The Force of Things : An Opera for Objects
2017
- 60Usage
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Example: if you select the 1-year option for an article published in 2019 and a metric category shows 90%, that means that the article or review is performing better than 90% of the other articles/reviews published in that journal in 2019. If you select the 3-year option for the same article published in 2019 and the metric category shows 90%, that means that the article or review is performing better than 90% of the other articles/reviews published in that journal in 2019, 2018 and 2017.
Citation Benchmarking is provided by Scopus and SciVal and is different from the metrics context provided by PlumX Metrics.
Example: if you select the 1-year option for an article published in 2019 and a metric category shows 90%, that means that the article or review is performing better than 90% of the other articles/reviews published in that journal in 2019. If you select the 3-year option for the same article published in 2019 and the metric category shows 90%, that means that the article or review is performing better than 90% of the other articles/reviews published in that journal in 2019, 2018 and 2017.
Citation Benchmarking is provided by Scopus and SciVal and is different from the metrics context provided by PlumX Metrics.
Metrics Details
- Usage60
- Downloads50
- Abstract Views10
Book Description
“Tones made tactile, objects made audible, noise made beautiful.” That’s how The New York Times describes Ashley Fure’s work. In her world, all materials are potent and active with lives of their own. We often take things for granted, but Fure does not. She has given them their own voice and consciousness in The Force of Things: An Opera for Objects. This wordless drama, created with her architect brother Adam Fure and International Contemporary Ensemble, “probes the animate vitality of matter.” The audience sits beneath a canopy of familiar and exotic objects, while performers spur them into action and singers, like the sirens of mythology, shout and whisper warnings, luring the audience into an entirely new way of listening.
Bibliographic Details
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