Textbook Music and The Environment in Dystopian Narrative Sounding The Disaster Heidi Hart Ebook All Chapter PDF

Music and the Environment in
Dystopian Narrative Sounding the

Disaster Heidi Hart
Visit to download the full and correct content document:
https://textbookfull.com/product/music-and-the-environment-in-dystopian-narrative-so
unding-the-disaster-heidi-hart/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Visions for Intercultural Music Teacher Education Heidi

Westerlund
https://textbookfull.com/product/visions-for-intercultural-music-
teacher-education-heidi-westerlund/
Sounding Bodies Sounding Worlds: An Exploration of

Embodiments in Sound Mickey Vallee
https://textbookfull.com/product/sounding-bodies-sounding-worlds-
an-exploration-of-embodiments-in-sound-mickey-vallee/
Sounding Otherness in Early Modern Drama and Travel:

Uncanny Vibrations in the English Archive Jennifer
Linhart Wood
https://textbookfull.com/product/sounding-otherness-in-early-
modern-drama-and-travel-uncanny-vibrations-in-the-english-
archive-jennifer-linhart-wood/
The Routledge Companion to Sounding Art 1st Edition

Marcel Cobussen
https://textbookfull.com/product/the-routledge-companion-to-
sounding-art-1st-edition-marcel-cobussen/
The Orient in Music Music of the Orient Maagorzata
Grajter
https://textbookfull.com/product/the-orient-in-music-music-of-
the-orient-maagorzata-grajter/
Developments in Handwriting and Signature

Identification in the Digital Age Heidi H. Harralson
https://textbookfull.com/product/developments-in-handwriting-and-
signature-identification-in-the-digital-age-heidi-h-harralson/
Kut 1916 The Forgotten British Disaster in Iraq Crowley
https://textbookfull.com/product/kut-1916-the-forgotten-british-
disaster-in-iraq-crowley/
The architecture of narrative time. Thomas Mann and the

problems of modern narrative 1st Edition Wickerson
https://textbookfull.com/product/the-architecture-of-narrative-
time-thomas-mann-and-the-problems-of-modern-narrative-1st-
edition-wickerson/
The Narrative Subject: Storytelling in the Age of the

Internet Christina Schachtner
https://textbookfull.com/product/the-narrative-subject-
storytelling-in-the-age-of-the-internet-christina-schachtner/
PALGRAVE STUDIES IN MUSIC
AND LITERATURE
Series Editors: Paul Lumsden and
Marco Katz Montiel
MUSIC AND THE

ENVIRONMENT
IN DYSTOPIAN
NARRATIVE
Sounding the Disaster
Heidi Hart
Palgrave Studies in Music and Literature
Series Editors
Paul Lumsden
City Centre Campus
MacEwan University
Edmonton, AB, Canada
Marco Katz Montiel

Edmonton, AB, Canada
This leading-edge series joins two disciplines in an exploration of how
music and literature confront each other as dissonant antagonists while
also functioning as consonant companions. By establishing a critical con-
nection between literature and music, this series highlights the interaction
between what we read and hear. Investigating the influence music has on
narrative through history, theory, culture, or global perspectives provides
a concrete framework for a seemingly abstract arena. Titles in the series,
both monographs and edited volumes, explore musical encounters in nov-
els and poetry, considerations of the ways in which narratives appropriate
musical structures, examinations of musical form and function, and studies
of interactions with sound.
Editorial Advisory Board:

Frances R. Aparicio, Northwestern University, US
Timothy Brennan, University of Minnesota, US
Barbara Brinson Curiel, Critical Race, Gender & Sexuality Studies,
Humboldt State University, US
Gary Burns, Northern Illinois University, US
Peter Dayan, Word and Music Studies, University of Edinburgh, Scotland
Shuhei Hosokawa, International Research Center for Japanese Studies, Japan
Javier F. León, Latin American Music Center of the Jacobs School of Music,
Indiana University, US
Marilyn G. Miller, Tulane University, US
Robin Moore, University of Texas at Austin, US
Nduka Otiono, Institute of African Studies, Carleton University, Canada
Gerry Smyth, Liverpool John Moores University, England
Jesús Tejada, Universitat de València, Spain
Alejandro Ulloa Sanmiguel, Universidad del Valle, Colombia
More information about this series at

http://www.palgrave.com/gp/series/15596
Heidi Hart
Music and the

Environment in
Dystopian Narrative
Sounding the Disaster
Heidi Hart
Utah State University
Logan, UT, USA
Palgrave Studies in Music and Literature

ISBN 978-3-030-01814-6 ISBN 978-3-030-01815-3 (eBook)
https://doi.org/10.1007/978-3-030-01815-3
Library of Congress Control Number: 2018959075
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature
Switzerland AG, part of Springer Nature 2018
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, express or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.
Cover credit: Mono Circles © John Rawsterne/patternhead.com
This Palgrave Pivot imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To cry to the sea that roared to us, to sigh
To th’ winds whose pity, sighing back again,
Did us but loving wrong.
Shakespeare, The Tempest
Acknowledgments
This book has resulted from many years of environmental interest and
concern, nurtured first in the Great Basin desert where I worked as a jour-
nalist in the early 1990s. Luminary writers and thinkers including Teresa
Jordan, Gary Snyder, Terry Tempest Williams, Gary Short, Ann Zwinger,
Stephen Trimble, and Rick Bass helped me to see beyond the sagebrush
(and deeper into its own history) to better understand the costs of human
presence on the Earth. Scott Slovic and Ann Ronald at the University of
Nevada, Reno first engaged my interest in environmental humanities. My
writing mentors at Sarah Lawrence College, in particular poets Suzanne
Gardinier and Joan Larkin, imparted the craft and courage to link the
personal and the political in my own work. My various Quaker communi-
ties have helped me to continue this commitment to social and environ-
mental justice, as have friends in the sciences and climate activism;
particular thanks to Rand and Diana Hirschi, Elaine and Phil Emmi,
Marion Klaus, Ken Lauber, and Darlene McDonald. I am also grateful for
my ongoing, long-distance community of concerned poets and artists,
including Jennifer Wallace, Myrna Goldman, Meredith Trede, Mylène
Dressler, Pamela Hart, Tricia McInroy, Melanie Vote, Nathan Wasserbauer,
Tori Ellison, Kelly Madigan, Lana Neilson, and Roz Newmark.
In my doctoral program at Duke University and University of North
Carolina (UNC) at Chapel Hill, I was fortunate to study film theory with
Inga Pollmann and to gain a much more nuanced understanding of
nature’s role in literature and music, thanks to my advisor, Thomas Pfau.
Bryan Gilliam and Lawrence Kramer have helped to sharpen my musico-
logical skills and to use them to respond to problems in the larger world.
vii
viii ACKNOWLEDGMENTS
Eric Downing and Bill Donahue have added to my analytic skills in narra-
tive texts. Kata Gellen’s work in sound studies has been a source of insight
as well. Thanks to Richard Langston and Gabriel Trop, I was able to par-
ticipate in a media theory reading group at UNC that continues to inform
my work on intersections of sound, text, and image. I am also grateful to
the late Jonathan Hess for helping to steer my academic writing toward
clear argument with relevant stakes.
At Utah State University (USU), I have been fortunate to teach courses
on environmental humanities and Nordic literature and film, with the sup-
port of department chair Brad Hall and my fellow faculty members. I am
particularly grateful to Doris McGonagill for the intellectual rigor and
gracious collaborative spirit she brought to our co-taught course on nature
and culture in 2017. My students in German courses have engaged with
environmental questions as well, and I appreciate their willingness to
research and give presentations on “green Germany” to Utah State’s
Sustainability Council, another great source of inspiration and collabora-
tion on our campus. Jack Greene, Logan Christian, Star Coulbrooke,
Lawrence Culver, Mehmet Soyer, and Laura Gelfand have given signifi-
cant time and insight to our students’ explorations in and of the natural
world, and thanks to Alexi Lamm for her support behind the scenes. The
USU Anthropocene Working Group has helped to balance my work on
dystopian narrative with constructive optimism in the face of climate crisis.
I owe special thanks to Robert Davies, Rebecca McFaul, and the Fry Street
Quartet for sharing the music, images, scientific data, and human wisdom
of the Crossroads Project environmental concert series. My gratitude also
goes to Monika Galvydis, the Global Engagement staff at USU, and my
students in the Sustainability in Scandinavia program, for making possible
an adventure in environmental art, science, scholarship, and policy, in
summer 2018. In my continuing research in the larger German Studies
community, I am grateful to Joy Calico for her feedback on this book’s
final chapter and to Joanna Neilly, Ruth Jacobs, Ann Shanahan, Andreas
Aurin, and Kate Hollander for their insights into music and politics, as
well as the legacy of Romanticism, in our time.
The Scandinavian intermediality community and Anthropocene
Working Group at Linnaeus University (LNU) have been beyond helpful
in enriching my work and exposing my students to the workings of envi-
ronmental policy, green energy, and eco-critical thinking in Sweden.
Special thanks to Jørgen Bruhn, Beate Schirrmacher, Corina Löwe, Emma
Tornborg, and Liviu Lutas for the many insights that have helped to guide
ACKNOWLEDGMENTS ix
this project, and to the students at LNU for sharing their “green city”
with our group from Utah State. In Norway, Henriette Thune and Anne
Gjelsvik continue to provide discerning support as I write on intersections
of crisis and care. At the Norwegian University of Life Sciences, thanks to
Ian Bryceson, Shai Divon, and Pål Vedeld for taking time to discuss the
stakes in international environmental education and dialogue. Many
thanks also to the word and music community, in particular Emily
Petermann, Allie Reznik, Axel Englund, Lea Wierød Borčak, Hannah
Hinz, and Laura Wahlfors, for grounding my project in an already rich
tradition of intermedial inquiry. I am also deeply grateful to the Palgrave
Macmillan editorial staff, Marco Katz Montiel, Allie Troyanos, and Ruth
Jacobe, as well as to my peer reviewer, who have challenged me in the best
way to write a book that links aesthetic inquiry to larger planetary
concerns.
I am especially grateful to my family for their continuing support as I
work to balance teaching, research, and writing with our treasured time
together in the actual outdoors. Many thanks to my parents for exposing
me to music’s power at an early age, from live opera and orchestra to ritual
songs at Zuni Pueblo in New Mexico. To my son Anders, gratitude for
playing Bach, for including me in the ecology community at Utah State
and, as always, for reminding me which plants are safe to eat while hiking.
To my son Evan, thank you for sharing your own music and environmen-
tal studies, and for guiding my students through the Norwegian woods on
a worryingly hot day. To Amelia and Abigail, I am grateful to have daugh-
ters who make music with me, too, and who care deeply for the world and
its creatures. To my husband John, thank you for sharing our earliest
dreams of exploration in space and sea, for your many years of witnessing
the Arctic ice-melt from the cockpit, for your insight on environmental
film and science fiction, and most of all for your listening presence as I
respond the best I can to our political and planetary climate.
Contents
1 Introduction 1
1.1 Sounding the Anthropocene 1
1.2 A Critical-Performative Approach 4
1.3 From Space Opera to Mahagonny 7
1.4 Coda10
References13
2 Mozart in Space: A Love Story15

2.1 Voice in the Machine15
2.2 Messenger, Trace, Story19
2.3 Mozart on the Bus22
2.4 Coda24
References28
3 Apocalyptic Body Song: The Book of Joan31

3.1 Musical Novels31
3.2 Violence and the Female Voice33
3.3 Evoking the Earworm35
3.4 A Sonic Cluster Bomb37
3.5 Coda39
References42
xi
xii Contents
4 Fossil Opera: Persephone in the Late Anthropocene43

4.1 Persephone’s “Fall”43
4.2 Kickstarter Opera45
4.3 Ruined Words48
4.4 Coda51
References54
5 Mozart on Ice: Expedition to the End of the World57

5.1 Mozart as Montage57
5.2 Fossil Music61
5.3 Diegesis and Paratext65
5.4 Coda66
References71
6 Sounding the Hurricane: Mahagonny73

6.1 Trouble in Amerika73
6.2 Vegas in Berlin76
6.3 Music as Destroying Angel79
6.4 Coda82
References87
7 Conclusion: Topical and Indigenous Perspectives89

References97
Index99
CHAPTER 1
Introduction
Abstract This book examines sound in eco-film and fiction to illuminate

music’s active potential in narrating climate crisis. Music can work as more
than background, provoking discomfort and even violence amid planetary
crisis. Though the role of sound in environmental art installations, in ani-
mal studies, and in Earth-focused musical compositions is gaining more
attention as climate-crisis anxieties rise, music’s critical function in post/
apocalyptic narrative deserves investigation, too. Heard, imagined, inter-
rupted, voicing, or resisting violence, music carries presence—even in its
lack—that can incite both visceral and critical responses, showing that they
are not mutually exclusive. Music can work as an agent, inviting a state of
critical vulnerability in audiences, readers, and listeners, raising the stakes
for their concern with climate change in an embodied way.
Keywords Anthropocene • Dystopian fiction • Music • Intermediality
1.1 Sounding the Anthropocene

Much dystopian film and fiction of the past 20 years has grown from a sense
of climate dread, as words like “global warming” and the more neutral
“climate change” (or “climate disruption” is less politically conciliatory
circles) have permeated news and popular media in the developed world. As
of this writing, two “monster” hurricanes have ravaged the Southeast US
© The Author(s) 2018 1

H. Hart, Music and the Environment in Dystopian Narrative,
Palgrave Studies in Music and Literature,
https://doi.org/10.1007/978-3-030-01815-3_1
2 H. HART
within a month, summer fire warnings have shocked the residents of Oslo,
and temperatures in Siberia have spiked 40 degrees Fahrenheit above nor-
mal in July.1 No wonder post-apocalyptic wastelands, devastating pandem-
ics, and mass extinctions are common narrative currency, though humans’
role (and particularly that of comfortable white humans) in wreaking all this
havoc is often treated quite vaguely in contemporary dystopian storytell-
ing.2 Still, many who take in these images and the sounds that bring them
to life are painfully aware of humans’ hyper-industrialized presence on the
planet and the damage it has done. Whether as an attempt at expiation or
an act of collective ego, we now have a word for our epoch on Earth. As a
buzzword gaining more attention outside academia since atmospheric
chemist Paul Crutzen drew attention to the term in 2000,3 “Anthropocene”
contains a paradox of arrogance and humility. The word assumes an epic
quality as it names the human epoch, though much disagreement persists
on when the age really began: did it start with steam engines or with ura-
nium deposits in the geologic record, or did the first time humans struck
fire signal a new era of creation and destruction? Making human presence
central to this period also writes us larger than we may deserve to be,
neglecting our place in the animal world. Our “superior” intelligence is
coming into question as animal studies, in the sciences and humanities,
show how little we know about how whales communicate or what it takes
for bees to pollinate the flora of our world. As one branch of the emerging
field of ecomusicology would have it, even Western music itself is “toxic” in
its historical use as a voicing of human dominion over other species. The
field is expanding beyond ecocritical analysis of scored music to include
studies of nature sounds and their human imitations, material aspects of
musical instruments, and planetary activism in popular song.
Anthropocene discourse has likewise expanded to include terms like
“Capitalocene” and “Chthulucene”4 (in Donna Haraway’s sense of multi-
species connectivity) as scholars, writers, and artists work to understand the
many forces forming an epoch reaching a disastrous climax in the larger nar-
ration of Earth’s history. Not only climate change but also species extinc-
tion, reduction of biodiversity, and increasing air and ocean pollution have
led to a growing sense of urgency and “pre-traumatic stress.”5 Within
Anthropocene discourse, a political approach favors the language of “threat
and opportunity, fear and activism,” while the philosophical approach asks
questions about narrativity and truth claims (who is telling the story, and is
it accurate?) as it reframes long-standing assumptions about modernity (most
notably in the work of Bruno Latour).6 As first-world notions of human
progress disintegrate, amid climate crisis and the decline of democratic
INTRODUCTION 3
societies, artistic responses must change, too. As Heather Davis and Etienne
Turpin have noted, describing the sense of disorientation that Anthropocene
thinking can cause, “Beyond the modernist valorization of the principle of
shock in art, our current climate demands a different kind of aesthetic and
sensorial attention.” With a nod to Bill McKibben, they define the
Anthropocene as “the global condition of being born into a world that no
longer exists.”7 How to respond to such profound unease is still a develop-
ing question, both for artists and for the scholars who analyze their efforts.
Even the fact that scholars disagree on how to pronounce
“Anthropocene” (is the accent on the first or second syllable?) highlights
the “new precariousness” or “ontological instability”8 it introduces to tra-
ditional binary thinking about humans and nature, by objectifying and
thereby exposing it as a construct. At the same time, this very instability
has yielded a rich trove of new research beyond climate science itself, in
eco-criticism, environmental humanities, and the emerging field of cultural
planetary studies. Christian Moraru’s 2015 book Reading for the Planet:
Toward a Geomethodology (University of Michigan Press) offers a bold
combination of post-Cold War and Anthropocene thinking to investigate
texts by Zadie Smith, Orhan Pamuk, and others; Moraru has also co-edited
The Planetary Turn (with Amy Elias, Northwestern University Press,
2015), a collection of essays that seeks to transcend established concepts of
environmentalism and globalism in a new treatment of “geo-culture.” As
projects like these work to “sound” the depths of the Anthropocene, and,
as of this writing, as a conference on the topic of “planetary cultural and
literary studies” is occurring in Montréal, I am curious about literal sound-
ings of climate dread in narrative form. How does music function in dysto-
pian stories, beyond thematic mention or soundtrack-like accompaniment?
How does music claim attention amid the privileging of visuality in dysto-
pian film and fiction? This book seeks to answer these questions as it
addresses several gaps in current scholarship in the environmental and
planetary humanities, fields that do address sound in terms of animal com-
munication, instrument-making, immersive art installations, or concert
music written to evoke ocean, sky, or melting ice,9 but do not treat music
as a critical force in the act and experience of storytelling.
How a story is told makes a difference in how its readers/listeners/view-
ers respond in the outside world. As Kate Rigby has pointed out, “mate-
rial-discursive” elements of narrative are crucial not only to human
understanding of eco-catastrophe but also to our action—or lack thereof—
in response to what we perceive.10 This materiality includes images, digital
or otherwise; text on the page, its surrounding white space, and its prose
4 H. HART
or poetic rhythms; sculptural presences in indoor or outdoor space; and

sound or pressure waves that move through space as well. Despite the fore-
grounding of visual and textual elements in much of the environmental
humanities, sound is harder to avoid. It is far easier to close the eyes than
stop the ears, as many airport travelers attest when trying to tune out the
latest gossip on TV. Derrida observes this as well, in his Of Grammatology,
when he describes sound as violent, physical penetration (240). Sound,
and particularly music, with its expected/unexpected patterns, its associa-
tive resonances, and its rhythms that evoke sex, walking, heavy lifting, or
the human heartbeat, yields not just an intellectual or affective response
but a kinetic one as well. The performative materiality of music can incite
a trance state in a crowd or wake one up from such a state. It can also
enliven or disturb the stories told about the world’s end, making them
harder to forget or treat as pleasantly discomfiting entertainment.
1.2 A Critical-Performative Approach

This book is part of an ongoing tradition of exploring music in narrative,
within the field of word and music studies, itself part of the larger field of
intermediality, or the study of intersecting media. Intermediality includes,
to name just a few of the possibilities, novel-to-film adaptation, musical
responses to visual art, textual “transmediations”11 in dance, eco-poetics in
outdoor space, and hidden “heteromedial”12 aspects of texts that appear to
exist in only one medium. Musical settings of text, and musical aspects of
poetry and fiction, are also frequent subjects of intermedial study. Much of
the research in word and music studies has been taxonomic, as in Werner
Wolf’s The Musicalization of Fiction: A Study in the Theory and History of
Intermediality, (1999) which catalogues formal imitations of music in fic-
tion, or concerned primarily with image and sound, as in Siglind Bruhn’s
Musical Ekphrasis: Composers Responding to Poetry and Painting (2000).
The related field of adaptation studies has yielded compelling work on
music in film, opera, and art song. More recently, efforts to relate word
and music studies to sound art, spatial-acoustic studies, embodied perfor-
mativity, gender, and ideology have enriched this area of study and raised
its stakes beyond page and score. While the fields of intermediality and its
related areas of literature, film studies, and even musicology have recently
become more open to Anthropocene and climate-change discourse, this
has not been the case in word and music studies. The 2016 anthology
Current Directions in Ecomusicology: Music, Culture, Nature has much to
INTRODUCTION 5
offer in its broad range of natural-textual-musical exploration, from multi-

species fieldwork to nature sounds in electronic media. Though this book
addresses post-Chernobyl discourses on collective song and political rock,
it does not bridge music and narrative in an ecological context. In the field
of German studies, where I began as a researcher, two new anthologies
treat the Anthropocene in impressive critical depth, mostly in canonical
texts by Goethe, Stifter, Fontane, Kafka, Bernhard, Sebald, and others,
without—strangely, in light of music’s weight in German culture—men-
tioning sound, except in passing references to noises described in contem-
porary fiction and in a brief treatment of the soundtrack in the film Die
Wand (The Wall).13 My project addresses these gaps, in addition to lacunae
in the larger fields of environmental and planetary humanities, by looking
at, and listening to, a variety of art forms that employ both music and nar-
rative to engage with climate crisis and imagined future dystopias.
Music has surfaced in studies of non-narrative environmental mate-
rial, for example, in philosophy and music scholar David Rothenberg’s
work on deep ecology (sometimes embodied in the form of live jazz at
academic conferences), in recent books that take on animal sounds and
their human interfaces, by David Abram and Charles Foster,14 in Mark
Pedelty’s 2012 study of eco-focused rock and folk music, Ecomusicology,15
and in the 2016 edited volume on ecomusicology (Current Directions),
mentioned above, that focuses on musical acts among humans and other
species. Environmental art installations involving sound, such as the
2018 Anthropocene Project, which uses a software program to track solar
effects on the Earth and then transform them into a musical “score,”
often combine efforts by scientists and artists to create a virtual planetary
space. The Anthropocene Project’s goal is a bold one: “The tempo of the
piece will be the Earth’s own rotation, and sunrise will play the sounds
of the Anthropocene when its light touches the areas where our foot-
print (captured by stratigraphic markers) has shaped our unprecedented
era.”16 More intimate Anthropocene-music efforts include the Crossroads
Project, a touring multimedia lecture concert that includes music by the
Fry Street Quartet interspersed with audience-friendly commentary by
physicist Robert Davies.17 Both of these projects raise questions about the
rhetorical use of sound, a topic explored in Michelle Comstock and Mary
E. Hocks’ 2016 article “The Sounds of Climate Change,” which draws
on sound-art scholar Brandon LaBelle’s work to show how “critical sonic
rhetoric moves us from a disembodied marketplace of ideas to an immer-
sive, interdependent soundscape.”18 In this book, I investigate music in
6 H. HART
less obvious cultural material than activist installations and performances,

and consider its unexpected critical potential as narrative agent, violent
thematic force, and estranged artifact.
In my previous work on music, literature, and politics, I have focused
on music’s capacity to induce and to break trance states, mainly in the
context of Nazi Germany. The use of Beethoven and Wagner to churn a
crowd into nationalistic narcosis, the entrainment of a group’s collective
pulse along to march music, and the sentimental sway of folksongs were
integral to Hitler and Goebbel’s propaganda machine. On the side of the
resistance, Bertolt Brecht and his musical collaborators used distancing
techniques to wake listeners up. A troubling verse about anti-Semitism set
to a catchy tune, for example, or a sudden rhythmic break or “misplaced”
jazz chord was meant to arouse critical thinking about the state’s manipu-
lation of the body politic. Composer Hanns Eisler went so far as to reclaim
lyrical music and canonical poetry co-opted by the Nazis, radically frag-
menting texts and unsettling expected sonorities in order to expose the
profoundly damaged beauty of German art.19 Baring music as music in the
sense of human-made artifact, Brechtian song shows how vulnerable
sound is to ideological use and misuse. What has surprised me in this more
planetary-focused project is music’s capacity to work as both critical and
immersive force. At the end of this book, I return to Brecht in a study of
his quasi-operatic collaboration with Kurt Weill, The Rise and Fall of the
City of Mahagonny, which includes a hurricane “soundtrack” all the more
discomfiting for its cinematic and even operatic energy in a work meant to
treat music as reified artifice.
In my current work on music in environmental film and other
Anthropocene-conscious art, I do draw on Brecht’s Verfremdungseffekt
to test music’s potential for critical estrangement today, when the default,
corporate mode of nature narrative or spectacle—even when it deals with
climate change—depends on an immersive, feel-good soundtrack. At the
same time, as in the Mahagonny score, I do not want to ignore music’s
performative force. Sybille Krämer’s recent work on media transmis-
sion also informs my project, as I look at ways in which music can act
as a messenger in its own right, whether heard out loud or spoken in a
“silent opera.” As Krämer notes in her 2015 book Medium, Messenger,
Transmission, such a messenger works as a visitant or virus, and some-
times even as a witness.20 Drawing on psychoanalysis, Krämer also notes
the power of “affective resonance” in media, and in the material pres-
ence of the voice21; music’s associative force has long been exploited in
INTRODUCTION 7
advertising and propaganda. How it can work to both kinetic and criti-
cal effect (and affect) interests me here. What joins Brechtian distancing
and bodily responsiveness to music relates to Jean-Luc Nancy’s term “the
unexpected,” which asks readers/listeners to “disengage” from habitual
patterns.22 Both Nancy and Anthropocene thinker Stacy Alaimo use the
term “expose,”23 also common in Brecht studies, to voice the reader/lis-
tener’s own vulnerability amid sensory experience concerned with global
crisis. In the case studies outlined below, I find intermedial nodes at which
music interacts with text or image to evoke a certain mood and at the
same time incite critical reflection. When the stakes are not just human
but planetary survival, such responses to dark visions of our end are more
than an aesthetic luxury. Moments of sonic intensity or interruption can
invite what I call critical vulnerability in listeners/viewers, who are not
simply immersed in an aesthetic experience or, on the other hand, analyz-
ing data without affective stakes. This hybrid experience can also include
discomfort and self-critique in the face of planetary crises such as global
warming—the kind of discomfort that, if realistic optimism prevails, can
lead to concrete political action.
1.3 From Space Opera to Mahagonny

Chapter 2, “Mozart in Space: A Love Story,” describes the role of music
in what was, in its time, a utopian fantasy—and now speaks to a darker
time. The two Voyager Golden Records launched into space in 1977
include, among selections by Bach, Beethoven, Chuck Berry, and Bulgarian
folk singer Valya Balkanska, the Queen of the Night’s famous revenge aria
from Mozart’s Magic Flute. This chapter discusses the inherent limitations
in how sounds recorded by humans can be re-played, let alone understood
by unlikely alien “ears,” as technology decays. I also consider the record-
ing in light of the love story that did make it possible in a more hopeful
historical moment: the collaboration between Carl Sagan and Ann Druyan.
That this narrative has been retold in numerous spinoff forms, most
recently in light of the project’s 40-year anniversary and re-release of the
Golden Record, shows its power to stand for an idealistic, long-gone hope
for interstellar communication. Considering the sheer number of d ystopian
books, films, video games, art installations, and opera productions in our
own time, this hopefulness comes as a shock. So does the vocal violence of
the Mozart aria included on the Golden Record, as sung by the formida-
ble German soprano Eda Moser. I argue that hearing this vengeful, vocally
8 H. HART
precarious music with our own self-conscious ears gives it new power as a
form of “talking back” to the older, utopian story that birthed the Voyager
time capsule, particularly in its 40th anniversary year. Like the music dis-
cussed in the following chapters, this Mozart aria works not as a soundtrack
but as an unexpected narrative agent in its own right, stepping out of an
older story to voice a newer, harsher reality in which humankind may dis-
appear before it even has the chance to be heard by its once-imagined alien
interlocutors.
Chapter 3, “Apocalyptic Body Song: The Book of Joan,” moves into the
realm of contemporary science fiction. Early in Lidia Yuknavitch’s post-
geocatastrophic novel The Book of Joan (2017), the narrator notes the
music that she can’t stop hearing in her head. Is it coming from the data
implants in her body or from distant memory? The truth is stranger: these
sounds, sometimes operatic and orchestral, sometimes vibrating like cos-
mic strings, have been transplanted in her body after her personal heroine,
a Joan of Arc for end times, has been burned to death. Throughout the
novel, Joan’s musical “voices” haunt the narrator, who grafts Joan’s story
onto her own, diminished body. As readers finds out more about what led
human survivors to escape their dead Earth in a space station run by an
unhinged dictator, they also find that music is not mere accompaniment to
the story: it is Joan’s weapon, her horrific cluster-bomb ignited by sound.
This chapter traces music’s “dark side,” with a history from Wagner played
at Nazi rallies and in the soundtrack of Apocalypse Now to music torture in
Iraq, to show how it can incite violence not only in sci-fi dystopia but in
the real world, too. I argue that music in Yuknavitch’s novel is an indepen-
dent storytelling agent, as it enacts Joan’s calling to creation and destruc-
tion at the end of the world.
Chapter 4, “Fossil Opera: Persephone in the Late Anthropocene,” exam-
ines an opera without music, a form of what Jelena Novak has called
“postopera.”24 The 2015–2016 HingeWorks opera project Persephone in
the Late Anthropocene, by composer Denis Nye and librettist Megan
Grumbling, includes no singing at all. A chamber ensemble plays neo-
Romantic snatches, which undergo digital distortion as actors speak the
story of Persephone, her fall into the Underworld, and her status as fertil-
ity goddess, for a human-imagined, human-dominated age. Persephone’s
voice brings its own “sampling” quality to the intimate performance space,
speaking fragments of lyric poetry, an invented Farmer’s Almanac, and
magical-realist prose. Adapting the Greek narrative to an era of climate
disruption, the opera works as a brittle human artifact made up of isolated
INTRODUCTION 9
nonverbal music and spoken montage. Drawing on Maurice Blanchot’s

own fragmentary work The Writing of the Disaster, this chapter applies
aphoristic thought on the twentieth century’s horrors to the aesthetics of
anticipatory climate grief. What Blanchot calls “demise writing,”25 in
which words and other art forms separate, is ultimately a call for silence;
by removing sung tones from an opera, Persephone tests that threshold.
The music it makes audiences miss may well incite what Anthropocene
scholars call the “pre-traumatic stress” of climate crisis.
Chapter 5, “Mozart on Ice: Expedition to the End of the World,” explores
the critical role of music in a film that goes against the corporate-nature-
movie grain. In the Danish environmental documentary Ekspeditionen til
verdens ende (Expedition to the End of the World, 2013), music from
Mozart’s Requiem sounds several times as Greenland’s melting ice and
swelling ocean fill the screen. This recording is more than mournful ambi-
ence; the performance captured in a Copenhagen church sounds surpris-
ingly provisional and fragile. Unlike the rhapsodic-atmospheric use of
music in Werner Herzog’s environmental films, recent climate-science
documentaries like Chasing Ice and Ice and Sky, or sentimental viral videos
of Arctic piano-playing, the Mozart fragments in Dencik’s film sound
like contingent material artifacts of human presence in a rapidly dissolving
visual landscape. Interruption and closed-caption-style paratext further
amplify this critical distance. The film’s narrative, which attempts to trace
the journey of a group of scientists and artists aboard a re-functioned sail-
ing ship, is never allowed to flow. Like Brechtian “epic theatre” with its
placards predicting what comes next and songs announcing themselves as
such, this film estranges expectations about climate-change art that makes
viewers feel good about feeling bad. By refusing to accompany the
narrative, to lull its viewers into passive receptivity, Mozart and Metallica
keep them alert to real and present planetary danger.
Chapter 6, “Sounding the Hurricane: Mahagonny,” returns to Brecht’s
own form of theatrical estrangement within the current context of plane-
tary crisis. This chapter explores the Brecht-Weill work Rise and Fall of the
City of Mahagonny as a narrative of capitalist and climate disaster, saturated
with music. Though its songs such as “Moon of Alabama” were meant to
draw attention to themselves in an estranging way, they have become
crossover staples. Brecht’s vision of a money-mad wasteland in an equally
estranging Oklahoma has been harder to assimilate into popular culture—
until recent political events in the US have made such dystopia seem far
nearer at hand. This chapter begins with a Las Vegas-inspired production
10 H. HART
at Berlin’s Komische Oper to show how Weill’s music works like weather
pressing up against the opera’s text, not unlike the hurricane that ulti-
mately takes the city down. The music is in fact less distancing than disori-
enting: who are these singers appearing like lost refugees from somewhere
in Alaska? What kind of hurricane threatens Oklahoma, with so much
sonic force? In this final chapter, music’s presence and the ways in which it
can expose its hearers to real Earthly dangers echo back through works
discussed already in the book. In each case, musical materiality—kinetic
rhythm, immersive sonority, or interruption and even lack of the song-
ful—invites the surprising, hybrid experience of critical vulnerability in
audiences who may read a text or attend a performance without expecting
to leave it with a greater sense of planetary care.
1.4 Coda
Music can work as far more than a soundtrack or as dread-inducing ambi-
ence in climate-crisis storytelling; it can actively expose its audience to criti-
cal insight as well as to visceral concern. Music can serve as a narrative
engine, energizing critical thinking, political action, and even violence. In
its absence, it can make listeners miss its presence as a human artifact. In
distant space, long after we are gone, it will bear traces of us in the grooves
of an old-fashioned Golden Record, heard by no one, raging stratospheric
Mozart into the abyss. At the same time, even if a song is only fleetingly
remembered, it keeps one human body linked to others and the larger
world, while it still lasts. Sound makes even the darkest future vision mat-
ter—in the sense of physical material. “Storytelling needs matter,” writes
Christine Marran in her book ecology without culture; narrative is an effort
to re-embed human culture in the natural world, rather than place it on a
separate and falsely objective pedestal.26 Perhaps Pythagoras’ idea of the
“music of the spheres” still resonates beyond there merely human, too. As
Linda Yuknavitch’s Joan finds as a child, “the more the verses unraveled
and sang, the more her body felt like the source of some larger-than-life
vibration … larger than the tree she so mysteriously found herself bound
to.”27 This child figure embodies the critical vulnerability musical story-
telling can incite, whether contemporary listeners are confronted with the
Queen of the Night’s raging high notes once sent into space, singing back
through time to an endangered Earth, or jolted by Metallica that breaks
into the Mozart Requiem, as they watch Greenland’s glaciers crumble on
the screen.
INTRODUCTION 11
Notes
1. Jason Samenow, “Red-Hot Planet: All-Time Heat Records Have Been Set
All Over the World During the Past Week,” in The Washington Post, July
5, 2018, https://www.washingtonpost.com/news/capital-weather-gang/
wp/2018/07/03/hot-planet-all-time-heat-records-have-been-set-all-
over-the-world-in-last-week/?noredirect=on&utm_term=.2348492e58a1.
Web, accessed July 6, 2018.
2. In his article “Ecology as Pre-Text? The Paradoxical Presence of Ecological
Thematics in Contemporary Scandinavian Quality TV” (Journal of
Aesthetics and Culture, Vol. 10, No. 2 [2018], 66–73), Jørgen Bruhn
addresses media products that include ecological disasters with vague
causes and consequences, such as the Norwegian series Okkupert.
3. Joseph Stromberg, “What Is the Anthropocene and Are We in It?” in
Smithsonian, January 2013, https://www.smithsonianmag.com/science-
nature/what-is-the-anthropocene-and-are-we-in-it-164801414/. Web,
accessed March 29, 2018.
4. See Donna Haraway, Staying with the Trouble: Making Kin in the
Chthulucene (Durham, NC: Duke University Press, 2016).
5. See E. Ann Kaplan, Climate Trauma: Foreseeing the Future in Dystopian
Film and Fiction (New Brunswick, NJ and London: Rutgers University
Press, 2016).
6. Jørgen Bruhn, draft of material presented at IEAT research centre, Federal
University of Minas Gerais, Belo Horizonte, Brazil, May 2016, 8–9.
7. Heather Davis and Etienne Turpin, “Art & Death: Lives Between the Fifth
Assessment & the Sixth Extinction,” in Davis and Turpin, eds., Art in the
Anthropocene: Encounters Among Aesthetics, Politics, Environments and
Epistemologies (London: Open Humanities Press, 2015), 11. See also Bill
McKibben, Earth: Making a Life on a Tough New Planet (New York:
Henry Holt & Company, 2010).
8. Vincent Normand, “In the Planetarium: The Modern Museum on the
Anthropocenic Stage,” in Art in the Anthropocene, 65.
9. See Aaron S. Allen and Kevin Dawe, eds., Current Directions in
Ecomusicology: Music, Culture, Nature (New York: Routledge, 2016).
10. See Kate Rigby, Dancing with Disaster: Environmental Histories,
Narratives, and Ethics for Perilous Times (Charlottesville, VA: University of
Virgina Press, 2015).
11. The term “transmediality” refers to elements of one medium that can cross
over into another, for example, musical rhythm imitated in a prose text.
See Irina Rajewsky, “Intermediality and Transmediality: Unbraiding
Converged Theories,” lecture materials, Freie Universität Berlin, http://
www.uta.fi/ltl/en/transmediality2016/materials/Rajewsky_Powerpoint_
Helsinki_161101.pdf. Web, accessed March 29, 2018.
12 H. HART
12. See Jørgen Bruhn, “Heteromediality,” in Lars Elleström, ed., Media

Borders, Multimodality and Intermediality (New York: Palgrave Macmillan,
2010), 225–236.
13. Sabine Frost, “Looking Behind Walls: Literary and Filmic Imaginations of
Nature, Humanity, and the Anthropocene in Die Wand,” in Sabine Wilke
and Japhet Johnstone, eds., Readings in the Anthropocene: The
Environmental Humanities, German Studies, and Beyond (New York and
London: Bloomsbury Academic, 2017), 62–88. See also Caroline
Schaumann and Heather I. Sullivan, eds. German Ecocriticsm in the
Anthropocene (New York: Palgrave Macmillan, 2017).
14. See David Abrams, Becoming Animal: An Earthly Cosmology (New York:
Random House, 2010) and Charles Foster, Being a Beast: Adventures
Across the Species Divide (New York: Henry Holt & Company, 2016).
15. See Mark Pedelty, Ecomusicology: Rock, Folk, and the Environment
(Philadelphia, PA: Temple University Press, 2012).
16. Sebastián Verea, “Sounds of the Anthropocene,” in C-EENRG Working
Papers, University of Cambridge, 2017-2, 6. See also http://theanthropo-
ceneproject.net. Web, accessed March 29, 2018.
17. See Joe Palca, “Climate Scientist Tries Art to Stir Hearts Regarding Earth’s
Fate,” All Things Considered, National Public Radio, February 16, 2015,
https://www.npr.org/2015/02/16/386064582/climate-scientist-tries-
arts-to-stir-hearts-regarding-earths-fate. Web, accessed March 29, 2018.
See also https://www.thecrossroadsproject.org. Web, accessed October
13, 2017.
18. Michelle Comstock and Mary E. Hocks, “The Sounds of Climate Change:
Sonic Rhetoric in the Anthropocene, the Age of Human Impact,” in
Rhetoric Review, Vol. 35, No. 2, 2016, 165.
19. See Heidi Hart, Hanns Eisler’s Art Songs: Arguing with Beauty (Rochester,
NY: Camden House, 2018).
20. See Sybille Krämer, Medium, Messenger, Transmission: An Approach to
Media Philosophy, trans. Anthony Enns (Amsterdam: Amsterdam University
Press, 2015).
21. Ibid., 33, 135–143.
22. Jean-Luc Nancy, conversation with John Paul Ricco, in “The Existence of
the World Is Always Unexpected,” trans. Jeffrey Malecki, in Art in the
Anthropocene, 85–92.
23. See Stacy Alaimo, Exposed: Environmental Politics & Pleasures in Posthuman
Times (University of Minnesota Press, 2016).
24. See Jelena Novak, Postopera: Reinventing the Voice-Body (London and
New York: Routledge, 2016).
25. Maurice Blanchot, The Writing of the Disaster, trans. Ann Smock (Lincoln
and London: University of Nebraska Press, 1995), 33.
INTRODUCTION 13
26. Christine L. Marran, Ecology Without Culture: Aesthetics for a Toxic World
(Minneapolis: University of Minnesota Press, 2017), 6.
27. Lidia Yuknavitch, The Book of Joan (New York: HarperCollins, 2017), 53.
References
Abram, David. Becoming Animal: An Earthly Cosmology. New York: Random
House, 2010.
Alaimo, Stacy. Exposed: Environmental Politics & Pleasures in Posthuman Times.
University of Minnesota Press, 2016.
Allen, Aaron S., and Kevin Dawe, Editors. Current Directions in Ecomusicology:
Music, Culture, Nature. New York: Routledge, 2016.
Blanchot, Maurice. The Writing of the Disaster. Trans. Ann Smock. Lincoln and
London: University of Nebraska Press, 1995.
Bruhn, Jørgen. “Heteromediality.” In Media Borders, Multimodality and
Intermediality, ed. Lars Elleström, 225–236. New York: Palgrave Macmillan,
2010.
———. “How Do ‘We’ React to the Anthropocene? Scientific Concepts
Transformed into Media Products—And Affects.” Draft of Material Presented
at IEAT Research Centre, Federal University of Minas Gerais, Belo Horizonte,
Brazil, May 2016.
———. “Ecology as Pre-Text? The Paradoxical Presence of Ecological Thematics
in Contemporary Scandinavian Quality TV.” Journal of Aesthetics and Culture
10, no. 2 (2018): 66–73.
Comstock, Michelle, and Mary E. Hocks. “The Sounds of Climate Change: Sonic
Rhetoric in the Anthropocene, the Age of Human Impact.” Rhetoric Review
35, no. 2 (2016): 165–175.
Davis, Heather, and Etienne Turpin. “Art & Death: Lives Between the Fifth
Assessment & the Sixth Extinction.” In Art in the Anthropocene: Encounters
Among Aesthetics, Politics, Environments and Epistemologies, eds. Davis and
Turpin, 3–29. London: Open Humanities Press, 2015.
Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore:
Johns Hopkins University Press, 1976.
Frost, Sabine. “Looking Behind Walls: Literary and Filmic Imaginations of Nature,
Humanity, and the Anthropocene in Die Wand.” In Readings in the
Anthropocene: The Environmental Humanities, German Studies, and Beyond,
eds. Sabine Wilke and Japhet Johnstone, 62–88. New York and London:
Bloomsbury Academic, 2017.
Haraway, Donna. Staying with the Trouble: Making Kin in the Chthulucene.
Durham, NC: Duke University Press, 2016.
Hart, Heidi. Hanns Eisler’s Art Songs: Arguing with Beauty. Rochester, NY:
Camden House, 2018.
14 H. HART
Kaplan, E. Ann. Climate Trauma: Foreseeing the Future in Dystopian Film and
Fiction. New Brunswick, NJ and London: Rutgers University Press, 2016.
Krämer, Sybille. Medium, Messenger, Transmission: An Approach to Media
Philosophy. Trans. Anthony Enns. Amsterdam: Amsterdam University Press,
2015.
Marran, Christine L. Ecology Without Culture: Aesthetics for a Toxic World.
Minneapolis: University of Minnesota Press, 2017.
Nancy, Jean-Luc. “The Existence of the World Is Always Unexpected.” Trans.
Jeffrey Malecki. In Art in the Anthropocene: Encounters Among Aesthetics,
Politics, Environments and Epistemologies, eds. Heather Davis and Etienne
Normand, Vincent. “In the Planetarium: The Modern Museum on the
Anthropocenic Stage.” In Art in the Anthropocene: Encounters Among Aesthetics,
Politics, Environments and Epistemologies, eds. Heather Davis and Etienne
Novak, Jelena. Postopera: Reinventing the Voice-Body. London and New York:
Routledge, 2016.
Palca, Joe. “Climate Scientist Tries Art to Stir Hearts Regarding Earth’s Fate.” In
All Things Considered. National Public Radio, February 16, 2015. https://
www.npr.org/2015/02/16/386064582/climate-scientist-tries-arts-to-stir-
hearts-regarding-earths-fate.
Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA:
Temple University Press, 2012.
Rajewsky, Irina. “Intermediality and Transmediality: Unbraiding Converged
Theories.” Lecture Materials. Freie Universität Berlin. http://www.uta.fi/ltl/
en/transmediality2016/materials/Rajewsky_Powerpoint_Helsinki_161101.
pdf.
Rigby, Kate. Dancing with Disaster: Environmental Histories, Narratives, and
Ethics for Perilous Times. Charlottesville, VA: University of Virgina Press, 2015.
Samenow, Jason. “Red-Hot Planet: All-Time Heat Records Have Been Set All Over
the World During the Past Week.” The Washington Post, July 5, 2018. https://
www.washingtonpost.com/news/capital-weather-gang/wp/2018/07/03/
hot-planet-all-time-heat-records-have-been-set-all-over-the-world-in-last-
week/?noredirect=on&utm_term=.2348492e58a1.
Schaumann, Caroline, and Heather I. Sullivan, Editors. German Ecocriticsm in the
Anthropocene. New York: Palgrave Macmillan, 2017.
Stromberg, Joseph. “What Is the Anthropocene and Are We in It?” Smithsonian,
January 2013. https://www.smithsonianmag.com/science-nature/what-is-
the-anthropocene-and-are-we-in-it-164801414/.
Verea, Sebastián. “Sounds of the Anthropocene.” In C-EENRG Working Papers,
University of Cambridge, 2017-2.
Yuknavitch, Lidia. The Book of Joan. New York: HarperCollins, 2017.
CHAPTER 2
Mozart in Space: A Love Story
Abstract The 1977 Voyager II Golden Record includes sounds of animals

and humans on Earth, as well as music ranging from Bulgarian folk songs
to the Queen of the Night’s famous aria from Mozart’s Magic Flute. This
once-utopian project seems quaint in the era of climate crisis and renewed
nuclear threats, not to mention the extreme unlikelihood of its being heard
by alien “ears.” The recording tells a love story, through the collaboration
between Carl Sagan and Ann Druyan, and also of human beings toward
the larger cosmos. At the same time, the violence of the Mozart aria “talks
back” to its own, recorded historical moment from a darker future.
Keywords Utopia • Music • Media transmission • Adaptation
2.1 Voice in the Machine

“Dystopias follow utopias the way thunder follows lightning,”1 wrote New
Yorker critic Jill Lepore in a June 2017 catalogue of recent cli-fi and other
fictions of doom. Though most pre-twenty-first-century dystopian fiction
has focused on totalitarianism already close to home or new technology
run amok,2 current projects lean toward post-geo-catastrophic attempts to
live a semblance of a human life in space. Lidia Yuknavitch’s The Book of
Joan (2017), discussed in the next chapter, is one of the more disturbing,
© The Author(s) 2018 15

H. Hart, Music and the Environment in Dystopian Narrative,
Palgrave Studies in Music and Literature,
https://doi.org/10.1007/978-3-030-01815-3_2
16 H. HART
and at the same time more rhapsodic, examples of the genre. “Dystopia,”
finds Jill Lapore, “used to be a fiction of resistance; it’s become a fiction of
submission, … of helplessness and hopelessness” in the age of unhinged
despots and “fake news.”3 Other cultural pulse-takers focus on the “com-
placency” of recent years’ climate optimism and its pitfalls: now may be
the time for a “language of emergency” instead.4 What kind of voice might
speak—or sing—the desperate message from and for a dying planet?
Surprisingly, a voice from humans’ past, projected into an imagined future,
sounds with enough gorgeous anger to voice what we are on the verge of
losing. In light of the Voyager missions’ renewed appeal at their 40th anni-
versary, the recorded Mozart rampage on the spacecrafts’ Golden Record
is worth reconsidering as warning, as keening, and as an impossible love
song to the galaxy. It also continues to spin off stories from its already
nested narrative, which includes Mozart’s opera The Magic Flute within
the Voyager mission’s journey.
The Golden Record’s story frames this book’s investigation of music as
a messenger and mediator for humans imagining our planet’s demise. It is
a utopian narrative retold in a dystopian era. In a sense, the Golden Record
itself serves as a two-sided story, with room for both. As Ann Kaplan puts
it in her 2016 treatment of dystopian narrative, Climate Trauma, “What
I appreciate about dystopia as a concept is its very close relation to utopia
while seeming to be its opposite.”5 Though Fredric Jameson, in his 2005
book historicizing the idea of utopia, acknowledges that it can edge toward
dystopia—in Cold War disillusionment with Lenin’s ideals, for example—
he maintains that the utopian impulse is fresh, inventive, and somewhat
innocent, even in its tendency to stick to domineering ideologies.6 For a
working dystopian writer like Margaret Atwood, the picture is less clear:
though “dystopias are usually described as the opposite of utopias …
scratch the surface a little … you see something more like a yin and yang
pattern; within each utopia, a concealed dystopia; within each dystopia, a
hidden utopia.”7 In the grooved golden disc that carries human heart-
beats, footsteps, and repeated, pinging F’s above high C in the soprano
voice, there are two messages, one folded into the other: this is the story
of extravagant human hope for technology, and this is the story of a spe-
cies whose greed and machines are killing its own planet, even as it makes
spine-tingling music of and for the spheres.
The double-bind that is the Golden Record story starts like this: the
twin spacecraft Voyager I and Voyager II were launched within 16 days of
each other in 1977. At a time of post-Vietnam War malaise, the ongoing
MOZART IN SPACE: A LOVE STORY 17
energy crisis in the US, environmental threats feeding the popular imagi-
nation in movies like Kingdom of the Spiders, and of course the pervasive
anxieties of the Cold War, such a project offered hope for future possibility
in space. The Voyagers were meant as two-way messengers, sending data
on the solar system (and eventually interstellar space) back to Earth and,
at the same time, carrying a human-made record into alien realms that
might someday receive it. One Golden Record, with accompanying dia-
grams and instructions in binary numbers, was attached to each spacecraft.
Carl Sagan, whose TV series Cosmos would begin to reach US homes three
years later, described his feeling about the Voyager journeys this way: “The
spacecraft will be encountered and the record played only if there are
advanced spacefaring civilizations in interstellar space. But the launching
of this bottle into the cosmic ocean says something very hopeful about life
on this planet.”8 As his own love story was unfolding with his collaborator,
science writer Ann Druyan, Sagan had personal reasons close to home for
the optimism he brought to his sweeping galactic perspective. The narra-
tive of an earthly pair sent into orbit bearing the same coded, golden mes-
sage mirrored the Druyan-Sagan story on a breathtaking scale.
The Golden Record yields what might be called “technostalgia” today,
with its shape reminiscent of vinyl LPs, its golden grooves encoded with
pictograph instructions for audio replay, and its Morse code “voicing” of
the Latin phrase per aspera ad astra (“through hardships to the stars”).
Images and scientific diagrams depict a complex world of plants, humans,
and other animals, with complicated DNA and measurable brainwaves—
those of Ann Druyan herself, as she and Sagan were falling in love. Sagan
lent his human laughter to the interplanetary time capsule as well. Its
playlist, carefully chosen by Sagan, his team, and the musicologists they
consulted, includes weather and animal sounds, greetings in 55 languages,
and of course human song. Eastern European folk music, 1970s elec-
tronica, Blind Willie Johnson and Chuck Berry, not to mention three
examples of Bach, are present and accounted for, though the Beatles and
Bob Marley are not—to the regret of team members since.9 Here is an
excerpt from NASA’s text describing the project in terms more daunting
than may have been intended:
The remainder of the record is in audio, designed to be played at 16-2/3

revolutions per minute. It contains the spoken greetings, beginning with
Akkadian, which was spoken in Sumer about six thousand years ago, and
ending with Wu, a modern Chinese dialect. Following the section on the
18 H. HART
sounds of Earth, there is an eclectic 90-minute selection of music, including

both Eastern and Western classics and a variety of ethnic music. Once the
Voyager spacecraft leave the solar system (by 1990, both will be beyond the
orbit of Pluto), they will find themselves in empty space. It will be forty thou-
sand years before they make a close approach to any other planetary system.10
The text goes on to describe the Golden Record’s visual instructions,

complete with a diagram of the record itself and the stylus provided to play
it from the outside in. “Written around it in binary arithmetic is the cor-
rect time of one rotation of the record, 3.6 seconds, expressed in time
units of 0.70 billionths of a second, the time period associated with a fun-
damental transition of the hydrogen atom.”11 If not a comprehensive
sonic chronicle, the Golden Record is a bold attempt to gather human
voices in their great variety for a non-human audience.
Mozart’s music is a key acoustic element of the Voyager project. It is as
iconic as it is melodic, in the Pythagorean system of ratios that make up
most European classical (in the broad sense) music. The scales in this
“music of the spheres” spread out in regular, resonant intervals, despite a
mathematical flaw that keeps the system from perfection—and led to vari-
ous keyboard temperaments and their resulting controversies in the
Baroque era.12 The famous soprano aria that Sagan and Druyan chose to
include on the Golden Record pierces the air with F-major arpeggios, like
a primer on Pythagorean intervals of the octave, the perfect fifth, and the
major third, adjusted though they were to appeal to eighteenth-century
ears. How inhuman, extraterrestrial hearers might perceive this music
remains an open question. As beings whose sense of hearing developed
last, and quite late, among our senses, we would do well to count our-
selves lucky and keep in mind that species elsewhere may be unlikely to
have developed hearing organs at all. For those of us with human ears
(whose functionality is not to be taken for granted, either) and access to
recent media products, the Mozart aria is familiar from TV shows and
movies, as far removed from the composer’s time as Gossip Girl, Operation
Dumbo Drop, and The Fifth Element, if not directly from the opera stage.
The Magic Flute bears its own cosmic stamp, resulting from Mozart’s
involvement in Freemasonry. Celestial symbolism, the number three, and
the vertical relation of the Queen’s distant Night to Sarastro’s earthly
brotherhood, the space between them mediated by three boys in an
eighteenth-century airship, make up a grander-than-human world. The
1791 opera’s troubling elements, most notably the racist image of the
princess Pamina’s “keeper” Monostatos and the misogynist casting of the
Another random document with
no related content on Scribd:
Bangkok. Institut fuer Film und Bild. 18 min., sd., color, 16 mm.
(Man and his world) NM: abridgment. © Public Media, Inc.;
24Jul69; MP24870.
MP24871.
North Sea islanders. 19 min., sd., color, 16 mm. (Man and his
world) NM: abridgment. © Public Media, Inc.; 22Sep69; MP24871.
MP24872.
Cork from Portugal. Institut fuer Film und Bild. 12 min., sd., color,
16 mm. (Man and his world) NM: abridgment. © Public Media, Inc.;
28Jun70; MP24872.
MP24873.
Coffee planters near Kilimanjaro. Institut fuer Film und Bild. 14
min., sd., color, 16 mm. (Man and his world) NM: abridgment. ©
Public Media, Inc.; 5Feb70; MP24873.
MP24874.
School day in Japan. 10 min., sd., color, 16 mm. (See ’n tell series)
NM: abridgment. © Public Media, Inc.; 10Jul70; MP24874.
MP24875.
Papua and New Guinea. Commonwealth Film Unit of Australia. 17
min., sd., color, 16 mm. (Man and his world) NM: abridgment. ©
Public Media, Inc.; 15Sep70; MP24875.
MP24876.
Lake people of Scotland. Films of Scotland. 16 min., sd., color, 16
mm. (Man and his world) NM: abridgment. © Public Media, Inc.;
18Jun70; MP24876.
MP24877.
The Bedouins of Arabia. Richard Taylor. 20 min., sd., color, 16
mm. (Man and his world) NM: abridgment. © Public Media, Inc.;
17Feb70; MP24877.
MP24878.
Orson Welles tonight. Pt. 1. Avco Broadcasting Corporation. 50
min., sd., color, videotape (2 inch) © Avco Broadcasting
Corporation; 1Mar72; MP24878.
MP24879.
The Last prom. Avco Broadcasting Corporation. 25 min., sd., color,
videotape (2 inch) © Avco Broadcasting Corporation; 4May68;
MP24879.
MP24880.
Orson Welles tonight. Pt. 2. Avco Broadcasting Corporation. 51
min., sd., color, videotape (2 inch) © Avco Broadcasting
Corporation; 5Jan73 (in notice: 1972); MP24880.
MP24881.
Two wheels to eternity. Avco Broadcasting Corporation. 25 min.,
sd., color, videotape (2 inch) © Avco Broadcasting Corporation;
23Sep68; MP24881.
MP24882.
Appalachian heritage. Avco Broadcasting Corporation. 52 min.,
sd., color, videotape (2 inch) © Avco Broadcasting Corporation;
13Dec68; MP24882.
MP24883.
If. Gilbert Altschul Productions, Inc. 8 min., sd., color, 16 mm. ©
Gilbert Altschul Productions, Inc.; 23Apr73; MP24883.
MP24884.
The Right to know. Gilbert Altschul Productions, Inc. 17 min., sd.,
color, 16 mm. © Gilbert Altschul Productions, Inc.; 23Jul73;
MP24884.
MP24885.
The Magic garbage can. Explorer Post 2001. 22 min., sd., color, 16
mm. Appl. au.: Barry Rosen. © Barry Rosen & Randolph Dickerson
(in notice: Rosen-Dickerson); 23Dec73; MP24885.
MP24886.
Exploring inner space. Edward A. Franck. 21 min., sd., color, 16
mm. © The National Foundation; 29Sep73; MP24886.
MP24887.
Garner Ted Armstrong. Program 534. Ambassador College. 29
min., sd., color, videotape (3/4 inch) in cassette. © Ambassador
College; 8Jan74 (in notice: 1973); MP24887.
MP24888.
Writing better business letters. 2nd ed. A Coronet film. 11 min.,
sd., color, 16 mm. © Coronet Instructional Materials, a division of
Esquire, Inc.; 2Jul73; MP24888.
MP24889.
Dictionaries, words, and language. 2nd ed. A Coronet film. 11 min.,
sd., color, 16 mm. © Coronet Instructional Materials, a division of
Esquire, Inc.; 22Aug73; MP24889.
MP24890.
See better: healthy eyes. 2nd ed. A Coronet film. 11 min., sd., color,
16 mm. © Coronet Instructional Materials, a division of Esquire,
Inc.; 14Aug73; MP24890.
MP24891.
The Nature of light. 2nd ed. Coronet film. 17 min., sd., color, 16
mm. © Coronet Instructional Materials, a division of Esquire, Inc.;
15Aug73; MP24891.
MP24892.
The Galapagos: Darwin’s clues. A Coronet film. 13 min., sd., color,
16 mm. © Coronet Instructional Media, a division of Esquire, Inc.;
16Jul73; MP24892.
MP24893.
The American people in World War 2. McGraw Hill Films &
Project 7, Inc. 25 min., sd., color, 16 mm. Appl. au.: McGraw Hill
Book Company. NM: compilation & additional cinematic work. ©
McGraw Hill, Inc.; 9Aug73; MP24893.
MP24894.
Just like in school. McGraw Hill Films. Produced in collaboration
with Ted Lowry. 8 min., sd., color, 16 mm. (Learning to look series)
Appl. au.: McGraw Hill Book Company. © McGraw Hill, Inc.;
9Aug73; MP24894.
MP24895.
Let’s find some faces. McGraw Hill Films. Produced in
collaboration with Ted Lowry. 9 min., sd., color, 16 mm. (Learning to
look series) Appl. au.: McGraw Hill Book Company. © McGraw Hill,
Inc.; 9Aug73; MP24895.
MP24896.
North from Mexico: exploration and heritage. A CMC production—
Center for Mass Communications of Columbia University Press. 20
min., sd., color, 16 mm. Adapted from the book, North from Mexico,
by Carey McWilliams. © Greenwood Press, Inc.; 30Sep71; MP24896.
MP24897.
Dimension of difference. A Brigham Young University production.
16 min., sd., color, 16 mm. Appl. au.: Motion Picture Department,
Brigham Young University. © Brigham Young University; 4Oct73;
MP24897.
MP24898.
Thanks for the Sabbath school. Brigham Young University. 23
min., sd., color, 16 mm. Appl. au.: Motion Picture Department,
Brigham Young University. © Brigham Young University; 1Oct73;
MP24898.
MP24899.
This is my glory. 11 min., sd., color, 16 mm. Appl. au.: Motion
Picture Department, Brigham Young University. © Department of
Motion Picture Production (in notice: Brigham Young University);
25May73; MP24899.
MP24900.
The A, B, C’s and D’s of portable fire extinguishers. Bay State Film
Productions, Inc. 28 min., sd., color, 16 mm. Appl. au.: Esko Townell.
© Factory Mutual Engineering Corporation; 10Jan74; MP24900.
MP24901.
Bread and wine. A Teleketics film. 5 min., sd., color, 16 mm. ©
Franciscan Communications Center; 1Feb74 (in notice: 1973);
MP24901.
MP24902.
Tomorrow we’ll see what happens. A Quest production. 30 min.,
sd., b&w, 16 mm. © Ford Foundation; 30Dec73; MP24902.
MP24903.
District claims review panel. 36 min., sd., videotape (1/2 inch) ©
Aetna Life and Casualty; 28Nov73; MP24903.
MP24904.
Bernie Casey: black artist. 21 min., sd., color, 16 mm. Appl. au.:
Samella Lewis. © S. Lewis; 18Apr71 (in notice: 1970); MP24904.
MP24905.
Where’s Tommy? An Alfred Higgins production. 11 min., sd., color,
16 mm. © Alfred Higgins Productions, Inc.; 4Feb74 (in notice: 1973);
MP24905.
MP24906.
Early abortion. Ramsgate Films. 9 min., sd., color, 16 mm. ©
Ramsgate Films; 1Nov73; MP24906.
MP24907.
Walkaway. 30 sec., sd., color, 16 mm. © Beneficial Corporation;
31Dec73; MP24907.
MP24908.
Let’s start with the forehand. 23 min., sd., color, 16 mm. (Tennis
by progression) © Golden Door Productions; 1Dec73; MP24908.
MP24909.
Ode to nature. 5 min., sd., color, 16 mm. Appl. au.: Marvin Albert.
Appl. states new film using some prev. pub. footage. © Marvin
Albert Films; 6Jan74; MP24909.
MP24910.
A Good thing. 30 sec., sd., color, 16 mm. Appl. au. William Esty
and Company. © Paalo Cervantes, Ltd., a subsidiary of Colgate
Palmolive Company; 19Nov73; MP24910.
MP24911.
Volcanic landscapes. Pt. 2. Martin Moyer Productions. 30 min.,
sd., color, 16 mm. Appl. au.: Martin Moyer. © Martin Moyer
Productions; 18Jan74; MP24911.
MP24912.
Industrial worker in Kenya. UPITN. Produced in association with
Films, Inc. 11 min., sd., color, 16 mm. (Man and his world series) ©
Films, Inc.; 15Jan74 (in notice: 1973); MP24912.
MP24913.
Guided by the nene. A Sounds Unlimited production. 27 min., sd.,
color, 16 mm. © Sounds Unlimited a. a. d. o. Sounds Unlimited
Recording Company, Inc.; 8Oct73; MP24913.
MP24914.
The Dribble. Lord and King Associates, Inc. 15 min., sd., color, 16
mm. Appl. au.: Robert H. O’Donnell. © Lord and King Associates,
Inc.; 23Dec73; MP24914.
MP24915.
The Pass. Lord and King Associates, Inc. 14 min., sd., color, 16
mm. Appl. au.: Robert H. O’Donnell. © Lord and King Associates,
Inc.; 23Dec73; MP24915.
MP24916.
Phos: The Light. Teleketics. 19 min., sd., color, 16 mm. ©
Franciscan Communications Center; 2Jan74 (in notice: 1973);
MP24916.
MP24917.
A World of concern. Project Concern, Inc. 28 min., sd., color, 16
mm. © Project Concern, Inc.; 6Feb74; MP24917.
MP24918.
Timing belts. 28 min., sd., color, videotape (3/4 inch) © Tel-a-
Train; 29Nov73; MP24918.
MP24919.
V belts. 23 min., sd., color, videotape (3/4 inch) © Tel-a-Train;
29Nov73; MP24919.
MP24920.
Reducers and gearmotors. 25 min., sd., color, videotape (3/4 inch)
© Tel-a-Train; 29Nov73; MP24920.
MP24921.
Motors. Pt. 1. 22 min., sd., color, videotape (3/4 inch) © Tel-a-
MP24922.
Motors. Pt. 2. 23 min., sd., color, videotape (3/4 inch) © Tel-a-
MP24923.
Gearing. 19 min., sd., color, videotape (3/4 inch) © Tel-a-Train;
29Nov73; MP24923.
MP24924.
Couplings. 20 min., sd., color, videotape (3/4 inch) © Tel-a-Train;
29Nov73; MP24924.
MP24925.
Conveyors. 22 min., sd., color, videotape (3/4 inch) © Tel-a-Train;
29Nov73; MP24925.
MP24926.
Roller chain. 22 min., sd., color, videotape (3/4 inch) © Tel-a-
MP24927.
Ball bearings. 25 min., sd., color, videotape (3/4 inch) © Tel-a-
MP24928.
Chain other than roller chain. 20 min., sd., color, videotape (3/4
inch) © Tel-a-Train; 29Nov73; MP24928.
MP24929.
Business man’s lunch. 12 min., si., b&w, 8 mm. © Diverse
Industries, Inc.; 1Dec73; MP24929.
MP24930.
Hollywood orgy. 12 min., si., b&w, 8 mm. © Diverse Industries,
Inc.; 1Dec73; MP24930.
MP24931.
Techniques of arrest, 1. A production of Woroner Films. 20 min.,
sd., color, 16 mm. (Officer training) Prev. reg. 10Jan72, MU8473. ©
Woroner Films, Inc.; 27Jan73; MP24931.
MP24932.
The Disturbance calls — general 1. A production of Woroner Films.
25 min., sd., color, 16 mm. (Officer training) Prev. reg. 29Oct70,
MU8320. © Woroner Films, Inc.; 27Jan73; MP24932.
MP24933.
Patrol procedures, 1 — violent crimes. A production of Woroner
Films. 25 min., sd., color, 16 mm. (Officer training) Prev. reg.
21Jun71, MU8356. © Woroner Films, Inc.; 27Jan73; MP24933.
MP24934.
Square pegs — round holes. FilmFair Communications. 8 min.,
sd., color, 16 mm. © FilmFair, Inc.; 30Jan74; MP24934.
MP24935.
The Lonesome train. FilmFair Communications. 21 min., sd.,
color, 16 mm. © FilmFair, Inc.; 31Dec73; MP24935.
MP24936.
Jury and juror: function and responsibility. FilmFair
Communications. 26 min., sd., color, 16 mm. © FilmFair, Inc.;
22Jan74; MP24936.
MP24937.
1974 cars: low speed crash costs. 21 min., sd., color, 16 mm. ©
Insurance Institute for Highway Safety; 28Jan74 (in notice: 1975);
MP24957.
MP24958.
Challenge in the air. Portafilms. 29 min., sd., color, 16 mm. ©
Consumers Power Company; 20Dec73; MP24938.
MP24939.
Big dig. A Portafilms production. 13 min., sd., color, 16 mm. ©
Consumers Power Company; 20Dec73; MP24939.
MP24940.
Operating systems concepts. 11 min., sd., color, 16 mm. (OS
overview) © Edutronics Systems International, Inc.; 1Oct72 (in
notice: 1971); MP24940.
MP24941.
Program design and task management. 17 min., sd., color, 16 mm.
(OS overview) © Edutronics Systems International, Inc.; 1Oct72 (in
notice: 1971); MP24941.
MP24942.
Operating systems features. 12 min., sd., color, 16 mm. (OS
360/370 overview) © Edutronics Systems International, Inc.; 1Oct72
(in notice: 1971); MP24942.
MP24943.
Data management facilities: OS 360/370 I/O support and
processing. 20 min., sd., color, 16 mm. (OS 360/370 overview) ©
Edutronics Systems International, Inc.; 1Oct72 (in notice: 1971);
MP24943.
MP24944.
Job management. 17 min., sd., color, 16 mm. (OS 360/370
overview) © Edutronics Systems International, Inc.; 1Oct72 (in
notice: 1971); MP24944.
MP24945.
Data management facilities: O S 360/370 space allocation and
cataloging. 12 min., sd., color, 16 mm. (OS 360/370 overview) ©
Edutronics Systems International, Inc.; 1Oct72 (in notice: 1971);
MP24945.
MP24946.
The I B M 2311 disk storage drive. 10 min., sd., color, 16 mm. (I/O
device operations) © Edutronics Systems International, Inc.; 1Dec72
(in notice: 1971); MP24946.
MP24947.
The I B M 1O52 printer keyboard. 12 min., sd., color, 16 mm. (I/O
(in notice: 1971); MP24947.
MP24948.
The I B M 1403 printer. 14 min., sd., color. 16 mm. (I/O device
operations) © Edutronics Systems International, Inc.; 1Dec72 (in
notice: 1971); MP24948.
MP24949.
The I B M 2501 card reader. 12 min., sd., color, 16 mm. (I/O device
operations) © Edutronics Systems International, Inc.; 1Dec72 (in
notice: 1971); MP24949.
MP24950.
The I B M 2400 magnetic tape units. 15 min., sd., color, 16 mm.
(I/O device operations) © Edutronics Systems International, Inc.;
1Dec72 (in notice: 1971); MP24950.
MP24951.
The I B M 2540 card read punch. 19 min., sd., color, 16 mm. (I/O
(in notice: 1971); MP24951.
MP24952.
Applications. Produced in cooperation with Eastern. 9 min., sd.,
color, 16 mm. (Data communications) © Edutronics Systems
International, Inc.; 1Oct72; MP24952.
MP24953.
Basic telecommunications access method. Produced in
cooperation with Eastern. 11 min., sd., color, 16 mm. (Data
communications) © Edutronics Systems International, Inc.; 1Mar73;
MP24953.
MP24954.
Programming concepts. Produced in cooperation with Eastern. 10
min., sd., color, 16 mm. (Data communications) © Edutronics
Systems International, Inc.; 1Mar73; MP24954.
MP24955.
Hardware. Produced in cooperation with Eastern. 11 min., sd.,
color, 16 mm. (Data communications) © Edutronics Systems
International, Inc.; 1Mar73; MP24955.
MP24956.
Operational considerations. Produced in cooperation with Eastern.
11 min., sd., color, 16 mm. (Data communications) © Edutronics
Systems International, Inc.; 1Mar73; MP24956.
MP24957.
Network design. Produced in cooperation with Eastern. 11 min.,
sd., color, 16 mm. (Data communications) © Edutronics Systems
International, Inc.; 1Mar73; MP24957.
MP24958.
Telecommunications access method. Produced in cooperation with
Eastern. 10 min., sd., color, 16 mm. (Data communications) ©
Edutronics Systems International, Inc.; 1Mar73; MP24958.
MP24959.
MFT lecture 6. 16 min., sd., b&w, 16 mm. (S/360 operating system
core dumps) Appl. au.: Consultants Associated, Inc. © Edutronics
Systems International, Inc.; 1Jul72 (in notice: 1971); MP24959.
MF24960.
MP24961.
MP24962.
MFT / M V T lecture 1. 17 min., sd., b&w, 16 mm. (S/360 operating
system core dumps) Appl. au.: Consultants Associated, Inc. ©
Edutronics Systems International, Inc.; 1Jul72 (in notice: 1971);
MP24962.
MP24963.
MP24964.
MP24965.
MP24966.
MFT / MVT lecture 7. 20 min., sd., b&w, 16 mm. (S/360 operating
system core dumps) Appl. au.: Consultants Associated, Inc. ©
Edutronics Systems International, Inc.; 1Jul72 (in notice: 1971);
MP24966.
MP24967.
MP24968.
Law: a system of order. McGraw Hill Films. Produced in
collaboration with Telemated Motion Pictures. 18 min., sd., color, 16
mm. (The Humanities series) Appl. au.: McGraw Hill Book
Company. © McGraw Hill, Inc.; 28Jun72 (in notice: 1971);
MP24968.
MP24969.
Flowering and fruiting of papaya (Carica papaya) Film Production
Unit, Iowa State University. Produced in cooperation with Escuela
Agricola Panamericana & Organization for Tropical Studies. 3 min.,
si., color, 16 mm. (Tropical botany film series) © Iowa State
University a. a. d. o. Iowa State University of Science and
Technology; 18Jan73; MP24969.
MP24970.
Growth and fruiting of banana (Musa sapientum) Film Production
Unit, Iowa State University. Produced in cooperation with Escuela
Agricola Panamericana, Instituto Interamericana de Ciencias
Agricolas & Organization for Tropical Studies. 5 min., si., color, 16
mm. (Tropical botany film series) © Iowa State University a. a. d. o.
Iowa State University of Science and Technology; 18Jun73;
MP24970.
MP24971.
Fruiting of cacao (Theobroma cacao) Film Production Unit, Iowa
State University. Produced in cooperation with Instituto
Interamericana de Ciencias Agricolas & Organization for Tropical
Studies. 2 min., si., color. 16 mm. (Tropical botany film series) ©
Iowa State University a. a. d. o. Iowa State University of Science and
Technology; 18Jun73; MP24971.
MP24972.
Growth and fruiting of African oil palm (Elaeis guineensis) Film
Production Unit, Iowa State University. Produced in cooperation
with United Fruit Company, Instituto Interamericana de Ciencias
Agricolas & Organization for Tropical Studies. 3 min., si., color, 16
mm. (Tropical botany film series) © Iowa State University a. a. d. o.
Iowa State University of Science and Technology; 18Jun73;
MP24972.
MP24973.
Growth and fruiting of pineapple (Ananas comosus) Film
Production Unit, Iowa State University. Produced in cooperation
with Escuela Agricola Panamericana & Organization for Tropical
Studies. 3 min., si., color, 16 mm. (Tropical botany film series) ©
MP24974.
Fruiting of coffee (Coffea arabica) Film Production Unit, Iowa
State University. Produced in cooperation with Instituto
Interamericana de Ciencias Agricolas & Organization for Tropical
Studies. 3 min., si., color, 16 mm. (Tropical botany film series) ©
MP24975.
Carbon dioxide: Preparation. 4 min., si., color, Super 8 mm. in
cartridge. Appl. au.: Doubleday Multimedia, division of Doubleday
and Company, Inc. © Doubleday and Company, Inc.; 7Nov72;
MP24975.
MP24976.
Plantations of Louisiana. Michael G. Zaiontz. 10 min., sd., color, 35
mm., Techniscope. Appl. au.: Michael G. Zaiontz. © Michael G.
Zaiontz; 6Feb74; MP24976.
MP24977.
Sponge cleaning rev. 2. 30 sec., sd., color, 16 mm. Appl. au.:
William Esty Company, Inc. © Colgate Palmolive Company;
25Oct73; MP24977.
MP24978.
Sponge cleaning emphasis. 30 sec., sd., color, 16 mm. Appl. au.:
15Sep73; MP24978.
MP24979.
Eggs. 30 sec., sd., color, 16 mm. Appl. au.: William Esty Company,
Inc. © Colgate Palmolive Company; 3Dec73; MP24979.
MP24980.
Rich man / poor man. 30 sec., sd., color, 16 mm. Appl. au.:
21Nov73; MP24980.
MP24981.
Laundry mountain. 30 sec., sd., color, 16 mm. Appl. au.: William
Esty Company, Inc. © Colgate Palmolive Company; 15Oct73;
MP24981.
MP24982.
Go Cub Scouting. Boy Scouts of America. 20 min., sd., color, 16
mm. © Boy Scouts of America; 5Jun73; MP24982.
MP24983.
Day care today. A Polymorph film. 27 min., sd., color, 16 mm. ©
Polymorph Films, Inc.; 7Feb73; MP24983.
MP24984.
Lives and lifestyles. A Polymorph film. 11 min., sd., color, 16 mm.
© Polymorph Films, Inc.; 22Oct73; MP24984.
MP24985.
Together sweetly. A Polymorph film. 15 min., sd., color, 16 mm. ©
Polymorph Films, Inc.; 22Oct73; MP24985.
MP24986.
Childbirth. A Polymorph film. 17 min., sd., color, 16 mm. ©
Polymorph a. a. d. o. Polymorph Films, Inc.; 1Feb73 (in notice:
1972); MP24986.
MP24987.
Memory of the park. 10 min., sd., color, 16 mm. Appl. au.: Robert
F. Crawford. © Robert F. Crawford (in notice: Bob Crawford);
15Feb72; MP24987.
MP24988.
Food labeling: Understanding what you eat. 11 min., sd., color, 16
mm. Appl. au.: Gilbert Altschul. © Gilbert Altschul Productions,
Inc.; 5Dec73; MP24988.
MP24989.
Windjam. 28 min., sd., color, 16 mm. Appl. au.: Elvira C. McKean
& Dennis Shelby, partners, Icarus Productions. © Icarus
Productions; 15Oct73; MP24989.
MP24990.
The New 2050A and 1850 loaders. 6 min., sd., color, Super 8 mm.
in cartridge. © International Harvester Company; 7May73;
MP24990.
MP24991.
The New 66 series tractors. 8 min., sd., color, Super 8 mm. in
cartridge. © International Harvester Company; 7May73; MP24991.
MP24992.
min., sd., videotape (3/4 inch) in cassette. © Ambassador College;
8Jan74 (in notice: 1973); MP24992.
MP24993.
11Dec73; MP24993.
MP24994.
min., sd., color, videotape (1/2 inch) in cassette. © Ambassador
College; 4Oct73; MP24994.
MP24995.
21Jan74; MP24995.
MP24996.
22Jan74; MP24996.
MP24997.
min., sd., color, videotape (1/2 inch) © Ambassador College;
15Jan74; MP24997.
MP24998.
min., sd., color, videotape (1/2 inch) © Ambassador College;
30Apr73; MP24998.
MP24999.

Textbook Music and The Environment in Dystopian Narrative Sounding The Disaster Heidi Hart Ebook All Chapter PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Textbook Music and The Environment in Dystopian Narrative Sounding The Disaster Heidi Hart Ebook All Chapter PDF

Uploaded by

Copyright:

Available Formats

Music and the Environment in

Dystopian Narrative Sounding the

Visions for Intercultural Music Teacher Education Heidi

Sounding Bodies Sounding Worlds: An Exploration of

Sounding Otherness in Early Modern Drama and Travel:

The Routledge Companion to Sounding Art 1st Edition

Developments in Handwriting and Signature

Kut 1916 The Forgotten British Disaster in Iraq Crowley

The architecture of narrative time. Thomas Mann and the

The Narrative Subject: Storytelling in the Age of the

MUSIC AND THE

Marco Katz Montiel

Editorial Advisory Board:

More information about this series at

Music and the

Palgrave Studies in Music and Literature

Library of Congress Control Number: 2018959075

Cover credit: Mono Circles © John Rawsterne/patternhead.com

2 Mozart in Space: A Love Story15

3 Apocalyptic Body Song: The Book of Joan31

4 Fossil Opera: Persephone in the Late Anthropocene43

5 Mozart on Ice: Expedition to the End of the World57

6 Sounding the Hurricane: Mahagonny73

7 Conclusion: Topical and Indigenous Perspectives89

Abstract This book examines sound in eco-film and fiction to illuminate

Keywords Anthropocene • Dystopian fiction • Music • Intermediality

1.1 Sounding the Anthropocene

© The Author(s) 2018 1

or poetic rhythms; sculptural presences in indoor or outdoor space; and

1.2 A Critical-Performative Approach

offer in its broad range of natural-textual-musical exploration, from multi-

less obvious cultural material than activist installations and performances,

1.3 From Space Opera to Mahagonny

nonverbal music and spoken montage. Drawing on Maurice Blanchot’s

12. See Jørgen Bruhn, “Heteromediality,” in Lars Elleström, ed., Media

Mozart in Space: A Love Story

Abstract The 1977 Voyager II Golden Record includes sounds of animals

Keywords Utopia • Music • Media transmission • Adaptation

2.1 Voice in the Machine

© The Author(s) 2018 15

The remainder of the record is in audio, designed to be played at 16-2/3

sounds of Earth, there is an eclectic 90-minute selection of music, including

The text goes on to describe the Golden Record’s visual instructions,

You might also like

2 Mozart in Space: A Love Story15

3 Apocalyptic Body Song: The Book of Joan31

4 Fossil Opera: Persephone in the Late Anthropocene43

5 Mozart on Ice: Expedition to the End of the World57

6 Sounding the Hurricane: Mahagonny73

7 Conclusion: Topical and Indigenous Perspectives89