In Sensing Sound Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions how we think about sound, music, and listening. Eidsheim shows how sound, music, and listening are dynamic and contextually dependent, rather than being fixed, knowable, and constant. She uses twenty-first-century operas by Juliana Snapper, Meredith Monk, Christopher Cerrone, and Alba Triana as case studies to challenge common assumptions about sound—such as air being the default medium through which it travels—and to demonstrate the importance a performance's location and reception play in its contingency. By theorizing the voice as an object of knowledge and rejecting the notion of an a priori definition of sound, Eidsheim releases the voice from a constraining set of fixed concepts and meanings. In Eidsheim's theory, music consists of aural, tactile, spatial, physical, material, and vibrational sensations. This expanded definition of music as manifested through material and personal relations suggests that we are all connected to each other in and through sound. Sensing Sound will appeal to readers interested in sound studies, new musicology, contemporary opera, and performance studies.

Hearing is a prerequisite for the evolution of language and thus the development of human societies. It is the only major sense whose evolution can be traced back to vertebrates, starting with sarcopterygians. The book explores the evolution of auditory development that has remained largely unexplored in contemporary theories of neurosensory brain evolution, including the telencephalon. It describes how sensory epithelia from the basilar papilla evolved in the ear and connected dedicated cochlear neurons to neuronal centers in the brain, and deals with how sound is converted through sound modulations into reliably decoded messages. The loss of hearing with age is expected to reach 2.6 billion people by 2050. As such, the book explains and reviews hearing loss at the molecular level to the behavioral level, and provides suggestions to manage the loss.

In Sensing Sound Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions how we think about sound, music, and listening. Eidsheim shows how sound, music, and listening are dynamic and contextually dependent, rather than being fixed, knowable, and constant. She uses twenty-first-century operas by Juliana Snapper, Meredith Monk, Christopher Cerrone, and Alba Triana as case studies to challenge common assumptions about sound—such as air being the default medium through which it travels—and to demonstrate the importance a performance's location and reception play in its contingency. By theorizing the voice as an object of knowledge and rejecting the notion of an a priori definition of sound, Eidsheim releases the voice from a constraining set of fixed concepts and meanings. In Eidsheim's theory, music consists of aural, tactile, spatial, physical, material, and vibrational sensations. This expanded definition of music as manifested through material and personal relations suggests that we are all connected to each other in and through sound. Sensing Sound will appeal to readers interested in sound studies, new musicology, contemporary opera, and performance studies.

The inspiring true story of a young woman who became deaf at age 19 while pursuing a degree in music--and how she overcame adversity and found the courage to live out her dreams.

Through a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines historical and analytical approaches, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guidelines to art students, artists, curators and theoreticians - especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

A comprehensive handbook on state-of-the-art DAS technology and applications Distributed Acoustic Sensing (DAS) is a technology that records sound and vibration signals along a fiber optic cable. Its advantages of high resolution, continuous, and real-time measurements mean that DAS systems have been rapidly adopted for a range of applications, including hazard mitigation, energy industries, geohydrology, environmental monitoring, and civil engineering. Distributed Acoustic Sensing in Geophysics: Methods and Applications presents experiences from both industry and academia on using DAS in a range of geophysical applications. Volume highlights include: DAS concepts, principles, and measurements Comprehensive review of the historical development of DAS and related technologies DAS applications in hydrocarbon, geothermal, and mining industries DAS applications in seismology DAS applications in environmental and shallow geophysics The American Geophysical Union promotes discovery in Earth and space science for the benefit of humanity. Its publications disseminate scientific knowledge and provide resources for researchers, students, and professionals.

This is a book about the behind-the-scenes reality of a life in ministry. It tells you what Zack Eswine wishes somebody else would’ve told him. With over 20 years of experience in ministry, Zack shares with incredible honesty about his own failures, burnout, and pain, all the while addressing the complexities of leadership decisions, church discipline, family dynamics, and so on. Presenting sound pastoral theology couched in autobiographical musings and powerful prose, this book offers a fresh and biblically faithful approach to the care of souls, including your own.