{"id":96800,"date":"2016-04-11T08:57:44","date_gmt":"2016-04-11T12:57:44","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=96800"},"modified":"2016-04-11T10:21:28","modified_gmt":"2016-04-11T14:21:28","slug":"heres-to-hearing-the-hum-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/11\/heres-to-hearing-the-hum-and-other-news\/","title":{"rendered":"Here\u2019s to Hearing the Hum, and Other News"},"content":{"rendered":"<div id=\"attachment_96801\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/screen-shot-2016-04-11-at-8.52.47-am.png\" rel=\"attachment wp-att-96801\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-96801\" class=\"wp-image-96801\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/screen-shot-2016-04-11-at-8.52.47-am.png\" alt=\"\" width=\"600\" height=\"454\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/screen-shot-2016-04-11-at-8.52.47-am.png 759w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/screen-shot-2016-04-11-at-8.52.47-am-300x227.png 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-96801\" class=\"wp-caption-text\">A visualization of the Hum made by Louviere+Vanessa, who broadcast audio files through a digital spectrometer then print them onto handmade Japanese kozo paper Dibond-primed with gesso, covered in gold leaf, and coated with resin. Photo via <em>New Republic<\/em>.<\/p><\/div>\n<ul>\n<li>Though his criticism can be acid, and though it sometimes deploys words like <em>gassy<\/em>, Michael Hofmann isn\u2019t \u201ca lit-crit Johnny Fartpants,\u201d experts say: \u201c<a href=\"http:\/\/www.theguardian.com\/books\/2016\/apr\/09\/books-interview-michael-hofmann-anglo-german-poet-critic-translator\" target=\"_blank\">As he sits in an incongruously rowdy Hamburg bar, all shy eyes and nervous hands, one is reminded that he is also a poet and translator: a humble servant of words, not just their sneering judge<\/a>. In smooth RP tones that belie his German parentage, he explains that none of his hatchet\u00a0jobs were written out of personal animosity \u2026 \u2018I have a sense of the enterprise being ecological,\u2019 he says. \u2018There is so much excessive praise and excessive interest in the books world, and it\u2019s all too focused on too few people. If you cut things down to scale, you do something good.\u2019 \u201d<\/li>\n<li>Tinnitus is more than a condition. It\u2019s a worldview. Or so it is if you\u2019re among the lucky 2 percent of the population who can hear the Hum, widely reported as \u201ca low, distant rumbling, like an idling diesel engine, mostly audible at night, mostly noticeable indoors.\u201d Colin Dickey looked into it: \u201c<a href=\"https:\/\/newrepublic.com\/article\/132128\/maddening-sound\" target=\"_blank\">Hum sufferers have been consistently written off as either delusional or simply suffering from tinnitus<\/a> \u2026 It\u2019s important to remember that there\u2019s so much we still don\u2019t know about how hearing works. We know low-frequency waves can cause pain, nausea, and other deleterious effects on humans\u2014indeed, the United States and other governments have long experimented with using sound and vibration as nonlethal weapons \u2026 Add to this the fact that since the early twentieth century we\u2019ve been bombarding the atmosphere with all manner of frequencies and waves. Rather than dismiss Hum hearers as delusional tinnitus sufferers, the question that might be better asked is why don\u2019t <em>more <\/em>of us hear it?\u201d<\/li>\n<li>There\u2019s an argument to be made that any and all instances of the Hum are in fact to be pinned on Tony Conrad, the experimental filmmaker and drone-music progenitor, who died last week at seventy-six: \u201cAfter his graduation in 1962, Mr. Conrad briefly worked as a computer programmer and immersed himself in New York\u2019s experimental music scene. <a href=\"http:\/\/www.nytimes.com\/2016\/04\/10\/arts\/artsspecial\/tony-conrad-experimental-filmmaker-and-musician-dies-at-76.html?partner=rss&amp;emc=rss&amp;smid=tw-nytimesarts&amp;smtyp=cur&amp;_r=0\" target=\"_blank\">As part of Mr. Young\u2019s ensemble, he performed seemingly improvisational pieces that involved holding notes for what might have felt like hours at a time<\/a>. Some audiences found the music maddening; others were exalted. \u2018It appeared as if Schoenberg had destroyed music,\u2019 Mr. Conrad said \u2026 \u2018Then it appeared as if Cage had destroyed Schoenberg. Our project was to destroy Cage.\u2019 \u201d<\/li>\n<li>For aesthetes, the mug shot provides a great reason to avoid a life of crime\u2014it\u2019s so unforgiving, so permanent. A new exhibition at the Met, \u201cCrime Stories: Photography and Foul Play,\u201d looks at its history: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2016\/04\/07\/caught-in-act-crime-stories-photography\/\" target=\"_blank\">In the 1870s, a Parisian policeman named Alphonse Bertillon pioneered the mug shot as part of his \u2018anthropometric\u2019 system of criminal identification based on minute physical measurements<\/a>. For no pay, he spent his free hours examining inmates at La Sant\u00e9 prison, using calipers and rulers to record the length and width of prisoners\u2019 fingers, noses, foreheads, and mouths \u2026 If one measure of a photograph\u2019s power is the extent to which it inspires us to fill in the circumstances around it, then the mug shot of a 1930s Baltimore shoplifter is a small masterpiece of portraitist art. A woman in her late forties, with whitening blonde hair, turns slightly away from the police photographer\u2019s camera with a mix of melancholia and trapped defiance. The flesh around her left eye is badly bruised, a messy black puddle that spills along her cheek and temple. Who slugged her\u2014the department store security guard, the arresting cop, the shopkeeper himself, or an intimate friend? Her lips are thin and subtly crooked, her jawline is just beginning to sag. The life before (and after) the picture rushes in on you in an imagined story of filled-in time.\u201d<\/li>\n<li>Violette Leduc was a prot\u00e9g\u00e9 of Simone de Beauvoir, and yet she seldom appears on syllabi\u2014why? \u201c<a href=\"http:\/\/www.theguardian.com\/books\/2016\/apr\/07\/violette-leduc-the-great-french-feminist-writer-we-need-to-remember\" target=\"_blank\">A journey through Leduc\u2019s rejections, documented in her autobiographies <em>La b\u00e2tarde<\/em> (1964) and <em>Mad in Pursuit <\/em>(1970), lay bare the insidious gatekeeping that money and masculinity exert on literary inclusion, then and now<\/a>. Leduc was born poor and illegitimate; her mother is the help, her father is the heir and she, the child of their furtive union, is unwanted \u2026 De Beauvoir spent her time earning the title \u2018intellectual.\u2019 Her story is one of early erudition, acing exams, stunning philosophical acuity and a romantic (if also conveniently strategic) alliance with Sartre. In Leduc, she sees the authenticity that she theorizes, and in playing midwife to her self-exposition she seeks the vindication of her philosophy. In existentialism, we are all free to choose, exercise our radical free will; the constraints of past experience can be shaken off, truth told and freedom achieved. Leduc\u2019s life, told in her writing, has to be evidence of the truth of this. De Beauvoir\u2019s feminism, unleavened by any literal struggles with the whims of men, needs Leduc\u2019s literary liberation to prove its practical application.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Though his criticism can be acid, and though it sometimes deploys words like gassy, Michael Hofmann isn\u2019t \u201ca lit-crit Johnny Fartpants,\u201d experts say: \u201cAs he sits in an incongruously rowdy Hamburg bar, all shy eyes and nervous hands, one is reminded that he is also a poet and translator: a humble servant of words, not [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[7583,478,21899,21897,8117,21894,1768,21901,21900,100,8941,21896,21895,21898,530,21902],"class_list":["post-96800","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-crime","tag-criticism","tag-drone-music","tag-hearing","tag-john-cage","tag-johnny-fartypants","tag-michael-hofmann","tag-mug-shots","tag-mugshots","tag-photography","tag-simone-de-beauvoir","tag-the-hum","tag-tinnitus","tag-tony-conrad","tag-translation","tag-violette-leduc"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Who Hears the Hum, and Why?<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s 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