The technology, says Singer, was far ahead of its time. Navy said, 'Thank you very much for the patent, Miss Lamarr-we won't be needing your services here in Washington,'" Lamarr's character laments onstage. The pair succeeded in patenting their technology, and presented the concept to the National Inventors Council in 1940, but their invention-which used a piano roll to change between 88 frequencies-was not well received. The play explores this theme in the tumultuous relationship that develops between Lamarr and Antheil. Just as the frequencies "hop" to avoid detection, "we send secret codes to each other, shift and hop and avoid, especially in romantic relationships," Singer says. More broadly, frequency hopping can be compared with aspects of human communication, argues the production's Brooklyn-based playwright and director Elyse Singer, whose other works include Love In The Void (-love), a play about Courtney Love's Internet postings. The frequencies are "carried in waves through space like melodies," Lamarr's character explains. As the play-which includes a 25-piece robotic orchestra performing one of Antheil's most renowned pieces-makes clear, frequency hopping spread spectrum is based on a musical concept. In 1940 after working on the project for several years, Lamarr called on an unlikely invention partner: avant-garde composer George Antheil, 13 years her senior. "No jammer could detect it, no German code-breaker could decipher a completely random code," she says in the play.
The sequence of frequencies would be known by both the transmitter and receiver ahead of time, but to the German detectors their message would seem like gibberish. Lamarr realized that by transmitting radio signals along rapidly changing, or " hopping," frequencies, American radio-guided weapons would be far more resilient to detection and jamming. "Can you guide your torpedo towards an enemy target-or just use radio control period-without being detected? Or jammed?" Lamarr's character asks. In the meetings, they had talked about developing detection devices to listen to, and jam, the radio signals that American aircraft and weapons used to communicate with one another and Lamarr wanted to foil their plans. In an attempt to stall her acting career, he had brought her to his business meetings, where she found herself continuously listening to "fat bastards argue antiaircraft this, vacuum tube that," explains Lamarr's character-played by Erica Newhouse-in the play, Frequency Hopping. military after walking away from an unhappy marriage to an Austrian Fascist weapons manufacturer in 1937. Lamarr-born Hedwig Eva Maria Kiesler in Austria in 1914-developed a passion for helping the U.S. According to a new play, Frequency Hopping, she was also a shrewd inventor who devised a signal technology that millions of people use every day.
#American masters hedy lamarr movie
Hedy Lamarr wasn't just a beautiful movie star.
0 kommentar(er)
