Underlinings (#67)

What Challenger did:

… Only a word by way of epilogue. It is of course well known that the effect of the experiment was a world-wide one. It is true that nowhere did the injured planet emit such a howl as at the actual point of penetration, but she showed that she was indeed one entity by her conduct elsewhere. Through every vent and every volcano she voiced her indignation. Hecla bellowed until the Icelanders feared a cataclysm. Vesuvius blew its head off. Etna spewed up a quantity of lava, and a suit of half-a-million lira damages has been decided against Challenger in the Italian Courts for the destruction of vineyards. Even in Mexico and in the belt of Central America there were signs of intense Plutonic indignation, and the howls of Stromboli filled the whole Eastern Mediterranean. It has been the common ambition of mankind to set the whole world talking. To set the whole world screaming was the privilege of Challenger alone.

Underlinings (#56)

The peculiar John Murray Spear:

… In 1852, Spear broke all ties with the Universalist church, and instead turned to Spiritualism. He claimed that he was in contact with “The Association of Electrizers”, a group of spirits including Benjamin Franklin, Thomas Jefferson, John Quincy Adams, and Benjamin Rush, as well as Spear’s namesake John Murray. Evidence indicates he occasionally faked signatures as a way to gain authority from a “guide from the past”; however, these signatures were dated beyond the lifetimes of the deceased. Spear believed that the purpose of this group was to bring new technology to mankind, so that greater levels of personal and spiritual freedom could be achieved. The following year, Spear and a handful of followers retreated to a wooden shed at the top of High Rock hill in Lynn, Massachusetts, where they set to work creating the “New Motive Power”, a mechanical Messiah which was intended to herald a new era of Utopia. The New Motive Power was constructed of copper, zinc and magnets, all carefully machined, as well as a dining room table. At the end of nine months, Spear and the “New Mary”, an unnamed woman, ritualistically birthed the contraption in an attempt to give it life. Unfortunately for Spear, this failed to have the desired effect, and the machine was later dismantled. …

Sonic Synthesis

Klint Finley on the exotic ideological history of electronic music (from Summer 2012):

You don’t play the ANS synthesizer with a keyboard. Instead you etch images onto glass sheets covered in black putty and feed them into a machine that shines light through the etchings, trigging a wide range of tones. Etchings made low on the sheets make low tones. High etchings make high tones. The sound is generated in real-time and the tempo depends on how fast you insert the sheets. […] This isn’t a new Dorkbot or Maker Faire oddity. It’s a nearly forgotten Russian synthesizer designed by Evgeny Murzin in 1938. The synth was named after and dedicated to the Russian experimental composer and occultist Alexander Nikolayevich Scriabin (1872–1915). The name might not mean much to you, but it illuminates a long running connection between electronic music and the occult. …

And we’re away — Theosophists, Marxists, Fascists, and musicians to come …

(Via.)