John Myers – Middle England

Joe Gilmore: 823.JOY

James Joyce, Finnegans Wake, Faber and Faber, 1975

James Joyce, Anna Livia Plurabelle, Faber and Faber, 1930

James Joyce, Haveth Childers Everywhere, Faber and Faber, 1931

James Joyce, Two Tales of Shem and Shaun, Faber and Faber, 1932

James Joyce, Anna Livia Plurabelle, Faber and Faber Library Edition,
1997

James Joyce, Thomas E Connolly (Ed.), Joyce's Scribbledehobble: The 
Ur-Workbook for Finnegans Wake, Nortwestern University Press, 1961

Samuel Beckett, Marcel Brion, Frank Budgen, Stuart Gilbert, Eugene 

Jolas, Victor Llona, Robert McAlmon, Thomas McGreevy, Elliot Paul, 

John Rodker, Robert Sage, William Carlos Williams, Our Exagmination 

Round His Factification for Incamination of Work in Progress, Faber 

and Faber, 1972

Helmut Bonheim, A Lexicon of The German in Finnegans Wake, University 

of California Press, 1967

Colleen Jaurretche, The Sensual Philosophy: Joyce and the Aesthetics 

of Mysticism, The University of Wisconsin Press, 1997

Roland McHugh, The Sigla of Finnegans Wake, Edward Arnold 

(Publishers) Ltd, 1976

Adaline Glasheen, A Census of Finnegans Wake: An Index of the 

Characters and Their Roles, Northwestern University Press, 1956

William York Tindall, A Reader's Guide to Finnegans Wake, Thames and 

Hudson, 1969

Clive Hart, Structure and Motif in Finnegans Wake, Faber and Faber, 

1962

Frances M. Boldereff, Hermes to his Son Thoth: Being Joyce's Use of 

Giordano Bruno in Finnegans Wake, Classic Non-Fiction Library, 1968

Brendan O Hehir, A Gaelic Lexicon for Finnegans Wake, University of 

California Press, 1967

Vincent John Cheng, Shakespeare and Joyce: A Study of Finnegans Wake, 

Pennsylvania State University Press, 1984

Michael J. O'Shea, James Joyce and Heraldry, State University of New 

York Press, 1986

Barbara DiBernard, Alchemy and Finnegans Wake, State University of 

New York, 1980

Michael H. Begnal and Fritz Senn (eds.), A Conceptual Guide to 

Finnegans Wake, Pennsylvania State University Press, 1974

Joseph Majault, James Joyce, Pendragon House, 1971

David A. White, The Grand Continuum: Reflections on Joyce and 

Metaphysics, University of Pittsburgh Press, 1983

Susan Shaw Sailer, On the Void of to Be: Incoherence and Trope in 

Finnegans Wake, The University of Michigan Press, 1993

Luca Crispi and Sam Slote (eds.), How Joyce Wrote Finnegans Wake: A 

Chapter-by-Chapter Genetic Guide, University of Wisconsin Press, 2007

James Joyce, Finnegans Wake (back cover), Faber and Faber, 1975

"It may seem that Ulysses violates the techniques of the novel beyond all limit, but Finnegans Wake takes language beyond any boundary of communicability. It may seem that Ulysses represents the most arduous attempt to give physiognomy to chaos, but Finnegans Wake defines itself as Chaosmos and Microchasm and constitutes the most terrifying document of formal instability and semantic ambiguity that we possess." — Umberto Eco, The Open Work (1962)

Qubik: http://www.qubik.com 
void(): http://www.qubik.com/zr/

Percy Grainger: free music experiments and studio portraits

During the 1950s Percy Grainger, together with his physicist friend Burnett Cross, invented bizarre looking sound-making contraptions from parts butchered from reed organs and other assorted instruments together with electrical componentry, bits of old timber and many yards of string. He gave these musical machines wonderful names like “Free Music Tone Tool” or “Kangaroo Pouch” machine and experimented with them to make what he called Free Music. For many years Grainger had been writing and talking about the possibilities of making music that was not tied to western culture’s conventions of pitch and rhythm. He tried to make music that was effectively ‘beatless’ and where pitch changed seamlessly, like a whistling wind or the rise and fall of a siren. The raw sounds of Grainger’s Free Music experiments anticipated the coming age of electronic music. 




Burnett Cross (1914-1996), New York Cross-Grainger Free Music experiment: Gliding tomes on whistle, notes on recorders, produced by holes and slits cut in paper rolls, February 1950 Silver gelatin print Grainger Museum collection, University of Melbourne.

Burnett Cross (1914-1996), New York Cross-Grainger Free Music experiment: “Sea Song” Sketch, three solovoxes, played by pianola roll, 1950 Silver gelatin print. Grainger Museum collection, University of Melbourne.

Burnett Cross (1914-1996), New York Ella Grainger, seated at her writing desk in the living room at home in White Plains, contemplates the “Kangaroo Pouch” Free Music machine, mid 1950s Silver gelatin print. Grainger Museum collection, University of Melbourne.

Burnett Cross (1914-1996), New York Percy and Ella Grainger with the “Free Music Tone-Tool”, August 1951 Silver gelatin print. Grainger Museum collection, University of Melbourne. The “Free Music Tone Tool” used an air pressure system worked by a vacuum cleaner.

Unknown photographer , New York Percy Grainger and Burnett Cross demonstrating a Free Music experiment, February 1950 Silver gelatin print. Grainger Museum collection, University of Melbourne. This machine uses an organ pipe to create gliding tones. The holes are cut or drilled at one-third of a half-tone apart, and the pitch is controlled by rolling perforated paper over the pipe.

Ruskin Studios, Melbourne Publicity portrait of Percy Grainger, 1926 Silver gelatin print. Grainger Museum collection, University of Melbourne. Grainger often performed live-to-air recitals during his concert tours. Ruskin Studios produced a series of promotional images for ABC Radio 3LO during Grainger's 1926 tour of Australia and New Zealand.

Unknown photographer Publicity portrait of Percy Grainger, c. 1935 Silver gelatin print. Grainger Museum collection, University of Melbourne.

Unknown photographer Percy Grainger "In the Round", 1933 Silver gelatin print. Grainger Museum collection, University of Melbourne.



Text and images courtesy of The Grainger Museum http://www.grainger.unimelb.edu.au/ 

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