Listening After Nature examines the constructions and erasures that haunt field recording practice and discourse. Analyzing archival and contemporary soundworks through a combination of post-colonial, ecological and sound studies scholarship, Mark Peter Wright recodes the Field; troubles conceptions of Nature; expands site-specificity; and unearths hidden technocultures. What exists beyond the signal? How is agency performed and negotiated between humans and nonhumans? What exactly is a field recording and what are its pedagogical potentials? These questions are operated by a methodology of listening that incorporates the spaces of audition, as well as Wright's own practice-based reflections. In doing so, Listening After Nature posits a range of novel interventions. One example is the "Noisy-Nonself," a conceptual figuration with which to comprehend the presence of reticent recordists. "Contact Zones and Elsewhere Fields" offers another unique contribution by reimaging the relationship between the field and studio. In the final chapter, Wright explores the microphone by tracing its critical and creative connections to natural resource extraction and contemporary practice. Listening After Nature auditions water and waste, infrastructures and animals, technologies and recordists, data and stars. It grapples with the thresholds of sensory perception and anchors itself to the question: what am I not hearing? In doing so, it challenges Western universalisms that code the field whilst offering vibrant practice-based possibilities.

Whales and dolphins are icons for the conservation movement. They are the most conspicuous ambassadors for entire marine ecosystems and possibly even for the biosphere as a whole. Concurrent with our realisation of impending threats to their environment is a growing scientific understanding of the social and cognitive complexity of many of these species. This book brings together experts in the relevant diverse fields of cetacean research, to provide authoritative descriptions of our current knowledge of the complex behaviour and social organization of whales and dolphins. The authors consider this new information in the context of how different human cultures from around the world view cetaceans and their protection, including attitudes to whaling. They show how new information on issues such as cetacean intelligence, culture and the ability to suffer, warrants a significant shift in global perceptions of this group of animals and how these changes might be facilitated to improve conservation and welfare approaches.

A record of a ten-year personal friendship, with letters, and insights on other contemporaries. Arthur Hartmann (1881-1956), a celebrated violinist who performed over a thousand recitals throughout Europe and the United States, met Claude Debussy in 1908, after he had transcribed 'Il pleure dans mon coeur' for violin and piano. Their relationship developed into friendship, and in February 1914 Debussy accompanied Hartmann in a performance of three of Hartmann's transcriptions of Debussy's works. The two friends saw each other for the last time on thecomposer's birthday, 22 August 1914, shortly before Hartmann and his family fled Europe to escape the Great War. With the publication of Hartmann's memoir Claude Debussy As I Knew Him, along with the twenty-twoknown letters from Claude Debussy and the thirty-nine letters from Emma Debussy to Hartmann and his wife, the richness and importance of their relationship can be appreciated for the first time. The memoir covers the years 1908-1918. Debussy's letters to Hartmann span the years 1908-1916, and Emma (Mme) Debussy's letters span the years 1910-1932. Also included are the facsimile of Debussy's Minstrels manuscript transcription for violin and piano, three previously unpublished letters from Debussy to Pierre Louys, and and correspondence between Hartmann and Bela Bartok, Nina Grieg, Alexandre Guilmant, Charles Martin Loeffler, Marian MacDowell, Hans Richter, and Anton Webern, along with Hartmann's memoirs on Loeffler, Ysaye, Joachim and Grieg. Samuel Hsu is a pianist and professor of music at Philadelphia Biblical University. Sidney Grolnic, now retired, was a librarian in the music department of the Free Library of Philadelphia, where he served as curator of the Hartmann Collection. Mark Peters is associate professor of music at Trinity Christian College.

Whales and dolphins are icons for the conservation movement. They are the most conspicuous ambassadors for entire marine ecosystems and possibly even for the biosphere as a whole. Concurrent with our realisation of impending threats to their environment is a growing scientific understanding of the social and cognitive complexity of many of these species. This book brings together experts in the relevant diverse fields of cetacean research, to provide authoritative descriptions of our current knowledge of the complex behaviour and social organization of whales and dolphins. The authors consider this new information in the context of how different human cultures from around the world view cetaceans and their protection, including attitudes to whaling. They show how new information on issues such as cetacean intelligence, culture and the ability to suffer, warrants a significant shift in global perceptions of this group of animals and how these changes might be facilitated to improve conservation and welfare approaches.

Listening After Nature examines the constructions and erasures that haunt field recording practice and discourse. Analyzing archival and contemporary soundworks through a combination of post-colonial, ecological and sound studies scholarship, Mark Peter Wright recodes the Field; troubles conceptions of Nature; expands site-specificity; and unearths hidden technocultures. What exists beyond the signal? How is agency performed and negotiated between humans and nonhumans? What exactly is a field recording and what are its pedagogical potentials? These questions are operated by a methodology of listening that incorporates the spaces of audition, as well as Wright’s own practice-based reflections. In doing so, Listening After Nature posits a range of novel interventions. One example is the “Noisy-Nonself,” a conceptual figuration with which to comprehend the presence of reticent recordists. “Contact Zones and Elsewhere Fields” offers another unique contribution by reimaging the relationship between the field and studio. In the final chapter, Wright explores the microphone by tracing its critical and creative connections to natural resource extraction and contemporary practice. Listening After Nature auditions water and waste, infrastructures and animals, technologies and recordists, data and stars. It grapples with the thresholds of sensory perception and anchors itself to the question: what am I not hearing? In doing so, it challenges Western universalisms that code the field whilst offering vibrant practice-based possibilities.

Poets. Geniuses. Revolutionaries. The members of the legendary band Lemonade Mouth have been called all these things. But until now, nobody's known the inside story of how this powerhouse band came to be - how five high-school outcasts found each other, found the music, and went on to change both rock and roll and high school as we know them. It all started at that fateful detention where they found inspiration from a dentist's jingle, a teacher's coughing fit, and a beat-up ukulele. Of course no one knew back then, that this was the start of the Lemonade Mouth revolution. Inspiration for the Disney Channel Original Movie.

A young man grows up in the 1960s with the guidance of his unusual uncle. Together they explore the wilderness of northwest Manitoba by canoe, build a cabin in northeast Minnesota and come to know each other deeply through the young man's letters as an infantryman in the Mekong Delta.

In 1980 a young couple bought nine acres of land in northern Minnesota and built a cabin. A real cabin that is, with electricity, no plumbing, and the finest outhouse in Christendom. Over the years friends and relatives visited to share in the joy of mosquitoes and ticks. Eventually the cabin became the center for wilderness canoe fishing. A large dollop of humor and a seasoned hint of thought complete the stew of this memoir.

Our greatest suffering is that we do not feel complete as we are. Right here, right now! We have been trained to reject our uniqueness and our value. We live in a prison; a cage of guilt, anxiety and worthlessness, believing that we are never 'good enough' just as we are. Mark Kahn, a practicing clinical psychologist of 35 years, and management consultant with 17 years' worth of experience, has devoted his life to helping people to realise self-love, without arrogance. In this unique Self-Esteem work, penned straight from the heart and shooting straight from the hip; readers will be taken through the theory, as well as a range of simple, yet powerful techniques enabling individuals: -Dissolve your feelings of victimhood in the face of conflict and threat.-To no longer be a slave to the conditioned rules of society.-To reclaim the power and confidence you have given away to others.-To choose to risk yourself more than you avoid.-To let go of the noose of guilt and performance anxiety, which society has placed around your neck.-To move from the hell of wanting to be loved, to the heaven of loving yourself for no reason!"This insightful book is both a direct and powerful response to the prison walls created by our conditioning. To dismantle these walls enables a freedom of spirit and psyche to emerge, that honours the individuality, the uniqueness and the genius of every one of us."Dr. John F. Demartini

Draftee (A Buffoon in Vietnam) is the true tale of a young man's days in the U.S. Army from October 1968 to September, 1970. Draftee is a story filled with dark humor, irony, life, death in combat, and the author's reflections on his role as a grunt in Vietnam. This is not a tale writ large on world affairs, instead is the story of a man caught up in forces he could not control.