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Alex Carnevale
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Mia Nguyen
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Ethan Peterson

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is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

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Entries in science-corner (3)

Saturday
Jul182009

In Which We Try Not To Blow Up The Moon

This Is How We Walk On The Moon

by ALEX CARNEVALE

Apollo 11 was, of course, the first manned mission to land on the moon. Why exactly we were there it's hard to say this far out, to recover the driving spirit of the Cold War. In these days human accomplishment wasn't limited to The Duel. It is hard to believe we landed on a lunar body. We did this — America!

I mean we had done a few good things along the way, some of them marred by the blood of patriots and traitors. But were we America then? We were surely America now, a vital potent force for making trouble in the world. Occasionally, as in this example, it was the right sort of trouble.

It wasn't easy. It came at a great financial cost. But we were first, which is still something even now.

We barely had civil rights, but we had space travel. What better sign that humanity was moving in the right direction, than the launch in July of 1969? We even had a media we sort of trusted. Major changes were happening in people's lives. They did not know that effectively, they were living through a golden age. World War II was a dim memory, international conflict wouldn't go away. But peace — and the triumph of American power — was on the horizon.

Robert Heinlein's Rocketship Galileo told of three boys and their brainy uncle taking a manned spacecraft to the moon thirty years before the feat would actually be accomplished. They trained and launched in an abandoned area near Nevada, and discovered a Nazi conspiracy on the moon. (That was later.)

"There's no economic value in a trip to the moon," their uncle tells them. "If there was, we'd have already been there." As time has gone on, we have better maps of Mars than we do of the Moon. The golden age turned bronze.

Now we're going back, and it's costing the government $580 million at a precarious time in the economic history of our country. So it is easy to say, "Why are we spending this sort of money?" "Aren't there better things to spend it on?" As if our taxes were just pocket money that we should reallocate to whoever was most deserving.

Now look, I don't believe in taxes, but priorities are relative. It's the same thing in the debate about global warming; the truth is barely any humans know a goddamn thing about the Earth. For christ's sake, we haven't even explored 100 percent of it! Same with space travel — extra-terrestrials could arrive here tomorrow.

In fact, it's likely that they will. We don't live in one of the only solar systems. To put it as mildly as I can while talking about this subject, there's a lot of them, and they have suns, too. Heat brings life, maybe not evolved as ours, but likely in a similar fashion. But people in government are more focused on handing money to Chrysler — where we actively know it can't do any good.

America of 1969 had no such problems; its greatest moments were ahead of her.

Everything was in black and white black then. You turned on the evening news, you turned on the late Walter Cronkite and you heard things of relevance, of tremendous relevance, to your own life. The world we live in was being formed, and all did not go according to plan.

The training was difficult, exhausting, exhaustive. They walked around in their pressure suits, they practiced climbing the ladder. Cronkite was decently amazed — his humanity was the reason he kept that job all those years, didn't you know?

Plans on the earth are just that — plans on the Earth. There's a lot you simply can't know about the Moon until you're on it, including what its ass (dark half) looks like.

America lubricated its genital area for this launch. It got the excitement going. You can see how pumped they were in the photos the Globe selected. NASA didn't fight for attention or interest. Hell, it could have been charity-funded enterprise if it didn't need so much money. In those days a photo in the media was a lot more impactful; people read newspapers, they didn't have 600 in their office every day.

That's why it's so fun to listen to Luddites now — they actually prefer not to know anything. They want to sit in the same place, static, not moving while the world moves around them.

We're on the moon now, a sort of anniversary voyage. This one has a serious purpose. Water:

Much of the exploration on this mission will therefore focus on the lesser-known dark side of the Moon, which scientists believe is cold enough to trap water molecules as ice.

The discovery of water at the lunar south pole would be “like finding a gold mine,” Dr Tooley said. Lunar water could be used for more than drinking because it could be broken down into hydrogen and oxygen for rocket fuel and breathable air, a crucial part of Nasa’s planning for a permanent, manned base.

This is Heinlein talk! He wrote it, of how we would use the Moon as a prison, how the different gravity would create a harder world, where the petty insolences of terran life would be deadly.

This is for the future, when humanity has used up all the natural resources Earth has to offer. In 1969, we were attempting an act of great beauty, we were Columbus and Magellan and Cook all wrapped into one white phallic package, ascending into the sky as millions watched on television.

Kennedy had given the mandate in 1961: "I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the Moon and returning him safely to the Earth." In other words, this nation. In other word, not the fucking Soviets!

Nixon viewed the mission from the Oval Office.

Cronkite, too, watched from his desk. As Armstrong and Aldrin reached the surface, they reported they were long — a difference of mere seconds in viewing landmarks meant a completely altered trajectory.

Although Apollo 11 landed with less fuel than other missions, they also encountered a premature low fuel warning. It was later found to be caused by the lunar gravity permitting greater propellant 'slosh' which had uncovered a fuel sensor. On future missions extra baffles were added to the tanks.

Buzz Aldrin spoke the first words (albeit technical jargon) from the LM on the lunar surface. Throughout the descent Aldrin had called out navigation data to Armstrong, who was busy piloting the LM. As Eagle landed Aldrin said, "Contact light! Okay, engine stop. ACA - out of detent." Armstrong acknowledged "Out of detent" and Aldrin continued, "Mode control - both auto. Descent engine command override off. Engine arm - off. 413 is in."

neil

Then Armstrong said the famous words, "Houston, Tranquility Base here. The Eagle has landed." Armstrong's abrupt change of call sign from "Eagle" to "Tranquility Base" caused momentary confusion at Mission Control. Charles Duke, acting as CAPCOM during the landing phase, acknowledged their landing, expressing the relief of Mission Control after the unexpectedly drawn-out descent.

Shortly after landing, before preparations began for the EVA, Aldrin broadcast that:

This is the LM pilot. I'd like to take this opportunity to ask every person listening in, whoever and wherever they may be, to pause for a moment and contemplate the events of the past few hours and to give thanks in his or her own way.

Like any good Catholic, Buzz then took communion.

earth from lunar orbitWhat could keep us from a place like this and the knowledge it contains? What could stop us from continuing to understand why we are here on this planet and if anyone else is also in this universe. It is the main function of humanity. It is not to live in a house and wonder sometimes when the sky lights up, what's out there? That is primitive talk. Caveman became us, but they need not be us.

What wonder in this small chunk of rock? I dare tell no one Heinlein's predicted future of an independent, hostile state on the Moon, but surely better a cranky neighbor than a repeat of the whole Australia situation. He believed the Moon would want to be independent. His belief thickens mine, that we could have relations with the people of another celestial body. And if there's natural resources to sustain human life, I suggest we had better find out. In fact, I volunteer — someone should be the first blog on the moon.

There is no amount of elocution that can describe a lunar landing. We spend our entire lives on Earth — to these astronauts their home and favorite broadcaster were some distance away. You can find the restored HD video streams that were made here. But it always looks like the best kind of fun to me.

Nabokov would later say of the landing:

Oh, "impressed" is not the right word! Treading the soil of the moon gives one, I imagine (or rather my projected self imagines), the most remarkable romantic thrill ever experienced in the history of discovery. Of course, I rented a television set to watch every moment of their marvelous adventure. That gentle little minuet that despite their awkward suits the two men danced with such grace to the tune of lunar gravity was a lovely sight.

It was also a moment when a flag means to one more than a flag usually does.

I am puzzled and pained by the fact that the English weeklies ignored the absolutely overwhelming excitement of the adventure, the strange sensual exhilaration of palpating those precious pebbles, of seeing our marbled globe in the black sky, of feeling along one's spine the shiver and wonder of it. After all, Englishmen should understand that thrill, they who have been the greatest, the purest explorers. Why then drag in such irrelevant matters as wasted dollars and power politics?

After the landing, Buzz Aldrin drifted into drinking and depression. How could he not? You can't go home again, especially when your home is the Moon. We have a deep inner desire, some small piece of it America, to make new worlds our own. It fascinates me that the Russians also had something of this composition, but they have never been a people to underestimate either — remember Stalingrad?

That is the beauty of this race. Any man may save the world.

Alex Carnevale is the editor of This Recording. He tumbls here, and twitters right here.

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"Across the Universe" - Rufus Wainwright (mp3)

"Let It Be" - Nick Cave (mp3)

"This Is How We Walk On The Moon" - Arthur Russell (mp3) highly recommended

"Blackbird" — Sarah McLachlan (mp3)

"Golden Summer, Carry That Weight, The End" — Phil Collins (mp3)

"Two of Us" — Aimee Mann & Michael Penn (mp3)

earthrise"Paperback Writer" - Kris Kristofferson (mp3)

"Helter Skelter" - U2 (mp3)

"Lucy In The Sky With Diamonds" - The Black Crowes (mp3)

"All You Need Is Love" — Elvis Costello (mp3)

Thursday
Jun042009

In Which Mickey Mouse Has Grown Up A Cow

SCIENCE CORNER: Martian Edition

by MOLLY LAMBERT

Tharsis Montes is a range of three volcanoes in the Tharsis region of Mars. It is a plateau and the largest volcanic region on Mars. It consists of Ascraeus MonsPavonis Mons and Arsia Mons, which are arranged in that order from north to south. Another volcano, Olympus Mons, the tallest known mountain in the solar system, islocated northwest of the Tharsis volcanoes.

The three volcanoes that comprise Tharsis Montes: Arsia Mons is southernmost; Pavonis Mons is at center; Ascraeus Mons is at north. 

Olympus Mons (Latin for "Mount Olympus") is the tallest known volcano and mountain in the Solar System. It is located on the planet Mars at approximately 18°N 133°W / 18, -133. It is three times taller than Mount Everest. Since the late 19th century — well before space probes confirmed its identity as a mountain — Olympus Mons was known to astronomers as the albedo featureNix Olympica ("Snows of Olympus"), although its mountainous nature was suspected.

Olympus Mons

The central edifice stands 27 kilometers (around 16.7 miles/approx. 88,600 ft) high above the mean surface level of Mars (about three times the elevation of Mount Everest above sea level and 2.6 times the height of Mauna Kea above its base). It is 550 km (342 miles) in width, flanked by steep cliffs, and has a caldera complex that is 85 km (53 miles) long, 60 km (37 miles) wide, and up to 3 km (1.8 miles) deep with six overlapping pit craters. Its outer edge is defined by an escarpment up to 6 km (4 miles) tall, unique among the shield volcanoes of Mars.

the aureole of Olympus Mons (no homo)

The volcano is surrounded by a region known as the Olympus Mons aureole (Latin, "circle of light") with gigantic ridges and blocks extending 1000 km (600 miles) from the summit that show evidence of development and resurfacing connected with glacial activity. Both the escarpment and the aureole are poorly understood. In one theory, this basalt cliff was formed by landslides, and the aureole consists of material they deposited.

Olympus Mons is a shield volcano, the result of highly fluid lava flowing out of volcanic vents over a long period of time, and is much wider than it is tall; the average slope of Olympus Mons' flanks is very gradual. Based on crater size and frequency counts, the surface of this western scarp has been dated from 115 million years old down to a region that is only 2 million years old. This is very recent in geological terms, suggesting that the mountain may yet have some ongoing volcanic activity.

Arsia Mons

Arsia Mons is the southernmost of three volcanos (collectively known as Tharsis Montes) on the Tharsis bulge near the equator of the planet Mars. To its north is Pavonis Mons, and north of that is Ascraeus Mons. The tallest mountain in the solar systemOlympus Mons, is to its northwest. Its name comes from a corresponding albedo feature on a map by Giovanni Schiaparelli, which he named in turn after the legendary Roman forest of Arsia Silva.

A repeated weather phenomenon occurs each year near the start of southern winter over Arsia Mons. Just before southern winter begins, sunlight warms the air on the slopes of the volcano. This air rises, bringing small amounts of dust with it. Eventually the rising air converges over the volcano's caldera and the fine sediment blown up from the volcano's slopes coalesces into a spiraling cloud of dust that is thick enough to observe from orbit. The spiral dust cloud over Arsia Mons repeats each year. Recent studies provide evidence for glaciers on Arsia Mons. 

As of 2007 seven putative cave entrances have been identified in satellite imagery of the flanks of Arsia Mons. Nicknamed "the seven sisters" they have been informally dubbed Dena, Chloë, Wendy, Annie, Abbey, Nikki, and Jeanne and resemble "skylights" formed by the collapse of cave ceilings.

cave entrance on Martian volcano? portal to another world?

From day to night, temperatures of the circular features change only about one-third as much as the change in temperature of surrounding ground. While this is more variable than large caves on Earth, it is consistent with them being deep pits. How deep they go and whether they harbor any life remains to be seen.

Molly Lambert is the managing editor of This Recording. She tumbls here.


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"Raindrops" - The Rumble Strips (mp3)

"Happy Hell" - The Rumble Strips (mp3)

"Not the Only Person" - The Rumble Strips (mp3)

rumble strips website

Saturday
Aug302008

In Which We Explain The Parting of the Sensory

Ways of Peeing

by Tavet Gillson

Visual art and technology are entwined in a tumultuous relationship.

Every so often, a technological breakthrough (linear perspective, the camera obscura, the photograph, the computer) revolutionizes the way the world produces and interprets images. These sorts of transformations are sudden and unequivocal: the new way of seeing swallows up the old visual order, forcing artists to adapt to new techniques and conventions.

Take the word “cat,” for example.

“Cat” means roughly the same thing whether it is handwritten, typewritten or on a webpage. But a painting of a cat is different – it doesn’t look the same as a photograph of a cat, and a film of a cat isn’t much like the other two. The meanings of images are rooted in their construction, whereas the meanings of written words are largely unaffected by their means of transmission.

Technology has the power to reinvent vision, and to retroactively alter established art forms. In the mid nineteenth century, the invention of the photograph caused the rapid, simultaneous development of hyper-realistic panting (with flat, high-contrast space) and its blurry, emotive counterpart, impressionism (filled with exaggerated colors and visually ambiguous forms).

The psychological impact of the Daguerreotype catalyzed two opposing, intensely experimental movements in painting, one in which artists sought to infuse painting with photographic truth; another which rejected the exactness of the mechanical image in favor of a deeper investigation into the tactile qualities of oil pigment.

Manet's Olympia

The best uses of technology produce transcendent, uncanny works of art.

In the 1860s, Édouard Manet exploited the party-snapshot voyeurism of high-contrast photography to dramatic effect in his paintings Olympia and Le Déjeuner sur l'herbe.

Fifteen years ago, James Cameron’s Terminator 2 convinced us of the T-1000’s bloodthirsty omnipotence by artfully weaving morphing and reflection mapping (then brand new CG techniques) into a film narrative. We remember these works because they are modern visual dreams, freed from the shackles of traditional perception.

But novelty on its own does not guarantee aesthetic victory. Computers aren’t as paradigm-shattering today as they were ten or fifteen years ago, even though computer technology is always “new” and constantly changing. The day-to-day evolution of technology does not guarantee the aesthetic advancement of art.

A lot of digital artists suffer from short-term memory, and from an attraction to technology rather than to what technology can do for art. Techies aren’t the most culturally shrewd bunch (they love Anime and part their hair down the middle), so most of the digital art on the Internet consists of bizarre, Frazetta/Geiger-influenced illustrations of sci-fi robot women with huge-breasts.

Richard Linklater’s high-tech rotoscoped movies Waking Life and A Scanner Darkly are likewise hindered by a geeky preoccupation with the latest digital toys. Waking Life was praised for its “cutting-edge” use of digital tracing, but the visuals fail to justify a script dripping with pretentious, freshman-year philosophy. In A Scanner Darkly, Linklater goes to great lengths transplanting a generic comic book style onto an already-existing live-action movie.

Less derivative digital art, sometimes called “processing,” is usually too “glitchy” and cold for the average viewer. Shifting grids, abstract 3D shapes and unrecognizably scrambled media clips tend to conjure an atmosphere of disaffected, confused alienation.

Godfrey Reggio’s Naqoyqatsi, one of the more highbrow examples of “digital art,” attempts to make sense of the digital pastiche by cycling through every technologically themed image in existence, no matter how passé or ugly (to the music of Philip Glass, no less). Like a lot of academic art about mass media, Naqoyqatsi falls victim to the schizophrenia it is trying to parse.

Of course there are exceptions – the digital artists Jeremy Blake (who committed suicide in July) and Paul Chan, fuse romantic, mystical imagery with postmodern, high-tech nonlinearity.

Ryan Trecartin’s sprawling experimental film A Family Finds Entertainment uses digital effects and pays homage to postmodern confusion, but maintains a blazing, unified aesthetic throughout.

[youtube=http://www.youtube.com/watch?v=8y5AxLiUqC8]

Not surprisingly, Blake, Chan and Trecartin all have educational backgrounds in traditional media.

Jeremy Blake's girlfriend Theresa Duncan's blog. More about them here.

Visual art is about seeing, and technology has the capacity to deepen our understanding of that complex cognitive process. Technology can create and collapse genres. It can transpose the characteristics of one medium onto another and it can breathe new life into old forms (with the aid of software, graphic designers have distilled Warhol and Rosenquist into an even slicker, more ubiquitous mass-media aesthetic).

The images that stick in our brains are the ones that mean something in the context of our visual history. Now that the DIY digital media boom has slowed, we can bring a bit of experience to bear on our judgment of emerging art. The next time you’re blown away by something that looks brand new, don’t forget Manet’s chalk-white picnic nude, or that wonderful T-rex in Jurassic Park.

Tavet Gillson is an MFA candidate in experimental animation at CalArts. You can see more of his work here.

IF TODAY IS THE SAME AS YESTERDAY TOMORROW WILL BE THE SAME AS TODAY

"Moonshiner" - Cat Power (mp3)

"Calculus Man (alternate mix two)" - Modest Mouse (mp3)

"Sample and Hold (Tumbledore edit)" - Neil Young (mp3)

"Dead Lovers' Twisted Heart" - Daniel Johnston (mp3)

"Talk Show Host (live on the BBC)" - Radiohead (mp3)

PREVIOUSLY ON THIS RECORDING

Becca's review of My Kid Could Paint That.

Our love of Tony Romo.

Just the way it pulled apart.