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837313786_6967-7481 | As other stations around the country caught on , MercyMe 's label , INO Records , partnered with Curb Records . They marketed the single to wider audiences , such as Top 40 radio . In September , INO and Curb also released a double A-side physical single , `` I Can Only Imagine / Word of God Speak '' . The latter track was co-written by Millard with the band 's producer , Kipley . Eventually , the song cracked into secular charts , including the Billboard Hot 100 and the Hot Adult Contemporary Tracks charts . | I Can Only Imagine (MercyMe song) |
837313786_7498-8168 | MercyMe did not expect `` I Can Only Imagine '' to gain mainstream success , in part due to its explicit references to Jesus and Heaven . Millard noted that the band joked around about `` the top five songs never to cross over , and they had included `` I Can Only Imagine '' on that list . Millard also believed some radio stations were playing the song to prove it could not succeed on mainstream radio . The song had a significant effect on the band 's musical image ; in an interview , Millard commented that `` We were a rock band when we started 11 years ago . But we kind of became the ' adult contemporary poster child ' when ' I Can Only Imagine ' took off '' . | I Can Only Imagine (MercyMe song) |
837313786_8252-9014 | A music video was released for `` I Can Only Imagine '' . Millard recalled the video 's inspiration : `` I just kept seeing all these people holding picture frames ( at MercyMe concerts ) that are empty because we all carry these people with us in some way . I 've had so many people after a show pull out a picture of someone they 've lost . These people embrace these photos and I just thought how can we tap into that '' . The video features everyday people as well as several music artists including Michael Tait , Tammy Trent , Bob Herdman , and Jesse Katina , each holding an empty picture frame to signify their loss of a loved one ; as the video progresses , they are holding pictures of their loved ones including Millard with his father 's photograph . | I Can Only Imagine (MercyMe song) |
837313786_9015-9782 | The video opens with a shot of an empty room and a chair , shifting to show a young boy climbing up a flight of stairs . The camera then shifts to the band before returning to the boy , now in an attic which is filled with many empty picture frames . The video alternates between shots of the boy and the band before shifting to individual shots of other people , each holding an empty picture frame . As the other instruments join in , the camera comes back to the band , focusing on them before returning to shots of the people , whose picture frames now contain pictures of deceased relatives . At the end of the video , the camera returns to the boy , now running down a street with an empty frame , climaxing with him lying down in a field with the empty frame . | I Can Only Imagine (MercyMe song) |
837313786_9829-10844 | Critical reception for `` I Can Only Imagine '' was positive . Steve Losey of Allmusic commented that `` ( the song ) is a passionate piano - driven ballad . The song considers what it would be like to be in the presence of God . Delivered with conviction , the song is emotionally compelling '' . Jesus Freak Hideout 's reviewer Kevin Chamberlin felt `` The lyrics for the song are amazing . If you have n't listened to the lyrics , because you 're afraid of hearing pop music , get over it and listen to it . '' Kevin McNeese of NewReleaseTuesday commented that `` The definite highlight on ( Almost There ) is the worship / ballad ' I Can Only Imagine ' ... The song starts out with just piano that instantly invokes chills and builds dynamically into a powerful display of drums and guitar . But what makes the song are the lyrics , penned by Bart Millard himself . The song speaks about that day that we all dream about when we finally meet Jesus ... It 's a song that ca n't be listened to with eyes open '' . | I Can Only Imagine (MercyMe song) |
837313786_10872-11320 | `` I Can Only Imagine '' debuted on the Billboard Hot 100 for the chart week of 11 October 2003 at No. 76 . The song peaked at No. 71 for two weeks and spent 16 non-consecutive weeks on the Hot 100 . On the Adult Contemporary chart , `` I Can Only Imagine '' debuted at No. 29 for the chart week of 23 May 2003 , with an eventual peak of No. 5 for the chart week of 8 September 2003 ; in all , `` I Can Only Imagine '' spent 30 weeks on the chart . | I Can Only Imagine (MercyMe song) |
837313786_11321-12126 | On the Adult Top 40 chart , `` I Can Only Imagine '' debuted at No. 39 for the chart week of 9 August 2003 and reached a peak position of No. 27 , holding that spot for three consecutive weeks ; in all , the song spent 26 weeks on the chart . On the Mainstream Top 40 chart , the song debuted at No. 37 for the chart week of 12 July 2003 , reaching an eventual peak of No. 33 . On the Country Songs chart , the song debuted at No. 58 for the chart week of 27 December 2003 , reaching an eventual peak of No. 52 , which it held for two weeks . According to Mike Curb on the Curb Records website , `` I Can Only Imagine '' also peaked at No. 1 on the Billboard Hot 100 Singles Sales chart for 10 weeks , No. 1 on the Radio & Records Christian AC chart for two weeks , and No. 15 on the Christian CHR chart . | I Can Only Imagine (MercyMe song) |
837313786_12127-12499 | In April 2010 , `` I Can Only Imagine '' was certified platinum by the RIAA , signifying sales of over 1,000,000 digital downloads . It is the first single by any artist in the Christian music genre to go platinum . The song was certified 2x platinum in 2014 . As of March 2018 , it has sold 2.5 million copies , making it the best - selling Christian single of all time . | I Can Only Imagine (MercyMe song) |
837313786_12530-12865 | `` I Can Only Imagine '' earned two GMA Dove Awards in 2002 ; ' Pop / Contemporary Recorded Song of the Year ' and ' Song of the Year ' . Millard also won ' Songwriter of the Year ' at the same ceremony . In November 2009 , the song was played on board Space Shuttle Atlantis as a wake - up call for Barry E. Wilmore during STS - 129 . | I Can Only Imagine (MercyMe song) |
837313786_12890-13397 | The original version of `` I Can Only Imagine '' was a track on MercyMe 's 1999 independent release The Worship Project . In August 2006 , both an acoustic and live form ( as well as the original 1999 version ) were included in the ' Platinum edition ' of Almost There . MercyMe recorded a version of the song for their iTunes Originals album . In 2009 , two further variants were included on their compilation album 10 ; a ' symphony version ' featuring the London Symphony Orchestra , and a live version . | I Can Only Imagine (MercyMe song) |
837313786_13398-13976 | `` I Can Only Imagine '' has also been covered by several artists . In 2002 Amy Grant released a reworked version of the song ( titled `` Imagine '' and paired with `` Sing the Wondrous Love of Jesus '' ) on her album , Legacy ... Hymns and Faith . In 2003 , Jeff Carson and Kathryn Scott each issued variants of the song ; Carson 's version peaked at No. 50 on the Country Songs chart . In 2005 Wynonna Judd issued her form of the song ; while in 2007 Emerson Drive provided theirs . The song was covered again in 2010 by Marie Osmond and in 2013 by gospel artist Tamela Mann . | I Can Only Imagine (MercyMe song) |
837313786_13977-14600 | The song was performed live by Garwin Dobbins , a man struggling with fibrodysplasia ossificans progressiva , a crippling disease referred to as Stone Man 's syndrome , in which the body 's repair mechanism replaces muscle with bone , causing many joints to become permanently frozen in place . Dobbins , who died in 2004 , sang the song on a broadcast of Austin Awakening , accompanied by pastor Randy Phillips of Phillips , Craig and Dean . Footage of the performance was featured in the finale of the Trevor Glass documentary `` Suffer the Children . '' There is also a German version `` Ich kann nur davon träumen '' . | I Can Only Imagine (MercyMe song) |
837313786_14635-14747 | `` I Can Only Imagine '' -- 4 : 08 ( Bart Millard ) `` Word of God Speak '' -- 3 : 07 ( Peter Kipley , Millard ) | I Can Only Imagine (MercyMe song) |
837313786_14773-14893 | Date Territory Label Format 2001 United States INO Airplay 23 September 2003 INO Curb CD 4 January 2005 INO Epic Digital | I Can Only Imagine (MercyMe song) |
837313786_14929-15766 | Weekly charts Chart ( 2001 -- 2002 ) Peak Position Radio and Records Christian AC Radio and Records Christian CHR 15 Chart ( 2003 -- 2004 ) Peak Position US Adult Contemporary ( Billboard ) 5 US Adult Top 40 ( Billboard ) 27 US Billboard Hot 100 71 US Mainstream Top 40 ( Billboard ) 33 Chart ( 2012 ) Peak Position France ( SNEP ) 65 Chart ( 2017 ) Peak Position US Christian Digital Song Sales ( Billboard ) Chart ( 2018 ) Peak Position US Christian Songs ( Billboard ) US Digital Songs ( Billboard ) 10 Year - end charts Chart ( 2003 ) Position Billboard Adult Contemporary 20 Billboard Hot 100 Singles Sales 24 Chart ( 2010 ) Position Billboard Christian / Gospel Digital Songs 9 Chart ( 2011 ) Position Billboard Christian / Gospel Digital Songs 7 Certifications Country Certifications ( sales thresholds ) United States 2x Platinum | I Can Only Imagine (MercyMe song) |
837313786_15835-15978 | The story behind the song was made into a feature film starring J. Michael Finley and Dennis Quaid . The film was released on March 16 , 2018 . | I Can Only Imagine (MercyMe song) |
818287024_70-329 | E.E. Cummings E.E. Cummings in 1953 Edward Estlin Cummings ( 1894 - 10 - 14 ) October 14 , 1894 Cambridge , Massachusetts , U.S. September 3 , 1962 ( 1962 - 09 - 03 ) ( aged 67 ) Madison , New Hampshire , U.S. Cause of death Stroke Occupation Author Signature | E. E. Cummings |
818287024_330-644 | Edward Estlin `` E.E. '' Cummings ( October 14 , 1894 -- September 3 , 1962 ) , often styled as e e cummings , as he sometimes signed his name , was an American poet , painter , essayist , author , and playwright . He wrote approximately 2900 poems , two autobiographical novels , four plays , and several essays . | E. E. Cummings |
818287024_952-1139 | i thank You God for most this amazing day : for the leaping greenly spirits of trees and a blue true dream of sky ; and for everything which is natural which is infinite which is yes From | E. E. Cummings |
818287024_1214-2232 | Edward Estlin Cummings was born on October 14 , 1894 , in Cambridge , Massachusetts to Edward Cummings and the former Rebecca Haswell Clarke , a well - known Unitarian couple in the city . His father was a professor at Harvard University and later became nationally known as the minister of South Congregational Church in Boston , Massachusetts . His mother , who loved to spend time with her children , played games with Cummings and his sister , Elizabeth . From an early age , Cummings 's parents supported his creative gifts . Cummings wrote poems and also drew as a child , and he often played outdoors with the many other children who lived in his neighborhood . He grew up in the company of such family friends as the philosophers William James and Josiah Royce . Many of Cummings ' summers were spent on Silver Lake in Madison , New Hampshire , where his father had built two houses along the eastern shore . The family ultimately purchased the nearby Joy Farm where Cummings had his primary summer residence . | E. E. Cummings |
818287024_2233-2911 | He expressed transcendental leanings his entire life . As he matured , Cummings moved to an `` I , Thou '' relationship with God . His journals are replete with references to `` le bon Dieu , '' as well as prayers for inspiration in his poetry and artwork ( such as `` Bon Dieu ! may I some day do something truly great . amen . '' ) . Cummings `` also prayed for strength to be his essential self ( ' may I be I is the only prayer -- not may I be great or good or beautiful or wise or strong ' ) , and for relief of spirit in times of depression ( ' almighty God ! I thank thee for my soul ; & may I never die spiritually into a mere mind through disease of loneliness ' ) . '' | E. E. Cummings |
818287024_2912-3352 | Cummings wanted to be a poet from childhood and wrote poetry daily from age 8 to 22 , exploring assorted forms. He graduated from Harvard University in 1915 and received an advanced degree from the university in 1916 . In his studies at Harvard , he developed an interest in modern poetry , which ignored conventional grammar and syntax , while aiming for a dynamic use of language . Upon graduating , he worked for a book dealer . Masthead | E. E. Cummings |
818287024_3493-3872 | In 1917 , with the First World War ongoing in Europe , Cummings enlisted in the Norton - Harjes Ambulance Corps , along with his college friend John Dos Passos . Due to an administrative mix - up , Cummings was not assigned to an ambulance unit for five weeks , during which time he stayed in Paris . He fell in love with the city , to which he would return throughout his life . | E. E. Cummings |
818287024_3873-4540 | During their service in the ambulance corps , the two young writers sent letters home that drew the attention of the military censors . They were known to prefer the company of French soldiers over fellow ambulance drivers . The two openly expressed anti-war views ; Cummings spoke of his lack of hatred for the Germans . On September 21 , 1917 , five months after starting his belated assignment , Cummings and a friend , William Slater Brown , were arrested by the French military on suspicion of espionage and undesirable activities . They were held for 31⁄2 months in a military detention camp at the Dépôt de Triage , in La Ferté - Macé , Orne , Normandy . | E. E. Cummings |
818287024_4541-5183 | They were imprisoned with other detainees in a large room . Cummings ' father failed to obtain his son 's release through diplomatic channels , and in December 1917 he wrote a letter to President Wilson . Cummings was released on December 19 , 1917 , and Brown was released two months later . Cummings used his prison experience as the basis for his novel , The Enormous Room ( 1922 ) , about which F. Scott Fitzgerald said , `` Of all the work by young men who have sprung up since 1920 one book survives -- The Enormous Room by ee cummings ... Those few who cause books to live have not been able to endure the thought of its mortality . '' | E. E. Cummings |
818287024_5184-5379 | Cummings returned to the United States on New Year 's Day 1918 . Later in 1918 he was drafted into the army . He served in the 12th Division at Camp Devens , Massachusetts , until November 1918 . | E. E. Cummings |
818287024_5380-5609 | Buffalo Bill 's defunct who used to ride a watersmooth - silver stallion and break onetwothreefourfive pigeonsjustlikethat Jesus he was a handsome man and what i want to know is how do you like your blueeyed boy Mister Death From | E. E. Cummings |
818287024_5665-6028 | Cummings returned to Paris in 1921 and lived there for two years before returning to New York . His collection Tulips and Chimneys was published in 1923 and his inventive use of grammar and syntax is evident . The book was heavily cut by his editor . XLI Poems was published in 1925 . With these collections , Cummings made his reputation as an avant garde poet . | E. E. Cummings |
818287024_6029-6473 | During the rest of the 1920s and 1930s , Cummings returned to Paris a number of times , and traveled throughout Europe , meeting , among others , artist Pablo Picasso . In 1931 Cummings traveled to the Soviet Union , recounting his experiences in Eimi , published two years later . During these years Cummings also traveled to Northern Africa and Mexico . He worked as an essayist and portrait artist for Vanity Fair magazine ( 1924 -- 1927 ) . | E. E. Cummings |
818287024_6474-6775 | In 1926 , Cummings 's parents were in a car accident ; only his mother survived , although she was severely injured . Cummings later described the accident in the following passage from his i : six nonlectures series given at Harvard ( as part of the Charles Eliot Norton Lectures ) in 1952 and 1953 : | E. E. Cummings |
818287024_6776-7436 | A locomotive cut the car in half , killing my father instantly . When two brakemen jumped from the halted train , they saw a woman standing -- dazed but erect -- beside a mangled machine ; with blood spouting ( as the older said to me ) out of her head . One of her hands ( the younger added ) kept feeling her dress , as if trying to discover why it was wet . These men took my sixty - six year old mother by the arms and tried to lead her toward a nearby farmhouse ; but she threw them off , strode straight to my father 's body , and directed a group of scared spectators to cover him . When this had been done ( and only then ) she let them lead her away . | E. E. Cummings |
818287024_7437-7724 | His father 's death had a profound effect on Cummings , who entered a new period in his artistic life . He began to focus on more important aspects of life in his poetry . He started this new period by paying homage to his father in the poem `` my father moved through dooms of love '' . | E. E. Cummings |
818287024_7725-7869 | In the 1930s Samuel Aiwaz Jacobs was Cummings ' publisher ; he had started the Golden Eagle Press after working as a typographer and publisher . | E. E. Cummings |
818287024_7914-8123 | In 1952 , his alma mater , Harvard University , awarded Cummings an honorary seat as a guest professor . The Charles Eliot Norton Lectures he gave in 1952 and 1955 were later collected as i : six nonlectures . | E. E. Cummings |
818287024_8124-8415 | Cummings spent the last decade of his life traveling , fulfilling speaking engagements , and spending time at his summer home , Joy Farm , in Silver Lake , New Hampshire . He died of a stroke on September 3 , 1962 , at the age of 67 in North Conway , New Hampshire at the Memorial Hospital . | E. E. Cummings |
818287024_8416-8556 | Cummings 's papers are held at the Houghton Library at Harvard University and the Harry Ransom Center at the University of Texas at Austin . | E. E. Cummings |
818287024_8635-8828 | Cummings was married briefly twice , first to Elaine Orr , then to Anne Minnerly Barton . His longest relationship lasted more than three decades , a common - law marriage to Marion Morehouse . | E. E. Cummings |
818287024_8829-9281 | Cummings 's first marriage , to Elaine Orr , began as a love affair in 1918 while she was still married to Scofield Thayer , one of Cummings 's friends from Harvard . During this time he wrote a good deal of his erotic poetry . After divorcing Thayer , Elaine married Cummings on March 19 , 1924 . The couple had a daughter together out of wedlock . However , the couple separated after two months of marriage and divorced less than nine months later . | E. E. Cummings |
818287024_9282-9553 | Cummings married his second wife Anne Minnerly Barton on May 1 , 1929 , and they separated three years later in 1932 . That same year , Anne obtained a Mexican divorce ; it was not officially recognized in the United States until August 1934 . Anne died in 1970 aged 72 . | E. E. Cummings |
818287024_9554-9975 | In 1934 , after his separation from his second wife , Cummings met Marion Morehouse , a fashion model and photographer . Although it is not clear whether the two were ever formally married , Morehouse lived with Cummings in a common - law marriage until his death in 1962 . She died on May 18 , 1969 , while living at 4 Patchin Place , Greenwich Village , New York City , where Cummings had resided since September 1924 . | E. E. Cummings |
818287024_10001-10317 | According to his testimony in EIMI , Cummings had little interest in politics until his trip to the Soviet Union in 1931 , after which he shifted rightward on many political and social issues . Despite his radical and bohemian public image , he was a Republican , and later , an ardent supporter of Joseph McCarthy . | E. E. Cummings |
818287024_10348-10866 | Despite Cummings 's familiarity with avant - garde styles ( undoubtedly affected by the Calligrammes of French poet Apollinaire , according to a contemporary observation ) , much of his work is quite traditional . Many of his poems are sonnets , albeit often with a modern twist . He occasionally used the blues form and acrostics . Cummings ' poetry often deals with themes of love and nature , as well as the relationship of the individual to the masses and to the world . His poems are also often rife with satire . | E. E. Cummings |
818287024_10867-11222 | While his poetic forms and themes share an affinity with the Romantic tradition , Cummings ' work universally shows a particular idiosyncrasy of syntax , or way of arranging individual words into larger phrases and sentences . Many of his most striking poems do not involve any typographical or punctuation innovations at all , but purely syntactic ones . | E. E. Cummings |
818287024_11223-11604 | i carry your heart with me ( i carry it in my heart ) i am never without it ( anywhere i go you go , my dear ; and whatever is done by only me is your doing , my darling ) i fear no fate ( for you are my fate , my sweet ) i want no world ( for beautiful you are my world , my true ) and it 's you are whatever a moon has always meant and whatever a sun will always sing is you From | E. E. Cummings |
818287024_11663-12378 | As well as being influenced by notable modernists , including Gertrude Stein and Ezra Pound , Cummings in his early work drew upon the imagist experiments of Amy Lowell . Later , his visits to Paris exposed him to Dada and surrealism , which he reflected in his work . He began to rely on symbolism and allegory , where he once had used simile and metaphor . In his later work , he rarely used comparisons that required objects that were not previously mentioned in the poem , choosing to use a symbol instead . Due to this , his later poetry is `` frequently more lucid , more moving , and more profound than his earlier . '' Cummings also liked to incorporate imagery of nature and death into much of his poetry . | E. E. Cummings |
818287024_12379-12943 | While some of his poetry is free verse ( with no concern for rhyme or meter ) , many have a recognizable sonnet structure of 14 lines , with an intricate rhyme scheme . A number of his poems feature a typographically exuberant style , with words , parts of words , or punctuation symbols scattered across the page , often making little sense until read aloud , at which point the meaning and emotion become clear . Cummings , who was also a painter , understood the importance of presentation , and used typography to `` paint a picture '' with some of his poems . | E. E. Cummings |
818287024_12944-13078 | The seeds of Cummings ' unconventional style appear well established even in his earliest work . At age six , he wrote to his father : | E. E. Cummings |
818287024_13128-13247 | HE IS GOOD NOW , IT IS NOT GOOD TO SEE IT RAIN , FATHER DEAR IS , IT , DEAR , NO FATHER DEAR , LOVE , YOU DEAR , ESTLIN | E. E. Cummings |
818287024_13250-13515 | Following his autobiographical novel , The Enormous Room , Cummings ' first published work was a collection of poems titled Tulips and Chimneys ( 1923 ) . This work was the public 's first encounter with his characteristic eccentric use of grammar and punctuation . | E. E. Cummings |
818287024_13516-13713 | Some of Cummings ' most famous poems do not involve much , if any , odd typography or punctuation , but still carry his unmistakable style , particularly in unusual and impressionistic word order . | E. E. Cummings |
818287024_13714-13993 | anyone lived in a pretty how town ( with up so floating many bells down ) spring summer autumn winter he sang his did n't he danced his did Women and men ( both little and small ) cared for anyone not at all they sowed their is n't they reaped their same sun moon stars rain From | E. E. Cummings |
818287024_14043-15043 | Cummings ' work often does not proceed in accordance with the conventional combinatorial rules that generate typical English sentences ( for example , `` they sowed their is n't '' ) . In addition , a number of Cummings ' poems feature , in part or in whole , intentional misspellings , and several incorporate phonetic spellings intended to represent particular dialects . Cummings also made use of inventive formations of compound words , as in `` in Just '' which features words such as `` mud - luscious '' , `` puddle - wonderful '' , and `` eddieandbill . '' This poem is part of a sequence of poems titled Chansons Innocentes ; it has many references comparing the `` balloonman '' to Pan , the mythical creature that is half - goat and half - man . Literary critic R.P. Blackmur has commented that this use of language is `` frequently unintelligible because he ( Cummings ) disregards the historical accumulation of meaning in words in favour of merely private and personal associations . '' | E. E. Cummings |
818287024_15044-15245 | Many of Cummings ' poems are satirical and address social issues but have an equal or even stronger bias toward romanticism : time and again his poems celebrate love , sex , and the season of rebirth . | E. E. Cummings |
818287024_15246-15409 | Cummings also wrote children 's books and novels . A notable example of his versatility is an introduction he wrote for a collection of the comic strip Krazy Kat . | E. E. Cummings |
818287024_15431-15519 | Cummings is known for controversial subject matter , as he wrote numerous erotic poems . | E. E. Cummings |
818287024_15520-15729 | He also sometimes included ethnic slurs in his writing . For instance , in his 1950 collection Xaipe : Seventy - One Poems , Cummings published two poems containing words that caused outrage in some quarters . | E. E. Cummings |
818287024_15730-15911 | one day a nigger caught in his hand a little star no bigger than not to understand `` i 'll never let you go until you 've made me white '' so she did and now stars shine at night . | E. E. Cummings |
818287024_15916-16085 | a kike is the most dangerous machine as yet invented by even yankee ingenu ity ( out of a jew a few dead dollars and some twisted laws ) it comes both prigged and canted | E. E. Cummings |
818287024_16148-16687 | Friends begged Cummings to reconsider publishing these poems , and the book 's editor pleaded with him to withdraw them , but he insisted that they stay . All the fuss perplexed him . The poems were commenting on prejudice , he pointed out , and not condoning it . He intended to show how derogatory words cause people to see others in terms of stereotypes rather than as individuals . `` America ( which turns Hungarian into ' hunky ' & Irishman into ' mick ' and Norwegian into ' square - head ' ) is to blame for ' kike , ' '' he said . | E. E. Cummings |
818287024_16754-17044 | During his lifetime , Cummings published four plays . HIM , a three - act play , was first produced in 1928 by the Provincetown Players in New York City . The production was directed by James Light . The play 's main characters are `` Him '' , a playwright , and `` Me '' , his girlfriend . | E. E. Cummings |
818287024_17084-17406 | Relax and give the play a chance to strut its stuff -- relax , stop wondering what it is all ' about ' -- like many strange and familiar things , Life included , this play is n't ' about , ' it simply is ... Do n't try to enjoy it , let it try to enjoy you . DON 'T TRY TO UNDERSTAND IT , LET IT TRY TO UNDERSTAND YOU . '' | E. E. Cummings |
818287024_17407-17782 | Anthropos , or the Future of Art is a short , one - act play that Cummings contributed to the anthology Whither , Whither or After Sex , What ? A Symposium to End Symposium . The play consists of dialogue between Man , the main character , and three `` infrahumans '' , or inferior beings . The word anthropos is the Greek word for `` man '' , in the sense of `` mankind '' . | E. E. Cummings |
818287024_17783-18004 | Tom , A Ballet is a ballet based on Uncle Tom 's Cabin . The ballet is detailed in a `` synopsis '' as well as descriptions of four `` episodes '' , which were published by Cummings in 1935 . It has never been performed . | E. E. Cummings |
818287024_18005-18719 | Santa Claus : A Morality was probably Cummings 's most successful play . It is an allegorical Christmas fantasy presented in one act of five scenes . The play was inspired by his daughter Nancy , with whom he was reunited in 1946 . It was first published in the Harvard College magazine , Wake . The play 's main characters are Santa Claus , his family ( Woman and Child ) , Death , and Mob . At the outset of the play , Santa Claus 's family has disintegrated due to their lust for knowledge ( Science ) . After a series of events , however , Santa Claus 's faith in love and his rejection of the materialism and disappointment he associates with Science are reaffirmed , and he is reunited with Woman and Child . | E. E. Cummings |
818287024_18753-19166 | Cummings 's publishers and others have often echoed the unconventional orthography in his poetry by writing his name in lowercase and without periods ( full stops ) , but normal orthography for his name ( uppercase and periods ) is supported by scholarship and preferred by publishers today . Cummings himself used both the lowercase and capitalized versions , though he most often signed his name with capitals . | E. E. Cummings |
818287024_19167-20193 | The use of lowercase for his initials was popularized in part by the title of some books , particularly in the 1960s , printing his name in lower case on the cover and spine . In the preface to E.E. Cummings : The Growth of a Writer by Norman Friedman , critic Harry T. Moore notes Cummings `` had his name put legally into lower case , and in his later books the titles and his name were always in lower case . '' According to Cummings 's widow , however , this is incorrect . She wrote to Friedman : `` You should not have allowed H. Moore to make such a stupid & childish statement about Cummings & his signature . '' On February 27 , 1951 , Cummings wrote to his French translator D. Jon Grossman that he preferred the use of upper case for the particular edition they were working on . One Cummings scholar believes that on the rare occasions that Cummings signed his name in all lowercase , he may have intended it as a gesture of humility , not as an indication that it was the preferred orthography for others to use . | E. E. Cummings |
818287024_20215-20727 | In 1943 , modern dancer and choreographer Jean Erdman presented `` The Transformations of Medusa , Forever and Sunsmell '' with a commissioned score by John Cage and a spoken text from the title poem by E.E. Cummings , sponsored by the Arts Club of Chicago . Erdman also choreographed `` Twenty Poems '' ( 1960 ) , a cycle of E.E. Cummings 's poems for eight dancers and one actor , with a commissioned score by Teiji Ito . It was performed in the round at the Circle in the Square Theatre in Greenwich Village . | E. E. Cummings |
818287024_20784-22007 | In 1961 , Pierre Boulez composed `` Cummings ist der dichter '' from poems by E.E. Cummings . Aribert Reimann set Cummings to music in `` Impression IV '' ( 1961 ) for soprano and piano . The Icelandic singer Björk used lines from Cummings 's poem `` I Will Wade Out '' for the lyrics of `` Sun In My Mouth '' on her 2001 album Vespertine . On her next album , Medúlla ( 2004 ) , Björk used his poem `` It May Not Always Be So '' as the lyrics for the song `` Sonnets / Unrealities XI . '' The American composer Eric Whitacre wrote a cycle of works for choir titled The City and the Sea , which consists of five poems by Cummings set to music . Others who have composed settings for his poems include Dominic Argento , William Bergsma , Leonard Bernstein , Marc Blitzstein , John Cage , Romeo Cascarino , Aaron Copland , Serge de Gastyne , David Diamond , John Duke , Margaret Garwood , Daron Hagen , Michael Hedges , Richard Hundley , Barbara Kolb , Leonard Lehrman , Robert Manno , Salvatore Martirano , William Mayer , John Musto , Paul Nordoff , Tobias Picker , Vincent Persichetti , Ned Rorem , Peter Schickele , Elie Siegmeister , Aki Takase , Hugo Weisgall , Dan Welcher , and James Yannatos , among many others . | E. E. Cummings |
818287024_22024-22262 | This section does not cite any sources . Please help improve this section by adding citations to reliable sources . Unsourced material may be challenged and removed . ( October 2017 ) ( Learn how and when to remove this template message ) | E. E. Cummings |
818287024_22263-22359 | During his lifetime , Cummings received numerous awards in recognition of his work , including : | E. E. Cummings |
818287024_22360-22865 | Dial Award ( 1925 ) Guggenheim Fellowship ( 1933 ) Shelley Memorial Award for Poetry ( 1944 ) Harriet Monroe Prize from Poetry magazine ( 1950 ) Fellowship of American Academy of Poets ( 1950 ) Guggenheim Fellowship ( 1951 ) Charles Eliot Norton Professorship at Harvard ( 1952 -- 1953 ) Special citation from the National Book Award Committee for his Poems , 1923 -- 1954 ( 1957 ) Bollingen Prize in Poetry ( 1958 ) Boston Arts Festival Award ( 1957 ) Two - year Ford Foundation grant of $15,000 ( 1959 ) | E. E. Cummings |
818287024_22919-23570 | The Enormous Room ( 1922 ) Tulips and Chimneys ( 1923 ) & ( 1925 ) ( self - published ) XLI Poems ( 1925 ) is 5 ( 1926 ) HIM ( 1927 ) ( a play ) ViVa ( 1931 ) CIOPW ( 1931 ) ( art works ) EIMI ( 1933 ) ( Soviet travelogue ) No Thanks ( 1935 ) Collected Poems ( 1938 ) 50 Poems ( 1940 ) 1 × 1 ( 1944 ) Santa Claus : A Morality ( 1946 ) XAIPE : Seventy - One Poems ( 1950 ) i -- six nonlectures ( 1953 ) Harvard University Press Poems , 1923 -- 1954 ( 1954 ) 95 Poems ( 1958 ) 73 Poems ( 1963 ) ( posthumous ) Fairy Tales ( 1965 ) Etcetera : The Unpublished Poems ( 1983 ) Complete Poems , 1904 -- 1962 , edited by George James Firmage , Liveright 2008 | E. E. Cummings |
835605881_192-1240 | Thermal comfort is the condition of mind that expresses satisfaction with the thermal environment and is assessed by subjective evaluation ( ANSI / ASHRAE Standard 55 ) . The human body can be viewed as a heat engine where food is the input energy . The human body will generate excess heat into the environment , so the body can continue to operate . The heat transfer is proportional to temperature difference . In cold environments , the body loses more heat to the environment and in hot environments the body does no exert enough heat . Both the hot and cold scenarios lead to discomfort . Maintaining this standard of thermal comfort for occupants of buildings or other enclosures is one of the important goals of HVAC ( heating , ventilation , and air conditioning ) design engineers . Most people will feel comfortable at room temperature , colloquially a range of temperatures around 20 to 22 ° C ( 68 to 72 ° F ) , but this may vary greatly between individuals and depending on factors such as activity level , clothing , and humidity . | Thermal comfort |
835605881_1241-1714 | Thermal neutrality is maintained when the heat generated by human metabolism is allowed to dissipate , thus maintaining thermal equilibrium with the surroundings . The main factors that influence thermal comfort are those that determine heat gain and loss , namely metabolic rate , clothing insulation , air temperature , mean radiant temperature , air speed and relative humidity . Psychological parameters , such as individual expectations , also affect thermal comfort . | Thermal comfort |
835605881_1715-2250 | The Predicted Mean Vote ( PMV ) model stands among the most recognized thermal comfort models . It was developed using principles of heat balance and experimental data collected in a controlled climate chamber under steady state conditions . The adaptive model , on the other hand , was developed based on hundreds of field studies with the idea that occupants dynamically interact with their environment . Occupants control their thermal environment by means of clothing , operable windows , fans , personal heaters , and sun shades . | Thermal comfort |
835605881_2251-2573 | The PMV model can be applied to air - conditioned buildings , while the adaptive model can be generally applied only to buildings where no mechanical systems have been installed . There is no consensus about which comfort model should be applied for buildings that are partially air - conditioned spatially or temporally . | Thermal comfort |
835605881_2574-2715 | Thermal comfort calculations according to ANSI / ASHRAE Standard 55 can be freely performed with the CBE Thermal Comfort Tool for ASHRAE 55 . | Thermal comfort |
835605881_2716-2821 | Similar to ASHRAE Standard 55 there are other comfort standards like EN 15251 and the ISO 7730 standard . | Thermal comfort |
835605881_3788-4202 | Satisfaction with the thermal environment is important for its own sake and because it influences productivity and health . Office workers who are satisfied with their thermal environment are more productive . Thermal discomfort has also been known to lead to sick building syndrome symptoms . The combination of high temperature and high relative humidity serves to reduce thermal comfort and indoor air quality . | Thermal comfort |
835605881_4203-4572 | Although a single static temperature can be comfortable , thermal delight , alliesthesia is usually caused by varying thermal sensations . Adaptive models of thermal comfort allow flexibility in designing naturally ventilated buildings that have more varying indoor conditions . Such buildings may save energy and have the potential to create more satisfied occupants . | Thermal comfort |
835605881_4602-4929 | Since there are large variations from person to person in terms of physiological and psychological satisfaction , it is hard to find an optimal temperature for everyone in a given space . Laboratory and field data have been collected to define conditions that will be found comfortable for a specified percentage of occupants . | Thermal comfort |
835605881_4930-5484 | There are six primary factors that directly affect thermal comfort that can be grouped in two categories : personal factors - because they are characteristics of the occupants - and environmental factors - which are conditions of the thermal environment . The former are metabolic rate and clothing level , the latter are air temperature , mean radiant temperature , air speed and humidity . Even if all these factors may vary with time , standards usually refer to a steady state to study thermal comfort , just allowing limited temperature variations . | Thermal comfort |
835605881_5509-5938 | People have different metabolic rates that can fluctuate due to activity level and environmental conditions . The ASHRAE 55 - 2010 Standard defines metabolic rate as the level of transformation of chemical energy into heat and mechanical work by metabolic activities within an organism , usually expressed in terms of unit area of the total body surface . Metabolic rate is expressed in met units , which are defined as follows : | Thermal comfort |
835605881_5939-6140 | 1 met = 58.2 W / m2 ( 18.4 Btu / h ft2 ) , which is equal to the energy produced per unit surface area of an average person seated at rest . The surface area of an average person is 1.8 m2 ( 19 ft2 ) . | Thermal comfort |
835605881_6141-6734 | ASHRAE Standard 55 provides a table of met rates for a variety of activities . Some common values are 0.7 met for sleeping , 1.0 met for a seated and quiet position , 1.2 - 1.4 met for light activities standing , 2.0 met or more for activities that involve movement , walking , lifting heavy loads or operating machinery . For intermittent activity , the Standard states that is permissible to use a time - weighted average metabolic rate if individuals are performing activities that vary over a period of one hour or less . For longer periods , different metabolic rates must be considered . | Thermal comfort |
835605881_6735-7402 | According to ASHRAE Handbook of Fundamentals , estimating metabolic rates is complex , and for levels above 2 or 3 met -- especially if there are various ways of performing such activities -- the accuracy is low . Therefore , the Standard is not applicable for activities with an average level higher than 2 met . Met values can also be determined more accurately than the tabulated ones , using an empirical equation that takes into account the rate of respiratory oxygen consumption and carbon dioxide production . Another physiological yet less accurate method is related to the heart rate , since there is a relationship between the latter and oxygen production . | Thermal comfort |
835605881_7403-7835 | The Compendium of Physical Activities is used by physicians to record physical activities . It has a different definition of met that is the ratio of the metabolic rate of the activity in question to a resting metabolic rate . As the formulation of the concept is different from the one that ASHRAE uses , these met values can not be used directly in PMV calculations , but it opens up a new way of quantifying physical activities . | Thermal comfort |
835605881_7836-8305 | Food and drink habits may have an influence on metabolic rates , which indirectly influences thermal preferences . These effects may change depending on food and drink intake . Body shape is another factor that affects thermal comfort . Heat dissipation depends on body surface area . A tall and skinny person has a larger surface - to - volume ratio , can dissipate heat more easily , and can tolerate higher temperatures more than a person with a rounded body shape . | Thermal comfort |
835605881_8370-8886 | The amount of thermal insulation worn by a person has a substantial impact on thermal comfort , because it influences the heat loss and consequently the thermal balance . Layers of insulating clothing prevent heat loss and can either help keep a person warm or lead to overheating . Generally , the thicker the garment is , the greater insulating ability it has . Depending on the type of material the clothing is made out of , air movement and relative humidity can decrease the insulating ability of the material . | Thermal comfort |
835605881_8887-9117 | 1 clo is equal to 0.155 m2 K / W ( 0.88 ° F ft2 h / Btu ) . This corresponds to trousers , a long sleeved shirt , and a jacket . Clothing insulation values for other common ensembles or single garments can be found in ASHRAE 55 . | Thermal comfort |
835605881_9181-9687 | The air temperature is the average temperature of the air surrounding the occupant , with respect to location and time . According to ASHRAE 55 standard , the spatial average takes into account the ankle , waist and head levels , which vary for seated or standing occupants . The temporal average is based on three - minutes intervals with at least 18 equally spaced points in time . Air temperature is measured with a dry - bulb thermometer and for this reason it is also known as dry - bulb temperature . | Thermal comfort |
835605881_9762-10293 | The radiant temperature is related to the amount of radiant heat transferred from a surface , and it depends on the material 's ability to absorb or emit heat , or its emissivity . The mean radiant temperature depends on the temperatures and emissivities of the surrounding surfaces as well as the view factor , or the amount of the surface that is `` seen '' by the object . So the mean radiant temperature experienced by a person in a room with the sunlight streaming in varies based on how much of his / her body is in the sun . | Thermal comfort |
835605881_10313-11113 | In HVAC , air speed is defined as the rate of air movement at a point , without regard to direction . According to ANSI / ASHRAE Standard 55 , it is the average speed of the air to which the body is exposed , with respect to location and time . The temporal average is the same as the air temperature , while the spatial average is based on the assumption that the body is exposed to a uniform air speed , according to the SET thermo - physiological model . However , some spaces might provide strongly nonuniform air velocity fields and consequent skin heat losses that can not be considered uniform . Therefore , the designer shall decide the proper averaging , especially including air speeds incident on unclothed body parts , that have greater cooling effect and potential for local discomfort . | Thermal comfort |
835605881_11174-12100 | Relative humidity ( dH ) is the ratio of the amount of water vapor in the air to the amount of water vapor that the air could hold at the specific temperature and pressure . While the human body has sensors within the skin that are fairly efficient at feeling heat and cold , relative humidity is detected indirectly . Sweating is an effective heat loss mechanism that relies on evaporation from the skin . However at high RH , the air has close to the maximum water vapor that it can hold , so evaporation , and therefore heat loss , is decreased . On the other hand , very dry environments ( RH < 20 - 30 % ) are also uncomfortable because of their effect on the mucous membranes . The recommended level of indoor humidity is in the range of 30 - 60 % in air conditioned buildings , but new standards such as the adaptive model allow lower and higher humidities , depending on the other factors involved in thermal comfort . | Thermal comfort |
835605881_12101-12465 | Recently , the effects of low relative humidity and high air velocity were tested on humans after bathing . Researchers found that low relative humidity engendered thermal discomfort as well as the sensation of dryness and itching . It is recommended to keep relative humidity levels higher in a bathroom than other rooms in the house for optimal conditions . Skin | Thermal comfort |
835605881_12486-13199 | Skin wettedness is defined as `` the proportion of the total skin surface area of the body covered with sweat . '' The wetness of skin in different areas also affects perceived thermal comfort . Humidity can increase wetness on different areas of the body , leading to a perception of discomfort . This is usually localized in different parts of the body , and local thermal comfort limits for skin wettedness differ by locations of the body . The extremities are much more sensitive to thermal discomfort from wetness than the trunk of the body . Although local thermal discomfort can be caused from wetness , the thermal comfort of the whole body will not be affected by the wetness of certain parts . Interplay | Thermal comfort |
835605881_13237-13504 | Various types of apparent temperature have been developed to combine air temperature and air humidity . For higher temperatures , there are quantitative scales , such as the heat index . For lower temperatures , a related interplay was identified only qualitatively : | Thermal comfort |
835605881_13571-13750 | Cold air with high relative humidity `` feels '' colder than dry air of the same temperature because high humidity in cold weather increases the conduction of heat from the body . | Thermal comfort |
835605881_13751-14000 | There has been controversy over why damp cold air feels colder than dry cold air . Some believe it is because when the humidity is high , our skin and clothing become moist and are better conductors of heat , so there is more cooling by conduction . | Thermal comfort |
835605881_14065-14675 | Many buildings use an HVAC unit to control their thermal environment . Other buildings are naturally ventilated and do not rely on such mechanical systems to provide thermal comfort . Depending on the climate , this can drastically reduce energy consumption . It is sometimes seen as a risk , though , since indoor temperatures can be too extreme if the building is poorly designed . Properly designed , naturally ventilated buildings keep indoor conditions within the range where opening windows and using fans in the summer , and wearing extra clothing in the winter , can keep people thermally comfortable . | Thermal comfort |
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