Poetry, which comes after Painting and Sculpture, and which imitates merely by means of words disposed according to a harmony agreeable to the ear, speaks to the imagination rather than to the senses.  In a touching and vivid manner it represents to the imagination the objects which make up this universe.  By the warmpth, the movement, and the life which it is capable of giving, it seems rather to create than to portray them.  Finally, music, which speaks simultaneously to the imagination and to the senses, holds the last place in the order of imitation - not that its imitation is less perfect in the objects which it attempts to represent, but because until now it has apparently been restricted to a smaller number of images.  This should be attributed less to its nature than to the lack of succicient inventiveness and resourcefulness in most of those who cultivate it. It will not be useless to make some reflections on this subject. In its origin music perhaps was intended only to represent noise.  Little by little it has become a kind of discourse, or even language, through which the different sentiments of the soul, or rather its different passions, are expressed. But why reduce this kind of expression to passions alone, and why not extend it as much as possiblt to the sensations themselves? Although the perceptions that we receive through various organs differ among themselves as much as their objects, we can nevertheless compare them according to another point of view which is common to them: that is, by the pleasurable or disquieting effect they have upon our soul.  A frightening object, a terrible noise, each produces an emotion in us by which we can bring them somewhat together, and we can often designate both of these emotions either by the same name or by synonymous names. Thus, I do not see why a musician who had to portray a frightening object could not succeed in doing so by seeking in nature the kind of sound that can produce in us the emotion most resembling the one excited by this object. I say the same of agreeable sensations. To think otherwise would be to wish to restrict the limits of art and of ou pleasures. I confess that the kind of depiction of which we are speaking here demands a subtle and profound study of the shadings which differentiate our sensations; thus it is not to be hoped that these shadings will be distinguished by an ordinary talent. Grapsed by the man of genius, perceived by the man of taste, understood by the man of intelligence, they are lost on the multitude....all that can be concluded from this is that after having created an art of learning music one ought also to create an art of listening to it. 38-39

Michael Noone, "A Manuscript Case-Study: The Compilation of a Polyphonic Choirbook"

D.D. Boyden: ‘Monteverdi’s violini piccoli alla francese and viole da brazzo’, AnnM, vi (1958–63), 387–402

night, p. 106

Krasner, Louis. “The Origins of the Alban Berg Violin Concerto.” In Alban Berg Symposion Wien 1980, ed. Rudolf Klein, 107–17.

Katherine Hayles, "Embodied Virtuality: Or How to Put Bodies Back in the Picture"

"'Envoicing' the orchestra." cited by Birth of Orchestra.

"'Media' is interpreted in terms of both narrative systems and practical theatre resources." ("The term 'media' obviously signifies material elements like orchestras, choruses, acting and staging" viii)

Charles Wheatstone

effect of sound on interpretation of technology

work-as-text vs. work-as-performance.  if there is a ceasura, c. 1850, not 1800.

Music is visual, and certain aspects of the film are musical. To paraphrase McLuhan, the media of live-act-performance and film do not 'help' the  music to come to life, but are part of the musical message itself.

musical work vs. performance

Frederick Burwick

Germany vs. France. in former, mental illness = brain illness.

Jürgen von Oppen, "Beethoven's Klavierfantasie op. 77 in neuer Sicht," 1970, pp. 528-31. similarities with Emperor Conerto.

radical epistemological break caused by invention of telescope (cited by Florian Nelle)

Instruments in art and science (17th century)

dream - act 2 scenes 3-4

Band XXXVIII: Miriways. "Komm Sanfter Schlaf"

"horizon of expectations"

chapter 2, "The Genealogy of Digital Performance," from Greek Deus ex machine to Wagner's Gesamtkunstwerk to early dance and technology experiment by Loîe Fuller and Bauhaus artist Oskar Schlemmer. (this chapter is very brief)

From intro:

The section on “Theories and Contexts” begins with chapter 6’s analysis of the slippery and problematic concept of “Liveness.” Philip Auslander’s Liveness: Performance in a Mediatized Culture (1999) provided an important, if controversial, discourse on how cinema
and ubiquitous television media have affected live performance practice and its reception by audiences. He argues that traditional ideas of theatrical “liveness” have been eroded to such a point that there now seems precious little difference between live and recorded
forms. We contrast his position with Peggy Phelan’s assertion of live performance’s unique ontology and its resistance to media reproductions, and trace complementary critical oppositions between Walter Benjamin and Roland Barthes in relation to the “aura” of the
photograph. We adopt a phenomenological perspective to interrogate and undermine some of Auslander’s ideas, while also arguing that Phelan’s position is equally untenable in relation to fundamental understandings of artistic “presence” and psychologies of audi-
ence reception.
Chapter 7, “Postmodernism and Posthumanism,” begins with a discussion of Jay Bolter and Richard Grusin’s theory of “remediation” and goes on to analyze how postmodern and deconstructive theories have dominated critical approaches to digital performance.
But a close deconstruction of the antimedia and antitheater prejudices of (respectively) Jean Baudrillard and Jacques Derrida provides a basis for our argument that postmodernism and deconstruction can at best offer only outdated, and theoretically generalized
and partial, discourses on the marriage of performance and technology. There follows a discussion of cybernetics and the related, more recent concept of posthumanism, which are seen to offer alternative and perhaps more fitting theoretical positions from which to
approach the critical analysis of digital performance.

The next section, on Space, begins with “Digital Theater and Scenic Spectacle” (chapter 14) and examines ways that computer technologies have been combined with giant projection screens in theater events to transform and extend spatial perceptions and to create
immersive and kinetic theater scenography. Three companies are highlighted to demonstrate different technical and artistic approaches: the deep-perspective, illusory effects of George Coates Performance Works; the inventive visual eclecticism of Robert Lepage’s Ex Machina company; and the post-Brechtian aesthetics of The Builders Association.

cited by Iain McCalman, The Virtual Infernal: Philippe de Loutherbourg, William Beckford and the Spectacle of the Sublime

http://www.erudit.org/revue/ron/2007/v/n46/016129ar.html

cited by Digital Performance. compares treatment of space in Baroque times to our understandings of cyberspace.

"What if there exist different forms of reasoning, memory, and attention for each of the modalities or faculties of consciousness (seeing, smelling, speaking, hearing, etc.) instead of reasoning, memory, and attention being general mental powers?" long assumed that reasoning and memory are unitary rather than modality-specific processes. but multiple intelligence theories suggest otherwise, even as their proponents remain committed to Western hierarchy of senses.. 10-11

culture to be studied - shift from object/theatre/text/visual paradigm to dialogic/expressive speech and gesture/discursive paradigm, but need further shift to sensory dimension. interpretive and dialogical anthropology both verbocentric. 7 need to think of cultures as contrasting in terms of distinctive patterns to the interplay of the senses they present. 8

sensual approach is anti-textual. 8

ratio of senses - Carpenter and McLuhan 1960 Explorations in Communication

script, print, perspective, mechanical reproduction of instructional illustrations. visualism encouraged by print connects also with increased use of maps and physical exploration of globe (dependent on visual control of space in maps and imagination) which opens modern age.

modern age is now a thing of the past because today marked by new stress on auditory - telephone, radio, TV, rapid transit (physical presence)

successive verbal media do not abolish one another but overlie one another

chosen for Varieties of Sensory Experience b/c introduces idea of shift in the "ratio or balance of the senses." Later Orality and Literacy posits a fundamental duality of sense experience - ear/eye, oral/literate - instead of infinite varieties.  'Great Divide' theory of limited use to explain concrete cases - see Feld "Orality and Consciousness" in The Oral and the Literate in Music 1986, Finnegan Literacy and ORality: Studies in the Technology of Communication 1988 (Varieties of Sensory Experience, 12-13)

Paul Stoller, "Sound in Songhay Cultural Experience"

charter of sensorial anthropology. critiques wa West tends to 'reach through the sensation to the object' instead of heeding the way the sensations present themselves to consciousness, or attending to the differences between sensations in different modalities (Varieties of Sensory Experience, 8-9)

"we conceive-perceive the world in terms of space rather than sound. Sound gets filtered out within an episteme which considers language...a netural instrument of representation." 569

medium may have force independent of its conttent

visual-spatial

subjective response to Paganini.  See Steven Paul Scher, Verbal Music; and Lawrence Kramer, Musical Meaning.
,

influencd of Pietism

Pietism and Romanticism rationally posutalte antirational and antiintellectual means to draw closer to reality. Hegel rejects, quest for immediate-immediate source of disaster 90

when reason cannot control emotions "unearthly elements are set free" 97

on prestige of analysis in 18th century, see esp. chap 1 "The Mind of the Enlightenment." cited by Holly Watkins

on the foundation of systematic aesthetics - Baumgarten

Promethus, Frankenstein

Gillian Beer, Wave theory and the rise of literary modernism

19th-century scientist pursuing a single explanation of cosmic process that would include light, heat, sound and construe all as motion, passing irreversibly beyond the reach of the senses and dissipating through the ether 196

new: universalizing wave theory to account for all phenomena, twin emphases in laws of thermodynamics on constancy of energy w/i a system and tendency to increasing disorganization 196

assistance from canonical literature and daily life (ex. sea voyages)

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Schwartz, Vanessa R. “Cinematic Spectatorship Before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris"

289-292 on history

Rense Lange and James Houran, "Ambiguous Stimuli Brought to Life: The Psychological Dynamics of Hauntings and Poltergeists"

system of the fine arts. cited by John Guillory

"The development of the modern system of teh fine arts, which reached a climax with D'Alembert's division of knowledge in the 'Discours préliminaire,' to the Encyclopédie (1751), separated the three sister arts (and to some extent sculpture and architecture) from all other human activities, and established them as unique repositories of the 'spirit and life' of mankind. Most authorities on the arts had decided, by the mid-eighteenth century, that painting, music, and poetry might properly be considered 'sciences' (fields of knowledge), and that like other sciences they required a history." 10

"This book tells how, during the seventeenth and early part of the eighteenth centuries, three English writers - Thomas Hobbes, Robert Hooke and Roger North - used resonating systems as controlling metaphors for the development of internal character, thereby conceiving self-knowledge and self-restraint as musical activities - the inner music of my title." 2  purpose "to show some of the ways in which the technology and semantic field of music have been used to understand internal character." 208

North "conceived mental representations as rules of vibration."  Also argued brain not wax tablet but reflecting telescope, "the concave mirror or speculum is the cerebellum ('sensorium'); the eyepiece or combination of lenses for magnifying an image is the cerebrum ('brain'); and the eye, moving to and fro, is the mind." 174

companion piece to The Corded Shell. "but whereas in [The Corded Shell] I built upon Enlightenment theories of musical 'exression' that were, I thought then and do still think, basicaly correct, and mainly in need of refurbishing and defense, the present volume rejects....the efforts of the period to explicate musical 'representation' as basically misconceived."

jommelli

program Beethoven's Akademie Dec 22 1808

Harold Bloom, "Visionary Cinema of Romantic Poetry"

essay on Mahler and Roller's Die Walküre (4 Feb 1907). ends "The peep-show has lost out to the total work of art." quoted in Blaukopf, Gustav Mahler, 213

p. 186. invisible music

p. 260

relationship between Enlightenment and Romanticism.  continuation rather than rejection

1994. Cheesman "Bänkelsang: Seeing, Hearing, Telling and Singing in the German Ballad Picture Show"

45-60 measuring spirit

Cited by Gitelman Always Already New.  book seeks historical answers to: What is an experiment? How is an experiment performed? What are the means by which experiments can be said to produce matters of fact, and what is the relationship between experimental facts and explanatory constructs? How is a successful experiment identified and how is success distinguished from experimental failure? Why does one do experiments in order to arrive at scientific truth? Is experiment a privileged means of arriving at consensually agreed knowledge of nature, or are other means possible? What recommends the experimental way in science over alternatives to it?

207-224 on measuring spirit

Barbara Maria Stafford, "Voyeur or Observer? Enlightenment Thoughts on the. Dilemmas of Display," Configurations 1 (1993), 95-128.

Forward: disciplining the senses: Beethoven as synaesthetic paradigm, Simon Shaw-Miller

some performed with multiple singers as scene

Steven Connor, "The Modern Auditory I." auditory self. insufficiency of auditory. audiovision.

"Chapter 1, ‘Liberalism, autonomy and the social functions of art’, offers a reappraisal of the significance and function of the idea of aesthetic autonomy at the time of its emergence in the 1790s and early 1800s."

p. 14 fn 7

Nicolas Kiessling, "Demonic Dread: The Incubus Figure in British Literature." Judeo-Christian, early Germanic, Celtic traditions.  cited by Hoeveler, Gothic Riffs, 179.

287 Adagio - Rochberg's Music for Magic Theater

Berkeley

cited by Stafford as evidence of microscope's influence on his philosophy

Schelling's empiricism

cited by Chua

subtle fluids

Robert Pippin

Schelling - "terrors of the objective world"

chladni, oersted

aesthetics of magnetism

on Schubert and Hoffmann

commitment to Romantic philosophy and aestheitcs crucial to scientific research

Cited by John Tretsch

newton and the metaphysical conception of matter

machines as antithesis of human, organic, natural. cited by Tresch.

"foundational for earliest studies of digital culture" (James Deaville)

"foundational for earliest studies of digital culture" (James Deaville)

Randolph Jordan, "Film Sound, Acoustic Ecology and Performance in Electroacoustic Music" - on acousmatic music

Beethoven thunder

chapter on audio-visual interactions

analysis of thing as inter-sensory entity. p. 370

proposes that our responses to musical stimuli are in fact identical to our responses to real-world stimuli, and follow the same processes.

James Andean disagrees. "The Musical–Narrative Dichotomy: Sweet Anticipation and some implications for acousmatic music," Organised Sound (2010), 15:107-115.

construction of creativity

"Modern media fire up magical or animist perceptions by technologically stretching and folding the boundaries of the self, these perceptions are then routinized, commercialized, exploited and swallowed up into business as usual." (68) Gunning says pop style and New Age ideology of this book should not cause serious reders to neglect is many insights. (Scan a Ghost)

Clubbe, John. "The Tempest-toss'd Summer of 1816: Mary Shelley's Frankenstein." Byron Journal 19 (1991): 26-40.

subjective vs. objective ghosts

Cited by Gitelman Always Already New

overture

Eugenia Sheppard, "A Wham to the Senses," New York Herald Tribune, March 21, 1966.

Richard Albarino, "Goldstein's LightWorks at Southhampton," Variety, August 10, 1966. Vol. 213, No. 12.

modernity = purity of medium

modernity and abstraction

"acoustical archaeologist"

"The Cinematic Apparatus: Technology as Historical and Cultural Form." Zielinski cites

Gunter Ropohl - systems-theoretical approach to historiography of technology, praised by Zielinski

"from linear history to mass media archaeology"
Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde"

In Digital Contagions, Parikka provides an insightful articulation of media archaeology as a research methodology, which he implements to construct a clear cultural history of computer viruses. http://mediacartographies.blogspot.com/2010/04/ctheory-interview-archaeologies-of.html

Lev Manovich, "Towards an Archaeology of the Computer Screen"

acoustemology

"historical phenomenology"

uncanny reading effect, pp. 141-247

Herder, "Music, Art and Humanity"

Cited by Gitelman Always Already New.

Ernst Behler, "Lyric Poetry in the Early Romantic Theory of the Schlegel Brothers"

Lydia Goehr, “The Curse and Promise of the Absolutely Musical: Tristan und Isolde and Don  Giovanni”

“The Sound of Music in the Era of Its Electronic Reproducibility”

Presence

Vol. 6, no. 1 has also title: Radiotext[e].

Arnheim, Rudolph. 1993 (1936). “In Praise of Blindness,” pp. 20-26.

Mara Mills, Hearing Things: Telephones and Auditory Theory

p. 31-48 for overview of Musiksammlung der Fürst Thurn und Taxis

"Eye and Mind"

p. 127

p. 186 phantasmagorie, schattenspiel. cited by Singer 'nachgesang": Ein Konzept Herders, entwickelt an Ossian, der Popular Ballad, p. 362

vol 4 issue 1, p 1001

Berberich p. 74

see p. 66

Hartung on Bürger

Freud's uncanny as narrative paradigm, musical hermeneutic

cited by Crary.

p. 211. Mozart on Hamlet

p. 21. letter on Der Genius

cited by Nervous Conditions. hallucinations lost "semantic pregnancy," became symptoms of disease.

"visionary optics" 253

transcendental object, pp 212-19

Kramer, 1 (1992), 5-18 on metaphysics of formalism

focus on Novalis

125 ff. terror vs. horror

many settings of Erlkönig

Lieselotte E. Kurth-Voigt, "'La Belle Dame sans Merci': The Revenant as Femme Fatale in Romantic Poetry"

revenants

"Uguale è il desio"

p. 177 ff.  cited by Ursula Kramer

abendbilder

Abendempfindung. John Reed connects to Schubert's An den Mond.

Geistertanz

Schlegel's theory of unconscious. different from Freud's.

Adelwold und Emma - same poet as Minona

Romanze - gothic fantasy, 1814

Die Nonne - gothic fantasy, 1815

p. 127

spectator theory of knowledge (from John Dewey).

recommended by Thomas on magnetism and optics

imagination in poetry

on definiteness or determinacy of expression. pp. 41-50, 53-54, 80, 109-12. cited by Alfred Kramer, "Of Serpentina and Stenography"

discussed in Langdon Winner, Autonomous Technology

Cynthia Hahn, 169-97. Augustine on corporeal, spiritual, and intellectual vision.

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vol. 4. listening, reenchantment, images of the mind.  cited by Dana Gooley, Franz Liszt and His World, on self as "inner space."

cited by Downcast Eyes

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op. 35  "By restructuring a successional form as a developmental form, Beethoven made an aesthetic claim on behalf of variation form which should be understood as opposition to a commercially rooted debasement." 179

p. 146-7 german phantasmagoria

p. 227 on music.

mediological distinctions in Enlightenment aesthetics.  content adhering to vs. detaching from source.  cited John Hamilton, "Music on Location"

cited by Crary, Suspensions.  On Condillac, theatrical model of attention, pp 161-199.

modernism, railroad, cinema, abstraction. spatial disjunction, placelessness, infinity. emphasis on perception. Howards End.

unsichtbare welt

MacKay, "The Religious Significance of Animal MAgnetism in the Later Works of Jean PAul," 23 (1970)

Stafford discusses in Aesthetic Illusion, ed. Burwick and Pape

. Sensation & sensibility : viewing Gainsborough's Cottage door / edited by Ann Bermingham. 0300110022 (cl : alk. paper) series New Haven : Yale Center for British Art ; San Marino, Calif. : Huntington Library, Art Collections, & Botanical Gardens ; New Haven : Yale University Press, c2005.

McCalman, Iain. "Magic, Spectacle and the Art of Loutherbourg's Eidophusikon." Sensation and Sensibility: Viewing Gainsborough's “Cottage Door.” Ed. Ann Bermingham. New Haven, CT: Yale University Press, 2005. 181-9.

recommended by Thomas re: Thunder

recommended by Gavin.

Romanticism, essential texts (R. C. Sha)

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Dusch, Schilderungen aus dem Reiche der Natur und Sittenlehre

MM Raraty, "ETA Hoffmann and His Theater," Hermathena: A Dublin University Review 98 (1964), 53-67.

48-9

musician, fiddler, entertainer

Romantic Spectacle

Whereas Lucy’s madness seems to consist in a demonic possession, Lucia’s consists in the creation of a subjective reality that is consistent with itself but not with the events enacted on stage. Thus the concept of reality implied in the opera—a reality divided between what is inside and what is outside the mind—is essentially Lockean.

But why, we might ask, were gothic dramas quickly transformed into gothic operas or what are known now as “rescue operas”? This essay examines the social and political ideologies that are explicit in the major gothic operatic adaptations of the most popular gothic novels of Britain, while at the same time examining British opera’s very close connections with French models as well as French adaptations of British cultural works.

This essay examines the main contours of this disappropriation through an analysis of De Quincey’s deployment of musical figures and specifically the opera singer Josephina Grassini in his theorization of being-on-opium in Confessions of an English Opium-eater.

on scenography

i, 188-9

most modern commentators see the advent of Joseph Barker’s circular-view panorama of 1789 and Gaspard Etienne Robertson’s magic-lantern spectral shows of 1794 as the key forerunners of today’s cinema and virtual reality technologies (Grau 5-6). 4 This paper offers an alternative and earlier foundation myth, arguing that the London-based painter, scenographer and spectacle entertainer Philippe de Loutherbourg and his patron William Beckford undertook at least as original and important a series of experiments with virtual reality when creating in 1781-2 “a mysterious something that the eye has not seen nor the heart of man conceived” (qtd. in Chapman, Beckford 99).

By the eighteenth century optical experimenters were using the term “virtual” to describe refracted or reflected images that flitted before the eye (Woolley 60). Iain McCalman, "Virtual Infernal"

barrel organ?

THE SYMPATHETIC MEDIUM: Feminine Channeling, the Occult, and Communication Technologies, 1859–1919
Jill Galvan

William Herschel and the Measurement of Space. brighter = closer. developments in angle measuring power priorizited over seeing power mid-eighteenth c. (407)
An Occupation for an Independent Gentleman: Astronomy in the Life of John Herschel. "eclectiv blend of attitudes towards what science was, how it should be pursued, and how it should be paid for." 419

recommended by Goehring. white vs. black magic

"How did we come to a modern understanding of our bodies and souls? ... Roy Porter charts how, through figures as diverse as Locke, Swift, Johnson, and Gibbon, ideas about medicine, politics, and religion fundamentally changed notions of self"

In its capacity to touch the reader directly, at the level of the nerves, tissues, and fibres of the body, Patchwork Girl recalls the debates concerning the affective force of the gothic novel, and, in particular, the threat it was thought to pose for women readers. The gothic, in this sense, emerges as the deep and unsettling recognition that the technological is the formative ground of subjectivity, the very condition of our becoming. What Jackson calls “the banished body,” the monstrous materiality of subjectivity, haunts not only the eighteenth-century faith in the powers of rational powers of intellection, but our own post-human dreams of transcendence.

Grusin - "trope of dematerialization"

Caryl Clark, "The Last Laugh: Il mondo della luna, Goldoni, and Haydn"

Rebecca Green, "From Agapito to Sempronio: Deafness and Hearing in the Operatic Theatre"

Haydn owned Populäre Astronomie (1804), text based on this

"Virtual Reality"

Caroline A. Jones, "The Mediated Sensorium"

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On the Limits of the Beautiful

Stockfelt, "Adequate Modes of Listening"

Kassabian uses films to interrogate constructions of nationalism and gender identity, and to criticize music disciplines for ignoring musical discourses like film music that perform ideological work

kerman cites on fifth

Buch, David J. “Supernatural Imagery in Haydn's Theater Music.” Haydn-Studien 9 (2006), 137-147.

Bardi, Terézia. “Newly Found Inventories of Esterhézy Sceneries.” Haydn-Studien 9 (2006), 94-106.

discussion of "other world" in light of predecessors. idea of myth from Novalis and Schubert. Negus, Hofmannn's Other World p. 25

Sarbin and Juhasz, "Historical Background of the Concept of Hallucination" 3 (1967) 339-58. cited by Musselman Nervous Conditions

Her final chapters consider the curtain as theatre’s means for attempting to divide real and imaginary worlds.

If ghosts hover where secrets—secrets of the past, secrets from oneself, secrets of life and death—are kept, then, according to Rayner, “theatre is where ghosts best make their appearances and let communities and individuals know that we live amid secrets hiding in plain sight.” from Google overview

Medea's invocation. see Rosand, Opera, 268-70, 342-6, 485-9

Buch p. 157

"Nicholas Royle's recent The Uncanny provides encyclopedic coverage of the topic, including many astute analyses and thorough bibliography." Susan Bernstein, "It Walks: The Ambulatory Uncanny," MLN 118.5 (2003) 1111-1139.

Symmetry and chaos: Friedrich Schlegel's views on music 

Daston on Chladni - rational unconscious

history of crescendo 85ff. cited by Birth of Orchestra

Kurt Kauenhowen, J. K. G. Wernichs 'Macbeth'-Bearbeitung: Die erste Aufführung des 'Macbeth' in Berlin 1778. 54 (1918): 50-72.

Ursula Kramer, Herasuforderung Shakespeare: 'Analoge' Musik für das Schauspiel an deutschsprachigen Bühnen zwischen 1778 und 1825. 55 (2002): 129-144

Ursula Kramer, Reichardt und Shakespeare: Versuch einer Annäherung

compared to Terry Castle

well respected work on biography and literary output, development of Hoffmann's persona as artist and citizen

Act 3 scene 3

Act 3 scene 3

Newton's Invisible Realm' Ambix, 1968

pre-critical Kant

fantastic vs. realism. cited by Esse, "Donizetti's Gothic Resurrections"

Gothic as terror-inducing. cited by Melina Esse, "Donizetti's Gothic Resurrections"

24:124-5 herder

vol. 2

cited by Thomas Baumann, Acta Musicologica

connects conservative reaction against Enlightenment with somnabulism, clairvoyance. cited Schaffer Enlightened Automata

day-to-day biographical details

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J. R. Williams, "Mephisto's Magical Mystery Tour: Goethe, Cagliostro, and the Mothers in Faust, Part Two", PEGS 58 (1989), 84–102 (p. 89).

Oxford German studies, Volume 8‎ - Page 71 1973

Norbert Miller, "Musikalische tableaux vivants: Zur Poetik der detschen Oper bei Weber," 30 (1988)

"Stormy Interlude"

“The Mind Is Its Own Place”: Science and Solitude in Seventeenth-Century England

E.T.A. Hoffmann: deutsche Romantik im europäischen Kontext, Volume 1

Ulrich Stadler, "Von Brillen, Lorgnetten, Fernrohren und Kuffischen Sonnenmikroskopen: Zum Gebrauch optischer Instrumente in Hoffmanns Erzählungen"

Pierre Delrée, 'Robertson, Physicien et Aéronaute Liégois,' Vol. XXVIII (1954)

Kirkendale, Missa solemnis, paintings showing Annunciation being carried to Virgin's ear on rays of light. cited by Kramer, "Music and Representation"

cosmic order/musical harmony pp. 30-73. cited by Kramer "Music and Representation"
on mimesis in 18th c. musical aesthetics, pp. 194-286. cited by Characteristic Symphony.

Maria Hörwarthner, "Joseph Haydns Bibliothek - Versuch einer literarhistorischen Rikonstruktion"

use of technology to study behavior that cannot be observed directly

rites associated with Isis, in literature. 116-48

p. 101 - Schubart

Grundlehren der Physik By René Just Haüy, Johann G. Blumhof

Oekonomische encyklopädie, Volume 79 By Johann Georg Krünitz

detail vs whole

A history of the senses: from antiquity to cyberspace By Robert Jütte

new world

new world

Medicine and the Reign of Technology By Stanley Joel Reiser

rochlitz hoffmann besuch im irrenhause

organ pipe

Mary Baine Campbell's influential study, Wonder and Science, brings our attention to the connections between seventeenth-century microscopy and eighteenth-century narrative when she argues that Hooke's Micrographia was a forerunner to "Pamela's minute invoices of the sensible world" (201). Campbell's overall focus is on the "graphic detail" of Micrographia and what she calls the "eroticization of sight," a connection that aligns the production of natural history with pornography (189). Reading Micrographia as an erotic plot, Campbell identifies microscopy, and Hooke's text in particular, as a means for voyeuristic pleasure that eventually ends up reformulated into the novel (186-87, 201). -Minute particulars: microscopy and eighteenth-century narrative http://goliath.ecnext.com/coms2/gi_0199-5615366/Minute-particulars-microscopy-and-eighteenth.html

p. 123

"'Fantastic' images. From Unenlightening to Enlightening Images meant to be seen in the dark.

Instruments in art and science: on the architectonics of cultural boundaries ... By Ludger Schwarte, Jan Lazardzig

Tunbridge, L. (2006) 'Weber's Ghost: 'Euryanthe', 'Genoveva', 'Lohengrin'', Music, Theatre and Politics: 1848 to the Third Reich , Ashgate, 9-29

Bd. 2 pp. 89-90. notes on text from 1811-12

Festival of the Planets 30-34, 130-65, 229-237

Henry King, The History of the Telescope

“Festival of the Planets”

The book of science: a familiar introduction to the principles of natural ... By John M. Moffat

Le spectacle de la nature, Volume 7 By Noel Antoine Pluche

p. 115

A system of mechanical philosophy, Volume 4 By John Robison, David Brewster, James Watt

Scientific dialogues: Intended for the instruction and entertainment of ... By Jeremiah Joyce, Olinthus Gregory

http://books.google.com/books?id=-oU9AAAAYAAJ&ots=Gt0B-7k2ia&dq=Zamor%20oder%20der%20Mann%20aus%20dem%20Monde&pg=PA1#v=onepage&q=&f=false