A cybersecurity expert and former Google privacy analyst's urgent call to protect devices and networks against malicious hackers​ New technologies have provided both incredible convenience and new threats. The same kinds of digital networks that allow you to hail a ride using your smartphone let power grid operators control a country's electricity--and these personal, corporate, and government systems are all vulnerable. In Ukraine, unknown hackers shut off electricity to nearly 230,000 people for six hours. North Korean hackers destroyed networks at Sony Pictures in retaliation for a film that mocked Kim Jong-un. And Russian cyberattackers leaked Democratic National Committee emails in an attempt to sway a U.S. presidential election. And yet despite such documented risks, government agencies, whose investigations and surveillance are stymied by encryption, push for a weakening of protections. In this accessible and riveting read, Susan Landau makes a compelling case for the need to secure our data, explaining how we must maintain cybersecurity in an insecure age.

Few inventions evoke such nostalgia, such deeply personal and vivid memories as radio—from Amos ’n’ Andy and Edward R. Murrow to Wolfman Jack and Howard Stern. Listening In is the first in-depth history of how radio culture and content have kneaded and expanded the American psyche. But Listening In is more than a history. It is also a reconsideration of what listening to radio has done to American culture in the twentieth century and how it has brought a completely new auditory dimension to our lives. Susan Douglas explores how listening has altered our day-to-day experiences and our own generational identities, cultivating different modes of listening in different eras; how radio has shaped our views of race, gender roles, ethnic barriers, family dynamics, leadership, and the generation gap. With her trademark wit, Douglas has created an eminently readable cultural history of radio.

In July 1962, in an effort to preserve an accurate record of Presidential decision-making in a highly charged atmosphere of conflicting viewpoints, strategies and tactics, John F. Kennedy installed hidden recording systems in the Oval Office and in the Cabinet Room. The result is a priceless historical archive comprising some 265 hours of taped material. JFK was elected president when Civil Rights tensions were near the boiling point, and Americans feared a nuclear war. Confronted with complex dilemmas necessitating swift and unprecedented action, President Kennedy engaged in intense discussion and debate with his cabinet members and other advisors. Now, in conjunction with the fiftieth anniversary of the Kennedy presidency, the John F. Kennedy Library and historian Ted Widmer have carefully selected the most compelling and important of these remarkable recordings for release, fully restored and re-mastered onto two 75-minute CDs for the first time. Listening In represents a uniquely unscripted, insider account of a president and his cabinet grappling with the day-to-day business of the White House and guiding the nation through a hazardous era of uncertainty. Accompanied by extensively annotated transcripts of the recordings, and with a foreword by Caroline Kennedy, Listening In delivers the story behind the story in the unguarded words and voices of the decision-makers themselves. Listening In covers watershed events, including the Cuban Missile Crisis, the Space Race, Vietnam, and the arms race, and offers fascinating glimpses into the intellectual methodology of a circumspect president and his brilliant, eclectic brain trust. Just as the unique vision of President John F. Kennedy continues to resonate half a century after his stirring speeches and bold policy decisions, the documentary candor of Listening In imparts a vivid, breathtaking immediacy that will significantly expand our understanding of his time in office.

Examines listening as both a means of achieving understanding and as a teachable skill. The underlying theme of the volume is that an integration of cognitive, social, and educational perspectives is necessary in order to characterise effectively what listening ability is and how it may develop. It introduces listening from a cognitive perspective, and presents a detailed investigation of listening in social and educational contexts. The study concludes with an analysis of how listening development can be incorporated effectively into curriculum design.

Listening in Detail is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodríguez's album Cuba Linda (1996), the seventy-year career of the vocalist Graciela Pérez, the signature grunt of the "Mambo King" Dámaso Pérez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.

Teaching listening means more than just giving students listening activities and checking for understanding--it means teaching them how to listen. Listening in the Classroom takes promising research findings and theory and turns them into practical teaching ideas that help develop listening proficiency.

The transformation of sound recording into a scientific technique in the study of birdsong, as biologists turned wildlife sounds into scientific objects. Scientific observation and representation tend to be seen as exclusively visual affairs. But scientists have often drawn on sensory experiences other than the visual. Since the end of the nineteenth century, biologists have used a variety of techniques to register wildlife sounds. In this book, Joeri Bruyninckx describes the evolution of sound recording into a scientific technique for studying the songs and calls of wild birds and asks, what it means to listen to animal voices as a scientist. The practice of recording birdsong took shape at the intersection of popular entertainment and field ornithology, turning recordings into objects of investigation and popular fascination. Shaped by the technologies and interests of amateur naturalism and music teaching, radio broadcasting and gramophone production, hobby electronics and communication engineering, birdsong recordings traveled back and forth between scientific and popular domains, to appear on gramophone recordings, radio broadcasts, and movie soundtracks. Bruyninckx follows four technologies—the musical score, the electric microphone, the portable magnetic tape recorder, and the sound spectrograph—through a cultural history of field recording and scientific listening. He chronicles a period when verbal descriptions, musical notations, and onomatopoeic syllables represented birdsong and shaped a community of listeners; later electric recordings struggled with notions of fidelity, realism, objectivity, and authenticity; scientists, early citizen scientists, and the recording industry negotiated recording exchange; and trained listeners complemented the visual authority of spectrographic laboratory analyses. This book reveals a scientific process fraught with conversions, between field and laboratory, sound and image, science and its various audiences.