Word: flows
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Dates: during 1970-1979
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...world, requests from Government officials and private citizens to see the President or his highest advisers. Even omitting secretaries and stenographers, the White House staff numbers more than 150. the largest of any President. The pipelines to the Oval Office are intricately patterned (see chart, page 19), and the flow can be stopped at any point ?much to the frustration of anyone trying to get an idea through...
...advance man lives for tomorrow's headlines, worries about deadlines on his flow charts, and reckons achievement by the number of specific tasks he manages to get done. These men, says a high official in one Government department, are "consumed with running the Government, but in the process they've lost sight of the fact that they ought to be running the country...
...Vary the Flow. Faced by the tattered state of tonality at the start of the 20th century, Arnold Schoenberg sought a new direction through the tight formations of serialism. Later on, other composers began an exploration of the resources of raw sound. Gerd Zacher is still doing just that. In normal practice, each organ pipe receives a steady and unchangeable supply of wind from the bellows and each produces only one single tone. What Zacher worked out was a way to vary the flow of air and thereby produce a family of tones from a single pipe, in much...
...falling pitches and fading sounds engulfs the listener in a musical-mystical doomsday. "It sounds," says Kagel, "as if the organ were exhaling her soul." For Ligeti's equally iconoclastic Etude No. 1, Zacher hooked a vacuum-cleaner motor to the organ pipes to achieve a tiny flow of air and precisely the "pale, unearthly and strange" tone color specified by the composer...
Cued by Clap-Stick. Correspondingly, Bergman's troupe are less actors than musicians. Cued by the bang of a cinematographer's clap-stick, each performer is allowed to stop the flow of the film and analyze the character that he or she is portraying. That now-familiar device stems from what Brecht called the V-Effekt: estranging the audience from the action. Merely watching, say Brecht and Bergman, is not enough. Reality has rent the artist's fabric; now he forces it to pierce the viewer's mind...