Matching Items (2)
Description
Cosmic horror distinguishes itself from standard horror in large part because of the things that it finds horrifying. Cosmic horror, like any horror, attaches itself to external experience. Powerful technologies’ ability to reshape our perspective are the ideal choice for this anchor point. Beyond the Wall of Sound is a podcast that seeks to unify the existential dread and scientific imaginings inherent in cosmic horror and weird fiction, with dystopian visions of technological futures. The podcast uses the strange and horrifying mind of HP Lovecraft, as revealed through his short stories, to shed light on the horrifying, revealing and absurd imaginaries that drive and emerge unintentionally from current pursuits in science and technological innovation. In this essay, I describe the roots of horror and its relevance and therefore applicability to human experience. I then exemplarily relate the practical mode of thought that created one of the podcast’s episodes, which take’s Lovecraft’s The Thing on the Doorstep and the authors fears of the future as a lens to discuss and reflect upon the technology of body switching. The podcast is presented as an important piece of science communication in the face of increasing misinformation and a rolling technological wave. The project is affected by the strength of Lovecraft’s influences over time, and ultimately is itself a vehicle for and a deconstruction of that influence. Ultimately, the purpose of this podcast is not to horrify, but to inspire people to do good and remain educated despite the horrors of a pessimistic and uncaring existence.
ContributorsMillea, Paul (Author) / Maynard, Andrew (Thesis director) / Withycombe-Keeler, Lauren (Committee member) / School of Sustainability (Contributor) / School for the Future of Innovation in Society (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Symphonic Movement: On Works of H. P. Lovecraft is a single movement
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
ContributorsLamb, Christopher John (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2016