Blown To Bits

Frequency Hopping On Stage

Monday, June 9th, 2008 by Harry Lewis
Caffeine buy cheapest serevent alternative is usually consumed through beverage containing this substance, such as purchase generic cialis best price coffee, tea, soft drinks, and energy drinks. However, it is discount diclofenac a good idea to talk to the artist about the atrovent sale design and explain any significance it may have, whatever the overnight cialis style. CRESTOR AND CANNABIS OR CBDCannabis (often called marijuana) and cheap allopurinol cannabis products, such as cannabidiol (CBD), have not been specifically buy viagra no prescription required reported to interact with Crestor. It is possible for a price of zyprexa person to experience an "off" episode in the evening if prednisolone india their medication starts to wear off. The surgeon then inserts compazine in bangkok a small tube with a light and camera attached to synthroid prescription its end (a laparoscope) through one of the incisions. Driving buy generic viagra cost work is not safe immediately after MAC anesthesia because the anesthesia sale discount viagra can linger in the body for minutes to hours. This ampicillin means that while ACV may exhibit potential antibacterial effects outside purchase cheap viagra online canada the human body, its efficacy in treating sore throats in people.

Anthony Tommasini of the New York Times reviews an 80-minute multimedia play about the discovery of spread-spectrum technology, now the basis of much wireless communication, by actress Hedy Lamarr and the avant-garde composer George Antheil. This is the strangest story of technological discovery I have ever heard. Blown to Bits just scratches the surface, but does give the basic outline. Lamarr, familiar with torpedo warfare because her first husband was an Austrian munitions maker, teamed up with Antheil to design a jam-proof torpedo in Hollywood. The control signal would be broadcast at a sequence of frequencies, and the control station and the torpedo would contain synchronized player piano mechanisms with identical scrolls, which would in essence encrypt the signaling sequence. Antheil’s contribution was the idea of using player piano mechanisms, with which he was familiar because he scored his masterpiece, Ballet M?©canique, for 16 player pianos. If you don’t believe me, here’s the patent (Lamarr was using her second husband’s name).

The play, now on stage in a Manhattan theater, includes a complete performance of the Ballet M?©canique. And the review includes a charming and ironic detail: This performance is the first in which the piece sounds as Antheil intended it. He could never figure out how to get 16 player pianos properly synchronized, so earlier performances substituted other instruments.

Comments are closed.