Four centuries, two centuries, and one-and-a-half centuries: 2009 offers a fine excuse to celebrate two of the great iconoclasts of history.The echoing screams from these books are, oddly, loudest in America.
In our first week in our new home on the Left Bank, we were awakened early one morning by loud, oddly tugitive organ music--it sounded like a carrousel yet seemed to be moving closer.
In the first gallery, prepare to be stopped in your tracks by the lumbering semaphore of "Mean Time," a digital clock the size of a large shipping container, which marks off the seconds, minutes and hours with loud, oddly soothing whirrings and rhythmic ka-chunks.
As she lay in bed, her heartbeat and breathing sounded overly loud but oddly muffled, as though she was listening to both underwater.
Later, as Khan and her band reconfigure for the glacial space-funk of A Wall, there is a loud but oddly rehearsed-sounding male shout: "Millions couldn't … but Natasha Khan!" He's got a point.
When I venture beyond the quiet of Jordan's suite and into his restaurant, I feel oddly reassured by the loud carnival of Jordan iconography: huge posters, enormous murals, rows and rows of framed magazine covers, cascades of photographs — an empire of signs.
The piece ends with an easygoing, descending single line, followed by a sudden, loud, dissonant yet oddly stable closing chord.
The movie "makes a loud, incoherent but oddly compelling case for the enhancing effects of stereoscopic projection on certain treasured objects of the cinematic gaze, like classic Detroit muscle cars, women's breasts and Nicolas Cage," A. O. Scott wrote in The New York Times in February.
None of that really has anything to do with "Drive Angry," which at least in its 3-D version makes a loud, incoherent but oddly compelling case for the enhancing effects of stereoscopic projection on certain treasured objects of the cinematic gaze, like classic Detroit muscle cars, women's breasts and Nicolas Cage.
In the more assertive and grandly scaled of these -- "Ich liebe dich" (Op. 37, No. 2) and "Frülingsfeier" (Op. 56, No. 5) -- she seemed to be working at opera house volume, yet oddly she never seemed too loud for the hall or, for that matter, too near the edge of her power.
