Ricky Ricardo, mein Handy und ich (German Edition)

Engineering and the Making of the Twentieth Century Power, Speed, and Form is the first accessible account of the engineering behind eight breakthrough innovations that transformed American life from to the telephone, electric power, oil refining, the automobile, the airplane, radio, the long Telephone Pole Telephones Electricity Automobile Airplanes Aviation Radio PW Billington, Douglas S.

Crawford Radiation Damage in Solids A survey of radiation damage in solids presenting various theories of the mechanism of defect production by energetic radiation in a form ready to use. Flight in America - From the Wrights to the Astronauts A history of aeronautics in America and the ways in which American culture - its politics, science, industry, and people - has affected and been affected by the development of flight technology. The First Sixty Years. For decades, women who studies or worked in engineering were popularly perceived as oddities, outcasts, unfeminine or inappropriately feminine in a male world.

America's Debate over Technological Unemployment, Scientific and technological change are often associated with national progress and personal well-being. Yet, underneath such assumptions, serious questions about the direction and social implications of scientific and technological change persist.

Bix l Johns Hopkins University Press Baltimore and London Employment Great Depression Mechanization PW Black, Jeremy Global history of the role of information and technologies for its collection, organization, transmission, storage, and use by governments for successfull application of military, economic, and imperial power. Yale UP World history-modern Globabl history-modern Information technologyth century Information technologyth century Information technologyth century Information technologyth century Information technologyth century PW Black, N.

Henry and Harvey N. Davis Practical Physics for Secondary Schools: The History of Electric Wires and Cables. The History of Philips Electronics N. User Oriented Informatics and Computers in Science. Privately Edition Privately published. News Over The Wires: A Journey to the Center of the Internet While the internet is most often thought about in abstract conceptual terms, Blum undertook the task of exploring and describing the internet in physical terms-as actual pipes of fiber optic strands carrying messages across cities and around the world on Ecco New York Internet PW Blume, Stuart S.

Insight and Industry Blume, Stuart S. Tracking the History of Radar. Designed for both reference use and text use. Contains both discussion of theoretical issues and practical techniques. Western Culture in the Computer Age Bolter considers the cultural impact of computers, comparing the computer to earlier technologies that redefined fundamental notions of time, space, language, memory, and human creativity. A Brief History of Cryptology. Eine Kulturgeschichte der Elektroenzephalographie. Burgess Publishing Company, When Computers went to Sea: New York Navy, U. Michael Faraday and the Modern World.

A History of Lighting Technology. Oxford University Press, Inc. Faraday's Travels in Europe, Science on the Run: Information Management and Industrial Geophysics at Schlumberger.

The Biography of Charles Franklin Kettering. The History and Impact of Semiconductor Electronics. Innovation and the Communications Revolution. The Telecommunication Pioneers from Morse to the Information Superhighway Documentation of the advancements in world communication, broadcasting, and information technologies from early scientists and mathematicians to 20th century innovators and creators. Their History, Construction, and Working. Crosby Lockwood and Son, Civil Engineer Bright, Charles. Appleton and Company, Manufactured in England and sold in the United States.

The British Ferrograph Recorder Co. Pioneer in American Electrical Engineering. Cables, Crises, and the Press: Fraud and Deceit in the Halls of Science This is an examination of fraud in science. The authors intend to explain how science really works in an attempt to understand better a system of knowledge tht is regarded in Western societies as the ultimate truth. Moore, Arnold Thackray, and David C.

Review appeared NL Social Media in the Caribbean This is a media history of the Caribbean, tracing how technology, culture, and politics developed in a region that was wired earlier and more widely than many other parts of the Americas. The First Hundred Years. From the Microwave to the Mouse.

Footsteps in Science Brown, J. They argue that the gap between digerati hype and end-user gloom is largely due to the 'tunnel vision' that information-driven technolo Harvard Business School Press Boston, Mass. The Launching of Modern American Science A book about the three decades between that gave birth to modern American science. A Guide to U. Designing Engineers Bucciarelli, Louis L.

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Bucher, instructing engineer at the Marconi Wireless Telegraph Co. Textbook regarding the functioning of present day commercial wireless telegraph apparatus. The Creation of Scientific Effects: Heinrich Hertz and Electric Waves. University of Chicago Press, Histories of the Electron: The Birth of Microphysics. A History of Biotechnology. Finn and Helmuth Trischler Ed. Harwood Academic Publishers, Simon and Schuster, Valdemar Poulsenes radiosystem Buesenderen: A Social History of the Lie Detector A social history of the lie detector, exploring how the machine emerged as a technology of truth and a tool for criminologists with links to popular culture as well as science.

Johns Hopkins University Press Baltimore. Construction and operation of a two-circuit radio receiving equipment with crystal detector - No. A Visual History of the Videogame Age, An International History of the Formative Years. Radar Development to Burns, R. The Formative Years Burns, R. John Logie Baird, television pioneer. William Morrow and Company, The Crucial Decade From Inspecteur to Ingenieur: Telegraphy and the Genesis of Electrical Engineering in France, Fifty Years of Satellite Communication.

Stewart Gillmor Fred Terman at Stanford: Building a discipline, a university, and Silicon Valley Biography of Frederick Terman of Stanford University, long time professor of electrical engineering, dean, and provost, a major figure in the history fo Engineering Educaion in the United States. Sinclair, Editor in Chief Note: David Meister der Messung: David, Meister der Messung: It includes an essay Technology and Humanitarian Actions: Stories from the First 75 years of Texas Instruments In photographs and anecdotes, the book tells TI's history of innovation in products and technologies, including the development of the first commercial silicon transistors, the first integrated circuits, and the first electronic hand-held calculators.

The fFrench made an unsuccessful attempt to breach the Isthmus of Panama and build a canal linking the Atlantic and Pacific Oceans. Twenty-five years later the U. A Handbook dealing with Principles, Design and Servising, and including Chapters on Aerials, Tone Control and Variable Selectivity A manual regarding various aspects of superheterodyne design, operation, and servicing. It also includes information on the fundamental principles of radio, the principle of the superheterodyne, and servicing the cathode ray tube.

Legacies Campbell, Mary, ed. A History of the Information Machine History of the computer from introduction for government and business purposes, to development of personal computers and software, to growth of Internet and socal networks. The First Measured Century: An Illustrated Guide to Trends in America, A series of graphs on trends in the US on a variety of subjects including work, population, health, etc. Dal ponte radio Milano-Roma all'esperimento Sirio. Presses Universitaires de France, Turning Points in Western Technology: A Study of Technology, Science, and History A history of important events in technology and science from the 17th century until the 20th century.

Invention Science and Business: The Professional Career of Elihu Thomson.. The Professional Career of Elihu Thomson, University of Pennsylvania; Doctoral Dissertation, Bernard Technology in World History: The Industrial Age History of Technology. Bernard Technology in World History, Vol. Bernard Innovation as a Social Process: Bernard, Innovation as a Social Process: Elihu Thomson and the Rise of General Electric, Inventor of the Electrical Age Scholarly biography focusing on Tesla's inventions and his promotion of them.

Technology in World History, Volume 1, Prehistoric and Ancient World First volume in a seven volume series for youth on the history of technology, showing how historical change stimulates new technologies and how technological innovation impacts the course of history. Technology in World History, Volume 2, Early Empires Second volume in a seven volume series for youth on the history of technology, showing how historical change stimulates new technologies and how technological innovation impacts the course of history.

Technology in World History, Volume 3, The Medieval World Third volume in a seven volume series for youth on the history of technology, showing how historical change stimulates new technologies and how technological innovation impacts the course of history. Technology in World History, Volume 4, Traditional Cultures Fourth volume in a seven volume series for youth on the history of technology, showing how historical change stimulates new technologies and how technological innovation impacts the course of history.

Technology in World History, Volume 7, Reference Volume and Set Index Seventh volume in a seven volume series for youth on the history of technology, showing how historical change stimulates new technologies and how technological innovation impacts the course of history. Espoir et Conquetes, , Paris: Networks of Power June Proceedings of a conference held to celebrate the 20th anniversary of the publication of Thomas Hughes book Networks of Power.

Rewiring the World, From Edison to Google. Army Museums and Historic Sites. Casey discusses how the car was designed, built, sold and driven, as well as how owners tinkered with it. The author focues on networks of technology, espeically the railroad, built in the U. Basic Electrical Engineering A reference book on basic electrical engineering methods, techniques, etc.

Cincinnati and the Ohio A history of the Ohio River and the region along its banks in the Cincinnati area. Scholars provide twenty-eight articles, with photographs and illustrations, regarding the relationship between the Ohio River and the Cincinnati region. A Concise History As the title says High Technology in Tysons Corner, How Tysons Corner came to have the 3rd largest concentration of high-tech employment in the United States, beginning with systems engineering firms contracting with the Pentagon.

Flight Enter the Computer Age A book devoted to computers and flight and the intersections of the histories and achievements of these two subjects. Wildman and the First Alaskan Radio: Wildman and the First Alaskan Radio. Civil Aircraft of the s. Inventing the Electronic Century: The Epic Story of the Consumer Electronics and Computer Industries Comparative business history of consumer electronics and computer industries, explaining technological innovations and the management decisions that resulted in Japan's rise to global leadership in consumer electronics by s and continued U.

The Nation's First Big Business: Sources and Readings A history of the railroad as America's first big business. The railroad was part of the mid-nineteenth century transportation revolution in the United States. The History of Engineering Science: An Annotated Bibliography An annotated bibliography on the history of engineering science. A classic Critique of midth century factory, and of depression era conditions. Using silent film techniques and recorded sounds, a critique of the triumph of sound motion pictures over silent film.

Electronics, Computers and Telephone Switching: A book of technological history as Volume 2: North Holland Publishing Company, Part 1, Manual and Electromechanical Switching s. North-Holland Publishing Company, Living with High-Risk Technologies Normal Accidents analyzes the social side of technological risk. The author argues that the conventional engineering approach to ensuring safety--building in more warnings and safeguards--fails because systems complexity makes failures inevitable.

Short biographical articles condensed from articles in the old Dictionary of American Biography. The strange history of fusion and the Science of wishful thinking This book is a history nuclear fusion designed for non-specialist audiences. The author populates his narrative with daring geniuses, villains, and victims, all of whom attempted to develop this technology. Man Out of Time. Hot Days of the Cold War. I Chertok, Boris E. Cultural and Organizational Factors Christiansen, Donald ed. Cultural and Organizational Factors. Forgotten Father of the Computer This is the first full-scale examination of the Atanasoff Berry computer, invented by John Vincent Atanasoff in the late s.

An International Study in Business and Technology. A Twentieth Century Professional Institution: The Story of the I. W Switchgear Stages G. F Laybourne and Co. Switchgear Stages Switchgears power plants and other electrical power applications. A collected record of papers, discussions and articles. Submarine Telegraphy, The Transatlantic Cable of The San Francisco Press, Inc. A History of the National Bureau of Standards.

US Government Printing Office, D Industrial Electronic Control: Bernard Revolution in Science A history of revolutions in science from the 17th until the 20th century. A Travel Companion A travel guide for America's scientific places of interest, including monuments, museums, and other landmarks.

The Ethics and Aesthetics of Hacking An athropologist offers an ethnographic study of the origins and evolution of open source software subculture. It examines hackers and hacking as a technical, aesthetic, and moral project; the politics of acess; and intellectual property. Making Sense of Space: The History of Norweigian Space Activities. Scandinavian University Press, It is the story of the Eastman Kodak Company's contribution to science, technology, art, and popular culture.

It is also a biography of George Eastman, who had Harry N. Thomas Edison and Modern America: A Brief History with Documents. Public Service Electric and Gas, Elements of Electrical Engineering: Extending Our Reach This is the catalog accompanying the exhibit, Tools: The exhibit was open from 12 December to 25 May Engineers and the Controlled Environment, pp The Rise and Fall of the Fax Macnine A history of fax from its invention in by Alexander Bain to its heydey in the s to its decline in recent years. Jack and others Colossus: The Electrification of Los Angeles: Zanella Discovery, Innovation, and Risk: Zanella, Discovery, Innovation, and Risk: Case Studies in Science and Technology.

Past Visions of the American Future. Johns Hopkins University, History, Technology, and the American Future. The Computer in the United States: From Laboratory to Market, to The Digital Hand, Volume 1: Oxford University Press, The Digital Hand, Volume 2. Colume 2 2 vols. How Societies Embrace Information Technology: The author argues that citizens and their institutions used information as tools to augment their work and private lives, and they used facts to help shape how the c Oxford University Press New York Information processing Business Education Government PW Cortada, James W.

Rise of the Knowledge Worker. The Benjamin Company, Inc. From Fish to Colossus: EE at Union, Craig, E. Technical Knowledge in American Culture: Science, Technology, and Medicine Since the Early s. University of Alabama Press, The Telecom Industry and Monopoly Power in the New Gilded Age Crawford, a telecommunications policy expert, explores how telecommunications monopolies have affected the daily lives of consumers, and, the United States' global economic standing and economic future. World in the Balance: The Historic Quest for a Universal System of Measurement The epic story of the invention of a globabl network of weights, scales, and instruments of measurements.

The Tumultuous History of the Search for Artificial Intelligence A history of the search for artificial intelligence with a focus on the founders and leaders in the field. A History Textbook about the development of American technology, detailing major technological transsformations over three centuries. It analyzes the cause-and-effect relationship of change and its role in the constant drive for improvement and modernization.

Centennial history of the South African Institute of Electrical Engineers by one of its past presidents.

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Chris van Rensburg Publications Johannesburg, S. Jack Engineering at Yale: School, Department, Council - 82 Cunningham, W. School, Department, Council - The Connecticut Academy of Arts and Sciences, Place of publication isd unknown: National Council of Engineering Examiners, Alternating Currents Power Transmission. The company helped establish the hobby of ham radio in the United States. It developed a line of receivers and transmitters in the s and manuf Schiffer Publishing,Ltd.

Atglen, PA Hallicrafters, Inc. Theory and Application Dahl, O. Sprague and the U. Looking Toward the Future: Glen Ridge, NJ, Denis Mee and Mark H. The First Years. The Story of Industrial Conquest. Kirsch The Electric Vehicle and the Burden of history The electric vehicle is an old technology that seems ever on the verge of making a comeback.

In the late s, the electric engine competed with steam- and gasoline-driven engines to become the standard for automobile manufacturers, and it remained comp Innovation Innovators Automobile Automobile emissions Automobile technology History Culture PW David A. This updated edition of David A. Mindell's classic account of the ironclad warships and the human dimension of modern warfare comme Warfare Technology Civil War Innovation History Navy, U.

The Fossil Record Featuring copious introductory material by distinguished scientist Dr. Fogel, this formidable collection of 30 landmark papers spans the entire history of evolutionary computation--from today's investigations back to its very origins more than 4 Computer Science Artificial Intelligence Computer Science Algorithms PW David Berlinski The Advent of the Algorithm: The Year Journey from an Idea to the Computer In The Advent of the Algorithm, David Berlinski combines science, history, and math to explain and explore the intriguing story of how the algorithm was finally discovered by a succession of mathematicians and logicians, and how this paved the way for th History Algorithms PW David C.

Mowery, Nathan Rosenberg Paths of Innovation: Fisher A Race on the Edge of Time: Elegence and the Heart of Technology Gelernter's lyrical rant on the critical role of beauty and aesthetics in computer technology comes just in time. Computer engineers and designers, who create software that is bloated with seldom-used features and that intrusively draws our attention to Innovation Software PW David Hochfelder The Telegraph in America: For 4, years, fierce battles have been waged between codemakers and codebreakers.

Lindgren Trust but verify: Imagery Analysis in the Cold War This book documents the role of imagery analysis in the Cold War and shows the reader how information derived from imagery came to influence U. Electrical and Electronic Technologies: A Chronology of Events and Inventors from to Thomas Edison and the Pioneers of the Electric Revolution.

A History Dawson, Virginia P. Lincoln Electric Comapny, Bowles Taming Liquid Hydrogen: The Centaur Upper Stage Rocket, Bowles, eds Realizing the Dream of Flight: Biographical Essays in Honor of the Centennial of Flight, Realizing the Dream of Flight: The Autobiography of Lee de Forest. The Social Impact of the Telephone An edited collection of essays on the history of the telephone and the impact of the telephone in terms of gender and urban identities and culture. A history of the development of the telephone and the technological advancements in that field.

Spar Ruling the Waves: Edison and his inventions. It is a history of Edison, the inventor, innovator, manufacturer, and inventor of the research and development laboratory. Ward Radar Development at Lincoln Laboratory: Ward, editors, Radar Development at Lincoln Laboratory: Electricity and Enlightenment in Early America The history of electricity in early American culture and politics. How electricity intersected with perceptions of human, natural, and divine power during the American Enlightenment.

Sixty Years of Service and Annual Report This book contains the sixty year history of and annual report of the Engineering Foundation. The history section includes a tribute to Ambrose Swasey, the founder of the Engineering Foundation, listing of the organization's officers and list Engineering Engineers PW Derek J. Profiles of 95 Electrochemists This biographical dictionary profiles 95 electrochemists from 19 countries who during the past years have researched and developed ever more efficient batteries and energy cells.

An appendix provides a cross-referenced timeline of innovation. A History The author traces the birth and rebirth of the electric boat from to the present, celebrating the Golden Age of electric launches, Marconi Advanced Systems Division, Institute of Energy Analysis, The Fates of Human Societies Study of the role of environmental factors in world history; analyzes why the peoples of certain continents succeeded in invading other continents and conquering or displacing their peoples. Includes a new chapter on Japan. Watson Academic Publications, Oersted and the Discovery of Electromagnetism.

Blaisdell Publishing Company, Electrician Dibner, Bern, Benjamin Franklin: Cultural Evolution in a Cosmic Context. Societal Impact of Spaceflight. Critical Issues in the History of Spaceflight. Remembering the Space Age: Proceedings of the 50th Anniversary Conference. The Late, Great Pennsylvania Station A history of New York City's Pennsylvania Station, a symbol of the wealth and power of America's mightiest railroad, became a national monument during its lifetime.

Eyeing the Red Storm: The goals was to take photographic images from space and relay them back to Earth via radio. Mastering the Great Indoors. Osiris, Second Series, Volume 4. Greenberg Mathematics and Computing: What can happen when a powerful and readily available technology is placed in the hands of a large, still predominately poor population? Radio Manufacturers of the 's, 3 vols. The Early Days of Radio Broadcasting. Inventing American Broadcasting, Johns Hopkins Studies in the History of Technology 9. Between Ampere and Wiener Draganescu, Mihai, et.

Between Ampere and Wiener. An American Success Dreher, Carl. Building the Internet Across Indian Country Given the significance of information and communication technologies to social and political life; many US tribes and Native organizations have created their own projects, from streaming radio to building networks to telecommunications advocacy.

Electronic Inventions and Discoveries: Electronics From its Earliest Beginnings Bristol: Electronics from its earliest beginnings to the present. It briefly covers the history of electronics, radio, television, and computers and examines the development of applications. Over the next decade, several hundred of these stations took to the airwaves. Short biographies including David E. Dunlap's Radio and Television Almanac Chronology of radio and television, and related scientific and technological events from B.

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A History of Liquid Crystals Chemist and physicist survey the history of liquid crystal based on publications, archival research, and interviews with participants. A history of liquid crystals A history of liquid crystals. A Story of Discovery and Reinvention One of three publications sponsored by Corning Incorporated in observance of the th anniversary of its first ventures in glass making. The Division produced Avenger torpedo bombers and Wildcat fighter planes for the U. Its wartime production was spread throughout five p William E. From Scholar's Study to Industrial Research.

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American Institute of Physics, The Papers of Thomas A. The Wizard of Menlo Park, Nier, and Louis Carlat, eds. Electrifying New York and Abroad, - From Workshop to Laboratory, - Edison, Thomas. From Workshop to Laboratory, - Nier, and Melodie Andrews, eds. The Early Years, April December Nier, and Martha J, King eds. The Making of an Inventor, February June But in the twentieth century a rapid acceleration took place: Bernard Cohen and Gregory W. Howard Aiken and the Computer Collection of technical essays and recollections of Howard Aiken, Harvard Professor, computer pioneer, and pioneer developer of electromechanical digital computers.

Electromagnetics An introduction and reference guide into electromagnetics. Histories and Cultures of Multichannel Sound This groundbreaking book uncovers the aesthetic conventions, technologies and listening practices that have made stereo seem natural and that have been necessary to maintain stereo's place as a dominant mode of sound reproduction. PW Edward Lucie-Smith A History of Industrial Design The author traces the history of design from its precursors in the ancient and medieval world to the Werbund and Bauhaus, at which point industrial design can be said to have become aware of itself.

Lehigh University Press, Out from Behind the Eightball: A History of Project Echo. American Astronautical Society, Volume 1 through Volume Some volumes are extremely fragile and six have significant water damage. J Johnston and Co. They range from the technical specialist with an active interest in the work of this institution to those among the more general public with an appreciati Government Standardization Standards Engineers Engineering PW Elliott, Derek W.

Finding an Appropriate Commitment: Joe Wilson and the Creation of Xerox. National and International Systems of Broadcasting: Their History, Operation, and Control A history of national and international system of broadcasting. Architectural Acoustics and the Culture of Listening in America, In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listen Sound Audio technologies in general sound reproduction Architecture PW Emmerson, Andrew Old Telephones This brief historical account traces the story of the telephone in Britain from its introduction in , when it was demonstrated for Queen Victoria, to modern times.

Lightweight Street and Interurban Cars. Branford Electric Railway Association, Merton A Patron for Pure Science: A Patron for Pure Science: Army, computing baillistic tables, and later on the development of Eniac. Schwiebert A history of the U. Air Force ballistic-missle arsenal. Air Defense Air Force, U. Video Games A wide range of opinions, theories, and ideas on the impact of video games on children, gender, etc. A Brief Introduction Textbook providing a brief introduction to world prehistory.

Applications of Optimal Kalman Filter Theory Unknown Self-published collection of own papers of historical value, with contextual introductions Samuel L. A Solid State of Progress, Electricity in the Enlightenment Fara, Patricia. An Entertainment for Angels: Electricity in the Enlightenment. The Correspondence of Michael Faraday, vol. Frank A J L James, ed. Edited, with an introduction by the editors. Railroading Around the World The author, a member of the New York Railroad Club, has written a book about railroaders in other parts of the world for the benefit of North Americans.

Werner von Siemens, Inventor and International Entrepreneur. Ohio State University Press, Pioniere der Wissenschaft bei Siemens: Beruflicher Werdegang und wichtigste Ergebnisse. Publicis MCD Verlag, Building the Computer that Defeated the World Chess Champion In nontechnical, conversational prose, Feng-hsiung Hsu, the system architect of Deep Blue, tells us how he and a small team of fellow researchers forged ahead at IBM with a project they'd begun as students at Carnegie Mellon in the mids: Engineering and the Mind's Eye The author attempts to clarify the nature and significance of nonverbal thought in engineering, the mind's eye, and engineering drawings.

Fierstein A Triumph of Genius: Edwin Land, Polaroid, and the Kodak Patent War Detailed history of patent and legal conflicts between Edwin Land's new company and camera technology and Kodak in the s, with analysis of the implications of the court's decision in favor of Land and Polaroid. The Versalog Slide Rule: Una Panoramica de las Telecomunicaciones A textbook in Spanish of the historical depth of the telecommunications field. Television Engineering Television Engineering: The Evolving Cable Network and its Implications A collection of essays on submarine cables, with an emphasis on telegraph cables.

History of Electrical Technology: The Invention of Television. E and Charles Kingsley Electric Machinery: E and David E. Higginbotham Basic Electrical Engineering: Historical Essays on Meteorology Historical essays on meteorology from Balck Inventors in the Age of Segregation. Johns Hopkins Press, History of American Electronic Laboratories, Inc. American Electronic Laboratories, Inc. The historians are, Patrice Carre, Harm G.

James The Correspondence of Michael Faraday The letters in this volume, of which nearly three quarters are published for the first time, reflect both change and continuity in Faraday's life from to , that is between the ages of 49 and James The Correspondence of Michael Faraday The letters in this volume, of which nearly two thirds are published for the first time, deal with many of the far reaching changes that occurried in Faraday's life during the first half of the s, that is between ages of The Remarkable Rise and Fall of C.

Stanley Frankland, Mark, Radio Man: Catalog of exhibit. Collinson of London, F. A Man of Two Cultures. Orsted, a man of the two cultures: Stransbergs Forlag Birkerod, Denmark H. Communications Receivers This book is designed to provide the radio hobbyist or receiver collector with concise information on the value, features, specifications and performance of current and former shortwave communications receivers. It provides an historical account of the rise of new technologies. Technology in the National Interest. MIT Lincoln Laboratory, Applications of Digital Computers Taken from a series of lectures at Brown University on the developments in high-speed information processing done by computers.

The Second Century Begins.

A History of Electricity and Invisible Energy in America The author examines the American social perceptions of electricity as an energy technology that were adopted between the mid-nineteenth and early twentieth centuries. A Walk Through the Park: Elfun Historical Society, Staten, storforetaget och samarbetet kring den svenska elkrafttekniken The Mutual Development: Biography of an Invention. Geshichte der Naturwissenschaften und der technik.

Feschichte eines fruhen drahtlosen Kommunikationssystems Banking as American Infrastructure Friedlander, Amy. Banking as American Infrastructure Corporation for National Research Initiatives, The Growth of Railroads Friedlander, Amy. The Growth of Railroads. Natural Monopoly and Universal Service: Electricity in the US Energy Infrastructure, Computers in American Culture Tracing the history and impact of the computer through its appearance in American popular culture.

Nationalized Power in France, Cornell University Press, Taylor and Bertha W. Oskar von Miller, , Eine Biographie. A Social History, Gabler, Edwin. A Social History, Rutgers University Press, Entrepreneurship and the Creation of a Wireless World. This book is not a mere translation into English.. A Material Culture of Microphysics Study of role of technology in defining meaning of evidence in experimental microphysics, from late 19th c. A History House cleaning has been an innate human activity and in the early nineteenth century mechanical devices repalced the some of the physical labor, performed mostly by women.

Looking Backward, Looking Forward: Relive the Events that Stopped Our Lives One Hundred Years of Submarine Cables 59 pages, index. From Faraday to Marconi Garratt, Gerald. The Early History of Radio: From Faraday to Marconi. New Horizons, New Power, New Hope A look into the complex world of modern international communications alongside the technology of computers and telecommunications with a focus on exposition and analysis.

A Chronology Gawdiak, Ihor Y. Casa Editrice Publilux, A History of the Radio and Television Industry. From Shoebox to Bat Truck and Beyond: Rochlin Trapped in the Net: Originally funded in , the BPA has been crucial in driving down the price of electricity for the region. Industrial Research Biography of Willis Whitney, the founding director of the General Electrci Research Laboratory, one of the pioneers of industrial research in the United States. Bell Labs and the Great Age of American Innovation This is a history of Bell Telephone Laboratories from its beginnings in the s until its demise in the s.

Many considered it the best research laboratory in the world. Why did so many transformative ideas come from Bell Labs? Ince The life and letters of Sebastian Ziani de Ferranti Biography of Sebastian Ziani de Ferranti , who was an electrical engineer and inventor. He was most known for his work in AC current in England at the turn of the 20th century. All in a Lifetime: Science in Defense of Democracy.

Mechanization takes command is an examination of mechanization and its effects on everyday life. It identifies the main technological elements that entered significantly into medieval European history, their known or probably sources, and their principal impacts. Die Entstehung eins neuen Fachgebietes der Technikwissenschaften zwischen und Geschichte der Naturwissenschaften und der Technik, Exploitation and Plunder in Postwar Germany.

The Industrial Revolution of the Middle Ages The Industrial Revolution that occurred during the Middle Ages centered around certain medieval machines that revolutionized agriculture, industry, construction, and mining. The Life of Edward Ginzton. Anne Ginzton Cottrell and Leonard Cottrell, eds. Blackberry Creek Press, Engineers and German Society, Cambridge Univeristy Press, Pong, 8-Track and Betamax: Modjeski, a Polish-American civil engineer, had an office in New York CIty and during his career he built over miles of bridges.

Farnsworth — , who has been called the forgotten father of television. Farnsworth drew his first television schematic for his high school teacher in Rigby, Idaho. His inventions included the film projector capable of showing a motion picture on a large screen, television, and broadcast television. History of Russian Underwater Acoustics. Radio Telephony Technical details of radio telephony wireless telephone, radio.

Research, development and uses of radio telephony. Future development of radio telephony. The Wireless Press, Inc. New Perspectives on the History of Semiconductors A series of essays on the history of semiconductors. Origin and Growth of the Patent System in Britain. The Morals of Measurement: Miller Toward a History of the Space Shuttle: An Annotated Bibliography, Part 2 Bibliography.

Collection of news articles related to Space Shuttle. The Life of Hugh S. The Francis Press, Washington, D. The Francis Press Washington D. Thread Across the Ocean: The Heroic Story of the Transatlantic Cable. A Century of Progress: The General Electric Story. Hall of History, Theodore Audel and Co. Audels New Electric Library Vol. The Ghost of the Executed Engineer: Technology and the Fall of the Soviet Union Brief biography of Peter Palchinsky, engineer trained in tsarist Russia, whose life, work, and fate reflect not only the nature of Soviet engineering and industry during his lifetime, but also its patterns of dysfunction to the end of the USSR in Technology and the Fall of the Soviet Union In , Joseph Stalin ordered the executation of Peter Palchinsky, an engineer, for treason, because he spoke out about the technological problems, inefficiencies, corruption, and future collapse of the Soviet industry.

The Business of Research: RCA and the VideoDisc. The Thin Red Lines. Standard Art Book Co. The Making of an Engineer: Celebrating a Lifesaving Invention. New York, Prometheus Books, A Commemoration of 25 Years of Pacemaking. Experiencing Jazz, Experiencing Modernity If it is clear that for very complex reasons Wooding and his performances occupy a privileged position within Weimar jazz culture, this status owes as much to the music and performance venue as to German cultural history. They often elicited fear, pain, or horror, and prompted the development of sensory protection shields that could cushion or even parry traumatic intrusions.

Thus if film is often seen as registering the shock of the visual in this period, jazz was equally powerful in registering the shock of the aural, in being experienced as an aesthetic media- tion of the danger and exhilaration of the sounds of the street and the machine. The noise of modernity per- meates the air and fills the listener with sounds of friction and anguish. However, the experience of jazz did more to German listeners than merely reflect back to them a priori notions of modernity.

Jazz also directly impacted and concretely transformed them. The experience of jazz, like the sounds of the street, was at first confounding and confusing, understood as noise rather than as music. Yet precisely because of this, German listeners found in it a means of accessing, and thereby reflecting upon, the aural component of the everyday shocks of modernity. At its core, Benjamin views the concept of experience as one divided within itself, split, in his famous distinction, between the fragmentary and iso- lated form of Erlebnis and a deeper, diachronic mode of Erfahrung.

Following Freud, Benjamin maintains that the maelstrom of modern ur- ban existence necessitates the cultivation of a protective shield of conscious- ness. This necessary parrying of shock by consciousness carries a heavy cost accord- ing to Benjamin. In order for the defense against shock to work properly, po- tentially traumatic experiences must be emptied of their content and trans- formed into less meaningful events. Benjamin describes this process in the following passage: Horror is to be distinguished in this context from fear Angst or Furcht.

Fear steadies the subject before impact, serving to deflect the full extent of a potentially traumatic impression. They form the foundation of his aesthetic theory of the experience of modernity because they are experienced directly, as it were, rather than mediated by waking conscious- ness. Of course, Benjamin devotes little space in his analysis to questions concerning sound, noise, and music. Yet if he ultimately fails to take the aural mode of experience into account, Theodor Adorno, someone as ac- customed to thinking with his ears as with his eyes, did gesture on numerous occasions towards the shock of musical experience.

I hope to avoid this trap by reading Adorno much as he reads music, i. But in appearance, it is preserved. It must, or so it seems, be thus emancipated from all human seriousness and all genuineness of artistic form if it is still to be tolerated by human beings amidst their daily affairs without fright- ening [erschrecken] them. But it is its appearance that lights up for them. No—that lights them up.

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They do not change in it, but their image changes. It is brighter, sharper, more clearly defined. Background music is an acoustic light source. If it does not yet do so in the sense of a Benjaminian shock, then one nevertheless recognizes in it remnants of experience in the strong sense.

Music in the background has become appearance, has been pro- tected against and removed from the everyday so that it will no longer terrify the subject. The music that resounds here is constructed from the remnants of the past: Through them shimmers the mysterious allegorical appearance that arises whenever fragments of the past come to- gether in an uncertain surface. Their light puzzles, much like Vexier- bilder, or puzzle pictures, those objects of fascination for Adorno and Benja- min, in that it can be read two ways: At times, it can unexpectedly inspire moments of horror, particularly when the listener becomes aware of the absence present within it.

The means by which music may do so remains unclear. It is not the content of the music that frightens the listener, but the absence it signifies. True, the music may continue, but it has activated a gaze which looks in vain for the object of its desire, for an origin that no longer, if ever, existed. But it is an awareness that can be rendered into a form of knowledge about the present. The meteors of the past are silent only from a distance, that is to say, the present, and in remember- ing, the listener can re-experience that which once was not but might have been.

Perhaps it is all too understandable that Adorno remains silent about con- temporary music in this Nazi-era piece about the silencing of music. Yet near the end, he remarks: Their function is too fresh for them to allow themselves to be used as back- ground yet. The remnant of shock contained within the new dances could be furthered, by ripping them from their context and placing them into a new constellation through the principle of montage construction. Though Adorno is ultimately critical of this technique, his criticism is directed not against its im- mediate impact but its sustainability.

Rather than critiqu- ing him, Adorno praises Weill for this achievement, writing: Indeed, the punch, as it were, of art is something Adorno took quite liter- arily. The idea of the new is itself as phantasmagorical as this light. For one, his thoughts shed greater light on the corporeal dimension of these experiences.

This diffusion of effect will be especially important in dealing with the afterlife of shock. Reviews of the performance appeared in the socialist, liberal, conservative, and even Russian-language press in Ber- lin. The last notes of the overture faded away into silence. Silence, stark si- lence. Our fright turned to confidence. The few beats of silence that followed the end of the first song suggest that many in the audience were simply unsure how to react, how they were supposed to react to this music, in this setting. The applause that followed, however, functioned as a release of anxiety and enabled audience and performers to coalesce in their communal experience and enjoyment of jazz.

If the connection at first seems far fetched, it is important to remember that Wooding was performing a symphonic jazz concert. This taxing of our nerves continued for hours through the overabundance of acoustic and optic noise and the overabun- dance of repetition of similar scenes. Many an audience member staggered away, as if broken wie zerschlagen hinauswankte.

That the performance engendered such a sense of community and in the pro- cess elicited powerful emotions can be glimpsed in the longevity of the impression it made on audience members. As was noted in the introduction, the experience of Wooding profoundly impacted Alfred Lion, who went on to cofound Blue Note Records. Lion recalled of his initial impression: This was often expressed through a deflection of such possession onto the musician, while at other times it remained with the listener, as in the case of Lion.

Klaus Pringsheim, who wrote glowingly of the music in Das Tage-Buch, remarked: Indeed, many, though hardly all, reviewers felt tortured by the tempo and music of the revue, regardless of whether the overall impression was posi- tive or negative. This ascription of mercilessness to the music and show by the reviewers can be read as a reflection of their inability to pro- cess the sound of jazz within received categories of musical understanding. Walden begins his review cryptically, noting: Do they really only think about their legs? Do they not see the formed movements, to which the legs merely serve as an artificial body?

Whoever only sees legs here is looking for female artists not art. By contrast, the legs of the dancers in the Chocolate Kiddies cannot be separated from their bodies; according to Walden, they remain integrated and retain meaning only as part of a totality of movement and sound. And all of the sudden Sam Wooding and his Orchestra are sitting on the stage. Through the room swing sounds of whooshing, howling, groaning, quacking, bawling, murmuring, whining, rattling, clanging. Sounds ring out and are joined together to form an organism. Formed movement, thus art.

It is not the sound Ton that makes the music. Where sound is missing, the concept of noise appears. Music, however, is not to be conceptualized, it is to be heard. One does not hear music, when thinking of noise. The sound of jazz is for him all encompassing, like the experience of the street, but with the distinction that in it noise has become art.

Yet precisely because it remains closer to noise than European art music, jazz is uniquely capable of uniting this cacophony into art for Walden. It swirls and swings through the acoustic space like the howling of the siren or the clanging of the train, unfettered by the restrictions of form. Bie, as well, likened jazz to the noise of the metropolitan street. Yet noise for Attali is neither natural nor ahistorical.

Information theory uses the concept of noise. Jazz could appear as noise only because it seemed indecipherable within the existing system of musical meaning; it was precisely this unintelligibility that made jazz so meaningful in terms of relating it to modernity and modernism. Through the idea of noise, the shock imparted to the listener upon the first hearing of jazz could be made to resonate with the shock of the initial hearing of the mechanical press, car horn, or jackhammer.

Jazz is not created when one mechanically plays a syncopated rhythm in two-two time. Now we have heard for a few weeks a real jazz band nightly on the radio: But it neverthe- less exhibits that stomping confusion stampfendes Durcheinander of saxophones, jazz drums, and muted trumpets, that unleashed rhythm, that improvised humor, which the jazz band alone makes tolerable.

Ev- erything else offered by the Funkstunde in terms of dance music is only a surrogate. More importantly, the exhaustion and torture associated with the jazz band has become tolerable in his account. This shift in the function of the Weimar experience of jazz is brought into focus in a essay by composer Karol Rathaus, himself composer of a jazz-influenced opera Fremde Erde Foreign Soil. Rather, what he strives to explain are the psychological conditions under which jazz became popular first in the United States and then in Europe. With movingly ruthless honesty, with which America professes its faith in Ma- terie, it created the most favorable conditions for jazz.

Chocolate Kiddies, the revue of Josephine Baker and Black People brought us to the edge of the source. Here, jazz reached a state of perfection as a result of their deep state of rootedness. In this cul-de-sac of European subjectivity, the role of the African American begins to recede behind an im- penetrable aura of authenticity. Paradoxically, however, it is the perfect authen- ticity of African American jazz that now makes it expendable. Because we are familiar with jazz, because over the course of approxi- mately twelve years jazz has conquered the ground of the entire civilized world, because it is now danced and sung unproblematically wider- spruchlos.

African American jazz has been studied and incorporated into European art music, while resis- tance to the materialist jazz of white America grows. As Rathaus concludes on an ambiguous note: It has already absorbed jazz, now it goes unwaveringly unbeirrt —onward. Yet it interests here because its point of departure is a return visit to Berlin by Sam Wooding. He writes, Five years ago we heard him for the first time.

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And for a long time memory has likewise busied itself with the achievements of the accompanying orchestra, the form of its leader, an animal-like, fanatical musician. This laudatory tone, however, quickly turns into one of memorialization. To David, jazz has lost its novelty and, more importantly, its role in avant-garde art.

It is not to be feared that jazz as a unique form will diminish in use; but its captivating technique which appeared at first to be of interest to the more intellectual person is presently losing the hint Beiklang of meaningful- ness that was attached to it as long as it contained within it progress and a qualitatively different future. Jazz is be- coming a musical complex that may be useful and perhaps necessary.

In this sense it is valid to bid farewell to jazz. The noise that was attached to the original experience of jazz has subsided and the shock of jazz has be- come a memory, or ghost. The general dismissal of jazz as a progressive art form by German modernists might more profitably read as a mourning of the passing of the earth-shattering power of its initial successes. This is Paul Whiteman. For despite the critical view taken by music critics, Whiteman enjoyed incomparable standing in the popular press at large and with the majority of jazz musicians in in this period and, as I want to suggest in the next chapter, became an un- likely model for Weimar-era novelists as well.

Chapter 3 Writing Symphonies in Jazz: My pulse is elevated. I then say to myself: Of course, what made the combination of the terms so evocative was that cultural, musical, and aesthetic developments were constantly threat- ening to bring the two into ever-closer proximity. As the above statement by ethnomusicologist Jaap Kool hints at, symphony and jazz seemed to exist in worlds apart, yet they were also worlds that seemed to be in a constant state of collision.

This meant that in many instances, neither jazz nor symphony could be thought of in this period without also invoking its other, and perhaps no greater representation of their collision existed than the musical genre of sym- phonic jazz. Most closely associated with the white American bandleader Paul Whiteman, from at least onward, symphonic jazz dominated the German jazz scene while at the same time shaping German musical culture in innumer- able ways.

Beyond this, symphonic jazz and its promise of unifying tradition with modernity and vice versa became especially attrac- tive to Weimar-era novelists. Just as composers like Ernst Krenek attempted jazz operas, novelists tried their hand at producing jazz novels. In other words, these works explore, with all its atten- dant contradictions, the idea of symphonic jazz as synthetic melding of moder- nity and tradition, as an aesthetic capable of structuring and making manage- able the foreign and modern.

To be sure, this pairing of jazz music and German literature may at first seem unlikely, yet it serves two very important purposes. The first is to rethink symphonic jazz and its meaning for German jazz culture. If this argument is an im- portant corrective to anachronistic visions of Weimar Germans listening to Louis Armstrong, James P. Johnson, or Fletcher Henderson, as we saw in the previous chapter, by the mids, African American jazz was routinely felt to be more representative of authentic jazz than white American jazz, albeit for vastly different reasons than today.

Yet when read together as a set of novels responding to the aesthetic challenge of symphonic jazz, an entirely new sense of their significance emerges. In their common focus on the relation- ship between symphony and jazz as a means of engaging with modernism, literary and otherwise, they stand as an index not only of the wide-ranging in- fluence of Whiteman but of the profound ways by which jazz affected German culture in the s. Or to speak with a language indebted to jazz itself, these au- thors use symphony and jazz not as a self-writing script but as a jazz standard: Writing sympho- nies in jazz, each attempted to carve out a space within the center and, in so doing, gave birth to a new literary genre, the symphonic jazz novel.

It is significant here that this literary genre owes its existence not only to the American Whiteman but to three novelists from the margins, geographi- cally and culturally. As had Grosz and Dix in the early s, these figures use jazz, their encounters with and representations of the music, as a means of symbolically creating a new German culture into which they not only fit but have a hand in creating. It was like coming out of blackness into bright light.

I wanted to sing. I did them all. Unmusical—sure as you live. That was jazz then. Despite early setbacks including being fired for not being able to play jazz correctly , he eventually became a sought-after arranger of popular jazz-influenced music on the American West Coast. This raising up of jazz also had a racial component. There were many reasons for the rapid adoption of symphonic jazz.

For one, with members numbering between twenty and thirty, symphonic jazz orchestras represent a considerable enlargement over the small group for- mations of early jazz, common in both America and Germany during the early s. The larger size of the orchestra meant employment for greater numbers of this profession still struggling to cope with losses due to technological in- novations like gramophone and radio.

Though in America the exactness and precision characteristic to performances of symphonic jazz was intended to put jazz orchestras on a level approaching that of the symphony orchestra, classically trained German musicians were simply much better suited to this new form. Finally, from the monetary perspective of practicing musicians, a turn towards symphonic jazz was attractive because it was said to earn a great deal more money.

Whiteman, for example, was quoted in the German trade journal Der Artist as saying: Still, a full two years passed before Whiteman personally presented the case for symphonic jazz to German music critics as opposed to musicians. By the time he reached Berlin, there was a great deal of anticipation. Like the Chocolate Kiddies, Whiteman also held open rehearsals for the press and was visited by academics, as well as by the composers Ar- nold Schoenberg and Franz Schreker.

Indeed, according to one Whiteman biographer, it was in Berlin that his music met with harsh criticism for the first time. This period witnessed a prolific decline in the number of symphonies pro- duced by European composers. The period of prog- ress in symphonic composition that could be located between Beethoven and Mahler seemed to have come to an inglorious end. It was, in fact, the profes- sional music critics, those who were most critical of Whiteman, who, accord- ing to Karen Painter, kept the form alive as it were. Through their writings, the symphony was imbued with even greater cultural worth than it had in the nine- teenth century, transforming the symphony into a central cultural icon of the early twentieth century.

If the symphony became a sign of tradition threatened, jazz was a primary symptom of that threat. Delivered in raucous, three-minute urban miniatures, it was no less threatening to the idea and ideal of the symphony than an atonal composition by Schoenberg. Perhaps no greater sign of this trend away from the symphony could be found than in the person of Mitja Nikisch.

Cover of satirical magazine Simplicissimus from July 5, , featuring a caricature of Paul Whiteman by Wilhelm Schulz — Rejecting the earlier clown-like perfor- mances of drummers from the period around , Siemsen ends by saying about jazz: It creates real music. As Whiteman explained to the readers of the Berliner Tageblatt: Rather, we want to create some- thing new.

Likewise, Hans Heinz Stuckenschmidt also authored a piece in anticipa- tion of the concerts. Stuckenschmidt was an important liberal music critic and part of the Berlin Dada movement. Paul Whiteman, King of jazz, accessible to Germans up to now only through gramophone records, has to his merit that he made these princi- ples acceptable for the concert hall.

In June he will tour Germany. Snobs will have fits of lust. Spectacles will shatter with fright. Musi- cians will dedicate scores. And only some will recognize: Though certain grotesque, i. He leaves open the question of whether jazz has already been elevated to the level of true art. He is, however, profoundly certain that jazz is doing great service for the matter of art in America.

Writing Symphonies in Jazz 95 Sunday evening. The program then indicated that an intermis- sion would take place. However, this intermission, as well as the concluding piece, a number to be picked by audience, was skipped for the premiere con- cert, something that caused some confusion on the part of reviewers. Instead, the program at the premiere ended with what was to be the highlight of the concert: The premiere began at Almost all of them praised the virtuosity and tech- nique of the Whiteman orchestra.

Equally prevalent in the reviews, however, was their rejection of the idea that the concert demonstrated that Whiteman had created a new art form for the future. Leopold Schmidt wrote in the Berliner Tageblatt: Now we have been satisfied with our own ears by the results of the Grosses Schauspielhaus and can be reassured.

Jazz remains jazz, whether one plays it well or poorly. Whiteman and his cohort per- form. It has nothing to expect from jazz. Indeed, the tone of many of these critiques borders on mockery. For Warschauer, jazz, however one may feel about it, is simply, objectively an el- emental component of modern society and moralizing about its status or debat- ing whether it is art or commerce, German or American, does little to change this fact. The same question always arises: One example of this is an article in Der Deutsche that simulates a discus- sion between anti- and pro-jazz critics, in part using passages from earlier tex- tual discussions of jazz.

As the anonymous au- thor concludes: For it was in the jazz novels of the period that not his music but the structure and idea of symphonic jazz took hold. Numerous authors of the period used references to jazz within works from the period. From well-known authors like Hermann Hesse and Thomas Mann to lesser known authors like Bruno Frank, Claire Goll, Vicki Baum, Hedwig Hassel, and Klaus Mann, discussions of sax- ophones, drums, shimmies, foxtrots, Black performers, and other indicators of the jazz milieu abound within Weimar literature.

Wiener Roman Vien- nese Novel , the music acts as little more than a surface phenomenon, a mere reference to cultural disorder,54 rather than gesturing towards the evoca- tive, if still ill-defined, category of jazz literature. Instead, jazz most commonly was deployed within Weimar literature as a reified symbol of modernity. In order to address the ways in which jazz was transformed from its use as literary topos into a literary form in the novels of Janowitz, Schickele, and Renker, it is first necessary to investigate what jazz literature would and could look like to Weimar Germans.

But it is in the essence of the symphony that in the end all motifs and motif beginnings merge with each other. The young French writers do not aspire to any form of merging Zusammenfassung. So that while figures and motifs may sound out simultaneously, they remain fundamentally isolated from each other. For Hirth, this polyphony without harmony is precisely the jazz quality of the new literature.

As he writes of his experience reading it: Like Caligari, the novel is richly evocative and resonant with broader modern- ist impulses and can be said to reveal important undercurrents of German cul- ture and society in its modernist experimentation. The two immediately delight in deceiving the other passengers: A Novel], much like the jazz musicians, leaves the basic melody of the story-line behind and improvises to elaborate on anything and everything. As the narrator informs the reader in a mea culpa to his literary conscience: I believe there are different laws governing it, just as the laws for a work of jazz are different than those for a sonata for piano and violin.

Rather, the text gestures towards an understanding of jazz as aesthetic form, something that cannot be incorporated into traditional culture here, the form of the novel without consequence. Put differently, one senses that the narrator feels jazz pushing back at him, back at literature. Or as one reviewer put it: A Novel, already hints at this productive tension.

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The significance of the proximity between these two terms is, I would suggest, the very meaning of the work. Through its con- scious exploration of the formal rules of the novel, Janowitz is investigating the ability of traditional literature to narrate the new. Whereas most other authors saw little difficulty in this matter, deploying jazz as symbol of anarchy, rebellion, primitivism, etc. More significantly, jazz is not the only aesthetic form put forward in the novel as a model for representing the new; instead, jazz remains but one, certainly privileged, example amongst many.

As the narrator states to close the novel: As one sees, in general our ensemble fared exactly just as well as every living ensemble on the earth has for a few thousand years—with every day they lost a new day of their lives. The old flaw Fehler that every- thing living is condemned to live from its capital, rather than only off the interest. This old fundamental flaw of creation is to blame if in this matter we have nothing new to offer, even to the reader of a jazz novel.

JR As the multiple strands of the plot are finally brought together, the narrator reaches what are, for him, the limits of the jazz-novel: While jazz may demand new modes of representation, aesthetic innovation cannot fundamentally alter life and consequently its representation in art. The unex- pected entrance of death retroactively undercuts the freedom towards which the narrator seemed to have been striving. In order to understand why the narrator figures the work as a formal fail- ure, it is necessary to turn the analytical screw once more, to consider the work not only as a jazz-novel but as a novel about jazz, in this case about symphonic jazz.

Most important here is not that he gives up on jazz but how he does so: Towards the end of the novel, the narrator states: This would perhaps suffice as an exciting climax to a dime novel, but cannot provide the final movement of a jazz symphony. This is repetition with a dif- ference. The substitution of symphony for novel alters how the references to Tolstoy and operetta function: A Novel ultimately exists as a eulogy of this attempt. Though the incorporation of jazz initially pushes the narrative towards ever-greater crimes against the lit- erature, in the end, the narrator pushes back at jazz and does so by way of sym- phonic jazz.

Still, it is important to remember that though Lord Henry and the narrative fails not as jazz band boy, but as part of a jazz symphony orchestra, the narrator re- fuses to distinguish between the two. Symphony for Jazz While Jazz: Though nei- ther of these later works shares the radical form of Jazz: Early in the novel, van Maray will marry a young woman named Jo- hanna.

As the plot progresses, however, their marriage becomes increasingly strained and, after separating, each seeks out a space of his and her own, his wife finding a new life in Berlin, while van Maray moves between Lake Con- stance, Paris, and Southern France. It is the timing of the separation that is of most interest here. The couple separates just as van Maray sets about compos- ing a jazz symphony, and his progression in the composition inversely mirrors the state of his relationship with Johanna: The two will eventually reconcile at the van Ma- ray home on Lake Constance, but only after van Maray has tossed his saxo- phone into the lake, thereby forsaking American jazz.

Though unlike Janowitz, Schickele authored further novels, he, too, never returned to the subject of jazz. Does it matter at all that Schickele wrote about jazz? Beyond the obvious fact that each novel contains a composer who creates a jazz symphony, at the level of content, both works use the saxophone as an organizing metaphor71 and include a Josephine Baker-like character. Like Janowitz, Schickele uses his jazz subject as motivation to experiment with language and narration. He begins the novel with an onomato- poetic homage to the sounds and rhythms of jazz, such as in the opening line of the novel: At the same time, there is much more at stake here than mere play.

Instead, this opening creates a disjuncture of language and mean- ing in order to create a space of freedom, which Schickele can later fill with new meaning. Indeed, all the terms referenced in the opening four lines, though stripped of context and content, will come to have very specific meanings within the narrative. The first involves the symphonic work for which the novel is named. Upon his return, he proclaims to Johanna: In other words, instead of placing jazz qua musical form on relatively equal footing with the symphony, jazz is here subsumed under the symphonic form, existing alongside and in apparent harmony with traditional bourgeois string instruments and the religiously coded organ.

From our departure from the jungle to. Yet if van Maray would seek to control jazz by positioning it underneath the symphony, a jazz experience that evening at a hotel will disrupt his mo- nopolization of the debate. Shortly after he has announced his intention to write a symphony, van Maray and Johanna attend a performance by a jazz band. As with other depictions of the drums, race plays an important role here. The very next evening, Johanna and van Maray once again attend the nightly concert of the jazz band, during which they bear witness to the following sen- sational scene involving the drummer: The man gasped schnappte , opened his mouth wide, and blood shot out.

The stream of blood formed an arc and landed exactly on the rim of the drum. The painted negro skull snarled its teeth. SFJ 60 This scene depicting the gory death of the white jazz drummer and competitor of van Maray raises any number of important questions about the role of Black- ness within jazz discourse in the late s. That within German and European discussions of jazz the drums were commonly associated with Blackness is well-known from chapter 1.

As an in- strument dedicated to rhythm in a culture that coded melody and harmony as intellectually superior, before the introduction of jazz, the drums were gener- ally viewed as an instrument of but minor importance for the future of Euro- pean music. With the entrance and popularity of jazz during the first-half of the s, the instrument takes on exceeding importance and quickly became the primary symbol of this music.

No longer were they the only or even primary symbol of jazz music. Instead, that honor had shifted to the saxophone, which will see in- creased popularity and production until the stock market crash in and continue as a means of connoting jazz and modern, American, and foreign dance music well into the s. In the background of the center panel of this masterpiece of New Objectivity, one sees a caricatured Black drummer waving a drumstick in the air, while the foreground features a band dominated by the white saxophone player and in front of him stands a gigantic bass saxophone. Like the German music establish- ment and like Janowitz, Schickele will also render the age of symphonic jazz a failure or, rather, as insufficient from a purely aesthetic perspective.

Regarding its economic prospects: To help balance these and to escape the negative influence of the jazz singer Ursel Bruhn, he works in concert with other artists, namely a sculp- tor, as well as in a church. Van Maray, following the symphonic jazz model, sought to separate the jazz of entertainment, the jazz of the world, through the creation of his own artistic jazz of and within the symphony. Failing to reach personal equilibrium through completion of the symphony, he seeks refuge in the Black Forest and then in St.

After she arrives, the two quickly become very close until Angelica leaves one day to go out into the wintry landscape. It is only after she dies as a result of her injuries that van Maray realizes he was her father. After her death, he retreats to his home on Lake Constance, and enraged for having squandered his life and fearful that he will lose Johanna forever, he goes to the lake intent upon destroying the symbol of the materialist side of his life and of the jazz of the world: SFJ Here van Maray does more than merely reject jazz and the racial difference and materialism for which it stands to him; he simultaneously recognizes that his pursuit of jazz was spurned on by a desire within himself to throw off the civi- lization that would support it.

That he does not destroy, but rather sinks, the saxophone may result from the universal connection he sees between nature and music; in other words, the potential reconciliation symbolized by the idea of the jazz symphony may still be attainable, though not for him and not in this life.

A Novel, a number of important parallels, as well as differences, emerge. In both novels, an attempt is made to formally recreate the aesthetic principles of jazz through language and innovative narrative form. While Janowitz carries this experiment to a much further extent, both texts eventually abandon the ephem- eral modernity of jazz in favor of tradition—death in Janowitz and nature in Schickele.

Perhaps best described as a melding of the jazz novel with the genre of the Heimatro- man, this work fails to make any attempt at incorporating jazz, formally or structurally, and instead narrates a fairly typical tale of city versus country, young versus old, sick versus healthy. Indeed, the binary relation between the terms implied in the title is furthered through the splitting of the composer character well-known from Janowitz and Schickele into two figures.

First there is Othmar Wehrberg, an aging composer residing in Vienna whose brightest days seem to be behind him. As the novel opens, he is struggling to finish his latest symphony and the reasons for this soon become clear: It will only be through his return to his Heimat towards the end of the novel that Othmar Wehrberg will regain his rootedness and once again be a creative com- poser. The work of art resulting from this turn homeward will by no means consist in his combining jazz and symphony, however.

As he notes of his artistic goals: In this African American figure named after a Hebrew prophet, Renker remixes elements from Janowitz, Schickele, and the German reception of Whiteman to create a monstrous im- age of a Black mammonite, whose sole desire in the novel is to monetarily exploit Europe for the last of its cultural potential.

More than this, the align- ment of an African American jazz musician with Jewishness, in addition to the stereotyped presentation of the critic Hirsch, amount to something quali- tatively new in the symphonic jazz novel. In America the noble benefactor of our Ricki [i. This removed the ceremonial constraints on our instinct to move.

The band plays and people listen. At the same time, it is important that the success of the jazz sym- phony takes place outside of Germany. While jazz and symphony may coexist in America in a productive relationship, in Europe, jazz is a symptom of the degeneracy of culture and its combination with the symphony but the worst imaginable scenario. So though the novel may contain surprisingly positive remarks about the jazz symphony, these primarily act as a reminder of what European music has lost: This didactic element of Symphony and Jazz becomes especially apparent after father and son travel back to Maltatal and the Alpine community Wehr- berg left when he departed for modern Vienna.

Father and son are here aided by a female figure, Hilde, who, through her gender and Swiss roots, still seems to possess the healthy relationship to nature the two men lack. In Maltatal, all three share experiences of beautifully simple local folk culture and the invigo- rating natural surroundings. The sub- lime power of Alpine nature causes within Wehrberg an epiphany that the nearby Malta river will flood, destroy the house, and kill him and a little village girl playing there. With this insight Wehrberg rushes into action, taking the young girl into his arms and leaving the doomed house.

Though he is success- ful in his rescue of the girl, his exposure to the storm makes him ill, and he soon lapses into a coma. Though there is no radio, Wehrberg mystically hears the music. Each of their separate attempts to reconcile the conflict between ascendant jazz and declining symphony ends with resignation. For all three, symphony and jazz may coexist, but never harmoniously and hardly in a man- ner that can guide Europe towards a better future. Even so, it is equally clear that symphonic jazz became a means for them to respond to the challenge of jazz in both modern and tradi- tional aesthetic forms.

Whereas Whiteman desired to create a symphonic jazz and to make jazz music respect- able for a bourgeois public, the novelists created jazz symphonies. In other words, they sought to bring jazz to the symphony rather than the other way around. Before Whiteman, jazz in Weimar litera- ture existed as a symbol—of chaos, revolution, disorder—and such one- dimensional use of jazz is precisely the reason why so many other novelists seemed to exhaust the subject with little discussion, through the addition of a secondary character or a particularly salacious scene for example.

It is thus significant that each fic- tional composer of a jazz symphony, Lord Henry, John van Maray, and Ricki Wehrberg is associated with water. That each chose to do so via the jazz symphony was neither accidental, nor coinci- dental. Through Janowitz, Schickele, and Renker, as well as the many other discussions and applications of symphonic jazz, Whiteman became a figure of even wider cultural significance.

It is also clear, however, that these jazz novels were exceptions to the many other literary works that sought to incorporate jazz. Yet even these excep- tions followed one rule of representing jazz in Germany: From white women like Madame Mae R. Though there were many cultural spaces where this debate was carried out, perhaps none was as conspicuous as the popular revue stage. Chapter 4 Syncopating the Mass Ornament: Race and Girlkultur Supposing truth to be a woman—how? She is, rather, a sex- less neutrum.

In literature, theater, film, and music, the image of a liberated and independent New Woman littered the cultural landscape of the s. Of all three, the idea of the American Girl represented a most foreign and threatening variation on the theme of the New Woman. During the Weimar Republic, there was no more quintessential expression of the Girl than the Tiller Girl. Tiller Girls, the most recognized formation of female dance troupes at the time, performed widely on the popular revue stages of Berlin.

Though originally founded by British businessman John Tiller, the Girls themselves were viewed as archetypally American. The cultural impact of the Tiller Girls derived from the precision and athleticism of their dancing. Unlike the highly sexualized female dance numbers of the prewar period, the athleticism of the Tiller Girls seemed to portend, or rather to index, the ratio- nalization of entertainment and society. Ideologically positioned as modernized popular culture for a modern republic, the Tiller Girls and the revue stage they occupied became primary sites through which the gender of modernity was imagined in Weimar Germany.

For all too often, a focus on rationality unwittingly leads to the es- sentialization of the Girl as a young, healthy, white woman figure The hypostatized legs of the Tiller Girls depicted in so many commentaries of the time and in contemporary scholarship have themselves come to act as a synec- doche of the Weimar vision of the Girl. In other words, they end up obstructing our ability to get at the multiple truths of this discourse. Neatly encapsulating the German distinction between Kultur and Zivilisation, Huelsenbeck wrote in his review: The work can really only be about Girl-Civilizations in that the word culture implies a duration, consciousness Besinnung , and valuation of natural ties which are entirely foreign to American progress.

Syncopating the Mass Ornament Instead, in this provocative title, he consciously plays off this central opposi- tion of the German discourse on modernity. Instead of constructing America and Europe according to a binary logic of opposition, his concept of Girlkultur begins to point towards the ways in which America and Germany are growing closer rather than farther apart. For in it is displayed the same type of cultural mediation that he endeavored to enunciate through his combination of Girl and Kultur.

In this, he parallels Georg Simmel, for whom mod- ern culture, though assumed to be deleterious to individual subjectivity, was to be diagnosed, not morally judged. America has its advantages and its serious dark side. Each section presents an alternate version, or vision, of Girlkultur: With the introduction of slaves from Af- rica, however, the issue shifts from a question of pure scarcity, to one of fear. Giese postulates that while the Euro-American male viewed relationships between himself and African women as unproblematic, contact between white women and Black men was construed from the beginning as taboo.

She was so scarce as today the white woman in Africa or in the colonies, as today still often scarce in areas of new oil sources or gold mines. At this point, the colonial past of the United States becomes not just an explanation of American Girlkultur but a direct corollary to the German pres- ent. With the occupation of the Rhineland by French colonial troops from Af- rica, the specter of interracial relationships between Black men and white women was certainly on the minds of many Germans and, as we have seen in previous chapters, an important element of German jazz discussions.

Yet if it appears as if for Giese the descendants of slaves were but psy- chological projections through which an American national identity could be formulated, he complicates this situation by ascribing to African Americans various forms of cultural agency. At least not directly these, the first generation. Placing the African American into a line of development from nature to culture, Giese positions them as existing between these two poles.

In- deed, as many others had since around , Giese mentions both W. Du Bois and Booker T. Washington as examples of African American intellectual achievement GK Implicit within such proclamations of advancement was quite often a paternalistic attitude that such progress was predicated upon the help of Europeans. In this, his reading of African American culture shares a degree of similarity with other writers of the period, most notably with Ar- thur Rundt, whose translations of African American modernist poets like Langston Hughes are discussed in chapter 6.

He sees in jazz a form of critique pro- duced out of interaction with the dominant white society and also, and equally, a musical translation of modernity. Put differently, jazz functions as a musical translation of the cacophony of modernity and the modern metropolis.

More than a reflection of American modernity, jazz for Giese originates not only in the mimetic recreation of modernity, but in its peculiarity and satire: Satire, revenge, and irony are practiced by the Negro on this world of the whites. He imitates the acoustics of the metropo- lis and mimics in this way the people and their rhythm. This is the first hidden, let us say provincial bar beginning Vorstadtkasinoanfang of the jazz band.

GK 33 The jazz band for Giese is a satire of the metropolis, an ironic enactment of the sounds through which modernity excludes and persecutes African Americans and yet ideologically and economically needs them. Jazz is not only to be conceived of as the mechanical reproduction of the sounds of city streets but as an ironic and satirical commentary on white metropolitan culture. In this reading of jazz as, amongst other things, an African American satire of white modernity, Giese combines the reading of jazz as satire with racial critique.

Jazz transforms through innovative application and material mistreatment, in the case of the piano, the very normative framework of acceptable and unacceptable sound. Syncopating the Mass Ornament Instead, as in the passage from Giese cited in chapter 2, listening to jazz music recalls for him experiences of the disruptive, fragmentary, and terrorizing side of modernity. Disjointed and discomfiting, it is brought forth via the marginal- ized figure of the African American.

In emphasizing the underside of moder- nity, while at the same time refusing to seek refuge in an imagined pastoral past, jazz articulates an alternate discourse of progress and modernization. It registers both the inescapability of modernity and the danger it represents to the individual. Yet while Giese rhapsodized on the revolutionary parody of jazz music, he was only imperfectly able to integrate it with his wider discussion of Girlkultur and the Tiller Girls. The uncomfortable proximity of Black man and white woman implied by his argument was perhaps too much. The relatively belated entrance of African American jazz and African American revues, however, complicates this move.

In other words, he needs to reconcile the fact that African American revues like the Chocolate Kiddies ar- rive in Germany only after the Tiller Girls, while according to his developmen- tal narrative, they should have appeared first. There were operetta troupes of colored peoples and one of their best per- formances was the Chocolate Kiddies, who toured Berlin, London, and the continent even after the first appearance of the American Girls. These musically, rhythmically, and theatrically talented, outstanding Negro troupes closed the ring of development and only served to make clear how America in itself came to this novel phenomenon of the Girl troupe— amongst other things.

And not only dance music. Syncopation is a symbol of our unruly times, the symbol of a world that has come out of time. In order to do so, it is first necessary to consider African American, Afro- German, and other performers of African descent as essential, rather than as ancillary to Weimar revue culture. Unlike the Chocolate Kiddies, this show remained but a few days in Berlin. Even later still, a unique theatrical space for Black performers was created at the Biguine, an entertainment establishment named after the dance of the same name, which had been popularized in through the Paris colonial exhibition and the activities of musicians like the Martinican Alexandre Stel- lio.

That in Skutezky opened a bar featuring Black performers, music, and staff serves as an important reminder that Black per- formers were present throughout the Weimar Republic. For some members of the Afro-German and African migrant community, the entertainment indus- try offered a modicum of economic stability when other work was difficult to find.

During late s and early s, Benga also worked in Berlin at Wintergarten, at the Atrium-Beba-Palast, and the Alhambra, the latter two being primarily movie houses. On the Weimar stage, racial ste- reotyping tended to work via the types of roles offered Black performers: Yet as a result, the German revue became a space of interracial encounter in which Black and white regularly came into contact, often staging the very same racialized identity formation between Black man and white woman analyzed by Giese.

In the following, special attention will be paid to instances of contact between Black performers and white Girls via jazz and the saxophone. Though as discussed in chapter 1, such examples hardly constitute the first or the only examples of Black and white performers on the Weimar stage, their unique status, situated between discourses of gender, race, sexuality, and music, position them as jazz effect.