Ford Suite Spiritus Silvestris Download

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SUITE ON SPIRITUSS ILVESTRE: FOR S YMPHONY


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Suite on Spiritus Silvestre

For Symphony

Denzil Ford

dead letter office

BABEL Working Group

punctum books brooklyn, ny


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SUITE ON SPIRITUS SILVESTRE: FOR SYMPHONY Denzil Ford, 2012.

This work is licensed under the Creative Commons Attribution-NonCommerical-NoDerivs 3.0 UnportedLicense. To view a copy of this license, visit: http://creativecommons.org/licenses/by-nc-nd/3.0, or send aletter to Creative Commons, 444 Castro Street, Suite900, Mountain View, California, 94041, USA.

This work is Open Access, which means that you are

free to copy, distribute, display, and perform the workas long as you clearly attribute the work to theauthors, that you do not use this work for commercialgain in any form whatsoever, and that you in no way alter, transform, or build upon the work outside of itsnormal use in academic scholarship without expresspermission of the author and the publisher of thisvolume. For any reuse or distribution, you must make

clear to others the license terms of this work.First published in 2012 by Dead Letter Office, BABEL Working Groupan imprint of punctum booksBrooklyn, New Yorkhttp://punctumbooks.com

The BABEL Working Group is a collective anddesiring-assemblage of scholar-gypsies with no leadersor followers, no top and no bottom, and only a middle.BABEL roams and stalks the ruins of the post-historical university as a multiplicity, a pack, lookingfor other roaming packs and multiplicities with whichto cohabit and build temporary shelters for intellectualvagabonds. We also take in strays.

ISBN-13: 978-0615747101ISBN-10: 0615747108

Library of Congress Cataloging-in-PublicationData is available from the Library of Congress.


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Table of Contents

d

Prelude

Intermezzo

Overture

Cavatina

Theres a Hole in the Glass Flask

New Ways to Play an AnalyzerThe Image King

Coda

Index of Musical Terms

Working Bibliography

1

5

6

12

13

1619

21

23

27


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d Suite on Spiritus Silvestre For Symphony

Denzil Ford

Melody with Symphonic Accompanyment

PRELUDE1

Allegro grandioso

Allow me to offer the following sheet music as amovement to be played in the spirit of expres-sionism. Let practice of this piece become thecenter of transformation around which thenotes and rhythms may be interpreted into asymphony in sonata form. My aim is to use the

1 Please see Index of Musical terms at the end of thisdocument.


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2 Suite on Spiritus Silvestre

strucutres and methods of music as a way toframe visualization of the emergence of aninvisible compound in science that has come toindicate the future potential of humanity. A capella, this compound is known as carbondioxide. We cannot see nor accurately findwords for the beautiful tangle of a harmony asit vibrates in our ears, but we realize it. Norhave we seen or fully described the spiritussilvestre or wild spiritthe term used by JanBabtist van Helmont when he first describedcarbon dioxide gasthat rang out as scientistscharacterized relationships between this gas,human behavior, and temperatures of the

entire planet. By using music as a muse forthinking about carbon dioxide, new tones willbe heard that remain silenced with moretraditional approaches to history. This may reveal new ways outside of disciplinary boundaries to understand how objects becametargets of epistemic inquiry and how they

emerged as tools used for explanation or justitfication for research into new objects.Carbon dioxide will be one case study withwhich to explore the changes over the twen-tieth century in questions being asked aboutthe atmosphere and the modifications of workstructures in laboratories. Through this type of

study focused on scientific objects, we will seehow, along with proving global warming, themove from handmade measuring devices to


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Denzil Ford 3

commercially constructed high-precision devi-ces changed practices in laboratories.

This requires the assumption that carbon

dioxide is not a single object made up of onecarbon atom covalently bonded to two oxygenatoms that can change form between liquid,solid, and gas. Music is not a conglomeration of black notes on white paper. Carbon dioxide isnot a compound in the atmosphere, ocean, andearths crust that human technology tapped

into and released. Rather, as a musicalcomposition this entity is a polyphony, a suitethat does real work and in most cases it doesdifferent work for different people. While itcombines a number of individual but har-monizing melodies it loosely collects instru-mental compositions. That is, carbon dioxide is

not a static thing that was discoveredit is amultiplicity much like a piece of music. My aimis to unveil details of its movement andemergence by focusing on the practices of thescientists who made carbon dioxide come tosalience. Over the course of the twentiethcentury, its meaning transformed from simply acomponent of reality into a scientific objectcapable of limiting human quality of life. Thefollowing arrangement provides an overview of my ideas for examining carbon dioxide as


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Charles Keeling helped confirm that humanswere emitting unprecedented amounts of thisgas. Keeling began monitoring atmosphericcarbon dioxide in the 1950s using a homemademanometer but was able to use funding fromthe International Geophysical Year to purchasehigh precision gas analyzers. I want to uncoverthe ways that playing these instruments createda movingboth physical and emotionalconcerto that we more familiarly refer to asclimatology. The Keeling curve will be treated asa type of musical score whose live production inscientific and governmental concert hallspushed carbon dioxide in the atmosphere to

become more than the sum of notes written ona staff, more than numbers written on a graph.


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Denzil Ford 5

d INTERMEZZO


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d O VERTURE2

Capriccio

Charles Keelings parents expected him tobecome a professional musician. He took formalpiano lessons and played professionally for

womens clubs in Chicago throughout hischildhood. Although he continued to play music, Keelings interests in the Earth, physics,and science took primacy in his career as anadult. Rather than with a musical instrument,Keeling decided to engender vibrations by measuring the physical properties of the Earthwith scientific instruments. He loved beingoutdoors and decided to make his owninstruments to measure the conditions of thereal environment. 3 Thus, he was able to make

2 The preliminary details of Keelings methodsthroughout the Overture section are from CharlesD. Keeling, Rewards and Penalties of Monitoringthe Earth, Annual Review of Energy and Environment23 (1998): 2582.3 Keeling, Rewards and Penalties, 32.


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Denzil Ford 7

compelling arguments that he needed to spendcopious amounts of time in nature instead of anindoor laboratory.

A chemistry professor, Harrison Brown, sug-gested that Keeling combine his training inchemistry with his inherent interests ingeology. This was the beginning of his investi-gations on carbon dioxide. His first task was to

build a device that would equilibrate water witha closed air supply. Keeling started with asimple hand-operated piston pump that hepurchased or found laying around the lab-oratory. Either way, it was a device he did notdesign nor make. He used the pump to spray water into a closed glass chamber, which

created an equilibrium between the carbondioxide dissolved in the water and that in theair of the closed glass chamber. He referred tothis device as an equilibrator. Then, he addedhis own version of a vacuum extraction systemto isolate the carbon dioxide from the air. In a journal article from 1916 he found a referenceto a design for a gas manometer that wouldactually measure the carbon dioxide. He thenseparately constructed the instrument fromdrawings, adding his own modifications. The


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equilibrator, vacuum extraction system, and gasmanometer combination allowed him to collecthis first sequence of air samples and measureatmospheric carbon dioxide. This work wasdone on the roof of the geology building atCaltech in Pasadena, California. His resultsfrom each sample varied considerably, which heattributed to the carbon dioxide emmissionsfrom industry and cars in the area. Therefore,he moved his collection site to Big Sur StatePark where he could begin to carve out a careerfor himself while sleeping under the stars.

During World War II, several companiesdeveloped high precision gas analyzers thattook automatic measurments of carbon dioxide

concentrations in the air. These instrumentscame to Keelings attention, and when theInternational Geophysical Year (IGY) providedthe funding, he began advocating for con-tinuous monitoring of atmospheric carbondioxide at different sites around the world. 4 IGY

4 The details of Keelings involvement with the IGY are complex and not fully fleshed out here. Thecontinuous monitoring program took place amidstmilitary patronage, negotiations between scienceand politics, and the Cold War in large part through


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Denzil Ford 9

funding purchased four gas analyzers that wereplaced in different spots: Little America Stationin Antarctica, Mauna Loa Observatory inHawaii, onboard a ship, and in an indoor lab-oratory to provide cross-calibration. Partic-ularly through the measurements taken atMauna Loa, Keeling began to notice seasonalvariations in carbon dioxide concentrations. By the 1960s Keeling interpreted an upward trendin carbon dioxde concentrations superimposedon the seasonal variation. He was not able tosee carbon dioxide with his eyes, yet he was ableto determine seasonal variation and an overallupward trend in concentration. Keeling accom-

plished this through instruments, somehandmade, some commercially produced. Con-ceptions of carbon dioxide became a center

the Scripps Institution of Oceanography. Thecontext in which he worked can be explored in JacobDarwin Hamblin, Oceanographhers and the Cold War:

Disciples of Marine Science(Seattle: University of Washington Press, 2005); Ronald Rainger, Patron-age and Science: Roger Revelle, The Navy, andOceanography at the Scripps Institution, EarthSciences History: Journal of the Earth Sciences Society 19.1 (2000): 5889; and Elena Aronova, Karen S.Baker, and Naomi Oreskes, Big Science and BigData in Biology: From the International Geophysical Year through the International Biological Programto the Long Term Ecological Research (LTER)Network, 1957-Present, Historical Studies in the Natural Sciences 40.2 (Spring 2010): 183224.


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around which meanings concretized. Theocean-atmosphere system became knownthrough the movement of carbon dioxide. Thematerial nature of this object affected what theocean-atmosphere system, and eventually thetheory of global warming, could mean. Carbondioxide came to be an integral component of explaining human effects on the planet asKeeling and others fused its material make-upand cultural meaning. How did carbon dioxidein the atmosphere take form as Keelingconstructed detection instruments himself andused them to create knowledge? Then, how didconceptions change with commercial instru-

ments placed around the globe? This inves-tigation will need to take a political turn inorder to determine how Keeling used theknowledge he created in his relationshipsbetween other people and groups. This proposalis limited to the work of Charles Keeling, but becertain that this line of research can be

extended to many other scientists, groups, andinstitutions that used the instruments they made to create conceptions of global warming.In sonata form, this will not be a biography of Keeling. However, one approach might threadKeeling throughout a much larger narrative of people and institutions in a similar fashion as

Emily Thompson presents Wallace Sabine inThe Soundscape of Modernity.5 The Keeling curve

5 Emily Thompson, The Soundscape of Modernity


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Denzil Ford 11

has become Keelings opus, perhaps a moreimportant aspect of his argument than any of his other scientific contributions. This image isnow an icon of the issues surrounding climatechange. To understand the power it holds, wemust ask, in what ways did this image play amediatory role between science and its culturalcontext? More basically, how was this imageproduced and disseminated, and by whom? Thefollowing movement discusses some ways thatwe might begin to gain a deeper understandingof what researchers on carbon dioxide were upto and how they made an abstract object notsensable without instruments into an iconic

representation of reality.

(Cambridge, Mass.: MIT Press, 2004).


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d C AVATINA

The fair breeze blew, the white foam flew,The furrows followed free;We were the first that ever burst Into that silent sea. 6

6 Excerpt from Samuel Taylor Coleridge, Annotated Ancient Mariner: The Rime of the Ancient Mariner ,(New York: Prometheus Books, 2003), 75. Thispoem might feed creative thinking about Keelingand his work: a long journey, ocean and air, triumph,religious references, song, spirits, and more.


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Denzil Ford 13

d THERES A HOLE IN THE GLASSFLASK 7

Legato

Dare to play this song: material products of science and technology consitute knowledge,

where knowledge is not reserved for the mind.Keeling learned about carbon dioxide by interacting with the world, with theinstruments he built. To unravel the materialculture that gave rise to carbon dioxide, wemust first understand the epistemologicalsignificance of the instruments built and used.

For Keeling, his combination of theequilibrator, vacuum extraction system, and gasmanometer were instruments of measure-ment. What effect did the physical materialshave on the way Keeling redesigned theseinstruments and the ways he interpreted their

7 This section was inspired by notes from DavisBaird, Thing Knowledge: A Philosophy of Scientific Instruments (Berkeley: University of California Press,2004)


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interactions with his conceptions of carbondioxide gas? How did Keelings instruments andresultant knowledge fit into larger trends inscience that relied on instruments to developscience and technology over the middle of thetwentieth century? I will look for the answers inseveral places. Most obviously, but not to beunderestimated, will be a chromatic journey through secondary literature on the history andphilosophy of laboratories, objects, and mid-twentieth century political relationships. Forinstance:

Landscapes and Labscapes composed by RobertKohler

Thing Knowledgecomposed by Davis Baird

Things That Talk composed by Lorraine Daston8

8 Please see Working Bibliography at the end of thebook for fuller citations of all three works.


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Denzil Ford 15

My chorale must then incorporate various doc-uments from the Keeling papers held at theScripps Institution of Oceanography Archive.The goal in studying these documents is to lookfor how Keeling viewed his instruments andmeasurements of carbon dioxide. Additionally,I aim to find more detailed information on howhe built them and conceptualized the meldingof commercial made scientific instruments withhis own designs and his copies of other designs.Was Keeling performing a kind of instrumentalarchitecture? Also, I will need to look for any sort of controversy within the scientific com-munity regarding carbon dioxide measure-ment

techniques. Did everyone trust Keeling that hishandmade instruments that trapped gas inflasks did exactly what he said they did? Thisbeginning will prove fruitful in further develop-ing an analysis of the practices carried out tomeasure carbon dioxide. Before any of thishistorical research will nestle into the corners

of our brains, we must understand the way scientists visualize carbon dioxide meas-uringdevices.


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d NEW W AYS TOPLAY AN A NALYZER

Pizzicato

In order to pick apart the practices involvingthe high-precision gas analyzers, I propose thatI visit laboratories. In these spaces I will discuss

with scientists the past and present function-ality of these instruments and laboratory arrangements. The Mauna Loa Observatory andthe field station in Antarctica will be proper forbeginning. The analyzers are still being usedtoday to collect data on carbon dioxideconcentrations. Visiting these sites and seeingfirst-hand how the instruments work must becombined with specific investigation into theKeeling papers. That is not to say that my experiences in these laboratories will be thesame as Keelings. Rather, to take the materialnature of carbon dioxide seriously, I must alsotake the material nature of the instrumentsused to detect it seriously. Therefore, seeing,touching, and talking with scientists that usethese instruments will become an integral partof my understanding of carbon dioxides


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Denzil Ford 17

material culture. Keeling reflected upon thecircumstances of using the commercial gasanalyzers:

Solo, performed by Charles Keeling, 1998:

These devices detected infared radiationfrom a glowing coil of wire after theradiation passed through a cell in which astream of air flowed. A radiation detector atthe other end of the cell determined howmuch CO 2 was in the air stream. Perhapsseveral of these infared gas analyzers couldbe placed strategically around the world. I

propose that my new manometric techniquecould be used to calibrate them precisely. Also, samples of air could be collected in 5-liter glass flasks at additional locations andreturned to a laboratory to be measured by one of these instruments. Flask sampleswould furthermore provide much wider

coverage, since continuous gas analyzerswould be difficult and expensive to operateat more than a few remote locations. 9

What exactly was done with these gas analyzersonce they were placed in their field positions atMauna Loa and Antarctica? Who kept them

running? What sorts of maintenance wasrequired? How were field assistants instructed?

9 Keeling, Rewards and Penalties, 36.


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Why did scientists believe that this machineproduced accurate measurements of carbondioxide?


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Denzil Ford 19

d THE IMAGEK ING

Expressivo

Charles Keeling and The Keeling Curve, 1996 10

The Keeling curve is an external representationof Charles Keelings interpretation of hismeasurements with instruments designed todetect carbon dioxide in the atmosphere. Thatis, the curve is external to carbon dioxidesexistence, and it is external to its interactionswith the earths ocean-atmosphere system.

10 Photo courtesy of Scripps Institution of Ocean-ography Archives, UC San Diego Library (online stillimage collection), Digital Object URL: https://libraries.ucsd.edu/ark:/20775/bb6656382b.


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Keelings tenacity to continue carbon dioxidemeaurements over the life of his career resultedin this graph that shows rising concentrationsin the atmosphere from 1957 to the present.Scientists value the continuous data Keelingcollected and continued carbon dioxide mea-surements after his death. The resultant graphplots time on the x-axis and CO 2 concentrationon the y-axis. From 1957 to the present day,concentrations have risen. But I would like toinvestigate what exactly about this curve movedscience and how was that movement related tothe instruments through which scientists de-tect this elusive gas, this wild spirit.


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Denzil Ford 21

d CODA

Grandioso

Music is a lobster, an egg I want to use to reachnew heights with the history of scientificobjects and material culture. 11 Scientists do not just exchange speech and writing. They use,rearrange, swap, convert, and buy and sellphysical objects in the process of measuring ourworld and reaching conclusions about the

nature of reality. I wish to continue a recenttrend in the history of science that begins toaddress these elements of scientific inquiry.This work holds the potential to illuminate theways in which certain things in our worldbecome objects of scientific inquiry and othersdo not. Scientific objects are not idle. Hans-Jrg

11 Gilles Deleuze and Flix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. BrianMassumi (Minneapolis: University of MinnesotaPress, 1987), 3974 and 14966.


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Rheinberger muses that, The study of scientificobjects within their experimental systemsshould convince us that these systems aremachines for making the future. 12 In the caseof carbon dioxide, the compound might actually become a machine for making the future if ithas not become one already. Its increasingpresence in the atmosphere in some ways iscurrently accepted as a determinant of thefuture of humanity.

Even if they do not literally whisper andshout, these things [that talk] press theirmessages on attentive auditorsmany messages, delicately adjusted to context,revelatory, and right on target. 13

And sometimes, all of the talk and chattermorphs into a cadence utilizing rhythms &tones and notes & beats that allow these thingsto convey their messages with a sense of

musicality.

12 Lorraine Daston, ed., Biographies of Objects(Chi-cago: University of Chicago Press, 2000), 294.13 Lorraine Daston, Things That Talk: Object LessonsFrom Art and Science(New York: Zone Books, 2004),12.


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d INDEX OFMUSICALTERMS

Clef In sheet music, a symbol atthe beginning of the staff defining the pitch of thenotes found in that par-ticular staff.

Fortissimo A direction to play very loud.

Breath mark A direction for a general

pause.

A capella One or more vocalists per-forming without accomp-animent.

Allegro A direction to play lively

and fast.

Capriccio A quick, improvisational,spirited piece of music.


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Chorale Hymn sung by the choirand congregation in uni-son.

Chromoatic Referring to a scale thatincludes all twelve notes of an octave and so makesprogression in semitones.

Concerto A composition written for asolo instrument. The so-loist plays the melody whilethe orchestra plays theaccompaniment.

Expressionism Atonal style used as ameans of evoking heigh-tened emotions and statesof mind.

Grandioso Word to indicate that the

movement or entire com-position is to be playedgrandly.

Intermezzo Short movement or inter-lude connecting the mainparts of the composition.

Legato Word to indicate that themovement or entire com-position is to be played


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Index of Musical Terms 25

smoothly.

Movement A separate section of a lar-ger composition.

Overture Introduction to an opera orother large musical work.

Polyphony Combining a number of individual but harmonizingmelodies.

Prelude A short piece introducingwhat is to come.

Rhythm The element of music per-taining to time, played as agrouping of notes intoaccented and unaccentedbeats.

Score Handwritten sheet music.

Staff Made up of five horizontalparallel lines and the spacesbetween them on whichmusical notation is written.

Suite A loose collection of in-strumental compositions.

Tone The intonation, pitch, and


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modulation of a compos-ition expressing the mean-ing, feeling, or attitude of the music.


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d W ORKING BIBLIOGRAPHY

G LOBAL W ARMING AND C LIMATE C HANGE

Charney, Jule G. On the Scale of Atmospheric Motions. Oslo: Grodahl & Sons, 1948.

Charney, Jule G. and J. Shukla. Dynamics of Large-Scale Atmospheric and OceanicProcesses: Selected Papers of Jule GregoryCharney. Hampton: A. Deepak Publishing,2001.

Crawford, Elisabeth T. Arrhenius: From IonicTheory to the Greenhouse Effect. SagamoreBeach: Science History Publications/USA,1996.

de Steiguer, Joseph E. The Origins of ModernEnvironmental Thought. Tucson: University of Arizona Press, 2006.

Ehleringer, James R., Thure E. Cerling, and M.Denise Dearing. A History of Atmospheric CO2and Its Effects on Plants, Animals, and Ecosystems.New York: Springer, 2005.


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Fleming, James R. Historical Perspectives onClimate Change. Oxford: Oxford University Press, 1998.

Fleming, James R. Meteorology in America, 1800-1870. Baltimore: Johns Hopkins University Press, 1990.

Fleming, James R. The Callendar Effect: The Lifeand Times of Guy Stewart Callendar (1898-1964) . Boston: American MeteorologicalSociety, 2007.

Fleming, James R., Vladimir Jankovic, and

Deborah R. Coen. Intimate Universality: Localand Global Themes in the History of Weather and Climate. Sagamore Beach: ScienceHistory Publication/USA, 2006.

Fleming, James R., and Henry A. Gemery.Science, Technology, and the Environment.

Akron: University of Akron Press, 1994.

Gruber, Nicolas, and Charles D. Keeling.Seasonal Carbon Cycling in the Sargasso Sea Near Bermuda. Berkeley: University of California Press, 1999.

Guenther, Peter, R., Charles D. Keeling, andGuy Emanuele. Oceanic CO2 Measurementsfor the WOCE Hydrographic Survey in thePacific Ocean, 1990-1991: Shore Based


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Working Bibliography 29

Analysis. San Diego: Scripps Institution of Oceanography, 1994.

Heimann, Martin, and Charles D. Keeling. AThree-Dimensional Model of Atmospheric CO2Transport Based on Observed Winds: ModelDescription and Stimulated Tracer Experiments. Hamburg: Max Planck Institutefor Meteorology, 1989.

Weart, Spencer. The Discovery of GlobalWarming . Cambridge, Mass.: Harvard Uni-versity Press, 2003.

Weart, Spencer. The Discover of Global Warming: A Hypertext History of How Scientists Came to(partly) Understand What People Are Doing toCause Climate Change [website]. 2003-2011:http://www.aip.org/history/climate.

White, Robert. Whither the U.S. climate

program? (Environment & Energy). Issuesin Science and Technology19.4 (2003): 51.

I NSTRUMENTS AND O BJECTS

Baird, Davis. Thing Knowledge: A Philosophy of Scientific Instruments. Berkeley: University of

California Press, 2004.


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Daston, Lorraine. Things That Talk: ObjectLessons From Art and Science. New York:Zone Books, 2004.

Galison, Peter, ed. The Architecture of Science. Cambridge, Mass.: MIT Press, 1999.

Jaffe, Herbert. The Construction of an Improved Mercury Manometer and the MeniscusCorrection. B.S. Thesis, MassachusettsInstitute of Technology, Dept. of GeneralScience, 1939.

Jones, Barry E. Instrument Science and Tech-

nology. Bristol: A. Hilger, 1982.Kohler, Robert E. Landscapes and Labscapes:

Exploring the Lab-Field Border in Biology.Chicago: University of Chicago Press, 2002.

Prowse, David B. The Effect of Mercury-Vapour

Pressure in a Mercury Manometer. Ascot Vale:Materials Research Laboratories, 1978.

L ABORATORY AND P RACTICE

Feest, Uljana, Giora Hon, Hans-Jrg Rheinber-ger, Jutta Schickore, and Fredrich Steinle,

eds. Generating Experiemental Knowledge.Berlin: Max Planck Institute for the History of Science, 2008.


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Working Bibliography 31

Kuklick, Henrika and Robert E. Kohler. Sciencein the Field . Chicago: University of ChicagoPress, 1996.

Hacking, Ian. Representing and Intervening.Cambridge, Eng.: Cambridge University Press, 1983.

Keeling, Charles, D. Instructions for Taking Air Samples on Board Ship: Carbon Dioxide Project. La Jolla: Institute of Marine Resources,1971.

M USIC AND M USING

De Landa, Mauel. A Thousand Years of Nonlinear History. New York: Zone Books, 1997.

Deleuze, Gilles and Flix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia.Minneapolis: University of Minnesota Press,

1987.

Dowd, Timothy, J. The Sociology of Music:Sounds, songs, and society. Thousand Oaks,Calif.: Sage, 2005.

Dunaway, Finis. Seeing Global Warming:

Contemporary Art and the Fate of thePlanet. Environmental History 14.1 (2009):931.


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Gozza, Paola. Number to Sound: The Musical Wayto the Scientific Revolution. Boston: Kluwer Academic Publishers, 2000.

Thompson, Emily. The Soundscapes of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge,Mass.: MIT Press, 2002.


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W. dreams, like Phaedrus, of an army of thinker-friends, thinker-lovers. He dreams of a

thought-army, a thought-pack, which wouldstorm the philosophical Houses of Parliament.

He dreams of Tartars from the philosophicalsteppes, of thought-barbarians, thought-

outsiders. What distances would shine in theireyes!

~Lars Iyer

www.babelworkinggroup.org


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Charles Keeling playing the piano in his home(1984); photo courtesy of Scripps Institution of Oceanography Archives, UC San Diego Library,

(online still image collection), Digital Object URL:https://libraries.ucsd.edu/ark:/20775/ bb5427841d.


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