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In the aftermath of best-selling Here, Bullet, Brian Turner deftly illuminates existence as both easily extinguishable and ultimately enduring. These prophetic, osmotic poems wage a daily battle for normalcy, seeking structure in the quotidian while grappling with the absence of forgetting.
In this ground-breaking synthesis of art and science, Diana Deutsch, one of the world's leading experts on the psychology of music, shows how illusions of music and speech--many of which she herself discovered--have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns--differences that reflect variations in brain organization as well as influences of language on music perception. Drawing on a wide variety of fields, including psychology, music theory, linguistics, and neuroscience, Deutsch examines questions such as: When an orchestra performs a symphony, what is the "real" music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other surprising responses to music and speech. Why is perfect pitch so rare? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are we subject to stuck tunes, or "earworms"? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described in the book are so striking and paradoxical that you need to hear them to believe them. The book enables you to listen to the sounds that are described while reading about them.
The surprising science of hearing and the remarkable technologies that can help us hear better Our sense of hearing makes it easy to connect with the world and the people around us. The human system for processing sound is a biological marvel, an intricate assembly of delicate membranes, bones, receptor cells, and neurons. Yet many people take their ears for granted, abusing them with loud restaurants, rock concerts, and Q-tips. And then, eventually, most of us start to go deaf. Millions of Americans suffer from hearing loss. Faced with the cost and stigma of hearing aids, the natural human tendency is to do nothing and hope for the best, usually while pretending that nothing is wrong. In Volume Control, David Owen argues this inaction comes with a huge social cost. He demystifies the science of hearing while encouraging readers to get the treatment they need for hearing loss and protect the hearing they still have. Hearing aids are rapidly improving and becoming more versatile. Inexpensive high-tech substitutes are increasingly available, making it possible for more of us to boost our weakening ears without bankrupting ourselves. Relatively soon, physicians may be able to reverse losses that have always been considered irreversible. Even the insistent buzz of tinnitus may soon yield to relatively simple treatments and techniques. With wit and clarity, Owen explores the incredible possibilities of technologically assisted hearing. And he proves that ears, whether they're working or not, are endlessly interesting.
In our industrialized world, we are surrounded by occupational, recreational, and environmental noise. Very loud noise damages the inner-ear receptors and results in hearing loss, subsequent problems with communication in the presence of background noise, and, potentially, social isolation. There is much less public knowledge about the noise exposure that produces only temporary hearing loss but that in the long term results in hearing problems due to the damage of high-threshold auditory nerve fibers. Early exposures of this kind, such as in neonatal intensive care units, manifest themselves at a later age, sometimes as hearing loss but more often as an auditory processing disorder. There is even less awareness about changes in the auditory brain caused by repetitive daily exposure to the same type of low-level occupational or musical sound. This low-level, but continuous, environmental noise exposure is well known to affect speech understanding, produce non-auditory problems ranging from annoyance and depression to hypertension, and to cause cognitive difficulties. Additionally, internal noise, such as tinnitus, has effects on the brain similar to low-level external noise.Noise and the Brain discusses and provides a synthesis of hte underlying brain mechanisms as well as potential ways to prvent or alleviate these aberrant brain changes caused by noise exposure. Authored by one of the preeminent leaders in the field of hearing research Emphasizes direct and indirect changes in brain function as a result of noise exposure Provides a comprehensive and evidence-based approach Addresses both developmental and adult plasticity Includes coverage of epidemiology, etiology, and genetics of hearing problems; effects of non-damaging sound on both the developing and adult brain; non-auditory effects of noise; noise and the aging brain; and more
With almost 5 million copies sold 60 years after its original publication, generations of readers have now journeyed with Milo to the Lands Beyond in this beloved classic. Enriched by Jules Feiffer’s splendid illustrations, the wit, wisdom, and wordplay of Norton Juster’s offbeat fantasy are as beguiling as ever. “Comes up bright and new every time I read it . . . it will continue to charm and delight for a very long time yet. And teach us some wisdom, too.” --Phillip Pullman For Milo, everything’s a bore. When a tollbooth mysteriously appears in his room, he drives through only because he’s got nothing better to do. But on the other side, things seem different. Milo visits the Island of Conclusions (you get there by jumping), learns about time from a ticking watchdog named Tock, and even embarks on a quest to rescue Rhyme and Reason. Somewhere along the way, Milo realizes something astonishing. Life is far from dull. In fact, it’s exciting beyond his wildest dreams!
A first-person account of the Iraq War by a solider-poet, winner of the 2005 Beatrice Hawley Award. Adding his voice to the current debate about the US occupation of Iraq, in poems written in the tradition of such poets as Wilfred Owen, Yusef Komunyakaa (Dien Cai Dau), Bruce Weigl (Song of Napalm) and Alice James’ own Doug Anderson (The Moon Reflected Fire), Iraqi war veteran Brian Turner writes power-fully affecting poetry of witness, exceptional for its beauty, honesty, and skill. Based on Turner’s yearlong tour in Iraq as an infantry team leader, the poems offer gracefully rendered, unflinching description but, remarkably, leave the reader to draw conclusions or moral lessons. Here, Bullet is a must-read for anyone who cares about the war, regardless of political affiliation.
An argument that by amplifying alienation in performance, we can shift the emphasis from the sonic to the social. Work in sound studies continues to seek out sound "itself"--but, today, when the aesthetic can claim no autonomy and the agency of both artist and audience is socially constituted, why not explore the social mediation already present within our experience of the sonorous? In this work, artist, musician, performer, and theorist Mattin sets out an understanding of alienation as a constitutive part of subjectivity and as an enabling condition for exploring social dissonance--the discrepancy between our individual narcissism and our social capacity. Mattin's theoretical investigation is intertwined with documentation of a concrete experiment in the form of an instructional score (performed at documenta 14, 2017, in Athens and Kassel) which explores these conceptual connotations in practice, as players use members of the audience as instruments, who then hear themselves and reflect on their own conception and self-presentation. Social Dissonance claims that, by amplifying alienation in performance and participation in order to understand how we are constructed through various forms of mediation, we can shift the emphasis from the sonic to the social, and in doing so, discover for ourselves that social dissonance is the territory within which we already find ourselves, the condition we inhabit.
Present Your Research to the World! The World Congress 2009 on Medical Physics and Biomedical Engineering – the triennial scientific meeting of the IUPESM - is the world’s leading forum for presenting the results of current scientific work in health-related physics and technologies to an international audience. With more than 2,800 presentations it will be the biggest conference in the fields of Medical Physics and Biomedical Engineering in 2009! Medical physics, biomedical engineering and bioengineering have been driving forces of innovation and progress in medicine and healthcare over the past two decades. As new key technologies arise with significant potential to open new options in diagnostics and therapeutics, it is a multidisciplinary task to evaluate their benefit for medicine and healthcare with respect to the quality of performance and therapeutic output. Covering key aspects such as information and communication technologies, micro- and nanosystems, optics and biotechnology, the congress will serve as an inter- and multidisciplinary platform that brings together people from basic research, R&D, industry and medical application to discuss these issues. As a major event for science, medicine and technology the congress provides a comprehensive overview and in–depth, first-hand information on new developments, advanced technologies and current and future applications. With this Final Program we would like to give you an overview of the dimension of the congress and invite you to join us in Munich! Olaf Dössel Congress President Wolfgang C.
This study of the subtlety, complexity, and variety of modes of hearing maps out a “sonorous archipelago”—a heterogeneous set of shifting sonic territories shaped by the vicissitudes of desire and discourse. Profoundly intimate yet immediately giving onto distant spaces, both an “organ of fear” and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of “sound,” navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the “soundscape” and “reduced listening” demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound “itself,” nor an “ocean of sound” in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.