The Jazz of Physics: The Secret Link Between Music and the by Stephon Alexander

By Stephon Alexander

Greater than fifty years in the past, John Coltrane drew the twelve musical notes in a circle and attached them by means of directly strains, forming a five-pointed famous person. encouraged through Einstein, Coltrane had placed physics and geometry on the middle of his track. Physicist and jazz musician Stephon Alexander returns the prefer, utilizing jazz to respond to physics' such a lot vexing questions on the previous and way forward for the universe. Following the nice minds that first drew the hyperlinks among track and physics-a checklist together with Pythagoras, Kepler, Newton, Einstein, and Rakim-The Jazz of Physics revisits the traditional realm the place song, physics, and the cosmos have been one.

This cosmological trip accompanies Alexander's personal story of suffering to reconcile his ardour for song and physics, from taking song classes as a boy within the Bronx to learning theoretical physics at Imperial university, London's internal sanctum of string conception. taking part in the saxophone and improvising with equations, Alexander exposed the relationship among the basic waves that make up sound and the basic waves that make up every little thing else. As he finds, the traditional poetic notion of the "music of the spheres," taken heavily, clarifies confounding concerns in physics.

Whether you're extra conversant in Brian Greene or Brian Eno, John Coltrane or John Wheeler, the 5 percentage state or why the universe is below 5 percentage seen, there's a new discovery on each web page. masking the whole historical past of the universe from its start to its destiny, its constitution at the smallest and biggest scales, The Jazz of Physics will fascinate and encourage a person drawn to the mysteries of our universe, tune, and existence itself.

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Additional info for The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe

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Films noirs als Genre zu verstehen impliziert nun, sie im Rahmen von Formen zu sehen, die eine Tradition aufnehmen und variieren und so ihre jeweilige Geschichte in doppelter Weise brechen. Zum einen halten sie sich an die Erwartungen ihrer Zuschauer, arbeiten mit erzählerischen Standards und visuellen Stereotypen – und setzen gleichzeitig ein Spiel damit in Gang. Der Mut zur Variation ist dabei unmittelbar abhängig von der Intelligenz und Fantasie der Autoren, Kameraleute und Regisseure. Zum anderen stellen sie sich bewusst in eine serielle Tradition für dramaturgische und narrative Formen.

Die vierte Phase umfasst die Zeit der großen Hommages an den Classical Noir: von François Truffauts Tirez sur le pianiste (1959) und Jean-Pierre Melvilles Le Samouraï (Der eiskalte Engel, 1967) über John Boormans Point Blank (1967) bis zu Roman Polanskis Chinatown (1974) und Martin Scorseses Taxi Driver (1976). Die fünfte Phase schließlich, die 1978 mit Walter Hills Driver einsetzte und bis heute nicht abgeschlossen ist, ist geprägt von postmodernem Stilwillen (etwa Jean-Jacques Beineix’ La lune dans la caniveau / Der Mond in der Gosse in Frankreich [1983], Alan Rudolphs Trouble in Mind [1985] oder David Lynchs Blue Velvet [1986] und Lost Highway [1996] in den USA) und neoklassischer Erneuerung (etwa Mike Figgis’ Stormy Monday in England [1987], Nico Hofmanns Solo für Klarinette in Deutschland [1998], André Téchinés Les voleurs / Diebe der Nacht [1996] und Olivier Marchals 36 Quai des Orfèvres [2004] in Frankreich, Ethan Coens Miller’s Crossing [1990] und Brian De Palmas The Black Dahlia [2006] in Hollywood).

1972 von Paul Schrader, der den Zyklus auf Filme zwischen 1941 und 1956 begrenzte5, oder 1978 von Alain Silver und Elisabeth Ward, die das Korpus der Filme bis in das Jahr der Edition ihres Buches erweiterten6). Aus den USA kam der Begriff wieder zurück nach Europa: »Noir« wurde wiederum als Kategorie retrospektiv auf frühere Filme angewandt, dann aber (spätestens ab 1959 mit Truffauts Tirez sur le pianiste) auch als ästhetisches Reservoir begriffen, das fürs Filmemachen abzurufen ist. ) aufzuspüren.

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