The inscrutableenigma that Ellison identifies in relation to "the origins ofeven the most recent jazz styles, or of when and where theyactually started ... of the tensions, personal, sociological, ortechnical, out of which such an original artist achieves hisartistic identity" (S&A, 237) a

While the yokel exploits a radically reconfigured tempo.Invisible Man resets "society's clock," using "creative ageres-siveness" to defy a systematic teleology

By relying on jazz as an explanatory metaphor ratherthan as a discontinuous evolving tradition. Porters accountconverts the music s hectic splendour into a monolithic sym-bol of the grave commitments required of the artist aimingfor a sovereign singularity in a conformist society.

The dance and the song are danced and sung together, "throbbed" together, heldtogether by a common rime signature that unites and reaffirms the community,shielding it from whatever forces would divide it.

For EHison, the Saturday-night jazz dance and the Sunday-morning church ser-vice are useful only insofar as they involve, bring together, compel, and move bodies,ideaHy foregrounding the corporeaHty of the community and of its performers, bethey preachers or trumpet players.

At the core of this jazz-induced phantasmagoria is an extended passage repre-senting the caH-and-response of a black preacher and his congregation—a study inantiphonal sermonizing that ElHson wiH rehearse at great length, both thematicaHyand StructuraHy, in his second novel.

Murray's concern with negodadng "the void" resonates with EUison's coundessreferences, scattered throughout the novels and the essays, to the ardst's task ofbdnging order to chaos.

s the occasion demands, insist that weconsider the cultural semiodcs both of jazz and of reHgion; the nightclub and thechurch; the pubHc dance and the revival meeting; the jazz soloist and the preacher;and the profane and the sacred. T

They don't have enoughaccess to theater, poetry or jazz. So you can see why some kids might confuse a jazzlegend named Duke with royalty named duke. But it's time to set the record straight."This lumping-together of jazz with poetry and theater under the rubric of High Artsuggests already the gains and losses sustained by classic jazz in the age of itsentrenched canonization, what we might caU its "Ken Burns era."

hethrob offeelingisnotperceivedbvasubjectassuch butrather constitutestheactualnrrasinnnntnfwhichthedi.stinctinnbetweensubject and objectemergesinaprocessheterm.scnnr.resr.ence

Rhythmreallyistheonlywayofdiscipliningandpreservingthemostdiverseenergie

Byemphasizingrhythmnvpr mplndyBachelard.isemphasizingintensityover di^ion,arguii^infactthatdurationis.merelyaneffectofintensity

faparticle ceasedtovibrate,itwouldceasetob

hythmanahisisdescribesthosephilosophicalattemptstotakerhvthmasmorethananobjectofstudy,transforpiirigitintnanipjtinrlRhythmanalvsiii^wodpr-Stands both naturalandculturalprocessesintermsofrhythm.

Atthemolecularorquantumlevel,everythingisinmotion,isvibrating.Equally,objecthood,thatwhichgivesanentitydurationintime,makesitendure,isaneventirrelevantofhumanperception.Allthatisrequiredisthatanentitybefeltasanobjectbyanotherentity

InTheEthics,Spinozadescribesanecologyofmovementsandrest,speedsandslownessesj andthepotentialofentitiestoaffectandbeaffected.

Suchanorientationthereforeshouldbedifferentiatedfromaphehomenologyofsoniceffectscenteredontheperceptionsofahiunan subject,as aready-made,interiorizedhumancenterofbeingandfeeling.

Allresearchintosoundmustconcludewithsilenceathoughtwhichmustawaititsdevelopmentinthefinal chapters

Togiveatotallyconvincingimageofasoundscapewouldmvolveextraordmaryskillandpatience:thousandsofrecordmgs would havetobemade;tensofthousandsofmeasurementswouldhavebetaken;andanewmeansofdescriptionwould havetobedevised

nthefirstofthesemythsmusicarisesassubjectiveemotion;intheseconditariseswiththediscoveryofsonicpropertiesinthematerialsoftheuniverse

Thisstudywouldconsistofdocumentingimportantfeatures,ofnotingdifferences,paraUelsandtrends,ofcollectingsounds threatenedwithextinction,ofstudyingtheeffectsof newsoundsbeforetheyarem'sOTi^atelyreleasedintotheenvironment,ofstudyingtherichsymbolismsounsaveformanandofstudyinghumanbehaviorpatternsindifferentsonic environmentsmordertousetheseinsightsinplanningfiitureenvironmentsforman

odernmanisbeginningtoinhabitaworldwithanacousticenvironmentradicallydifferentfromanyhehashithertokn

Despitethereahtiesbeingsomewhatdifferent,seeingandhearingarestilloftenassociatedwithasetofpresumedandsomewhatcliched attributes,aconfigurationIcallthe audiovisuallitany

Itisthecapacitytorangefromthemost impersonalandremotetransformationstothemostintimatefeaturesofthehumanself

Soundiscertainlymorethanahumanproblem—^wecantalkofanimals’hearing,ofunderwatersound,orsoundonotherplanets

ustasworkonvisualcultureandmaterialculture tookoffwhenwritersinfields likearthistory,literature,culturalstudies,history,anthropology,andmanyotherfieldsreahzed that they wereallworkingon related problemsandwouldbenefitfromtalkingwithanother,sotoohassoundstudiesarisenfromthesamefeltneed—thatnoonefield sapproachtoortakeonsoundisenough.

treachesacrossregisters,mon^ntsandspaces,anditthinksacrossdisciplinesandtraditions,somethathavelong'ionsideredsound,andsomej.Soimdstud^ isacademic,butitcanalsomovebeyondtheuniversity.Itcanbeginfromobvliuslysonicphenomenalikdspeech, hearing,soundtechnologies,architecture,art,ormusic.

Nowthinkofwhatthepreviousgenerationofsoundsmusthavereplaced,andwhatthosesoundsandtheirworldsreplacedinturn.

he contemporary changes in mechanisms of attention are conveyed not through changes in the DNA but rather through epigenetic (i.e., environmental) changes. The relation between epigenetic and genetic changes has been a rich field of research in recent decades, resulting in a much more nuanced (and accurate) picture of biological adaptations than was previously understood, when the central dogma had all adaptations occurring through genetic processes

With linear reading, by contrast, the cognitive load is at a minimum, precisely because eye movements are more routine and fewer decisions need to be made about how to read the material and in what order. Hence the transfer to long-term memory happens more efficiently, especially when readers reread passages and pause to reflect on them as they go along.

w odd a r^ e that the most valuable thing English ever had to offer was the very thing t o made us a discipline, t o transformed us from cultured gentlemen into a profession

makes no apology for linking the decline of reading skills directly to a decrease in print reading, issuing a stinging indictment to teachers, professors, and other mentors who think digital reading might encourage skills of its own

Worse, reading skills (as measured by the ability to identify themes, draw inferences, etc.) have been declining in junior high, high school, college, and even graduate schools for the same period.

Students read and write print texts in the classroom and consume and create digital texts^of their own on screens (with computers, iPhones, tablets, etc.), but there is little transfer from leisure activities to classroom instruction or vice versa

The abil­ity to access and retrieve information on a global scale has a significant im­pact on how one thinks about one’s place in the world.

Serious literary work has levels. The involved reader takes in not only the narrative premise and the craft of its realization, but also the resonanc

Is coming into human consciousness also a coming into narrative-is it part of the nature of human consciousness to seek and create narrative, which is to say meaning?

Our brains have become particularly adapted to creating coherent, gap-free sto-ries .... 1his propensity for narrative creation is part of what pre-disposes humans to religious thought.

Think of all that we can explore, think of the amazing lateral speeds of which we are now capable, the wealth of other kinds of information (visual, spoken, musical

As it follows an electronic-as opposed to mechanical-paradigm, this transformation is dramatically more accelerated and more psychologically formative than any previous technological transformation we have gone through as a species. The overwhelming difference is that where formerly we could be said to interact with various systems------be those of commerce, law, politics, scholarship-now those systems are, in effect, merging into one, an unwieldy gargantuan unity that runs all its parts on a code of ls and Os.

Our us.e of the Internet involves many paradoxes, but the one that promises to have the greatest long-term influence over how we think is this one: the Net seizes our attention only to scatter it."

Is Google Making Us Stupid?," an essay that begins with an image of unsettling implication

"information wants to be free."

But certainly the idea of what it means to be a person liv-ing a life will be much changed.

Language will grow increasingly iropoverished through a series of vicious cycles

But I'm baffled by what she means when she talks about an abil-ity to "deal with the world.

hey are less and less will-ing to publish work, however worthy, that will not make a tidy profi

Engagement is intrinsically public, taking place within a circuit oflarger connectedness.

Print also posits a time axis; the turning of pages, not to mention the vertical descent down the page, is a forward-moving succession, with earlier contents at every point serving as a ground for what follows. Moreover, the printed material is static-it is the reader, not the book, that moves forward.

The so-called natural world, the place we used to live, which served us so long as the yardstick for all measurements, can now only be perceived through a scrim

Many educators say that our students are less and less able to read, or analyze, or write with clarity and purpose.

The printed word is part of a vestigial order that we are moving away from-by choice and by societal compulsion.

And while it is certain that many forms and genres will migrate in part or in whole to an electronic mode of existence over the coming years,

forty-five years from now gender roles will be differen

The defects had not been remedied, but the human tissues in that latter day had become so subservient, that they readily adapted themselves to every caprice of the Machin

That she had no ideas of her own but had just been told one-that four stars and three in the middle were like a man: she doubted there was much in it.

for the Machine did not transmit nuances of expression

What kind of ideas can the air give you

"I believe that you pray to it when you are unhappy.

An electric bell rang

Australian Period