Download Free A Sound Like Someone Trying Not To Make A Sound Book in PDF and EPUB Free Download. You can read online A Sound Like Someone Trying Not To Make A Sound and write the review.

When a child hears a noise in the night he gets up to investigate. He calls his father to help him and they work through all the things that the 'noise' could be, eventually realising that it is nothing to be scared of. An empowering book about over coming ones fears handled with brilliant originality by John Irving and Tatjana Hauptmann.
A shocking discovery and chilling secrets converge in this gripping novel from New York Times bestselling author Heather Gudenkauf When a tragic accident leaves nurse Amelia Winn deaf, she loses everything that matters—her job, her husband, David, and her stepdaughter, Nora. Now, two years later and with the help of her hearing dog, Stitch, she is finally getting back on her feet. But when she discovers the body of a fellow nurse in the dense bush by the river, deep in the woods near her cabin, she is plunged into a disturbing mystery that could shatter the carefully reconstructed pieces of her life all over again. As clues begin to surface, Amelia finds herself swept into an investigation that hits all too close to home. But how much is she willing to risk in order to uncover the truth and bring a killer to justice? And don’t miss Heather’s latest book, AN OVERNIGHT GUEST! You’ll be chilled and riveted from start to finish with this story of an unexpected visitor and a deadly snowstorm! Check out these other riveting novels of suspense by bestselling author Heather Gudenkauf: The Weight of Silence These Things Hidden One Breath Away Little Mercies Missing Pieces Before She Was Found This is How I Lied
Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns. Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)
AN INDIE BESTSELLER Most Anticipated by ELLE • Bustle • Bloomberg • Kirkus • HipLatina • SheReads • BookPage • The Millions • The Mujerista • Ms. Magazine • and more “Unflinching” —Ms. Magazine • “Phenomenal” —BookRiot • "An essential read" —Kirkus, starred review • "Necessary" —Library Journal • "Powerful" —Joaquin Castro • "Illuminating" —Reyna Grande • "A love letter to our people" —José Olivarez • "I have been waiting for this book all my life" —Paul Ortiz Bestselling author Julissa Arce calls for a celebration of our uniqueness, our origins, our heritage, and the beauty of the differences that make us Americans in this powerful polemic against the myth that assimilation leads to happiness and belonging for immigrants. “You sound like a white girl.” These were the words spoken to Julissa by a high school crush as she struggled to find her place in America. As a brown immigrant from Mexico, assimilation had been demanded of her since the moment she set foot in San Antonio, Texas, in 1994. She’d spent so much time getting rid of her accent so no one could tell English was her second language that in that moment she felt those words—you sound like a white girl?—were a compliment. As a child, she didn’t yet understand that assimilating to “American” culture really meant imitating “white” America—that sounding like a white girl was a racist idea meant to tame her, change her, and make her small. She ran the race, completing each stage, but never quite fit in, until she stopped running altogether. In this dual polemic and manifesto, Julissa dives into and tears apart the lie that assimilation leads to belonging. She combs through history and her own story to break down this myth, arguing that assimilation is a moving finish line designed to keep Black and brown Americans and immigrants chasing racist American ideals. She talks about the Lie of Success, the Lie of Legality, the Lie of Whiteness, and the Lie of English—each promising that if you obtain these things, you will reach acceptance and won’t be an outsider anymore. Julissa deftly argues that these demands leave her and those like her in a purgatory—neither able to secure the power and belonging within whiteness nor find it in the community and cultures whiteness demands immigrants and people of color leave behind. In You Sound Like a White Girl, Julissa offers a bold new promise: Belonging only comes through celebrating yourself, your history, your culture, and everything that makes you uniquely you. Only in turning away from the white gaze can we truly make America beautiful. An America where difference is celebrated, heritage is shared and embraced, and belonging is for everyone. Through unearthing veiled history and reclaiming her own identity, Julissa shows us how to do this.
‘NO’ is RJ’s least favorite word . . . and he tries his best to convince his dad, his mom, and his teacher to turn “No” into “Maybe” or “We’ll see” or “Later” or “I’ll think about it.” Author Julia Cook helps K-6 readers laugh and learn along with RJ as he understands the benefits of demonstrating the social skills of accepting “No” for an answer and disagreeing appropriately. Tips for parents and educators on how to teach and encourage kids to use these skills are included in the book. I Just Don’t Like the Sound of NO! is another in the BEST ME I Can Be! series of books from the Boys Town Press that teach children social skills.
The book starts by analyzing the problem of how we can see so well despite what, to an engineer, might seem like horrendous defects of our eyes. An explanation is provided by a new way of thinking about seeing, the "sensorimotor" approach. In the second part of the book the sensorimotor approach is extended to all sensory experience. It is used to elucidate an outstanding mystery of consciousness, namely why, unlike today's robots, humans actually can feel things. The approach makes predictions and opens research avenues, among them the phenomena of change blindness, sensory substitution, and "looked but failed to see", as well as results on color naming and color perception and the localisation of touch on the body.
"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.
When 80-year-old Rove MacNee sets about to tell his life's story, he begins a coming-of-age narrative taking place in the small gulf coast town of Fairhope, Alabama. The son of an alcoholic captain, Rove finds peace casting his fishing net into the sea--but soon he will face the crossroads of his life.
"At last! A book on audio that the average person can understand. No endless formulas or abstract terminology. Just the facts, distilled from author Ira White's years of experience. Inside you'll find practical information on how pro audio equipment works and how you can use it to its fullest - all seasoned with just a dash of humor." -back cover.
This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years). Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood. There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers. The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.