Wax Cylinders Research Articles

Evaluation of the Bond Strength of Acrylic Teeth to Denture Base after Various Chemical Surface Treatments: An In Vitro Study.

The purpose of the present study was to assess the bonding capacity and efficacy of acrylic teeth to denture bases following two different chemical surface treatments. A two-metal mold measuring 35 mm in length and 12 mm in diameter was created specifically for the investigation in order to standardize the wax pattern-based tooth attachment at 45°. Following standard protocol, 75 wax cylinder specimens were flasked, dewaxed, and surface treatment of teeth was done as follows with 25 samples in each group-group I: control group, group II: monomethyl methacrylate monomer group, group III: acetone group. The curing process was completed following the packing of the denture base material. The samples' shear bond strength was assessed using a universal testing machine. Every sample was taken out when it fractured, and the shear load (Newton, N) was noted. The significance of the variation in applied shear load was assessed using one-way analysis of variance (ANOVA) and post hoc ANOVA Tukey's honestly significant difference (HSD) test at the 5% level of significance. The maximum shear bond strength was found in the samples treated with acetone (183.21 ± 0.06) followed by samples treated with monomethyl methacrylate monomer (171.64 ± 0.12) and the control group (149.32 ± 0.04). A statistically significant difference was found between the different groups (p < 0.001). In conclusion, according to the current study's findings, acetone chemical surface treatment of acrylic teeth produced the strongest bond when compared with the control group and monomethyl methacrylate monomer. In prosthodontic practice, artificial teeth regularly de-bond and separate from the denture base. A weak interface is produced when certain clinical conditions, such as ridge prominence, cause excessive cutting of the acrylic teeth and base. Where the denture base polymer meets the teeth's highly cross-linked matrix, it de-bonds adhesively. Therefore, the bonding between the acrylic teeth and the denture base material can be improved by the chemical surface treatment. How to cite this article: Chaudhuri NG, Lahiri B, Francis NT, et al. Evaluation of the Bond Strength of Acrylic Teeth to Denture Base after Various Chemical Surface Treatments: An In Vitro Study. J Contemp Dent Pract 2024;25(6):514-517.

True Echoes

This article describes True Echoes, a three-year project initiated by the British Library to research its Oceanic wax cylinder collections and to reconnect digitised sound recordings with their originating communities. These collections, recorded in the late nineteenth and early twentieth centuries, comprise some of the earliest recordings of Pacific cultures and histories and represent the early use of sound recording for European anthropological research in the region. The recordings were made in Papua New Guinea,Vanuatu, Solomon Islands, New Caledonia, and the Torres Strait Islands of Australia. They, along with the British Library’s wider collection of ethnographic cylinders, were added to UNESCO’s Memory of the World Register in 2011.This article concentrates on some of the earliest recordings, 102 wax cylinders of the Alfred Cort Haddon 1898 Expedition (Torres Strait and British New Guinea) Cylinder Collection (C80). The collection also contains 39 cylinders recorded in Papua New Guinea, which will not be discussed here. Research methods involved historical research in partnership with Oceanic cultural institutions and participatory research with community members, which provided local knowledge and new information. The “multi-perspectivist approach” employed by the project team was important for gathering a variety of perspectives on the collections and for revealing “the complex processes involved in their production, collection and interpretation”.

Overview of Urine Cylinders in Patients With Pulmonary Tuberculosis Undergoing Advanced First-Line Treatment at the RSUD Ciamis

Background &amp; Objective: Pulmonary tuberculosis is a contagious disease caused by Mycobacterium tuberculosis bacteria that can attack various organs, especially the lungs. Tuberculosis patients are treated with anti-tuberculosis drugs such as rifampicin and streptomycin, which can potentially cause kidney function impairment. To detect any abnormalities in the kidneys, a urine sediment examination is conducted, which can identify an increase in urine cylinders if any damage to the kidneys is present. This study aims to provide insights into urine cylinders in patients with pulmonary tuberculosis based on the duration of their treatment. Method: This is a descriptive study that utilised a purposive sampling technique. The study involved 38 Tuberculosis patients as respondents. Sampling was carried out at the DOTS clinic of RSUD Ciamis and the research was conducted between October 2021 and May 2022. Result: Out of 38 samples, 6 people tested positive for cylinders at a value of +1 (which means very little). These cylinders included hyaline, wax, granule, fat, and epithelial cell cylinders. The percentage of people who tested positive for cylinders was 15.8%. On the other hand, 32 people tested negative for cylinders, which accounts for 84.2% of the total sample. Conclusion: It can be concluded that cylinders were found in tuberculosis patients. Future researchers are advised to examine urine cylinders in pulmonary tuberculosis patients undergoing the sixth month of treatment in patients at a young age.

Shxwelí li te shxwelítemelh xíts'etáwtxw: The museum's confinement of Indigenous kin

AbstractAcross the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. The typical display scenario for such belongings places them upon plinths, underneath plexiglass. These cases render the life they contain into objects of display, things to be seen but not touched. For Indigenous people, experiencing this objectifying system of display is often traumatic because that which is on display fits neither category of object nor thing. They hold life, and are beings or ancestors; they are treated as kin. Alongside the life of ancestors who take material form, thousands of Indigenous songs collected by ethnographers on wax cylinder recordings and reel‐to‐reel tape are similarly confined in museum collections. These songs also hold life, but of different kinds from their material cousins. To reassess the role of the museum as a place that confines life is to put into question its relationship to incarceration. If the museum is a carceral space, how then, might we define repatriation alongside practices of “reentry” and kinship reconnection?

From Wax Cylinder to Metal Disc: Transplanting Robert Lachmann’s “Oriental Music” Project from Berlin to Jerusalem on the Eve of World War II

Of the multidisciplinary cohort of scholars associated with the Berlin Phonogramm-Archiv in its formative decades, it is Robert Lachmann (1892–1939) who, in his approach to fieldwork and the importance he attached to it, comes closest to adopting the methods of classic ethnomusicology. In April 1935, having been dismissed from his post in the Prussian State Library under the Nazi racial laws, he took up a temporary appointment at the newly founded Hebrew University of Jerusalem with a mission to create an Archive of Oriental Music. He brought with him copies of his entire collection of some 500 wax cylinder recordings held in the Berlin Phonogramm-Archiv. Between 1935 and 1938, Lachmann made 956 recordings on metal disc documenting musical traditions of different "Eastern" communities of Palestine. His writings from this period, however, relied predominantly on research carried over from his Berlin years. The most substantial, and the first to be completed, is his monograph Jewish Cantillation and Song in the Isle of Djerba (Gesänge der Juden auf der Insel Djerba) based on his fieldwork in Djerba in 1929. In this contribution, I argue that Lachmann's pioneering study of this Tunisian Jewish community provided the methodological blueprint for much of his work in Palestine. I focus on his series of 12 radio programs, entitled "Oriental Music," transmitted by the Palestine Broadcasting Service between November 1936 and April 1937. The programs, which feature different groups living in or around Jerusalem, were illustrated by live studio performances by local musicians and singers, simultaneously recorded onto metal disc. In successive lectures, Lachmann presents fundamental ideas about the nature and evolution of musical practices and systems that are explored more fully in his Djerba monograph. Thwarted by inadequate finances and lack of institutional support, Lachmann's work was cut short by his premature death in May 1939 and it fell to his former student, Edith Gerson-Kiwi, to pick up the threads of his project. His collecting activities, together with the comparative vision that informed them, laid the foundations for the work of subsequent generations of ethnomusicologists.

Collections of Music from the Arab World in the Berlin Phonogramm-Archiv

The number of collections of music from the Arab world housed in the Berlin Phonogramm-Archiv (BPhA), 30 in all, is impressive, as is the great number of wax cylinders. In the beginning, Arab music was not the main concern of the Berlin Phonogramm-Archiv; there were a small number of collections of music from the Arab world until 1918, but even then, extensive research was being done (see Hornbostel's 1906–7 article on Tunisian music). Recordings made in German prisoner-of-war camps during World War I augmented the holdings. Fieldwork in Arab countries peaked around 1930, with recordings made by Robert Lachmann as the leading figure and several other scholars associated with the Berlin School of Comparative Musicology. This article presents an overview of the BPhA's collections from the Arab world, their status and content, and highlights their specific features compared to its collections from other regions of the world. Based on the historical documents associated with the collections (correspondence, publications), information will also be given about the collectors, their backgrounds, motivations, and fieldwork.

Music in the mind and primitive sounds: «only differences in kind»

Summary During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental training and a solid musical education, typical of their Bildungsbu ü rgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions.

Влияние структуры течения газа в осесимметричном канале на формирование неоднородного температурного поля в наполнителе из твердого легкоплавкого материала

This paper presents a study of the interaction between high-speed airflow and the surface of a solid low-melting material in a flowing channel of a model body. Both numerical and experimental approaches are used to solve the problem, which allows one to perform a comprehensive analysis of the processes under study. Numerical simulation conditions correspond to aerodynamic tests in the experimental facility. The unsteady Reynolds-averaged Navier-Stokes (URANS) equations are used to describe a gas flow. When solving the problem, the coupled heat-transfer and turbulence are taken into account. The low-temperature gas-dynamic processes are considered, while the chemical reactions and phase transition are neglected. As a result of numerical simulations, the flow structure and regime in a flowing channel of the model are determined, as well as the pressure and temperature distributions in the near-wall region of a solid combustible material. The gas flow regime corresponds to an underexpanded jet flow with the separation of the boundary layer and the formation of the intense heat-transfer regions at the initial section of the flowing channel. According to the numerical simulation results, in aerodynamic tests with a Mach number of 6, the melting point is attained in the near-wall region of the solid combustible material (polyethylene, polyoxymethylene, and wax). Aerodynamic tests are carried out to validate the obtained results. Experimental results show that the variation in the flowing channel diameter in the thick-wall cylinder made of polyethylene and polyoxymethylene is induced by thermal expansion. In aerodynamic tests with a wax cylinder, the mass reduction and the fusion of the solid-gas interface are revealed.

Навстречу обонежским томам Свода русского фольклора: материалы экспедиций фольклорной секции ИПИН 1931–1932 гг. в собрании Пушкинского Дома

The article considers for the first time the history, methods, and results of two folklore expeditions to the Zaonezhie region, which took place in the summer of 1931 and in the winter of 1931/1932. The expeditions were led by members of the Folklore Section of the Institute for the Study of Peoples of the USSR and the Karelian Research Institute. Two students of the Leningrad State Historical and Linguistic Institute, M. B. Kaminskaia and N. N. Tiaponkina, took part in the expeditions. Among other things, the expeditions were especially charged with collecting materials on the current state of the epic tradition and the “social function of the epic.” The expedition of 1931 was intended to provide field practice experience to students. For that matter it involved many participants and solved a wide range of problems. Members of the expedition took records only in notebooks. The 1931–1932 winter expedition was professional, so it took records even on wax cylinders. The article summarizes data concerning both expeditions and pays special attention to the materials on the Russian epic tradition. It reconstructs the route of the winter expedition, provides an inventory of the phonographic collection, and reviews the handwritten records. The analysis of the materials showed that the young specialists adopted the work methods used by Leningrad folklorists: searching for masters of epics performance, working with both the best and ordinary performers, practicing separate handwriting of the text (“in 2 pencils”) and sound recording, collecting biographies of performers, taking detailed interviews about the experience of mastering of the epic tradition and the experience of performing. These methods made it possible to accumulate important material about the folklore and ethnography of the Zaonezhie region.

Синкопированный Гоголь. О фонографных записях Ревизора в постановке Вс. Мейерхольда

The article provides commentary and background information on the audio recording of Nikolai Gogol’s “The Inspector General” directed by Vsevolod Meyerhold (1926). This performance was appreciated by contemporaries as one of the most significant works by the director and a striking achievement of 1920s Soviet theatre. The wax cylinder captured a dialogue between Khlestakov (Erast Garin) and Anna Andreevna (Zinaida Reich, the only voice recording of the actress) from Act III, Scene 6, where Khlestakov is boasting about the life he leads in St Petersburg. It provides us with rare examples of Meyerhold’s approach to Gogol characters’ speech, which was influenced by the experiments of modern music like jazz, and conformed with the general principles of Meyerhold’s biomechanics. The article contributes to knowledge about approaches to documenting twentieth-century theatre and Meyerhold performances in particular. It focuses on the research projects of the Institute for Artistic Speech Research (Leningrad), which initiated the sound recordings of this and other Meyerhold productions in 1927.

Singing and Speaking in Early Twentieth-Century Zarzuela: The Evidence from Early Recordings

ABSTRACT The present article draws upon thirty years of recorded evidence (from the first wax cylinders made in the late nineteenth century, to the first electrical recordings of the 1920s and early 1930s) to study two modes of voice production used in Spanish zarzuela: one indebted to operatic singing, characterized by timbral modification and widespread vibrato; and another one more connected to popular forms of entertainment, based on a low-larynx position and clear enunciation. Far from constituting a rigid dichotomy, this article discusses how both modes of voice production coexisted and were combined within the general governing principle of communicating text expressively, confirming—as has been suggested by recent historiographical research—zarzuela’s status as a hybrid genre able to absorb a number of influences. The article also discusses how the former of these two modes of production became more widespread at the end of the period under study, and considers the influence of recording technologies in this process.

World

World

Overview of the documentary film "The first audio recording of Kazakh music. Road of people"

Kazakh traditional music has been the research object for many scientists from Russia, Germany, Great Britain, Hungary, Japan, the United States, and other countries. In the 20th century, due to the establishment of Soviet power, the territory of Kazakhstan was closed for research by foreigners. Simultaneously, such a combination of events contributed to preserving materials collected before the Great October Socialist Revolution. Therefore, today it is vital for the World and Kazakh ethnomusicology to consider unknown materials and scientific sources. Various foreign archives contain materials unknown to Kazakh ethnomusicologists about Kazakh traditional music collected on researchers’ and traveler’s expeditions since the end of the XVIII century. Recordings of the German ethnographer-anthropologist R. Karutz were found in 2016 by the film crew of the Interstate TV and Radio Company “Mir”, and analyzed and published by the doctor of Art studies S. I. Utegalieva in the book” Turkestan collection of songs and instrumental pieces collected by R. Karutz (1905)”. These recordings prove that there are sources about Kazakh traditional music that can change the opinion about the historical significance of the Kazakh culture in the Central Asian region. The famous turcologist Efim Rezvan presented the records in the Pushkin Museum in St. Petersburg. It turned out that the original cylinders with authentic recordings are currently stored in the archive of the Berlin Museum of Visual Anthropology and Ethnology. This article reviews the documentary film "Road of People: The First Audio Recording of Kazakh Music", and sheds light on the possible prospects of studying the problem of research the Kazakh traditional music. Today, the Berlin Phonogram Archive contains samples of music from all over the world, the first recording dates back to 1900. The collection of wax cylinders by Richard Karutz is kept in the Department of Ethnomusycology, Visual Anthropology at the Berlin Phonogram Archive of the Ethnological Museum in Berlin. The collection is well preserved, and according to its curator Dr. Ricarda Kopal, there are 16 wax cylinders from Turkestan, an area of ​​now southern Kazakhstan, which R. Karuts crossed during his expedition. The film crew brought digital copies of the recordings to Almaty for further study. Kazakh and international scientists and performers, professors and doctors of sciences: S. Utegalieva, T. Togzhanov, A. Berdibay (Kazakhstan), I. Saurova (Karakalpak Autonomous Republic), R. Abdullaev (Uzbekistan) and others were involved to decipher, analyze, describe and evaluate the musical and artistic content of the recordings. The whole process was documented in the film, which was worked on by a whole team of professional journalists, the script was written by Timur Sandybaev and Askar Alimzhanov, directed by Kanat Yessenamanov.

Comparative evaluation of shear bond strength of acrylic teeth with heat polymerized acrylic resins using different surface treatments and curing cycles – An in vitro study

Purpose: This study evaluated the bond strength of acrylic resin denture teeth to heat cure denture base resin processed under different curing cycles and after various surface treatments on the bonding surface area of acrylic denture teeth.Materials and Methods: A two-piece metal mold of 35 mm length and 12 mm diameter was fabricated to standardize the attachment of teeth at 45°. Ninety such wax cylinders were obtained and were randomly divided and coded into three groups of 30 samples each: Group “A” – the “Control” group, Group “B” – the “MMM” group, and Group “C” – the “Acetone” group with Subgroup 1 – processing with short curing cycle and Subgroup 2 – processing with long curing cycle in each group. These 90 wax cylinder specimens were then flasked, dewaxed as per the standard protocol and surface treatment of teeth, and curing was done. The samples were tested in a universal testing machine.Results: ANOVA analysis inferred that there was a statistically significant difference between the mean bond strength values among the groups.Conclusion: Analysis of mean bond strength values reveals that the mean bond strength values of acetone were significantly higher (P < 0.05) when compared to the other groups.

The Archives of Deborah Miranda’s Bad Indians

The Archives of Deborah Miranda’s Bad Indians Laura M. Furlan (bio) Tell the lies now and maybe lateryour descendants will digfor the truth in libraries,field notes, museums,wax cylinder recordings,newspaper reports of massacresand relocations, clues you left behindwhen you forgotto lielie lie lie. —Deborah Miranda, Bad Indians: A Tribal Memoir In the poem “Lies My Ancestors Told for Me,” Deborah Miranda (Ohlone-Costanoan Esselen and Chumash) evokes the colonial archive, the collection of historical documents and materials that informs her 2013 memoir, Bad Indians: A Tribal Memoir, of which this poem is part. Significantly, Miranda suggests here that “truth” can be found in institutional archives, among the “lies” told in the interest of survival: “and when you tell that lie/tell it in Spanish,” “Give your children/Spanish names,” “Don’t tell them/you still speak Chumash/with their mother” (40). Throughout this complex memoir, Miranda demonstrates the need to look to many sources—and to read them critically—to find these “clues” that help her reconstruct her story of self and the story of her people, a story of genocide at the hands of the Spanish missionaries and later those of the United States.1 “Constructing this book has been hard,” she writes in the book’s introduction, “listening to those stories seep out old government documents, Bureau of Indian Affairs (BIA) forms, field [End Page 27] notes, the diaries of explorers and priests, the occasional writings or testimony from Indians, family stories, photographs, newspaper articles” (xx).2 But Miranda tells a different story, one that she centers around the Esselen word xu-lin (meaning to reclaim, return, recover),3 making her “tribal memoir” simultaneously an act of discovery and recovery, a testimony, a tribal genealogy, a reclamation, and a historical reconstruction.4 The memoir also functions as a quest to find her ancestors’ voices in the archives—those telling the “lies” in the poem cited above.5 Miranda is not the first Indigenous author to go to the archives to reconstruct and write the history of her people, but what makes this text unique and compelling is how she calls attention to and interprets the colonial record and how she positions Indigenous archives and knowledge. In this book, Miranda not only reclaims or recovers archival materials, but she also demonstrates how to read them, how to translate them from an Indigenous perspective, and how to read them in tandem with Indigenous sources and stories. In so doing, Miranda challenges the colonial archive as the sole keeper of knowledge and calls attention to the gaps in and the narrative power of the historical record, enacting what literary scholar Emily Lederman has called “archival sovereignty”—work that both “destabiliz[es]” and “repurpose[es]” colonial archival documents, “by positioning the US colonial record within an Indigenous frame” (64; 65).6 Similarly, in Red Ink, literary scholar Drew Lopenzina theorizes about an alternate Indigenous archive, what he terms a “longhouse of the archive,” one that is grounded in Native epistemologies, and about how archival recovery means “making a space for a [historical] narrative” that has been “unwitnessed” (18; 24).7 The Indigenous archives movement, which began in earnest with Vine Deloria, Jr.’s 1978 report entitled The Right to Know, first focused on Indigenous peoples’ access to knowledge in institutional archives.8 Debates over archives continue into the present, as scholars like Marlene Manoff, Randall Jimerson, and Ann Stoler point to the bias of archives and the knowledge they represent, suggesting that we read them not solely for historical accuracy but to instead think about the gaps and misrepresentations, issues of provenance and access (including how to limit outsider access to sensitive Indigenous knowledge in these archives), cataloguing, user groups, digital surrogates and repatriation, and how, why, and by whom the collections were constructed.9 Read within the context of these debates, Bad Indians offers a method of [End Page 28] interpreting what the author finds in the contested space of the colonial archive, which she supplements with family and personal archives and her own autobiographical account to provide a counternarrative that “makes space” for an alternate Indigenous history—similar to the process...

The Outer Limits: Latinx Art History's Resident Alien(ation)

The Outer Limits:Latinx Art History's Resident Alien(ation) Robb Hernández (bio) In the exhibition Mundos Alternos: Art and Science Fiction in the Americas, the contemporary, new, and now frequently conflicted with the virtual, as yet, and to be seen.1 As co-curator, my studio visits with artists from ten U.S. cities and six Latin American nations challenged the familiar terms of art fieldwork in the present by revealing creative processes committed to the speculative and fantastic. By expanding the terms of "science fiction art," these artists rehearsed anachronic detours, futuristic investigation, and slipstreams of what Gloria Anzaldúa calls "alien consciousness." "The secret I tried to conceal," writes Anzaldúa, "was that I was not normal, that I was not like the others. I felt alien, I knew I was alien."2 Building off what Dan Byrne-Smith loosely defines as science fiction's "forms of practice, complex networks, or a set of sensibilities" in the arts, these Latinx creatives and their eclectic drives were akin to resident aliens of art history.3 Here I second Jennifer A. González's assessment that the critical vocabularies emerging around the field of Chicano and Chicana art introduced "new linguistic and conceptual discourse," which would "appear purposefully alien."4 Although her turn of phrase would seem more metaphoric than literal, her double-speak refortifies Anzaldúan thought. There is something alien about Latinx visuality seated at the outer limits of formal art historical methodologies, defamiliarizing familiar space-time synchronicities and circumventing nation-period paradigms. For traditional object-oriented and linear-minded art historians, "despite their interest in and engagement with contemporary art, most … have trouble evaluating art that is being created in their own time, art that points the way, i.e. the way to the future," Armen Avanessian argues.5 It is perhaps because of Latinidad's resident alien(ation) that art history has much to learn from its utopian, speculative, and world-making potentialities. How Latinx art and performance conveys speculatively directed [End Page 279] image-making focuses the remainder of my comments, which highlight works by Beatriz Cortez, Guadalupe Maravilla, and Beta-Local from the 2019 iteration of Mundos Alternos at the Queens Museum in New York. "What if ?," "what could be?," and "what will be?" guide creative practices and artistic interrogations at the "outer limits" of the observable external world. Alien being and being alien are matters of empire, social (dis)location, migratory displacement, and bendable uses and senses of space-time. These vectors combine in Beatriz Cortez's The Cosmos (Spaceship), a mirrored cosmic domicile suffusing the geodesic dome structures of Indigenous architecture with countercultural commune shelters and the architectural imprint of NASA space modules. Her mirrored hexagonal tiles cast luminous light fields across the gallery, perhaps adding a recognizable schema of shine and metallic tones on par with "science-fiction modernity," which colors Western imaginaries of space science.6 However, what sounds in the ambient noise of the museum are the words of Ishi, the last known member of the Yahi First Nation people in Native California. His testimony reverberates from a 1911 wax cylinder recording, bringing archaic technologies of the past to reckon with the privileged space of spaceflight technology. Like a time machine, The Cosmos (Spaceship) refuses the closures of dead languages, temporal linearity, and Western scales of time. Ishi is no longer abandoned in the past. He belongs to today and tomorrow. Ancient knowledges, conquered people, and the genocidal disappeared Click for larger view View full resolution Figure 1. Beatriz Cortez, The Cosmos (Spaceship) (2015). Wood, acrylic mirrors, zip ties, and found audio recording on a loop. Image courtesy of Hai Zhang/Queens Museum and the artist. [End Page 280] return for an out of time conversation with an Anthropocene in crisis and an extinct language transmitted through the cosmos. Cortez's sculpture broadcasts Yahi sounds filling the art environment with messages in tune with another time, another Earth. Certainly, where there are languages, there are other worlds. Artist Guadalupe Maravilla's performance in which personal testimonio takes alien form is no exception. In Walk on Water, beast, coyote, and extraterrestrial populate the collaborative promenade staged on the...

Quantifying the ‘press and peel’ removal of particulates using elastomers and gels

Elastomers and gels have been proposed for the gentle ‘press and peel’ cleaning of soil or grime from substrates of cultural and/or historic significance. However, there has been limited understanding that connects the physical and chemical properties of these soft materials to the required physical properties for removing adhered particles from surfaces. In this work, we quantified the cleaning efficacy for a range of elastomers and hydrogels in order to probe the effects of material chemistry, elastic modulus, thickness, and the number of repeated cleaning treatments on the removal of artificial soil from a substrate. We developed a quantitative measure of cleaning efficacy via a simple experimental method that relies on image processing of the interface prior to and after cleaning to measure the removal of soil particulates. The results suggest there are two material requirements that must be satisfied for a successful cleaning: 1) efficient contact with soil particulates on the substrate and 2) favorable chemical interactions with soil particulates to facilitate their removal. Cleaning efficacy is enhanced by decreasing the effective stiffness of the material. Repeated cleaning treatments on the same spot with pristine material can also further remove artificial soil with each subsequent application. In order to highlight the applicability of soft, solvent-free elastomers for cleaning applications, a commercially available silicone elastomer was used to remove particulate contaminants from a historic wax cylinder.

Amateur Recording on the Phonograph inFin-de-siècleBarcelona: Practices, Repertoires and Performers in the Regordosa-Turull Wax Cylinder Collection

AbstractThe Regordosa-Turull wax cylinder collection, held at the Biblioteca de Catalunya, Barcelona, is unique among early recording collections. It contains 358 cylinders recorded by the textile industrialist Ruperto Regordosa, mostly at his Barcelona home, featuring prominent Spanish and non-Spanish singers of opera and zarzuela, as well as the composer Isaac Albéniz. This article aims to establish the significance of the collection for the study both of the amateur recording culture that existed alongside commercial phonograph recordings and of performance practices in opera and zarzuela. By examining the broader characteristics of the collection and textual sources from the period, and by closely analysing some of the cylinders, this article explores how Regordosa adopted (and in some cases adapted) certain generic conventions employed in commercial recordings of the time, and what the implications of this are when considering these early recordings as documents of performance practice.

Reconstructing Zarzuela Performance Practices ca. 1900

This article makes an initial contribution to the largely unexplored field of historical performance practice in zarzuela by examining the earliest surviving recordings of Manuel Fernández Caballero’s Gigantes y cabezudos (1898). One of the greatest successes of the género chico subgenre of zarzuela during the early years of commercial phonography in Spain, it is also the zarzuela of which the most recordings made before 1905 have survived: nineteen, made on wax cylinders by local gabinetes fonográficos and on disc by Gramophone. Both the thriving género chico culture and its singing practices, as well as the technological, commercial, and cultural aspects of the early recording industry in Spain, are discussed to consider how recordings related to live performance in this particular context, what the value is of these recordings as documents of performance practice, and what questions they open up for further study of performance practice in zarzuela.

Effects of Historical Recording Technology on Vibrato in Modern-Day Opera Singers

Past literature indicates that vibrato measurements of singers objectively changed (i.e., vibrato rate decreased and vibrato extent increased) from 1900 to the present day; however, historical audio recording technology may distort acoustic measurements of the voice output signal, including vibrato. As such, the listener's perception of historical singing may be influenced by the limitations of historical technology. This study attempts to show how the wax cylinder phonograph system-the oldest form of mass-produced audio recording technology-alters the recorded voice output signal of modern-day singers and, thus, provides an objective lens through which to study the effect(s) of historical audio recording technology on vibrato measurements. Twenty professional Western opera singers sang a messa di voce on the vowel [a] and on the pitch C4 for male singers and C5 for female singers, three times into a flat-response omnidirectional microphone and onto an Edison Home Phonograph simultaneously. The middle 1-3 seconds (6-10 vibrato cycles) of each sample was analyzed for vibrato rate, vibrato extent, jitter (ddp), shimmer (dda), and fundamental frequency for each recording condition (wax cylinder phonograph or microphone). Steady-state and frequency-modulating sinewave test signals were also recorded under the multiple recording conditions. Results indicated no significant effect of recording condition on vibrato rate (mean [standard deviation], cylinder: 5.3 Hz [0.5], microphone: 5.3 Hz [0.5]) and no significant difference was found for mean fundamental frequency (cylinder: 389 Hz [137], microphone: 390 Hz [137]). A significant main effect of recording condition was found for vibrato extent (cylinder: ±103 cents [30], microphone: ±100 cents [31]). Additionally, mean jitter (ddp) (cylinder: 1.22% [1.09], microphone: 0.24% [0.12]) and mean shimmer (dda) (cylinder: 9.40% [4.90], microphone: 1.92% [0.94]) were significantly higher for the cylinder recording condition, indicating more cycle-to-cycle variability in the wax cylinder recorded signal. Analysis of test signals revealed similar patterns based on recording condition. This study validates past scholarly inquiry about vibrato measurements as extracted from digitized wax cylinder phonograph recordings by demonstrating that measured vibrato rate remains constant during both recording conditions. In other words, vibrato rate as measured from historical recordings can be viewed as an accurate representation of the historical singer being studied. Furthermore, it suggests that the value of prior vibrato extent measurements from these acoustic recordings may be slightly overestimated from the original voice output signals produced by singers near the beginning of the 20th century (i.e., a narrow vibrato extent might have been numerically smaller on average). Increased jitter and shimmer in the wax cylinder recording conditions may be indicative of nonlinearities in the phonograph recording or playback systems.