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In the 18th century, Chladni developed the technique of drawing a violin bow across a metal plate of sand and observing the patterns that formed. In this title, Lauterwasser extends the idea to more complex and moving sounds in water, ranging from pure sine waves to music by Beethoven, Stockhausen and overtone chanting.
With enthusiasm and sincerity biologist Soren Bondrup-Nielsen recalls his experience as a graduate student in the 1970s researching the Boreal Owl in northern Ontario and Alberta. After receiving his BSc in the spring of 1974, Bondrup-Nielsen travels by train to Kapuskasing to begin his study of this tiny, elusive species, cousin to the Tengmalm's Owl of Scandinavia. Though initially dissuaded by his supervisor, the author sets about recording the owl's call and locating individual territories. On cross-country skis, pulling a toboggan of supplies, Bondrup-Nielsen begins his first field season with reason for optimism, recording two distinct calls and being struck in the head by a male Boreal within his first week. After repairing to the nearby logging camp (Camp 86) where the food is plentiful and the beds much warmer than his tent, Bondrup-Nielsen continues his research to the great amusement of the cutting crew and camp staff. Taking the first photos of the owls, learning to differentiate between male and female calls, and observing mating behaviour, he finishes the season having located ten males on territories. In subsequent field seasons, Bondrup-Nielsen completes his graduate research. The book details his experimental tracking and recording methods, including telemetry, homemade traps, and a recording device fashioned out of an alarm clock, some tinfoil and a sewing needle. Bondrup-Nielsen's inquiring mind and passion for both winter and the outdoors bring an infectious sense of adventure to his fieldwork. His studies are punctuated by close encounters with coyotes, bears and a moose, glimpses of the Aurora Borealis, first love and self-discovery. With some of the author's original journal entries, notes and sketches, A Sound Like Water Dripping captures the beginning of what continues to be a committed and inspiring dedication to the study of ecology. "Owls seem to hold a fascination for just about everyone," says Bondrup-Nielsen. "Maybe it's their appearance: We see ourselves reflected in their faces. Their beaks resemble our noses and their big eyes, similar to ours, look forward, with eyelids that close from above, unlike other birds whose eyelids close from below. They seem to represent wisdom rather than reminding us of the fierce predators that they are. Owls also have ghost-like qualities, flying on silent wings, active mainly at night. In some cultures, owls are harbingers of death. In any case, there's something magical about them. I studied the Boreal Owl in northern Ontario and Alberta from 1974 to 1976, and am still approached by naturalist societies with invitations to talk about this small northern owl so few people have ever seen. In my teaching, as well, when I get a chance to talk about my research on owls the whole class listens intently. Thus, after I had finished my first book, Winter on Diamond, I felt a longing for the solitary but exciting experience of disappearing into my head again, this time to relive my discovery of the Boreal Owl."
An examination of the role of sound in twentieth-century arts. This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
A book of timeless importance about the American West by a National Book Award– and Pulitzer Prize–winning author. The essays collected in this volume encompass memoir, nature conservation, history, geography, and literature. Delving into the post-World War II boom that brought the Rocky Mountain West—from Montana and Idaho to Utah and Nevada—into the modern age, Stegner's essays explore the essence of the American soul. Writtten over a period of thirty-five years by a writer and thinker who will always hold a unique position in modern American letters, The Sound of Mountain Water is a modern American classic.
An impassioned and ultimately inspiring account of one woman's journey to help her son through auditory processing disorder, the aural equivalent to dyslexia that afflicts millions of children worldwide.
The Sound of Water, The Sound of Wind is a compellation of essays from five of Zen Master Bapjongs earlier publications. This anthology teaches universal themes in Zen and Buddhist tradition and appeals to a broad audience. These simple and expressive essays are filled with deep messages concerning total awareness of the self and the spirit of nature among others.
Writing on Water is an attempt to grasp the phenomenon of sound in prayer, that is: a meaning in sounds and soundscapes, and a musical essence in the act of praying. The impetus for the book was the author's fieldwork among traditional Jews during the era of communism in Budapest and Prague. In that era the Jewish religion and Jewishness in general were supressed; the rituals were semi-secret and became inward-turning. The book is a witness to these communities and their rituals, but it goes beyond documentation. The uniqueness of the sounds of the rituals compelled the author to try to comprehend how melodies and soundscapes became the sustaining/protective environment, as well as the vehicle, for the expression of a world-orientation—in a situation where open discourse was inconceivable. The book is based on extensive interviews, musical recordings, photographs and scholarly analyses. It is unique in its choice of communities, its wealth of original documents, and in its novel interpretation of sound. Writing on Water is creative non-fiction. The presentation is evocative and poetic, but nevertheless, it transmits knowledge. Where this potential is understood, the book can aid research and serve in courses in philosophy, religion, music, ethnomusicology, anthropology, aesthetics, Jewish studies, folklore, oral history, and performance studies. At the same time it could be read as belles lettres.
Long Island Sound is not only the most heavily used estuary in North America, it is also one of the most beautiful waterways, with picturesque seascapes and landfalls. But centuries of pollution and other abuse have gradually been killing off its marine life and have pushed the Sound to the brink of disaster. This fascinating book traces the history of the Sound and its use as a resource from the time of contact between the Native Americans and Dutch traders through the suburban sprawl of recent decades--and tells how a group of scientists and citizens has been working to save the Sound from ruin. Tom Andersen begins by describing the dramatic events of the summer of 1987, when a condition called hypoxia (lack of dissolved oxygen in the water brought about by a combination of pollution and other factors) killed large numbers of fish and lobsters in the Sound. He discusses how scientists first documented and explained the development of hypoxia and how research and cleanup are now being carried out to restore the Sound. Interweaving current events, natural history, and human history, Andersen presents a cautionary tale of exploitation without concern for preservation.
Longlisted for the 2007 Man Asian Prize, a gripping debut novel about an Indian mining disaster as seen from the perspectives of the miners, their families, and the officials charged with rescuing them. Written by a former director of the Indian Ministry of Coal, and loosely based on the disastrous flood at the Bagdihi colliery in 2001, which trapped and killed dozens of miners, The Sound of Water is written with both an insider’s authority and rare literary style. Its suspenseful narrative is presented from three perspectives: The old miner struggling to save himself and his coworkers hundreds of feet below the surface of the earth; the company and government officials charged with managing the rescue efforts, but who are seemingly far more concerned with managing their careers; and, finally, the miners’ families, who stand to gain life-changing sums as a consequence of their losses. A searing fictional exposé of the appalling conditions that Indian miners endure and a moving story of the spiritual strength and conviction that enables one to survive against the odds, The Sound of Water dares to inaugurate “alternate realism,” a fresh genre very different from the soul-baring autobiographies and epic family sagas that have characterized so much of recent Indian fiction.
As ever growing numbers of animals visit a watering hole, introducing the numbers from one to ten, the water dwindles. On board pages.