By Frederik L. Schodt
This can be a electronic re-issue of Frederik L. Schodt's now-classic paintings, "Inside the robotic nation: Japan Mechatronics, and the arrival Robotopia." targeting commercial and myth robots in Japan as a metaphor for the connection among tradition and expertise, this ebook used to be first issued in hardcover in 1988, and paperback in 1990. In 1988 it was once defined by means of Library magazine as the best sci-tech books of the yr. This electronic model relies at the 1990 paperback version, with a brand new conceal, foreword, numerous colour photographs, and searchable, free-flowing textual content.
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Extra info for Inside the Robot Kingdom: Japan, Mechatronics, and the Coming Robotopia
Sample text
The music of the early Jikken Ko¯ bo¯ years: Uninterrupted Rest I As noted above, the only work to have survived in the form of a fully notated and published text from the early Jikken Ko¯bo¯ years is the movement which was eventually to form Part I of the triptych entitled Uninterrupted Rest, originally performed as an independent work under that title by its dedicatee, Takahiro Sonoda, in August 1952. The instruction (in English) with which this work is prefaced – ‘Slowly, sadly and as if to converse with’ – is very much in keeping with the general mood already established by ‘the Lento composer’ in previous works, and these verbal indications ‘reverberate’ in musical terms which translate their evocative sense with exact fidelity: a rather ‘Messiaenic’ tempo marking of = 48, plus the performance directions Triste and quasi parlando.
There was a cinema right in front of me, I bought a ticket, went inside, and in a corner of the pitch blackness . . ’24 Yamane’s remark about ‘pre-music’ in fact turned out to be remarkably apt, for Takemitsu was to withdraw both this work and its companion piece from the Shinsakkyokuha years, Distance de Fée (for violin and piano, premièred at the eighth recital of the group in 1951). Both pieces are omitted from the work list which appears in the composer’s manuscript score of Tableau Noir (1958), which acknowledges instead the first Uninterrupted Rest of 1954 as his ‘Op.
J œ œ œ œ œ œœœ œ œ j œ on the sound-world of Lento/Litany is most palpable tend to be French. 37 On the evidence of the second movement of Lento, he would appear also to have played a lot of a more recent French composer as well. 38 The most audible reflection of this new influence is the addition of a new resource to Takemitsu’s modal vocabulary, and one not tainted with the pejorative connotations of the pentatonic forms employed hitherto: the octatonic scale ([0,1,3,4,6,7,9,10]), which, in the shape of the ‘second mode of limited transposition’, Messiaen had contrived to make so much his own.