Grounded in linguistic research and argumentation, THE ENGLISH LANGUAGE: FROM SOUND TO SE01 General/tradeE offers readers who have little or no analytic understanding of English a thorough treatment of the various components of the language. Its goal is to help readers become independent language analysts capable of critically evaluating claims about the language and the people who use it.
Since the 1950s, Sound and Music Computing (SMC) research has had a profound impact on the development of culture and technology in our post-industrial society. SMC research approaches the whole sound and music communication chain from a multidisciplinary point of view. By combining scientific, technological and artistic methodologies it aims at understanding, modeling, representing and producing sound and music using computational approaches. This book, by describing the state of the art in SMC research, gives hints of future developments, whose general purpose will be to bridge the semantic gap, the hiatus that currently separates sound from sense and sense from sound.
An integrated overview of hearing and the interplay of physical, biological, and psychological processes underlying it. Every time we listen—to speech, to music, to footsteps approaching or retreating—our auditory perception is the result of a long chain of diverse and intricate processes that unfold within the source of the sound itself, in the air, in our ears, and, most of all, in our brains. Hearing is an "everyday miracle" that, despite its staggering complexity, seems effortless. This book offers an integrated account of hearing in terms of the neural processes that take place in different parts of the auditory system. Because hearing results from the interplay of so many physical, biological, and psychological processes, the book pulls together the different aspects of hearing—including acoustics, the mathematics of signal processing, the physiology of the ear and central auditory pathways, psychoacoustics, speech, and music—into a coherent whole.
Reveals how the human sense of hearing manipulates how people think, consume, sleep and feel, explaining the hearing science behind such phenomena as why people fall asleep while traveling, the reason fingernails on a chalkboard causes cringing and why songs get stuck in one's head.
Are social groups real in any sense that is independent of the thoughts, actions, and beliefs of the individuals making up the group? Using methods of philosophy to examine such longstanding sociological questions, Margaret Gilbert gives a general characterization of the core phenomena at issue in the domain of human social life. After developing detailed analyses of a number of central everyday concepts of social phenomena--including shared action, a social convention, a group's belief, and a group itself--she proposes that the core social phenomena among human beings are "plural subject" phenomena. In her analyses Gilbert discusses the work of such thinkers as Emile Durkheim, Georg Simmel, Max Weber, and David Lewis. "Gilbert's book aims to ... exhibit some general and structural features of the conceptual scheme in terms of which we think about social groups, collective action, social convention, and shared belief.... [It] offers an important corrective to individualistic thinking in the social sciences...."--Michael Root, Philosophical Review "In this rich and rewarding work, Margaret Gilbert provides a novel and detailed account of our everyday concepts of social collectivity. In so doing she makes a seminal contribution to ... some vexed issues in the philosophy of social science.... [An] intellectually pioneering work."--John D. Greenwood, Social Epistemology
“PURGE the world of dead art, imitation, artificial art. . . . Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples,” writes artist George Maciunas in his Fluxus manifesto of 1963. Reacting against an elitist art world enthralled by modernist aesthetics, Fluxus encouraged playfulness, chance, irreverence, and viewer participation. The diverse collective—including George Brecht, Robert Filliou, Dick Higgins, Alison Knowles, George Maciunas, Yoko Ono, Nam June Paik, Benjamin Patterson, Takako Saito, Mieko Shiomi, Ben Vautier, and Robert Watts—embraced humble objects and everyday gestures as critical means of finding freedom and excitement beyond traditional forms of art-making. While today the Fluxus collective is recognized for its radical neo-avant-garde works of performance, publishing, and relational art and its experimental, interdisciplinary approach, it was not taken seriously in its own time. With Fluxus Forms, Natilee Harren captures the magnetic energy of Fluxus activities and collaborations that emerged at the intersections of art, music, performance, and literature. The book offers insight into the nature of art in the 1960s as it traces the international development of the collective’s unique intermedia works—including event scores and Fluxbox multiples—that irreversibly expanded the boundaries of contemporary art.
