Types of Heroin and their Ingredients

Types of Heroin and their Ingredients Addiction Drug Use Heroin Print Types of Heroin and their Ingredients By Elizabeth Hartney, BSc., MSc., MA, PhD Elizabeth Hartney, BSc, MSc, MA, PhD is a psychologist, professor, and Director of the Centre for Health Leadership and Research at Royal Roads University, Canada. Learn about our editorial policy Elizabeth Hartney, BSc., MSc., MA, PhD Medically reviewed by Medically reviewed by Steven Gans, MD on January 30, 2020 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on February 04, 2020 Diverse Images/Universal Images Group/Getty Images More in Addiction Drug Use Heroin Cocaine Marijuana Meth Ecstasy/MDMA Hallucinogens Opioids Prescription Medications Alcohol Use Addictive Behaviors Nicotine Use Coping and Recovery In This Article Table of Contents Expand Psychoactive Ingredients Black Tar Heroin Brown or White Powder Street Heroin Chemical Additives Anesthetics Fillers Potential Toxins View All Back To Top A highly addictive and illegal drug, heroin is sold in three different forms:  black tar heroin, brown powder heroin, and white powder heroin.?? Each kind of heroin contains slightly different ingredients, and all are likely to have various other substances added, which can add to the drugs potency, in some cases making it even more dangerous. Heroin is usually a mixture of diacetylmorphine, the active ingredient that produces the drug effects, and a variety of filler ingredients.?? Some of these fillers are other opiates, and share some of the ?psychoactive effects of heroin, whereas others are simply powders that share the appearance of the form of heroin they are cut with. And in some cases, the add-ins are toxins that can cause deadly side effects. Psychoactive Ingredients Diacetylmorphine, or diamorphine, is a highly potent painkiller that is synthesized from the latex sap of the seed pod of the opium poppy, known as opium.?? The opium poppy grows in many parts of the world, including Asia, Australia, some parts of Europe, Turkey, Afghanistan, Colombia, and Mexico. This opiate is the main psychoactive ingredient in heroin, which produces the euphoric heroin high. It is also what gives heroin its addictive qualities and creates a state of physical dependence among its users; the more someone uses, the more they need to avoid withdrawal symptoms. Deaths related to synthetic opioid overdose has risen by 219% in the U.S. between 2010 and 2015. in the U.S.?? This is mainly due to the contamination of heroin and other drugs with illicitly manufactured fentanyl, an opioid painkiller, which is many times stronger and more dangerous than heroin. Research shows that drug users are concerned about fentanyl in their heroin, and most are open to using rapid test strips, which can be used to detect the presence of fentanyl in drug samples (before use) or urine (after use) and can help inform people about their exposure risk.?? In addition to diacetylmorphine and fentanyl, street heroin may contain a variety of other street and  prescription drugs, including methamphetamine.?? Although meth is a stimulant and heroin a relaxant, both produce feelings of  euphoria, so a  drug dealer  can often get away with mixing any euphoria-producing  psychoactive  drug with heroin if it is available at a cheaper price. Meth carries its own risks and typically contains toxic chemicals, making it particularly unsafe to inject directly into the bloodstream. Black Tar Heroin Black tar heroin looks like a sticky chunk of blackish brownish substance. It is produced by a very crude process in which the opiate that is produced is relatively unrefined compared to white powder heroin. Although black tar heroin has been around for over 100 years, its popularity in the  United States  began in the 1970s because it is cheaper and easier to make than white powder heroin.?? Brown or White Powder Street Heroin Further processing of black tar heroin, and cutting with lactose, can produce brown powder heroin.  White powder heroin  in its purest form is a salt form of the drug, known as diacetylmorphine hydrochloride, although it will typically be mixed or cut with other white powders, which reduce the potency and increase the risk of contamination and vein damage if the drug is injected. Typically, the purer the heroin, the whiter and shinier it appears, while the more heavily cut the heroin, the duller the white powder appears. Chemical Additives The process of making heroin from opium varies, depending on the methods used, and the facility in which it is made. These facilities range from state-of-the-art legitimate laboratories run by fully qualified chemists, to clandestine labs run by illicit drug manufacturers, to makeshift processes using old oil drums and outdoor fires run by local growers with little or no education in chemistry. Recently, heroin has been manufactured in home labs by people attempting to convert prescription painkillers such as oxycodone into street heroin. There is no way to know the point of origin or additional ingredients of heroin purchased on the street. It may contain contaminants that are by-products of the manufacturing process, including chemicals such as calcium oxide, ammonia, chloroform, hydrochloric acid, and acetic anhydride.??   Anesthetics Street heroin may contain local anesthetics, such as xylocaine. Although anesthetics themselves legally used for medical and dental purposes, they do carry risks, can have side effects, and are also potential allergens, carrying additional risks of adverse health effects, which may not be recognized or properly treated by users or dealers. Fillers Filler ingredients are added to bulk up the heroin so that dealers can increase their profit margins. They vary from benign substances, such as talc, flour, cornstarch, powdered milk, and various sugars, to harmful substances. For example, black tar heroin may be diluted with black shoe polish or dirt. Quinine is sometimes added to white powder heroin for its bitter flavor. Potential Toxins Its also possible for poisons to be cut into heroin. Strychnine, which is used as a pesticide used in rat poison, is one toxic ingredient sometimes mixed with heroin.?? Psychological symptoms of strychnine poisoning include anxiety, restlessness, agitation, and an increased startle response. Physical symptoms include jaw tension, muscle pain and spasms, the rigidity of the arms and legs, and arching of the neck and back.  ?? Black tar heroin may be cut with soil, which can contain the spores of a toxic contaminant called Clostridium botulinum. If that name sounds vaguely familiar, it may be because it causes a potentially fatal kind of food poisoning called botulism.   If these spores get into a wound, the spores can germinate and cause a rare infection known as wound botulism. Even though the wound may appear small, the infection is extremely serious. Although not actually an ingredient in heroin, people who burn heroin on aluminum foil to inhale the fumesâ€"a practice known as chasing the dragonâ€"may have elevated levels of aluminum in their urine.?? Aluminum is known to be a neurotoxin, although the long-term effects on heroin users still need to be established.

Essay A Christmas Carol by Charles Dickens - 2145 Words

A Christmas Carol by Charles Dickens In the book ‘ A Christmas Carol’, Dickens describes the poor, how they were treated unfairly and how they were thought as animals rather than human beings. Dickens portrays the rich as ignorant and selfish people that think they are bigger than the world itself. Charles Dickens new a lot about poverty, as his parents were not earning enough money to pay of debts, which meant that Dickens himself had to leave school at the age of 12 to work in a factory. He had a terrible experience; he had felt what it was like to be poor, to have no hope for the future and worked long hours in a dirty factory. Charles dickens used Scrooge to symbolize the minority of the population that are†¦show more content†¦He sees his lack of providing for the family has caused the death-to-be for Tiny Tim, as he has done nothing to stop it, therefore he is part responsible. Seeing how the Cratchits live makes Scrooge realize that he has caused poverty and that he is also the reason Tiny Tim could die. Scrooge reluctantly allows his clerk, Bob Cratchit, to take the Christmas day as a paid holiday. For Scrooge the idea of paying a man not to work seems an insult, and Christmas represents nothing but an excuse for picking a mans pocket every twenty-fifth of December. In the first stave, Bob Cratchit asked to have Christmas day off and Scrooge wasn’t too pleased with the idea but compromised and said, ‘ but I suppose you must have the whole day. Be here all the earlier next morning.’ Scrooge has a young nephew called Fred who was introduced into the novel in a joyful manner, which was soon changed by Scrooge. Fred was extremely merry as it was Christmas and tried to share his joy with his uncle, but did not happen, ‘A merry Christmas, uncle!’ scrooge replied. ‘ Bah! Humbug!’ Scrooge wonders how someone so poor, Fred, could be so happy, ‘ what reason have you to be merry? You’re poor enough.’ Scrooge and Fred were both at it, but Fred did not get angry once and still wished Scrooge a merry Christmas and a happy new year. As soon as Fred left, two ‘portly gentlemen’ walked in. These two men were charity workers that go around the townShow MoreRelatedCharles Dickens and A Christmas Carol1613 Words   |  7 PagesCharles Dickens and A Christmas Carol: Famed British author, Charles Dickens was born on February 7, 1812, in Portsmouth, England. He was the second of eight children, living in a poor neighborhood in London. His parents were John Dickens, a naval clerk, who always lived beyond his means. Married to his mother Elizabeth Dickens, who aspired to be a teacher and a school director. Dickens went to William Giles’ school in Chatham, Kent, for approximately one year before his father’s money habitsRead MoreA Christmas Carol By Charles Dickens1139 Words   |  5 Pages The book I have chosen is A Christmas Carol by Charles Dickens. It has been rewrote few times but I wanted to pick the author that started it all. Charles John Huffman Dickens lived from February 7th,1812 – June 9th,1970 making him 58 when he died. He was buried Westminster Abbey. His mother and father were John and Elizabeth Dickens. He had seven siblings four brothers and three sisters. During his life he was married to his wife Catherine Dickens from 1836 to the day he died. Together they hadRead MoreA Christmas Carol (Charles Dickens)1144 Words   |  5 PagesCharles Dickens believed it was up to him to inform the people of Britain of the social problems occurring around Britain. While Dickens was a young man, he suffered from poverty along with his mother and father. His father was imprisoned for dept and Charles wanted to become a social reformer. Dickens used these problems as themes for his book ‘A Christmas Carol. These themes involve poverty, pollution and a c hanging of ways. Dickens used Scrooge, the main character in the book at first to showRead MoreA Christmas Carol By Charles Dickens1160 Words   |  5 PagesCharles Dickens began writing the famous story â€Å"A Christmas Carol† in October 1843 and wrote excitedly during the next six weeks. He completed the narrative at the end of November so that it could be published by the time it was Christmas. It came out on December 17, 1843 and sold out in only three days (Molly Oldfield). The expression â€Å"Bah! Humbug†, a line repeated many times in the story by its main character, a miserable and bitter fellow by the name of Ebenezer Scrooge, has become a well-knownRead MoreCharles Dickens A Christmas Carol Essay922 Words   |  4 Pages â€Å"Bah, humbug!† This well-known phrase is popular thanks to Charles Dickens’ A Christmas Carol. In this literary classic, Dickens tells the story of Ebenezer Scrooge, a â€Å"tight fisted...covetous old sinner† (12). Through a series of hauntings by various Christmas ghosts, Scrooge realizes the error of his ways and changes completely into a warm-hearted, generous man. Scrooge’s tale is a familiar one; countless movies have been filmed, plays have been produced, and references made in other storiesRead MoreCharles Dickens A Christmas Carol1316 Words   |  6 PagesIt can be easily depicted that Christmas is a time of the year to share joyfulness. In Charles Dickens’ A Christmas Carol, Ebenezer Scrooge is a character that is effortlessly described as a hardheaded cold man. It is simple to judge the character of Scrooge in this manner, but it is important to recognize the change in his personality throughout the story. Scrooge’s transformation happens very quickly, but he becomes generous and caring only when he is forced to see himself through a stranger’sRead MoreA Christmas Carol By Charles Dickens1293 Words   |  6 PagesCharles Dickens presents many sh ort stories and novels. He is greatly known for his short fiction and later theater play, â€Å"A Christmas Carol†. In one short story, a reader could describe it as Charles â€Å"other† Christmas story, an elderly narrator reminisce of holiday past. There is a range of appeal in the story itself from comforting memories of loved toys to leaving the reader with an eerie feeling of various childhood haunts. The reader’s analysis of Dickens use of vivid detail together with hisRead MoreA Christmas Carol By Charles Dickens1331 Words   |  6 PagesChristy Mak 12/21/15 Period three Scrooge Changes In the story, A Christmas Carol, by Charles Dickens, Scrooge is the main character. In the beginning of the story, he is shown as an old miser counting and gripping his money in the counting house. Later on, Scrooge’s dead business partner, Marley, has visited Scrooge from the grave while being bounded in chains to warn Scrooge to change his ways or suffer the same fate. Soon, three ghosts are sent to visit Scrooge to show him scenes thatRead MoreA Christmas Carol By Charles Dickens914 Words   |  4 PagesFew characters in Christmas literature personify the antithesis of the season like Ebenezer Scrooge. Penned in 1843, Charles Dickens classic, A Christmas Carol has been told and retold. It has become a fixture of the season. So ingrained in our culture, is this story, that everyone knows the name Scrooge and the negative connotation that accompanies it. But what if, instead of just a cranky old miser, Ol Ebenezer Scrooge was more of a rather observant social commenta tor? In order to defendRead MoreThe Life Of Charles Dickens A Christmas Carol1062 Words   |  5 Pageslasted from 1832 to 1901 under Queen Victoria’s reign. The culture revealed in this era was a time of rapid change, social inequality, industrialization, supernatural and religious beliefs, and was accurately reflected in the works of Charles Dickens, A Christmas Carol. Roles of men and women were strictly defined, as were economic statuses. The hustle and bustle of the streets led to illnesses. Working conditions were destitute and unsanitary. Children often had little to no education, unless very

My Family My Grandmother - 859 Words

My grandmother and her siblings lived near a grocery store with old fashion wooden floor as well as freshly picked fruits and vegetables from the farm. My grandmother stated the rent prices was different compare to her days and her oldest sister had to pay only $6.50 for rent. My grandmother said back in her time a nickel was worth a whole lot and If you had a dime you were considered to have a lot of money. To return to the subject, after losing their mother, another tragedy strikes seven years later when my grandmother finds out her younger sister Veronica got married. My grandmother stated from her days you could get married at the age of fifteen if you had parents permission. Everyone was so upset because he or she thinks her sister was too young to get married and did not trust her husband. My grandmother said he kept saying he would kill somebody and go to jail. My grandmother said her sister husband started to give her bad vibes. To change the topic my grandmother also said o ne day when her sister was in bed trying to go to sleep her husband was in the bathroom taking a bath. She felt something poking at her side and turn around to see what it was. It was a bunch of knives in the bed with her. Fear for her life she left silently while her husband was still in the bathroom. One day my grandmother sister spouse had called her sister to meet him on the track. Hesitant she went to meet him that morning. After my grandmother sister was done talking to him, she turns toShow MoreRelatedMy Family : My Grandmother850 Words   |  4 Pagesspecial person in my life is, my grandmother. Back home in India I have a joint family. My family stays in different floors of the same building. She is what you could call â€Å"the Queen Bee† of our family. I learn a lot of life lessons that define me as a person from her. When I was still in my childhood years, I was not interested in studies and my grades were going down. My father was unhappy with my falling grades. When I was ten years old he decided to send me to assist my grandmother daily at ourRead MoreMy Family Legacy Of My Grandmother1325 Words   |  6 Pageswhat you do, and liking how you do it† (Maya Angelou). My grandmother, a sixty-year-old woman, with a mind-set of a thirty-year old, is one of the most intelligent, outgoing people I’ve ever met. Her ability to make everyone around her feel special amazes me because everyone loves her and so do I. My grandmother defines our family legacy as â€Å"One of a tradition and hard work. Overcoming obstacles that are faced in everyday life.† â€Å"Within a family that has values, honesty, integrity, a strong work ethicRead MoreEssay on My Family: My Grandmother581 Words   |  3 Pageselderly, but we need to learn to listen to them. I began to understand this fact when my grandmother became ill. In the last years of my grandmothers life, she was bedridden. I was worried about her and began treating her like a fragile piece of china. When people saw her, they assumed she was a weak, hard-of-hearing woman so they would yell questions at her and speak to her as if she were a child. After observing my grandmothers responses, I realized that her spirit was stronger than ever. HerRead MoreMy Great Grandmother : My Family, Religion, And Work1310 Words   |  6 PagesAccording to my great grandmother Betty Winters who is a very special asset to the Murphy family, the nationalities my ancestors identifies with is Black and Indian. My great great grandmother was Black and my grandfather identified as Indian. My ancestors were originally from South Carolina and North Carolina and they migrated to Washington DC for better opportunities. My great grandmother expressed that she cleaned the white house for many of years and her mother was a cab driver in WashingtonRead MoreMy Grandmother s Home And Family Life884 Words   |  4 Pages My grandmother’s home and family life is one that she is very proud of as she was raised in a loving home and continued that nurturing motherhood role as she had a family of her own. Violet met her husband Harold through friends in their surrounding area, and dated only him until the time they got married. Without social media and the easy access to vehicles and transportation, majority of the people who married in her generation already met their spouses at a young age due to proximity and schoolRead MoreThe Importance of Family: Remembering my Great Grandmother Essay643 Words   |  3 PagesA family is defined as, â€Å"A fundamental social group in society typically consisting of one or two parents and their children†, also â€Å"A group of persons sharing common ancestry† (Answer) I define family as a person you care for deeply. Family is people that will be there for you when times are rough. They are the re through thick and thin. Although many trials and tribulations occurred in my family, I would have to say the day of my great grandmother’s funeral was a sad event that made me realize thatRead MoreBeginning: Let me first explain the Grell family. My Grandfather David Grell and Grandmother Linda600 Words   |  3 PagesGrell family. My Grandfather David Grell and Grandmother Linda Grell currently live in Prior Lake, Minnesota. Grandpa owns a construction business, while grandma is a high school secretary. My mother, Laura Todd, the first of three daughters, lives in Sioux Rapids Iowa with my Father Kerby, and works at Buena Vista University. My Aunt, Angie Mendrzychowski, the middle child, married to my Uncle Steve, and is currently living in Shakopee, Minnesota. My Aunt, Jackie Antonie, recently married my UncleRead MoreGrandmothers Love988 Words   |  4 PagesLove Many grandmothers are important people because many times they give love to their family. Their love can make their family comfortable, make life easier, and unite family members. Patricia Hampl, â€Å"Grandmother’s Sunday Dinner,† describes how her grandmother ruled over her family with her authoritative personality. And also, Hampl’s grandmother made her family members united with her professional cooking skills. Similar to Hampl’s grandmother, my grandmother rules over my family. My grandmother’sRead MoreGenogram: Family and Grandmother Essay1357 Words   |  6 PagesFamily Genogram Project Liberty University Family Genogram Project The purpose of a student construing a genogram is to help a student gain an understanding of his/her family background. By gaining knowledge of one family it can help the student assist other understand how to help their clients. However, genograms backbone is a graphic depiction of how different family member are biologically, legally, and emotionally related to one another from one generation to the next (McGoldrickRead MoreIf The Family Was A Boat, It Would Be A Canoe That Makes No Progress Unless Everyone Paddles839 Words   |  4 Pagesâ€Å"if the family were a boat, it would be a canoe that makes no progress unless everyone paddles.† Due to the everchanging obstacles our society faces, the family has encountered many changes over the past few decades. These changes have sometimes been hard to accept in our society because of social norms from past generations. In order to get a glimpse into how the family has changed and gain awareness about the topic, I have in terviewed my grandmother. To anyone outside of my family, my â€Å"Nanny,†

Assess the View That Life in a ‘State of Nature’ Free Essays

The state of nature Is the term used to describe a lawless state of human behavior, wherein all people are free of legal and moral restraint. It would create a state where all people would be able to act on their wants and desires without fear of punishment from a governing body, as there wouldn’t be one, and that man would only have to fear the retaliation from other people against their actions. In this essay, I will be outlining the views of both Hobbes and Locke on the state of nature and drawing a conclusion from their opinions. We will write a custom essay sample on Assess the View That Life in a ‘State of Nature’ or any similar topic only for you Order Now Hobbes’ view on the state of nature is that such a thing would lead only to a state of war. He believed that without moral or legal constraints, mankind will simply pillage, murder, and plunder In order to get what they desire, regardless of the views of others. In a state of war, man will use power as he sees fit In order to survive and with no clear definition of rights or duty, each Individual will be free to Judge the rights and duties of others and of themselves. There will be no duty to keep other people safe and out of harm and no-one will have the explicit right to live or to keep heir property. If another claims that you hold something he needs to survive, you would have no right to deny him as there is no law or right outlining that it was yours and yours alone. As our desires are never satisfied and we have a continuous want of things, man will continue to overturn others if it means he gets what he wants in life, whether or not he truly needs it. He believes in the state of nature translating to a state of anarchy, as no human will ever be satisfied with what they have and will always strive for more. Hobbes claims that In a lawless state, we may not wish direct arm onto others, but we will be constantly aware that other people may wish to harm us. In order to prevent being the volt, we would attack first In order to stay alive, thus becoming the aggressor. Self-preservation In a lawless state, In Hobbes’ opinion, would only ever lead to conflict as man turns on man In order to keep themselves alive. Due to this, we would never trust another person and the lack of alliance or allegiance would lead to us all being equally vulnerable. So despite the lack of rights or duty, each of us are equal in a state of nature, as we are all equally able to be pushed over by the person beside us, whether they are friend or otherwise. Hobbes is very much in agreement that living in a state of nature would be truly awful. Locke, however, doesn’t completely agree. He doesn’t believe – as Hobbes does – that scarcity In society and living in a state lawlessness would lead to man killing man In order to stay alive. He believes that people will provide themselves with natural moral principles that we are all inclined towards. Locke drew this belief from his belief in God and the creation of Man and all things on the Earth. By this logic, we have a duty to protect others from harm. We are therefore obligated, as God’s creations, to punish those that cause harm to others, and those principals would be our natural obligations. He also believes that we cannot claim property unless our labor helped create what is on the land, but we still have no lawful right to it and the supposed right to it is not dependable. He proposed that removal from a state of law would create a form of democracy among men where they would govern themselves and keep themselves in equal measure in order to create a fair semblance of society. Locke thinks that society can exist in a state of nature and exist informally, so he disagrees with the statement that living in a state of nature would be awful in any sense. He believes that people can and will work together to protect themselves and each other as we have an obligation to care for other people as a natural instinct. By Locker’s reasoning, man would eventually enter into an unspoken social contract and form a crude government to better protect their rights and promote organization in their society. I believe that although a state of nature would initially lead to man taking whatever he pleased from others and doing what he had been previously unable to do, eventually a form of society would emerge. People cannot continue without governing themselves and eventually they would create some form of law in order to govern themselves and protect their rights and duties. Initially living in a state of nature would be awful because there would be the breakaway from lawful restraint and that new freedom would lead to complete uproar as the population of the world indulged in all they had been unable to do. I still, however, believe that Locker’s state of things would prevail and that man would find a way to organize themselves in order to survive and beat the inevitable scarcity. How to cite Assess the View That Life in a ‘State of Nature’, Essays

Musical Features of Mahlers III Symphony

Introduction The third symphony by Mahler is recognized as one of his longest and most amazing works. The third symphony implements the composer’s aesthetical views concerning the structure, contour, tune and acoustic material of musical works and combines the influence of Nietzsche’s philosophical framework with Mahler’s reconsideration of religious imagery.Advertising We will write a custom essay sample on Musical Features of Mahler’s III Symphony specifically for you for only $16.05 $11/page Learn More The third symphony amazingly combines the conventional musical features and original experiments with the form and content. On the one hand, Mahler used traditional patterns for the movements of his works. On the other hand, the prolonged time periods reduce the impact of the listeners’ formal expectations and shift the emphasis towards the musical content of the symphony. The unexpected contrasts between the acoustic materials within the same movement added special appeal to the symphony without destructing its integrity. Mahler’s outstanding sense of form allowed him to conduct these experiments without fear of destroying the inner working of his composition. He considered the structure of a musical work as a separate universe with complicated inner relations between its segments. On the other hand, the interpretation of Mahler’s works is impossible without taking into consideration the cultural, philosophical and historical contexts of his epoch. Taking into account the amount of quotations and allusions in the third symphony, it can be stated that this musical work should be viewed not only in its integrity but also within the variety of related contexts. Along with aesthetical value of the musical composition and acoustic material, Mahler’s third symphony can be regarded as a cross road of trends, while each of its six movements are intended to communicate the composer ’s philosophical messages to the listeners. Musical composition of the third symphony Written between 1893 and 1896, Mahler’s third symphony is recognized as one of the longest ever written musical compositions due to about one hundred minutes with typical performance. The author’s initial intention was to compose this symphony out of 7 movements which changed up to the moment of the symphony completion, and the final version consists of six movements. The first movement typically lasts for about thirty minutes and can be regarded as the first part of the whole symphony. The second part consisting of the remained five movements has duration of up to seventy minutes.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Initially, the symphony was accompanied with a program intended to clarify the inner working of the composition and communicate the composer’s philosophical messages to the listeners. Though Mahler withdrew this program afterwards, it is valuable for getting insight into the architecture of the composition and the role and symbolical meaning of each movement. Entitled as Ein Sommermorgenstraum (German for A Summer Morning’s Dream), the third symphony had appropriate titles for each of its movements. Thus, the first movement bore the title Summer Marches In, while What the Flowers and Meadows Tell Me, What the Animals of the Forest Tell Me, What the Night Tells Me, What the Morning Bells Tell Me and What Love Tells Me were the titles for the second, third, fourth, fifth and sixth movements accordingly (Niekerk 201). Through the analysis of these titles, it can be stated that in contrast to traditional symphonies patterns, the structure of the composition under consideration is not cyclic, but rather progressive depicting a musical journey through the symphony universe. The peculiarities of the composition can be regarded as sp ecific structural device affecting the listeners’ perception of the musical themes in general. The six seemingly disjointed movements in fact belong together and are united by complex inner relationships. The opening movement entitled as Summer Marches In represents an unconventionally slow introduction. The sounds of the eight unison horns intertwined with the outcroppings of recitative contrast to the main violin solo which resembles the spring-like life force. Later on in this movement, this life force is developed into the traditional march. A pastoral episode with its twittering incorporated into this movement adds some special appeal and produces the impression of a double development section. The opening movement with all its contrasting components introduces the listeners into the universe of Mahler’s symphony.Advertising We will write a custom essay sample on Musical Features of Mahler’s III Symphony specifically for you for only $16.05 $11/page Learn More The title of the second movement (What the Flowers and Meadows Tell Me) is aligned with its form. The dainty minuet was appropriate for representing vegetable nature of the discussed processes in nature. This elegant and essentially static form of minuet follows the ABABA pattern and makes this movement ever-changing similar to summer nature. The third movement entitled as What the Animals of the Forest Tell Me uses a scherzo bustling for rendering the animal sounds. The main allegro of this movement uses the song Absolung im Sommer as its main theme. Listening to this section, the audience is expected to imagine the dead Cuckoo contrasting to the joy of life in the rest of the animals which is subdued only with the shadow of a man beyond the horizon. The sounds at the end of this movement reveal the animals’ fear which first makes the sounds still, but then unexpectedly ends with final eruption. In contrast to the three first movements, th e fourth one entitled as What the Night Tells Me lacks activity. At first it may seem that the stirrings bring the listeners back to the opening of the symphony, but this impression is delusional. This time the stirrings convey the meaning of warning the man and reveal not the birth of life but rather the birth of intellect. The musical content of the fifth movement was intended to answer the main question What the Morning Bells Tell Me. Juxtaposing the sacred and profane motives in this movement, Mahler emphasizes this contrast for expressing his controversial religious feelings. The bell sounds intoned by children reproduce the Angels’ song about the Last Supper. The climax included into this movement appears to be momentarily threatening though does not keep the listeners under pressure too long. After the imaginary storm cloud passes away, the climax is replaced with the joyous singing which is followed by silence. What Love Tells Me as the title of the sixth movement ex plains the overall tension as the dominating pattern within this part. Composed from a set of variations, the sixth movement builds up the volcanic pressure and expresses love in all its beauty at the same time. The intertwining melody unites the blocks of the sixth movement with a single theme and intensifies the cumulative dramatic impact.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Regardless of the relative disparity between the moods, structures and colors of the six movements, as a whole, they exhibit exceptional structural unity as it is expected from a traditional symphony. Peculiarities of the form Though most Mahler’s symphonies follow conventional patterns, the peculiarities of the form and the manipulation of the structures can be regarded as a separate musical device adding special appeal to compositions. To begin with, all opening movements of Mahler’s symphonies are based on sonata form. Regarding the massive first movement of the third symphony, the composer admitted that it had â€Å"the same scaffolding and construction†¦as found in Mozart and, expanded and exalted, in Beethoven, but which were actually created by the venerable Haydn† (Freeze 188). However, as to the first movement of the third symphony, the difficulties with defining its form cam be explained with its huge size. The gigantic proportions caused the di fficulties with making the form of the whole piece apparent to the listeners. For the purpose of preserving the effect of the conventional form, Mahler highlighted the structural divisions through eliminating transitions between the sections and incorporating the musical gestures into the movements’ structure. Another characteristic feature of the third symphony is the implementation of the rotational form. The rotational form can be defined as the organizational principle based upon the repetition of certain motives. The first set of motives comprises a cycle which is repeated for producing the impression of rotation. The radical independence between the theme groups is a peculiar feature of the third symphony. Regardless of the stability within the basic sequence, separate motives can be based upon any developmental patterns. The flexibility of the symphony framework allows allotting structural significance to the most distinctive motives. The large proportions used in the third symphony make the role of the listeners’ formal expectations insignificant. Reducing the role of the background knowledge for the subjective perception of the aesthetics of the symphony, the time scales emphasize the importance of the mutual relations between idioms and sounds. â€Å"Mahler gives them unprecedented structural significance: the primary structural marker is idiom† (Freeze 193). With the climax episodes integrated into the structure of most movements, they can seem as separate complete pieces. However, the detailed analysis of their structural composition allows defining the transition segments which play an important role in establishing the integrity of the whole symphony. Thus, disregarding the conventionality of the implemented form, the structural composition of Mahler’s third symphony can be regarded as a separate musical feature. Apart from structural significance of particular distinctive motives, the time scales reduce the importan ce of the listeners’ formal expectations and background knowledge. Based on conventional patterns, the rotational cycle, the complex structure and the variety of musical gestures intensify the listeners’ impression from the musical composition, making the modified for, and the correlation between the sounds and idioms an impressive musical device. Characteristics of acoustic material The acoustic material used by Mahler in the third symphony extends the traditional patterns dictated by orchestra. As it has been mentioned above, particular distinctive motives, such as booming drum motives from the first movement, for example, have become structurally significant features of the whole composition. Increasing the coloring of his symphony, Mahler upsets the orchestra balance, crossing the traditional boundaries of classicism. Mahler’s genius sense of the form allowed him conducting experiments with the structure, manipulating the acoustic material at his discretion and emphasizing the individual voices at the expense of the total sound without reducing the aesthetic value of his works. In a standard situation, Mahler can afford himself placing a prolonged upper-voice melody, creating contrasting extremes. Despite all the conventional limitations, Mahler combines unbroken upper-voice melody with other elements tough these contrasts were not essential for the overall composition. Mahler’s peculiar attitude towards the form can be explained with not only his position of innovator, but also his views concerning the inappropriateness of symmetrical relationships to musical themes. Regarding the works of art as separate universes with their unique internal processes and rules, Mahler takes into consideration the impact of the time and space parameters while working on the third symphony. The discovery of the beautiful coloring of the trombone solo can be considered as an important Mahler’s contribution to the overall musical aesthet ics of his epoch. The contrast between the solo trombones and the chorale produced the effect of the deliberated sounds which however were valuable for expressing the main idea of a particular movement. Disregarding the misbalance between the chorale and the unexpected solos, the musical content of the movements corresponds to the listeners’ expectations as perceived from the movement titles. Thus, the third symphony has become Mahler’s first experiment with solo trombones which made a significant contribution to the overall coloring of the whole musical composition. Mahler’s nonconventional approach to pauses and rhythm is another significant feature of the acoustic material deserving serious consideration. The rhythm and the over-long pauses are meant to reinforce the overall impression from the melodies and motives. The pauses within the third symphony are frequently defined as prose-like and can be regarded as meaningful. In general, Mahler’s unique sense of the form predetermined the success of his experiments with the extension of the classical boundaries, combination of the sounds which previously were regarded as incompatible and the prominence of particular solos. The unconventional treatment of the acoustic material increased the overall coloring of the third symphony and became a contribution to the musical aesthetic of the early twentieth century. Nietzche’s influence reflected in musical features Along with the German Romanticism and particularly its notion of a new mythology, Nietzsche’s philosophical theories have become an important source of inspiration for Mahler in composing his third symphony. Particular instances of Nietzsche’s influence can be found within the musical features of this work of art. While some theoreticians call Nietzsche the key figure in Mahler’s intellectual development in general, the evidence that the composer was under the influence of the great philosopher whil e working on his third symphony can be found in the musical features of the musical work itself. â€Å"Mahler is said to have read Nietzsche particularly intensively during the composition period for the Third† (Niekerk 207). Apart from the choice of the title of Die Frohliche Wissenschaft for the symphony as the direct reference to the philosopher’s work, the choice of the main themes and motives developed in the symphony under consideration can be regarded as the results of the Nietzsche’s influence on Mahler’s views and aesthetical sense. Analyzing the representation of the idea of community within the third symphony, it can be stated that it is not limited to the humanity dimension, but is rather extended to the exploration of all levels of nature for defining the people’s place within it. A similar framework for applying the community concept to the rest of the universe can be found in Nietzsche’s theories. In that regard, it can be stated that the six movements of the third symphony represent Mahler’s view of the hierarchical order of nature. Analyzing the author’s programmatic notes for the symphony, each movement of the symphony can be interpreted as a walk within a particular hierarchical level of nature. The first movements of the symphony represent the nature’s ability to produce the sounds without the human interference. Mahler uses special acoustic and structural devices for showing the effect of the man’s appearance in the world of nature and animals’ reaction to it. The use of the religious imagery in the fifth movement of the third symphony can be regarded as another instance of the philosopher’s influence upon the composer. Thus, the profound philosophical basis and effects of Nietzsche’s influence can be found behind the programmatic notes, main themes and motives developed within Mahler’s third symphony. The themes of the hierarchical order of nature and the relations between the nature and the human world along with Mahler’s subjective representation of the religious imagery are the main philosophical underpinnings of the third symphony which can be regarded as the reflection of Nietzsche’s influence upon Mahler’s views in general and the aesthetics of the third symphony in particular. The Christian joy replacing the quest for eternity Regardless of the evident influence of Nietzsche’s works upon the motives and even composition of the third symphony, Mahler has extended the frames of the philosopher’s framework, particularly through replacing Nietzsche’s idea of the quest for eternity with the motives of Christian joy. The crossroads of different traditions can be found within the symphony’s composition, namely at the juncture between the different song themes (Knapp 152). The motive of the bell rings which was introduced at the first movement obtains a growing signifi cance within the following movements and can be regarded as an indicator of the Christian motives in the third symphony. The title of the fifth movement which according to various interpretations can be translated as What the Morning Bells Tell Me or What the Angels Tell Me contains the main religious imagery of the whole symphony. The rhythm and contour of this movement as well as the bell rings are supposed to express the author’s attitude towards the musical interpretation of the religious motives. Analyzing the dominating mood of this movement, it can be stated that the implemented patterns and contrasts within the acoustic material were intended to communicate the idea of Christian joy as opposed to the quest for eternity propagated by Nietzsche. The cheerful tone of this movement can be explained with the 17th century church hymn which was put into its basis (Knapp 156). The old hymn was focused on the redemption of sins and the relief which can be found in religion. These themes of finding the relief in religious beliefs were borrowed by Mahler for his third symphony and predetermined the composition and the dominating tune of the fifth movement. The children’s choir imitating the bells was accompanied by the female solo and added special appeal to the instrumental solo. In general, the fifth movement of the third symphony can be regarded as the crossroad between Nietzsche’s philosophical ideas, the church hymns of the 17th century and the motive of Christian joy replacing the idea of questing for eternity. Combining the elements of the church song, children’s and female choirs, the composer achieves the effect of the cheerful tune dominating within the movement and reflects the religious imagery of Christian joy. Allusions and quotations in the third symphony The analysis of the symphony under consideration is impossible without proper consideration of the philosophical and socio-cultural context of the epoch within whi ch the third symphony was created. In that regard, along with the analysis of separate movements, the internal links between various segments of the symphony as well as the stylistic allusions and quotations from other works need to be taken into account for defining the overall aesthetic value of the third symphony in its complexity. The tail motive of the second movement can be found in the fourth and second movements, while the tail motive of the first movement is not repeated. This simple melodic and rhythmic contour contributes to the overall integrity of the third symphony though the same motives can receive different interpretation due to the surrounding elements. Thus, the tail motive of the second movement obtains a different sounding within the context of the fourth and sixth movement. On the other hand, this quotation appeals to the listeners’ feelings for creating the associations with the prior movements and reinterpreting the acoustic material in accordance wi th the new musical content. Thus, the internal relationships between the different segments of the symphony and the incorporation of specific quotations of motives into the succeeding movements emphasize the overall integrity of the work of art, contribute to the listeners’ overall impression and demonstrate how the same material can change its sounding and meaning due to the musical context. Regarding the musical allusions, it can be stated that Mahler’s third symphony contains allusions to military marches and operetta which are recognized by the listeners in the whole composition and cannot be underestimated. The use of the military marches for depicting the nature processes required proper consideration of the programmatic notes for avoiding the misinterpretation of the composer’s messages and intentions. Though most marches used by Mahler are deformed, their military connotation is obvious and contributes to the general mood of the symphony. To emphasize the military allusions, Mahler uses trumpets, cymbals and bass drum for creating the military associations in the audience. Operetta music became another significant source for the allusions incorporated into the symphony under consideration and intertwined with marches. It is significant that for creating the allusions from the light marches of operetta, Mahler uses mostly instruments which are not traditional for the Austrian military band, namely flutes, cellos, oboes, timpani, triangle and others which can be explained with the composer’s intention of creating the contrasts and making certain themes distinctive and structurally significant. The use of quotations for creating the links between the various parts of the symphony allowed emphasizing the integrity of its compositions and involving the listeners into the process of active interpretation of the music contours and structures. Along with the internal links between the different segments of the symphony and its inner working, the allusions from the military marches and operetta music have become a delicate touch contributing additional opportunities for interpreting the musical content of separate movements and the third symphony in general. Conclusion In general, it can be concluded that every element in the structure of Mahler’s third symphony, its acoustic material and movements can be regarded as meaningful and conveying not only author’s aesthetical views, but also his philosophical ideas, mostly drawn from Nietzsche’s heritage, but partially reconsidering the philosopher’s assumptions. The combination of conventional structural patterns and original musical gestures allowed creating an unprecedented mix of tradition and innovation within the patterns used in a musical work. Treating the composition of his third symphony as a separate universe, Mahler afforded himself to create contrasts of acoustic materials and incorporate unexpected musical gestures whi ch surprisingly did not destroy the overall integrity of the symphony. The programmatic notes for the six movements of the symphony convey Mahler’s philosophical ideas which were put into the basis of the work. The beauty of nature, the relations between the animal and humane worlds, the death and relief which can be found in religious beliefs are only some of the motives developed in the symphony. Taking into account the allusions from military marches and operetta music incorporated into the movements, the programmatic notes are essential for preventing the misinterpretation of the author’s intentions and meaning of particular elements of composition. As a combination of musical traditions and philosophical frameworks, Mahler’s composition of the third symphony can be recognized as a significant and influential event in the history of music. Extending the conventional patterns, incorporating the unexpected musical gestures and conducting experiments with cho irs, contours and tunes, Mahler managed to express his philosophical ideas and preserve the integrity of the whole work. Reconsidering the traditional formal and philosophical frameworks while working on his third symphony, Mahler created a separate universe with its inner processes and cannons which was one step ahead of his epoch but cannot be analyzed without considering its historical context. Works Cited Freeze, Timothy. â€Å"Gustav Mahler’s Third Symphony: Program, Reception, and Evocations†. The University of Michigan, 2010. Web. Knapp, Raymond. Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s Re-Cycled Songs. Wesleyan University Press, 2003. Print. Niekerk, Carl. â€Å"Mahler contra Wagner: The Philosophical Legacy of Romanticism in Mahler’s Third and Fourth Symphonies†. German Quarterly, Spring 2004, 77(2): 118-209. Print. This essay on Musical Features of Mahler’s III Symphony was written and submitted by user Karma Hutchinson to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Cyber War essays

Cyber War essays Consider the following scenario set some time in the near future: A Middle East state decides the time is ripe for a power grab in the Persian Gulf and directs its threat to an oil-rich neighbor that the United States is pledged to protect. The aggressors elect not to challenge America in a head-on military confrontation. Instead they prepare a more insidious assault. In the United States and abroad among U.S. allies, a pattern of computer mayhem begins to emerge in a cascading sequence of events. Actually, the war has already begun but no one in the United States yet realizes it; logic bombs and computer viruses don't make much noise. A three-hour power blackout in a Middle Eastern city has no reasonable explanation, misrouted freight and passenger trains collide, killing and injuring many passengers; malfunctions of computerized flow-control mechanisms trigger oil refinery explosions and fires, electronic "sniffers" sabotage the global financial system by disrupting international fund-transfer networks, causing stocks to plunge on the New York and London exchanges. Television stations in the Middle East lose control of their programming and a misinformation campaign of unknown orchestration sows widespread confusion. Computerized dial-in attacks paralyze the phone systems at bases where U.S. troops are scheduled to begin deployment; computers at U.S. military bases around the world are strickenslowing down, disconnecting, crashing. More ominous, some of the military's most sophisticated computer-controlled weapon systems are exhibiting flickering screens and other signs of electronic malaise. Even though U.S. intelligence indicates hostile military intent by the aggressor, there is still no solid information on who is behind the events that have undermined the country's ability to respond to the threats. The reluctant conclusion is that unknown elements have launched a Cyber War Attack against the United States. This re...

In the Words of Frank Lloyd Wright

In the Words of Frank Lloyd Wright American architect  Frank Lloyd Wright was known for his Prairie Style house designs, his tempestuous person life, and his prolific writings, including speeches and magazine articles. His long life (91 years) gave him time to fill volumes. Here are some of Frank Lloyd Wrights most notable quotations- and our favorites: On Simplicity In contrast to his tumultuous personal life, Wright spent his architectural life expressing beauty through simple, natural forms and designs. How does an architect create beautiful yet functional forms? Five lines where three are enough is always stupidity. Nine pounds where three are sufficient is obesity....To know what to leave out and what to put in, just where and just how, ah, that is to have been educated in knowledge of simplicity- toward ultimate freedom of expression.The Natural House, 1954 Form and function are one. Some Aspects of the Future of Architecture (1937), The Future of Architecture, 1953 Simplicity and repose are qualities that measure the true value of any work of art....An excessive love of detail has ruined more fine things from the standpoint of fine art or fine living than any one human shortcoming; it is hopelessly vulgar. In the Cause of Architecture I   (1908) Organic Architecture Before there was Earth Day and LEED certification, Wright promoted an ecology and naturalness in architectural design. The home should not be on a plot of land but be of the land- an organic part of the environment. Much of Wrights writings describes the philosophy of organic architecture: ...it is in the nature of any organic building to grow from its site, come out of the ground into the light- the ground itself held always as a component basic part of the building itself. The Natural House (1954) A building should appear to grow easily from its site and be shaped to harmonize with its surroundings if nature is manifest there, and if not try to make it as quiet, substantial, and organic as she would have been were the opportunity hers. In the Cause of Architecture I   (1908) Where does the garden leave off and the house begin? The Natural House, 1954 This Architecture we call organic is an architecture upon which true American society will eventually be based if we survive at all. The Natural House, 1954 True architecture...is poetry. A good building is the greatest of poems when it is organic architecture. An Organic Architecture, The London Lectures (1939), The Future of Architecture So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal... An Organic Architecture, The London Lectures (1939), The Future of Architecture Nature and Natural Forms Some of the most famous architects were born in June, including Wright, born in Wisconsin on June 8, 1867. His youth on the prairie lands of Wisconsin, especially the times he spent on his uncles farm, shaped the way this future architect incorporated natural elements into his designs: Nature is the great teacher- man can only receive and respond to her teaching. The Natural House, 1954 The land is the simplest form of architecture. Some Aspects of the Past and Present in Architecture (1937), The Future of Architecture, 1953 The prairie has a beauty of its own.... In the Cause of Architecture I   (1908) Primarily, nature furnished the materials for architectural motifs...her wealth of suggestion is inexhaustible; her riches greater than any mans desire. In the Cause of Architecture I   (1908) ...go to the woods and fields for color schemes. In the Cause of Architecture I   (1908) I have never been fond of paints or of wallpaper or anything which must be applied to other things as a surface....Wood is wood, concrete is concrete, stone is stone. The Natural House (1954) The Nature of Man Frank Lloyd Wright had a way of seeing the world as one whole, not differentiating between the living, breathing home or of the human being. Human houses should not be like boxes, he lectured in 1930. Wright continued: Any house is a far too complicated , clumsy, fussy, mechanical counterfeit of the human body. Electric wiring for nervous system, plumbing for bowels, heating system and fireplaces for arteries and heart, and windows for eyes, nose, and lungs generally. The Cardboard House, the Princeton Lectures, 1930, The Future of Architecture What a man does- that he has. The Natural House, 1954 A house that has character stands a good chance of growing more valuable as it grows older...Buildings like people must first be sincere, must be true.... In the Cause of Architecture I   (1908) Plaster houses were then new. Casement windows were new....Nearly everything was new but the law of gravity and the idiosyncrasy of the client. The Natural House, 1954 On Style Although realtors and developers have embraced the Prairie style home, Wright designed each home for the land it was on and the people who would occupy it. He said: There should be as many kinds (styles) of houses as there are kinds (styles) of people and as many differentiations as there are different individuals. A man who has individuality (and what man lacks it?) has a right to its expression in his own environment. In the Cause of Architecture I   (1908) Style is a byproduct of the process....To adopt a style as a motive is to put the cart before the horse.... In the Cause of Architecture II   (1914) On Architecture As an architect, Frank Lloyd Wright never wavered in his beliefs about architecture and the use of space inside and out. Homes as different as Fallingwater and Taliesin have the same natural, organic elements he learned about as a boy in Wisconsin. ...every house...should begin on the ground, not in it.... The Natural House (1954) Form follows function is mere dogma until you realize the higher truth that form and function are one. The Natural House (1954) The house of moderate cost is not only Americas major architectural problem but the problem most difficult for her major architects. The Natural House (1954) Had steel, concrete, and glass existed in the ancient order we could have had nothing like our ponderous, senseless classic architecture. The Natural House, 1954 ...architecture is life; or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived. So architecture I know to be a Great Spirit. The Future: Valedictory (1939) What is needed most in architecture today is the very thing that is most needed in life- integrity. The Natural House (1954) ...architectural values are human values, or they are not valuable....Human values are life giving, not life taking. The Disappearing City (1932) Advice To The Young Architect From the Chicago Art Institute Lecture (1931), The Future of Architecture The influences of the old master, architect Louis Sullivan, stayed with Wright all of his life, even as Wright was more famous and became the master himself. Think simples, as my old master used to say- meaning to reduce the whole to its parts in simplest terms, getting back to first principles. Take time to prepare....Then go as far away as possible from home to build your first buildings. The physician can bury his mistakes, but the architect can only advise his clients to plant vines. ...form the habit of thinking why....get the habit of analysis.... Regard it as just as desirable to build a chicken house as to build a cathedral. The size of the project means little in art, beyond the money matter. So, architecture speaks as poetry to the soul. In this machine age to utter this poetry that is architecture, as in all other ages, you must learn the organic language of the natural which is ever the language of the new. Every great architect is- necessarily- a great poet. He must be a great original interpreter of his time, his day, his age. An Organic Architecture, The London Lectures (1939), The Future of Architecture Quotations Popularly Attributed to Frank Lloyd Wright Frank Lloyd Wright quotes are as abundant as the number of buildings he completed. Many quotations have been repeated so many time, its difficult to accurately source when they were said, or, even, if they are accurate quotes from Wright himself. Here are some that often appear in collections of quotations: I hate intellectuals. They are from the top down. I am from the bottom up. TV is chewing gum for the eyes. Early in life I had to choose between honest arrogance and hypocritical humility. I chose honest arrogance and have seen no occasion to change. The thing always happens that you really believe in; and the belief in a thing makes it happen. The truth is more important than the facts. Youth is a quality, not a matter of circumstances. An idea is salvation by imagination. Get the habit of analysis- analysis will in time enable synthesis to become your habit of mind. I feel coming on a strange disease- humility. If it keeps up, man will atrophy all his limbs but the push-button finger. The scientist has marched in and taken the place of the poet. But one day somebody will find the solution to the problems of the world and remember, it will be a poet, not a scientist. No stream rises higher than its source. What ever man might build could never express or reflect more than he was. He could record neither more nor less than he had learned of life when the buildings were built. The longer I live the more beautiful life becomes. If you foolishly ignore beauty, you will soon find yourself without it. Your life will be impoverished. But if you invest in beauty, it will remain with you all the days of your life. The present is the ever moving shadow that divides yesterday from tomorrow. In that lies hope. I find it hard to believe that the machine would go into the creative artists hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion. The screech and mechanical uproar of the big city turns the citified head, fills citified ears- as the song of birds, wind in the trees, animal cries, or as the voices and songs of his loved ones once filled his heart. He is sidewalk-happy. Note: Frank Lloyd Wright ® and Taliesin ® are registered trademarks of the Frank Lloyd Wright Foundation.