Our Own Devices: How Technology Remakes Humanity (49 page)

27.
Christopher Wilk,
Marcel Breuer: Furniture and Interiors
(New York: Museum of Modern Art, 1981), 73–78; Werner Möller and Otakar Mé¯el,
Ein Stuhl Macht Geschichte
(Munich: Prestel, 1992), 85–92.

28.
Von Vegesack et al.,
100 Masterpieces
, 80; Gunther Lehmann, “Zur Physiologie des Liegens,”
Arbeitsphysiologie
, vol. 11 (1941), 253–58.

29.
Wilk,
Thonet
, 112–13; Möller
and Mé¯el,
Ein Stuhl Macht Geschichte
, 98.

30.
Möller and Mé¯el,
Ein Stuhl Macht Geschichte
, 98. Many details of Lorenz’s relations with Barcalo and other U.S. manufacturers also are given in: 1) unsigned and undated history of Barcalo, Burchfield-Penney Art Center, Buffalo State College; 2) memorandum of company history, Barcalounger Company files; and 3) Ernest F. Becher, “Development of Automotive
Seating and Mechanical Chairs” (1983), Barca-lounger Company files.

31.
“NOW Available for Selective Retail Distribution,” advertisement,
Retailing
, September 10, 1945, 4.

32.
“Recline-Relax-Recuperate Chairs” (Floral City, Mich.: Floral City Furniture, n.d.); La-Z-Boy archives; Walter B. Pitkin,
Take It Easy: The Art of Relaxation
(New York: Simon & Schuster, 1935), 234–44; “Chair,”
The New
Yorker
, December 10, 1949, 32–33.

33.
George W. Kinker, “Learn to Relax,”
Today’s Health
, vol. 29, no. 11 (November 1951), 22 ff.; Joseph L. Fetterman, M.D., “Roads to Relaxation,”
Today’s Health
, vol. 31, no. 11 (November 1953), 18 ff.

34.
Peter Blake and Jane Fiske McCullough, “Very Significant Chair,”
Harper’s Magazine
, vol. 217, no. 1299 (August 1958), 66–71; Joseph Giovannini, “For Long,
Leisurely Sitting, Traditional Chairs Are Best,”
New York Times
, April 18, 1986.

35.
“Leisure, or How Does the American Relax?”
Life
, July 12, 1955, 72–73; Sylvia Wright, “Do We Sit? No, We Collapse,”
New York Times Magazine
, April 19, 1964, 26 ff.

36.
“Only Stratolounger Gives You a Complete! Profitable! Reclining Chair Department,” advertisement,
Home Furnishings Daily
, July 29, 1958, sec.
1, 7; “It’s Here!” advertisement,
Home Furnishings Daily
, June 29, 1959, 29; “There Is Only One Leader,” advertisement,
Home Furnishings Daily
, June 17, 1963, sec. 1, 3.

37.
“La-Z-Boy, Specialist in Reclining Comfort,” n.p.

38.
Hortense Herman, “New Mechanisms, Forms Make Chairs Big News,”
Home Furnishings Daily
, June 16, 1959, 1.

39.
Gary Garrity, “Style of Reclining Loungers Creating Demand
in Topeka,”
Home Furnishings Daily
, June 15, 1964, 44; Clark Rogers, telephone interview, August 5, 2000.

40.
John A. Byrne, “Sittin’ and Rockin’,”
Forbes
, November 7, 1983, 124; “The Evolution of the La-Z-Boy Recliner,” 2.

41.
Joan Kron, “The
New York
Magazine Comfortable Chair Competition,”
New York
, July 22, 1974, 43–49.

42.
“Sunny Side Up,”
People Weekly
, April 10, 2000, 200–202.

43.
J.
Jay Keegan, “Alterations of the Lumbar Curve Related to Posture and Seating,”
Journal of Bone and Joint Surgery
, vol. 35-A, no. 3 (July 1953), 589–603, with no reference to Lehmann’s paper on the Lorenz experiments; National Aeronautics and Space Administration,
Anthropometric Source Book
, vol. 1:
Anthropometry for Designers
(NASA Reference Publication 1024), 1978, IV-21; Susan M. Andrews, “Recliners:
Good for Your Health,”
Furniture/Today
, June 12, 2000, 8–9; “Selling the Spanish Siesta,”
Economist
, February 6, 1999, 54; K.B., “Siesta Time,”
Forbes
, January 31, 1994, 119.

44.
American Furniture Manufacturers Association,
AFMA 1999 Sales Planning Guide
(n.p.: AFMA, 1999), 9, 11; Nancy Butler, “Stagnant Recliner Market Offset by Higher Tickets,”
Furniture/Today
, November 17, 1997, 8–10.

45.
Charles Allen,
Raj: A Scrapbook of British India, 1877–1947
(New York: St. Martin’s Press, 1977), 60–61, 84–85.

1.
“Keyboard,”
New Grove Encyclopedia of Music
, 2nd ed. (London: Macmillan, 2001), vol. 13, 510–13; Max Weber,
The Rational and Social Foundations of Music
, trans. and ed. Don Martindale et al. (Carbondale: Southern Illinois University Press, 1958), 117.

2.
“Keyboard,”
New Grove Encyclopedia
.

3.
Weber,
Foundations of Music
, 114–17; Thomas Levenson,
Measure for Measure: A Musical History of Science
(New York: Simon & Schuster, 1994), 27–38.

4.
Paul Saenger,
Space Between Words: The Origin of Silent Reading
(Stanford: Stanford University Press, 1997), 82–99; Henri-Jean Martin,
The History and Power of Writing
, trans. Lydia G. Cochrane (Chicago: University of
Chicago Press), 153–54; David Gelernter, “Bound to Succeed,”
New York Times Magazine
, April 18, 1999, 132.

5.
Joel Mokyr,
The Lever of Riches: Technological Creativity and Economic Progress
(New York: Oxford University Press, 1990), 48–51.

6.
Edmund A. Bowles, “On the Origins of the Keyboard Mechanism in the Late Middle Ages,”
Technology and Culture
, vol. 7, no. 2 (Spring 1966), 152–62.

7.
See Edward Rothstein, “Every Piano Is a Society,”
New York Times
, August 24, 1986; “Tuning,”
Encyclopedia of the Piano
(New York and London: Garland, 1996), 410–13. For a fascinating history of this technical but vital subject, see Stuart Isacoff,
Temperament: The Idea That Solved Music’s Greatest Riddle
(New York: Alfred A. Knopf, 2001).

8.
“Cristofori, Bartolomeo,”
Encyclopedia of the Piano
, 97–105.

9.
Ibid.

10.
Brent Gillespie, “Haptic Display of Systems with Changing Kinematic Constraints: The Virtual Piano Action” (Ph.D. diss., Stanford University, 1996), 7–16.

11.
Sheryl Maureen P. Mueller, “Concepts of Nineteenth-Century Piano Pedagogy in the United States” (Ph.D. diss., University of Colorado, 1995), 26.

12.
“Beethoven, Ludwig van,”
Encyclopedia of the Piano
, 44–47.

13.
Arthur Loesser,
Men, Women, and Pianos: A Social History
(New York: Simon & Schuster, 1954), 366–67; Mick Hamer, “Smashing Performance Franz, Play It Again,”
New Scientist
, vol. 108, no. 1487–88 (December 19/26, 1985), 46.

14.
“Frames,”
Encyclopedia of the Piano
, 137–39.

15.
Cyril Ehrlich,
The Piano: A History
, rev. ed. (Oxford: Clarendon Press, 1990), 107, 138–40; Loesser,
Men, Women, and Pianos
, 520–31, 611.

16.
Craig H. Roell,
The Piano in America, 1800–1940
(Chapel Hill: University of North Carolina Press, 1989), 8–10.

17.
Mueller,
Concepts of Piano Pedagogy
, 104–33.

18.
Loesser,
Men, Women, and Pianos
, 291–92.

19.
“Barrel Piano,”
Encyclopedia of the Piano
, 41–42; Arthur W. J. G. Ord-Hume,
Pianola: The History of the Self-Playing Piano
(London: Allen & Unwin, 1984), 9–22.

20.
Mick Hamer, “Rave from the Grave,”
New Scientist
, vol. 160, no. 2165–66-67 (December 19/26, 1998/January 2, 1999), 18–19; Ord-Hume,
Pianola
, 31–35.

21.
Roell,
Piano in America
, 14–15; Hamer, “Rave from the Grave,” 18.

22.
Roell,
Piano in America
, 185–221; Loesser,
Men, Women, and Pianos
, 602–3; Ehrlich,
Piano
, 186–87, 222.

23.
Rudolph Chelminski, “In Praise of Pianos … and the Artists Who Play
Them,”
Smithsonian
, vol. 30, no. 12 (March 2000), 71–72.

24.
“Clutsam, Ferdinand” and “Keyboards,”
Encyclopedia of the Piano
, 82, 202–4; Ernest Hutchenson,
The Literature of the Piano: A Guide for Amateur and Student
, 2nd ed., rev. Rudolph Ganz (London: Hutchinson, 1969), 14–15.

25.
Ibid.

26.
“Paul von Jankó,”
Die Musik in Geschichte und Gegenwart
(Kassel: Bärenreiter, 1957) vol. 6, 1710–13;
“Jankó, Paul von,”
Encyclopedia of the Piano
, 185–86; Edwin L. Good,
Giraffes, Black Dragons, and Other Pianos: A Technological History from Cristofori to the Modern Concert Grand
, 2nd ed. (Stanford: Stanford University Press, 2001), 258–62.

27.
Alfred Dolge,
Pianos and Their Makers
(New York: Dover, 1972), 78–83; John S. Allen, telephone interview, April 25, 2001.

28.
“Jankó,”
Musik in Geschichte
und Gegenwart
, vol. 6, 1713.

29.
Dolge,
Pianos and Their Makers
, 80.

30.
Constantin Sternberg, “Ad Vocem, Jankó Keyboard,”
The Musical Courier
, vol. 22, no. 2 (January 14, 1891), 39; Good,
Giraffes
, 262–64.

31.
Dolge,
Pianos and Their Makers
, 80.

32.
“Keyboard Revamp Could Take Terror Out of Piano Practice,”
New Scientist
, vol. 132, no. 1793 (November 9, 1991), 28; Tara Patel, “Mathematical
Piano Sounds a Logical Note,”
New Scientist
, vol. 134, no. 1821 (May 16, 1992), 20.

33.
Albert Glinsky,
Theremin: Ether Music and Espionage
(Urbana: University of Illinois Press, 2000), 22–49.

34.
Ibid, 119–20, 138, 142, 145–48.

35.
Jean Laurendeau,
Maurice Martenot, Luthier de l’Électronique
(Montreal: Louise Courteau, 1990), 45–57, figs. 18–55.

36.
Hutcheson,
Literature of the Piano
, 18;
on current and older piano construction and maintenance, see Larry Fine,
The Piano Book: Buying and Owning a New or Used Piano
, 4th ed. (Boston: Brookside Press, 2001).

37.
Larry Fine,
The Piano Book: Buying and Owning a New or Used Piano
, 3rd ed. (Boston: Brookside Press, 1994), 91–93;
http://www.overspianos.com.au
and articles reprinted there.

38.
Trevor Pinch and Frank Trocco, “The Social
Construction of the Early Electronic Music Synthesizer,”
Icon: Journal of the International Committee for the History of Technology
, vol. 4 (1998), 9–19.

39.
Ibid., 22; Frank Houston, “Gather Round the Electronic Piano,”
New York Times
, December 16, 1999.

40.
Mark Tucker, “The Piano in Jazz,” in James Parakilas, ed.,
Piano Roles: Three Hundred Years of Life with the Piano
(New Haven: Yale University
Press, 1999), 374; James Parakilas, “New Specialties in the Musical Marketplace,” in ibid., 391.

41.
See Allen’s Web site:
http://www.bikexprt.com/music/index.htm
.

42.
Robert A. Moog and Thomas L. Rhea, “Evolution of the Keyboard Interface:
The Bösendorfer 290 SE Recording Piano and the Moog Multiply-Touch-Sensitive Keyboards,”
Computer Music Journal
, vol. 14, no. 2 (Summer 1990), 52–60.

43.
Mick Hamer, “Physics Under the Keyboard,”
New Scientist
, vol. 108, no. 1487–88 (December 19/26, 1985), 44–47; Edwin M. Good, telephone interview, May 8, 2001.

44.
Moog and Rhea, “Evolution of the Keyboard Interface,” 52, 58–89.

45.
Gillespie, “Haptic Display,” 29–30.

46.
See ibid. for an exposition of the paradox of piano actions and for ideas on future haptic keyboards.

1.
Christopher
de Hamel,
Scribes and Illuminators
(Toronto: University of To r onto Press, 1992), 7, 29, 35–39.

2.
Henri-Jean Martin,
The History and Power of Writing
, trans. Lydia G. Cochrane (Chicago: University of Chicago Press, 1994), 230–31; de Hamel,
Scribes and Illuminators
, 37–39.

3.
Donald M. Anderson,
Calligraphy: The Art of Written Forms
(New York: Dover, 1992), 134–37.

4.
Ibid., 140–52.

5.
Asa
Briggs,
Victorian Things
(Chicago: University of Chicago Press, 1988), 182–86.

6.
Anderson,
Calligraphy
, 272; George Pratt, “A Pen of Steel,” in Thomas R. Lounsbury, ed.,
Yale Book of American Verse
(New Haven: Yale University Press, 1913), 401.

7.
Anne Swardson, “Aren’t Fountain Pens Fun? No; They’re Too Hard,”
Washington Post
, October 5, 1997; Bruno Delmas, “Révolution Industrielle et Mutation
Administrative: l’Innovation dans l’administration Française aux XIXème Siècle,”
Histoire, Économie et Société
, vol. 4, no. 2 (1985), 210.

8.
See Henry Petroski,
The Pencil: A History of Design and Circumstance
(New York: Alfred A. Knopf, 1990).

9.
Tamara Plakins Thornton,
Handwriting: A Cultural History
(New Haven: Yale University Press, 1996), 46–66.

10.
Ibid., 66–71, 163–64.

11.
Samuel
Solly, “Scriveners’ Palsy, or the Paralysis of Writers,”
Lancet
, December 24, 1864, 709–11.

12.
Richard N. Current,
The Typewriter and the Men Who Made It
(Urbana: University of Illinois Press, 1954), 22–26.

13.
See Paul Israel,
From Machine Shop to Industrial Laboratory: Telegraphy and the Changing Context of American Invention, 1830–1920
(Baltimore: Johns Hopkins University Press, 1992).