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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previously unpublished letters from Debussy to Pierre Louys, and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.
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.
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