have to use Facebook natively. The same pretty much goes for Instagram.

tāds kā “grēkāzis” (“ļaunie un maznesaprotošie abortu aizliedzēji”)

neviens valstī par abortu aizliegšanu ar likumu nemaz nerunā kā reālu iespēju

Tas arī izsaka šo informatīvo materiālu galveno domu un mērķi. Un, ja pēc tā, kāds uzdrošinātos teikt, ka ir par abortu aizliegšanu, viņš izpelnītos pārmetošus skatienus (kā, tu atbalsti tādas šausmas!).

Pirmkārt, atlasīti tie eksperti, kas pauž idejai atbalstošu viedokli; svarīgi tas, ka pieredzējuši.

such as DOIs, which might be assigned by, for example, “crossref” or “figshare”

“I let him know we can’t have this,” Mr. Trump said in an interview with “CBS Evening News.” “We’re not going to have it, and that’s the way it’s going to be.”

In its latest incarnation, digital delivery has been cleverly branded as “inclusive access,” a model wherein every student pays a mandatory course materials fee that represents an arbitrary discount off the (arbitrary) price of a new hardcover textbook (often more than the average student currently spends).

Ficha técnica con más información aquí

Las plumas de aislamiento ofrece muchas ventajas. Las características de la pluma garantiza un mayor nivel de aislamiento y el aislamiento de otros para proporcionar un hábitat cómodo

Los aislamientos térmicos a base de celulosa suponen una alternativa ecológica a las lanas minerales o las espumas químicas, teniendo como materia prima el papel reciclado, principalmente de periódicos, alcanzando el 75% de su composición, proporcionando altas prestaciones como aislamiento tanto térmico como acústico, de una forma más sostenible y respetuosa con el medio ambiente.

this article

Published in The Egoist, a literary periodical published monthly, the article was written by T.S. Eliot under a pseudonym.

However, Eliot’s connection to Loy is important.

As far as his work

What is perhaps

Here, he focuses much more on global isolation and issues

The third and final era of Eliot’s poetry, highlighted by the publication of the Four Quartets in 1942

This served as a way for Eliot to formalize his separation with his wife.

The poem was also influenced by financial stresses, as well as Eliot’s studies in Sanskrit and Indian philosophy.

Pound called The Wasteland a work of genius and had a heavy hand in the many notable revisions to this poem.

continuously attempted to reach his wife

Vivien’s insanity

During this time, Eliot met Ezra Pound who became an advocate for Eliot’s poetry and subsequent publication.

The Love Song of J. Alfred Prufrock in 1911, The Wasteland in 1922, and Four Quartets in 1942.

presents the theme of isolation;

One of the most influential intellects of the 20th century

Picabia died in 1953, in the same home he was born in Paris (“Francis Picabia: Biography”).

causing

so abstract and conceptually new

not truly being a household name artist

obsessed

, among

American

starting during

who found diagramming sentences, feedback from Harold Ross, and Parisian newspapers influential.

Natalia Danesi Murray

“Letters from Paris”

Flanner’s lifelong career began

just created

her novel The Cubical City (1926) had received poor reviews.

talking art and culture

in 1922, settled in Paris

discovered lesbian desire together

who Janet left Rehm for

introducing

two-year

of

Julien Levy

are credited

are described

took Buñuel

Despite Buñuel’s comradery among Parisian Surrealists, extreme rightists often scrutinized his work. At the premiere of L’Âge d’Or on December 3, 1930, a group of rightist youths attacked the Parisian theatre and police mandated that the film be banned in Paris (Buñuel).

sought

other fellow

the rigid social structure

died out

Mina Loy compared the painting to Oelze saying she was waiting for it to light up at any moment.

She said that his canvas, “Expectation” haunted her as there was speculation of an affair between the two.

Mina Loy, according to, The Art World Online, became romantically involved with Oelze from 1932-193.

As Oelze dealt with starvation he was uncomfortable in his own body and therefore it is reflected in his art such as in “In one of the Fallowing Years” which, “depicts a female colossus staring at the viewer, small homunculus apparitions covering her body.”

Their relationship is discussed when talking about his mental illnesses including semi-starvation, poverty, and isolation.

Loy wrote her daughter a description of Richard’s famous painting as a “gigantic back of a commonplace woman looking at the sky,” which shows that Loy had a different perception of this art than Oelze, who focused on all the people in the painting rather than solely the woman.

ntimate details of Loy and Oelze are represented in her novel

which shows that Loy had a different perception of this art than Oelze, who focused on all the people in the painting rather than solely the woman.

Richard’s

In the novel, Jones reacts anxiously to one of Insel’s painting, one similar to Oelze’s “Expectation,” and then ships it to the United States, just as Loy shipped Oelze’s painting to the U.S

ainting

character’s enactment of an embodied, unstable, and automatically conditioned subjectivity.”

rance

even

the characters are said to be a reflection of their relationship with each other.

1930s in Paris

talent counting

with her two characters Mrs. Jones, a gallery director, and Insel, an artist.

d 1970s

The pessimistic tenor of Oelze’s art represented his deep psychological issues that caused him to live a very isolated life after the war in Posteholz.

who started in 1929 when he first encountered surrealist paintings from Max Ernst and René Magritte in Switzerland.

Richard Oelze is a highly regarded German surrealist painter,

The effect of the war on Oelze is shown in his post-1950 art

released from being a held as

Now,

who started

The landscapes of his early work indicate remnants of Impressionism, notably in “My Mother’s Garden” (1905) and “Corsican Village at Sunset” (1905) (Leger & Schmalenbach, 10). Nearing World War I, however, he found the melodiousness of Impressionism irreconcilable with the tumultuous times, so he experimented with Picasso and Braque’s Cubism. His tendency to break figures into tubular shapes earned his work the nickname “tubism”. In 1909, his work was shown in Paris galleries alongside Duchamp, Brancusi, and Picabia. Léger advocated for embracing the modern era. In a 1914 lecture entitled “Contemporary Achievements in Painting”, he likened the sharp contrast in his paintings to that between billboards and landscapes. Léger’s paintings explore unity of Impressionist-style sceneries with modern technology. Léger served in World War I until he was injured in 1917. This exposed Leger to a variety of modern technologies that began appearing in his work; in a 1922 letter, Leger wrote that he enjoys painting “forms necessitated by modern industry”, such as a furnace or machine gun (De Francia 41). Famously referring to modernity as “a life of fragments” (De Francia 46), Léger replicated disintegration with the fragmented posters, stairs, and dummies in his painting, “La Ville” (1919). In 1926, Leger produced the film Ballet mecanique, a non-narrative film that explores the simultaneous disunity and unity of the modern industrial era, through portrayal of machines at work. He stated in 1913 that modernity must “accept as its means of expression an art of dynamic divisionism” (Turvey 39) and look for classical ideals of nature and beauty within the fabrication of technology.

Léger’s paintings explore unity of Impressionist-style sceneries with modern technology.

advocated for embracing the modern era.

The landscapes of his early work indicate remnants of Impressionism, notably in “My Mother’s Garden” (1905) and “Corsican Village at Sunset” (1905) (Leger & Schmalenbach, 10). Nearing World War I, however, he found the melodiousness of Impressionism irreconcilable with the tumultuous times, so he experimented with Picasso and Braque’s Cubism. His tendency to break figures into tubular shapes earned his work the nickname “tubism”. In 1909, his work was shown in Paris galleries alongside Duchamp, Brancusi, and Picabia.

From an early age, Leger was attracted to media in various forms. After apprenticing in an architect’s office, he moved to Paris in 1900, where he studied privately under two professors at Ecole des Beaux-Arts

Léger’s legacy has not been confined to Paris; the Manhattan Museum of Modern Art has exhibited his work five times, most recently in 1998. Leger’s work maintains relevance for ushering in the modern era, uniting traditional styles with industrialization and experimentation.

During the 1930s, Léger visited several countries to give lectures, including Berlin, the United States, and London. In 1945, he joined the French Communist Party. In 1955, he was awarded the Grand Prize at the Sao Paulo Bienal. He died in 1955.

The works of Loy and Léger were often considered in the same circles. They moved to Paris three years apart and shared acquaintances like Picasso and Picabia. They reportedly met on at least one occasion at a Paris dinner party for notable figures in the art community (Burke). Julien Levy, a friend of both, filmed Loy and Leger for an experimental film series on artists at work.

a friend of both, filmed Loy and Leger for an experimental film series on artists at work.

They reportedly met on at least one occasion at a Paris dinner party for notable figures in the art community

three years apart

La Ville” (1919).

He stated in 1913

”,

enjoys

injured

unity

”,

Fernand Léger was a notable French artist and filmmaker during the first half of the twentieth century. A Cubist painter, Leger is known for bold colors and geometric shapes, particularly those portraying modern machinery. Later in life, Leger created experimental films, including the well-known Ballet Mecanique (1926).

”.

it

in which she was to be included

under Ford’s direction

the initial

hus, “Ford was to feel equally at home—and equally in exile—all over Europe and America” (Saunders 18).

The Modernist Era was distinguishable for its incestuous artistic circle of authors, painters, musicians, and the like, but few artists were born into the circle as Ford Madox Ford was in December of 1873—the son of Francis Hueffer, a German music critic, and Catherine Madox Brown, an English painter, pianist, and model; thus much of Ford’s literary success unarguably stemmed from his upbringing.

Fraser’s work in poetry has received much recognition. Her honors and awards include the New School’s Frank O’Hara Poetry Prize (1964) and the American Academy’s Discovery Award (1964), as well as a fellowship from the National Endowment for the Arts (1971, 1978) and a Guggenheim Fellowship (1981). Working with primarily small press publications, Fraser has published more than fifteen books, including mixed-genre collections, a chapbook of collaged wall pieces, and an essay collection.   Her published works include twelve volumes of poems and two children’s books: What I Want (1974), New Shoes (1978), Magritte Series (1977), Each Next: narratives (1980), Something (even human voices) in the foreground, a lake (1984), Notes Preceding Trust (1987), when new time folds up (1993), WING (1995), il cuore : the heart—Selected Poems 1970–1995 (1997), Translating the Unspeakable (2000), and Discrete Categories Forced into Coupling (2004).   Fraser now splits her time between San Francisco and Rome where she lives with her husband, the philosopher/playwright Arthur Bierman. She lectures and gives readings at a number of Italian universities and has translated Lampi e acqua, a book-length serial poem by Maria Obino (excerpts published in AVEC), and a selection of poems by Toni Maraini, Daniela Attanasi, Sara Zanghi and Giovanna Sandri (published in Thirteenth Moon, “Italian Women Writers” issue).  

on of

Fraser is inspired by Mina Loy, as well as other modernist women writers, questioning why the poetics of female voices and experiences have been marginalized and excluded from academic research and public realms. In an effort to recover the voices of American-women writers, Fraser, from 1983-1991, published, edited, and contributed to magazines entitled, HOW(ever), and later, HOW2. These magazines focus on innovative writing by contemporary women poets and writers and those culturally-abandoned texts by Anglo/American modernist women writers. Now online, these recovered collections include pieces from many contemporary authors (Rachel Blau DuPlessis, Denise Levertov), who bring to the forefront the importance of these absent modernist women’s voices in contemporary literature and culture.

y

But as Dodge shaped her life in New York with increasing independence, she formed an image of herself distinct from those of the artists who attended her salon. In 1913, she proposed the idea for and helped organize the Patterson Strike Pageant. That year Dodge also promoted the Armory Show, where Stein’s poem, “Portrait of Mabel Dodge at Villa Curonia,” first appeared. After the Armory show, Gertrude Stein finally won recognition in America, and everyone in New York asked who Mabel Dodge was. People looked at her, not just at her guests.[6] In 1915, Dodge and journalist John Reed, who she met while organizing the Patterson Strike Pageant, became engaged. When Reed traveled to cover the Great War, Dodge met and began an affair with Maurice Sterne and lived with him in Croton-on-Hudson, New York. When Reed returned, Dodge offered him a bedroom and a writing studio. The three lived together for a few days until Reed moved out, ending his relationship with Dodge. She married Sterne in August 1917, and as she entered her third marriage, she adjusted her feminism: “For the mature woman, there is no father,” she wrote. “There is no master. There is only herself, free and alone.”[7] Dodge and Sterne spent most of their marriage apart, traveling between New York City and Croton at different times until, briefly after their honeymoon, Dodge eventually sent Sterne to New Mexico for fear that he was looking at other women. In November of 1917, Sterne called Dodge to meet him out west: “Dearest girl—Do you want an object in life? Save the Indians, their art—their culture—reveal it to the world!”[8] When they divorced in 1922, Sterne returned to the east coast, leaving Dodge in Taos, New Mexico. In 1923, she married Antonio (Tony) Luhan, a Native American who courted her before her divorce from Sterne.

certain

As social entanglements, her presence at the center of the artists’ lives, and her boredom with Edwin took a toll on Dodge, she had a string of affairs and attempted suicide twice.

Arcetri,

Dodge made her début in Buffalo and, after attending an Episcopal girls school in Buffalo, another in New York City, and a finishing school in Washington, D.C., she married Karl Evans at age 21.

début

Dodg

Victorian, emotionally reserved and socially elite parents,

Mabel Dodge hosted three modernist salons—in Florence, New York City, and Taos, New Mexico—presiding over her guests as a friend and an intellectual provocateur. After standing at the center of these three salons, Dodge turned to memoir, forming the life she curated into her own art.

Their social and artistic values kept them circling around each other in so many historical pages that it’s difficult to believe their relationship didn’t go beyond a mere photograph.

would not have gone unnoticed by

Breton wrote to him so much exhorting him to move to Paris and join the fight there, that by the time Tzara arrived, he was treated like some sort of savior.

particular

All of these are people Loy would have known, or at the very least known of, and would have been in some form of contact with.

their

,

surrealist movement

avant garde movement

movement

interactions

are

Yet, the frequency, nature, and depth of Pound’s interaction with Mina Loy remains ambiguous.

Peters

Finally, and most surprisingly, Peters notes the marked similarities in word choice and vocabulary between Pound’s Hugh Selwyn Mauberley and Loy’s work as hints that Pound truly admired–and perhaps at times even strove to emulate–Loy’s abstract, emotionless writing style.

as hints that Pound truly admired–and perhaps at times even strove to emulate–Loy’s abstract, emotionless writing style.

erse?”

points to the contrary

Pound famously coined the term logopoiea–defined as “a dance of the intelligence among words and ideas and modification of ideas and characters”–to describe Loy’s writing.

wherein the eminent Pound was a mentor or role model to the relatively obscure Loy

one-way one

Wilmer states that Pound is frequently misunderstood: “If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted” (Wimer).

Pound remains a divisive figure today. His brilliance as a poet, translator, and thinker are countered by his anti-American rhetoric and association with fascism, resulting in his imprisonment and fall from grace. Loy recalled that Pound “was like a child, and an old professor at the same time” and that he “was a sensitive man who didn’t think other people were sensitive.” Wilmer states that Pound is frequently misunderstood: “If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted” (Wimer). Following his institutionalization,, Pound returned to Venice and stopped writing. He died in Venice on November 1, 1972. His legacy is vast; Pound is widely considered the father of imagism and recognized for his work in both the imagist and modernist sphere

,,

If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted”

“was like a child, and an old professor at the same time” and that he “was a sensitive man who didn’t think other people were sensitive.

His brilliance as a poet, translator, and thinker are countered by his anti-American rhetoric and association with fascism, resulting in his imprisonment and fall from grace.

Deemed insane, he spent 1946 to 1958

He became an anti-war advocate, making several hundred broadcasts airing his political stances, many of which were anti-semitic and pro-fascism, in addition to explicitly critical of the United States’ war effort.

began to become

In Paris, Pound developed a relationship with the young Ernest Hemingway, wrote an opera (which Mina Loy attended), and collaborated with T.S. Eliot in the editing of the latter’s famous poem “The Waste Land.”

Paris, and the impact

the landscape of England, and the course of Pound’s career.

His poetry focused on concrete, succinct language.

His most famous work, “In a Station of the Metro,” was written in 1913. From 1912 to 1914, he also launched the Imagist movement, producing the first imagist manifesto.

arrived

and soon published numerous collections of poetry and became an influential contributor to the New Freewoman/Egoist, Poetry, Others, The Little Review, and numerous other literary magazines.

but traveled to both London in his twenties.

University of Pennsylvania.

behind the literary movement.

“To speak of the modern movement is to speak of [Ezra Pound]; the masterly impresario of modern poets, for without the discoveries he made with his poet’s instinct for poetry, this modern movement would still be rather a nebula than the constellation it has become” (Loy 157-8).

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