Sound Images of the Ocean is the first comprehensive overview of acoustic imaging applications in the various fields of marine research, utilization, surveillance, and protection. The book employs 400 sound images of the sea floor and of processes in the sea volume, contributed by more than 120 marine experts from 22 nations.

In the 18th century, Chladni developed the technique of drawing a violin bow across a metal plate of sand and observing the patterns that formed. In this title, Lauterwasser extends the idea to more complex and moving sounds in water, ranging from pure sine waves to music by Beethoven, Stockhausen and overtone chanting.

The telling and beautiful pictures in the book capture the speech of thing, the many songs of people... the images take on sounds in the reader's mind, along with the emotions and the memories they evoke. --Philip B. Kunhardt, Jr., Editor, Magazine Development, Time Inc.

Innovative digital techniques are used to convert historic "pictures of sound" dating back as far as the Middle Ages directly into meaningful audio. Disc contains the world's oldest known "sound recordings" in the sense of sound vibrations automatically recorded out of the air--the phonautograms recorded in Paris by Edouard-Leon Scott de Martinville in the 1850s and 1860s--as well as the oldest gramophone records available anywhere for listening today, including inventor Emile Berliner's recitation of "Der Handschuh," played back from an illustration in a magazine. Includes the oldest known recording of identifiable words spoken in the English language (1878) and the world's oldest surviving "trick recording" (1889). Work also includes everything from medieval music manuscripts to historic telegrams, and from seventeenth-century barrel organ programs to eighteenth-century "notations" of Shakespearean recitation.

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Sound for Moving Pictures presents a new and original sound design theory called the Four Sound Areas framework, offering a conceptual template for constructing, deconstructing and communicating all types of motion picture soundtracks; and a way for academics and practitioners to better understand and utilize the deeper, emotive capabilities available to all filmmakers through the thoughtful use of sound design. The Four Sound Areas framework presents a novel approach to sound design that enables the reader to more fully appreciate audience emotions and audience engagement, and provides a flexible, practical model that will allow professionals to more easily create and communicate soundtracks with greater emotional significance and meaning. Of obvious benefit to sound specialists, as well as motion picture professionals such as film producers, directors and picture editors, Sound for Moving Pictures also provides valuable insight for others interested in the subject; such as those involved with teaching soundtrack analysis, or those researching the wider topics of film studies and screen writing.