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Trevor James Constable (17 September 1925 − 31 March 2016) was an early UFO writer who believed that the UFO phenomenon was best explained by the presence of enormous amoeba-like animals inhabiting earth's atmosphere.[1] A native of Wellington, New Zealand, he served 31 years at sea, 26 of them as a radio officer in the U.S. merchant marine. He authored several books on the aerial warfare of World War II, together with co-author Raymond Toliver. These works have been described as uncritical and not grounded in historical realities by several historians[who?].
Authorship on World War II[edit]
fQCJo.ebook They Live in the Sky:Invisible Incredible UFOs Around Us Pdf Free. 5.50l, #File Name: They Live in the SkyInvisible Incredible UFOs. I have read first Constables book 'Cosmic Pulse of Life' where hetells already. Chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971. Amid menaces more cosmic and comic than anything his claws could grapple with. The dialect of documents and men talking business - shows itself here for the first time, in the. The pulse is very weak.
Constable was an author who produced 10 non-fiction books, many well known to aficionados of famous fighter aces.[2] His co-author on these works was Raymond Toliver, a former U.S. Air Force pilot and official historian of the American Fighter Aces Association. Their work on German fighter ace Erich Hartmann, The Blond Knight of Germany, was described by historians Ronald Smelser and Edward J. Davies in their work The Myth of the Eastern Front as a 'hallmark of romanization', with its 'insidious' title suggesting medieval chivalry that 'not only fails to characterize the conduct of the Wehrmacht during the Soviet-German war, but, indeed, marks its opposite'.[3]
The historian Jens Wehner notes that the 1971 book by Constable and Toliver on Hartmann, published in German as Holt Hartmann vom Himmel! Die Geschichte des erfolgreichsten Jagdfliegers der Welt, was immensely popular in Germany, but contained serious flaws in terms of presentation of historical realities. These included the uncritical borrowing from the Nazi propaganda elements of the Fliegerassen ('aces') and stereotypes about the Soviet Union. According to Wehner, the latter could be traced to the prevailing attitudes during the Cold War. Further, the political and social consequences of World War II were completely ignored.[4]
UFO hypothesis[edit]
After reading about radionics and Wilhelm Reich's orgone, Constable became convinced that supposed UFOs were in fact living organisms. He set out to prove his theory by taking a camera with him, fitted with an ultra-violet lens and high-speed film. The processed pictured showed signs of discolouration, which Constable insisted were proof of amoeba-like animals inhabiting the sky.[1]
Reviewing his new found 'evidence', Constable was moved to write in two books that the creatures, though not existing outside of the 'infrared range of the electromagnetic spectrum', had been on this Earth since it was more gaseous than solid. He claimed that the creatures belonged to a new offshoot of evolution, and that the species should be classified under macrobacteria.[1] According to Constable, the creatures could be the size of a coin or as large as half a mile across.[5]
The biology of the creatures supposedly meant that they were visible to radar, even when not to the naked eye.[5] To explain supposed cattle (and occasionally human) mutilations, Constable theorised that the use of radar angered the organisms, who would become predatory when provoked.[5] At a later date a crypto-zoologist officially classified these supposed creatures as Amoebae constablea, named after their discoverer.[1] Constable wrote a book entitled The Cosmic Pulse of Life in 1975 that outlined his ideas.[1]
Work with TJC/Atmos Engineers[edit]
In 1991 Constable worked with the local Malaccan government on a project to fill the Durian Tunggal Dam.[6]
He and the company promoted the idea that they had created a 'rain-making' technology, which employed 'metal cylinders placed in cones and modified gadgets', which would then alter the ether or 'chi' of the atmosphere.[7] The benefits of using such a device were touted as avoiding electromagnetism or radioactive substances being placed into the country's air.[6] Constable did express concern at having to use the devices for a localised area, saying that 'it's like trying to put rain in a small container'.[6]
Constable claimed that his technology and methods had already been used to fill the Gibraltar Dam in California.[6]
In the earlier stages of the operation there were apparently not yet any notable results in filling the reservoir, and some Malacca residents blamed evil spirits, which were fighting against the attempts to align the atmosphere. Constable said he believed 'there could be some truth in the rumours', but he was confident that his technology could overcome the obstacle.[8]
The Malaysian government eventually began a probe into TJC/Atmos Engineers to look into whether there was any evidence that the State government had been cheated.[9] In total the local government had paid them $3.2 million. However, the following was reported on Aug 14, 1991 in the New Straits Times, 'TJC Atmos Engineers was hired by the Malacca Government to solve the State's water problems by filling up the 28-metre Durian Tunggal dam which dried up in January. They will be paid $3.2 Million if they succeed and half if the dam is half full by the end of next month. The operation started on July 1. Mr. Constable described the contract to undertake the operation in Malacca as totally contingent - no result, no pay.' It would appear then that if the Malacca Government paid out the full amount of $3.2 Million to TJC/Atmos Engineers, that they would have been deemed to have fulfilled the full contractual obligations for receiving that sum of money.[6][7]
Bibliography[edit]
- Raymond F. Toliver / Trevor J. Constable: Fighter Aces of the Luftwaffe, ISBN978-0887409097
- Raymond F. Toliver / Trevor J. Constable: The Blond Knight of Germany: A biography of Erich Hartmann, ISBN978-0830681891
References[edit]
- ^ abcdePilkington, Mark (June 23, 2005). 'Life: Letters: Phantom flyers: Far out'. The Guardian. London. p. 10.
- ^Parkinson, Russell J.; Toliver, Raymond F.; Constable, Trevor (Spring 1966). 'Fighter Aces. by Raymond F. Toliver; Trevor Constable'. Military Affairs. Society for Military History. 30 (1): 51. doi:10.2307/1985471. JSTOR1985471.
- ^Smelser & Davies 2008, pp. 170–173.
- ^Notheisen 2017.
- ^ abcReece, Gregory L. (20 Aug 2007). UFO Religion: Inside Flying Saucer Cults and Culture. I.B.Tauris. p. 17. ISBN9780857717634.
- ^ abcdeNadzri, Syed (August 14, 1991). 'Rain-making firm tells how it's done'. New Straits Times - Aug 14, 1991.
- ^ ab'Theory has no scientific basis, says don'. New Straits Times. August 14, 1991. p. 29.
- ^'Official: Technology will overcome local beliefs'. New Straits Times. August 14, 1991. p. 5.
- ^'Malacca orders probe into rain pact'. New Straits Times. September 15, 1991.
Sources[edit]
- Laura Notheisen (31 January 2017). 'So war der deutsche Landser. Die populäre und populärwissenschaftliche Darstellung der Wehrmacht' [So was the German Landser: The popular culture and popular science representation of the Wehrmacht]. H-Soz-Kult (in German). Retrieved 12 March 2016.H-Soz-Kult
- Smelser, Ronald; Davies, Edward J. (2008). The Myth of the Eastern Front: The Nazi-Soviet War in American Popular Culture. New York: Cambridge University Press. ISBN978-0-521-83365-3.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Trevor_James_Constable&oldid=855569443'
Cosmic Pulses is the last electronic composition by Karlheinz Stockhausen, and it is number 93 in his catalog of works. Its duration is 32 minutes. The piece has been described as 'a sonic roller coaster',[1] 'a Copernican asylum',[2] and a 'tornado watch'.[3]
History[edit]
Cosmic Pulses is the Thirteenth Hour of the unfinished Klang (Sound) cycle. Massimo Simonini, artistic director of Angelica, commissioned the piece in partnership with the Dissonanze festival of electronic music. Stockhausen began realising the piece in December 2006.[4] The world premiere occurred on 7 May 2007 at Auditorium Parco della Musica (Sala Sinopoli) in Rome.[5]
In the Klang cycle, Cosmic Pulses represents a turning point. It is the beginning of the second half of the cycle, and all of the music after the thirteenth hour is electroacoustic, employing partial mixdowns of Cosmic Pulses as the tape accompaniment. A recording of the piece was released on CD 91 by the Stockhausen-Verlag. The CD also presents the beginning moments of all 24 isolated layers on separate tracks.
Materials and concepts[edit]
The number 24 is central to the construction of Cosmic Pulses. There are 24 layers of sound. There are 24 'melodic loops', spaced throughout 24 different registers (spanning 7 octaves). There are 24 different tempi.[6]
Stockhausen defines the tempi in the piece as units of 8 tones and pulses[7] The fastest tempo is 240 beats per minute (bpm). Eight pulses per 240 bpm equals 1,920 tones and pulses per minute. The low end of the tempo scale is 1.17 bpm, which yields 9.36 tones and pulses per minute.
The source timbre for the piece is a synthesizer.[8] Antonio Pérez Abellán was responsible for constructing and synchronizing the layers.[9] The loops are layered on top of each other, beginning in the low register and moving to the high register. They are staggered in a way that the low loops drop out as the high loops take over, creating a rough progression from low sounds to high over the course of the piece.[10]
Stockhausen used a basic graphic notation to indicate how each loop should be altered from its fundamental form through pitch and tempo changes. Stockhausen called these changes glissandi, requiring them to be smoothly executed with faders for a continuous deviation from the original loop. Kathinka Pasveer realized these ornamentations using his score. The tempo could change by as much as a factor of 12, and the pitch variations could be as narrow as a tritone or as wide as a major tenth.[6]
Cosmic Pulses is designed for an 8-channel sound system that surrounds the audience in a square, with 2 channels on each side and a subwoofer on every channel.[11] Stockhausen chose 241 trajectories for sound to travel through such a system. Therefore, each loop has a specific path to travel through the system.[3]
For the first time, I have tried out superimposing 24 layers of sound, as if I had to compose the orbits of 24 moons or 24 planets (for example, the planet Saturn has 48 moons) … If it is possible to hear everything, I do not yet know—it depends on how often one can experience an 8-channel performance. In any case, the experiment is extremely fascinating![9]
During his lectures surrounding the German premiere, Stockhausen said that he had 'not made up his mind concerning it' yet,[10] and he admitted that the piece might be regarded as 'not music, just sound' and it might be better to 'just take it as a natural phenomena [sic] and not think of composition'.[12]
The OKTEG[edit]
Joachim Haas and Gregorio Karman from the Experimental Studio for Acoustic Art of Südwestrundfunk (SWR, 'Southwest Broadcasting') in Freiburg, which had been founded on 1 September 1971 as the Experimentalstudio der Heinrich-Strobel-Stiftung des SWF,[13] created the OKTEG, a special piece of equipment to allow Stockhausen to realize the spatialization manually. They brought the OKTEG to Kürten in March 2007 to spatialize the piece. Other firms had done similar things for Stockhausen. For example, the WDR studio technicians built a manually driven 'rotation table' for the production of Kontakte in 1958–59, and an improved, electrically driven model (capable of up to 25 rotations per second) for Sirius in the early 1970s.[14] The Modul 69 B for Mantra, was built to the composer's specification by the Lawo company from Rastatt, near Baden-Baden,[15] a switcher-controller, a regulator-distributor, and two 'rotation mills' for the spherical pavilion at Osaka's World Fair, were built to Stockhausen's designs by Mr Leonard of the Firma Electronic in Zürich in October 1968.[16]
The OKTEG (Octophonic Effect Generator) relies on a Max/MSP patch that uses eight variable-law amplitude panning modules. The modules are driven by individual sequencers with tempo control. An execution queue containing the rotation data specified by Stockhausen's maps managed the messages that controlled all eight sequencers. Motor faders allowed real-time adjustment of the tempo of each sequencer. The performance of these real-time adjustments was encoded as a frequency-modulated audio-rate sawtooth. This signal was then recorded as an audio track in ProTools. This audio track is then used as a controller to realize the finished audio files.[3]
Reception[edit]
After the world premiere performance, Stockhausen signed autographs for an hour and a half.[10] The German premiere at the Stockhausen Courses was met with a partial standing ovation as well as some boos. Reviewing the course concerts in MIT's Computer Music Journal, Nick Collins called the source timbre 'a rather cheap electric piano sound',[10] and reported that those in the audience 'who had heard more recent electroacoustic music were slightly perturbed by the bad timbre at the start for the source sound'.[10] However, Collins observed that this was 'quickly subsumedinto the granular storm as the layers gather and tempi increase', concluding that, notwithstanding audience consensus that 'the overload last[ed] too long in the middle … It might cautiously be claimed that Mr. Stockhausen achieved a controversial success, and created a work that has reinvigorated his electronic music'. Collins shared his shorthand notes, which he scribbled in the dark during the performance:
violent spasms of space, serial recurrences, a Copernican asylum, over- literal crashes, rushing more and more beyond sense, like being inside Stockhausen’s mind as he composes, a battle of enraged keyboardists in a tempo war, granular roars, bass pedals and clatters, gurgling granules accelerate, pushing the boundary of information, tapes spooling mercilessly, a labyrinth of tone pulses, a multiplicity of collisions in an organ factory, even poor synthesis can’t ruin this controlled chaos, wider and wider dynamics and layering, building to the synchronies of planets, raging layers, raging presets in a keyboard shop war, a fight at an audio convention.[10]
Describing the UK premiere at the BBC Proms, Nick Emberley felt that 'the Albert Hall sounded like a mighty beast woken from slumber'.[17] Richard Morrison wrote in The Times that the piece was 'half an hour of mesmerisingly complex, and sometimes oppressively rumbly, electronica that ping-ponged round the hall like billions of electrons in a whirlwind', but hearing it alongside Stimmung, Morrison concluded 'it was impossible not to feel that Stockhausen's time came and went many decades ago.'[18]
In The Sunday Times, Paul Driver described Klang as characteristically 'portentous' and the organization around the 24 hours of the day as unexpectedly 'obvious'. He praised Cosmic Pulses, 'If one tried to imagine a kind of background roar to the universe, this is surely how it would be: incessant and implacable, like magnified wave crashes, cheerfully apocalyptic.'[19] John Allison wrote that Cosmic Pulses 'was thrilling: as rumbling and splintering noises ricocheted around the Albert Hall, it felt as if Stockhausen had dropped a microphone into deepest space.'[20] George Hall concluded that 'the most riveting of the concert's offerings turned out to be the purely electronic Cosmic Pulses, a 30-minute continuum of mighty and minute sounds ricocheting round the hall like some infinite, inter-galactic bunfight. Stockhausen's vast output is erratic, but the best is surely here to stay.'[21] Ivan Hewett described the piece as 'a vast, half-hour hurricane of sound' that 'to my earthly ears it seemed oppressively unvaried, despite fascinating moments'.[22] Andrew Clements wrote admiringly '[Cosmic Pulses] is an extraordinarily powerful creation by any standards, both poetically beautiful and utterly terrifying. It is a work of immense complexity and unmistakable power, and it sees him using the electronic medium with a mastery that no other composer has matched.'[23]
References[edit]
- ^ARTSaha! program, Accessed: November 12, 2011.
- ^Collins, Nick. 'Karlheinz Stockhausen: Cosmic Pulses', MIT Computer Music Journal, Vol. 32, No. 1, Pattern Discovery and the Laptop Orchestra (Spring, 2008), p. 90.
- ^ abcNordin, Ingvar Loco. 'Karlheinz Stockhausen - Edition 91: Cosmic Pulses'. Accessed: November 12, 2011.
- ^COSMIC PULSES, 13th Hour of KLANG (SOUND) (archive from 4 April 2014; accessed 20 July 2015).
- ^Stockhausen, Karlheinz. Stockhausen-Courses Kuerten 2007: Composition Course on KLANG/SOUND, the 24 Hours of the Day: Second Hour: FREUDE for Two Harps, 2005, Work No. 82.Kürten: Stockhausen-Verlag, 2007.
- ^ abProgram from the world premiere performance. (pdf)
- ^Stockhausen, Karlheinz. Jerusem. Kürten: Stockhausen-Verlag, 2007. p. III
- ^Walls, Seth Colter. Das Reboot at Issue Project Room, December 12, 2011.
- ^ abStockhausen, Karlheinz. Cosmic Pulses, CD Liner Notes. Kürten: Stockhausen-Verlag, 2007.
- ^ abcdefCollins, p. 89.
- ^Stockhausen, Karlheinz. Orvonton. Kürten: Stockhausen-Verlage. 2007, p. III-IV.
- ^Collins, p. 90.
- ^Anon. 'Jubiläum: 40 Jahre Experimentalstudio des SWR' (Stuttgart, Baden-Baden, Mainz: SWR.de, 2011) (Accessed 14 December 2011)
- ^Karlheinz Stockhausen, Kompositions-Kurs über SIRIUS, Elektronische Musik und Trompete, Sopran, Baßklarinette, Baß (1975–77) (Kürten: Stockhausen-Verlag, 2000): 43–44.
- ^Karlheinz Stockhausen, Mantra für 2 Pianisten (1970), Werk Nr. 32 (score) (Kürten: Stockhausen-Verlag, 1975): i, iv, and vii)
- ^Karlheinz Stockhausen, 'Osaka-Projekt: Kugelauditorium EXPO 70', in his Texte zur Musik 3, edited by Dieter Schnebel, 153–87, DuMont Dokumente (Cologne: Verlag M. DuMont Schauberg). Citation on p. 167.
- ^Emberley, Nick. 'Stock Exchanges', The Evening Standard, August 4, 2008.
- ^Morrison, Richard. 'Stockhausen Day', The Times, August 4, 2008.
- ^Driver, Paul. 'Mister Universe', The Sunday Times, August 10, 2008.
- ^Allison, John. 'Music's Deep Spaceman', The Sunday Telegraph. August 10, 2008.
- ^Hall, George. 'After the orchestral brawl, an intergalactic bunfight', The Independent on Sunday. August 10, 2008.
- ^Hewett, Ivan. 'Sound of a Cosmic Giant', The Daily Telegraph. August 4, 2008.
- ^Clements, Andrew. 'Review: Proms 20 & 21: Stockhausen Day Royal Albert Hall, London 4/5', The Guardian. August 4, 2008.
External links[edit]
- Experimental Studio for Acoustic Art at SWR.
- Interview with Karlheinz Stockhausen at the Parco della Musica(in Italian)
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