Seeing And Hearing

Like The Man Who Mistook His Wife for a Hat, this is a fascinating voyage into a strange and wonderful land, a provocative meditation on communication, biology, adaptation, and culture. In Seeing Voices, Oliver Sacks turns his attention to the subject of deafness, and the result is a deeply felt portrait of a minority struggling for recognition and respect — a minority with its own rich, sometimes astonishing, culture and unique visual language, an extraordinary mode of communication that tells us much about the basis of language in hearing people as well. Seeing Voices is, as Studs Terkel has written, "an exquisite, as well as revelatory, work."

Based on careful analysis of burden of disease and the costs ofinterventions, this second edition of 'Disease Control Priorities in Developing Countries, 2nd edition' highlights achievable priorities; measures progresstoward providing efficient, equitable care; promotes cost-effectiveinterventions to targeted populations; and encourages integrated effortsto optimize health. Nearly 500 experts - scientists, epidemiologists, health economists,academicians, and public health practitioners - from around the worldcontributed to the data sources and methodologies, and identifiedchallenges and priorities, resulting in this integrated, comprehensivereference volume on the state of health in developing countries.

Every day, we are beset by millions of sounds-ambient ones like the rumble of the train and the hum of air conditioner, as well as more pronounced sounds, such as human speech, music, and sirens. How do we know which sounds should startle us, which should engage us, and which should turn us off? Why do we often fall asleep on train rides or in the car? Is there really a musical note that can make you sick to your stomach? Why do city folks have trouble sleeping in the country, and vice versa?In this fascinating exploration, research psychologist and sound engineer Seth Horowitz shows how our sense of hearing manipulates the way we think, consume, sleep, and feel. Starting with the basics of the biology, Horowitz explains why we hear what we hear, and in turn, how we've learned to manipulate sound: into music, commercial jingles, car horns, and modern inventions like cochlear implants, ultrasound scans, and the mosquito ringtone. Combining the best parts of This is Your Brain on Music and The Emotional Brain, this book gives new insight into what really makes us tick.

Explains how to keep eyes and ears healthy, and why it is important to do so.

Light, sound, taste, and smell shape our lives dramatically, but how does this happen? How can a far-away noise elicit a joyful memory or a cry? How can the smell of cookies take you back to early childhood? These powerful stimuli exist in our environment, yet remain neutral until our brain decodes the necessary information into meaningful senses. In other words, light is transformed into vision, and sound into hearing, by the brain and the brain only. Seeing, Hearing, and Smelling the World reveals the phenomena underlying our senses, with a brief discussion of what can go wrong (for example, hearing colors or seeing sounds). This book will reacquaint readers with their senses and challenge their fundamental understanding of the amazing human mind.

Our eyes and ears are our windows on the world. For our vision and hearing to stay amazingly robust, and hold up under a lot of use, it is vitally important to make wise choices that will keep them healthy and serving us well. The fascinating text explains the anatomy of the eye and ear and how these organs work with the brain to allow us to see images and hear sounds. Chapters discuss preventable vision and hearing problems and ways young people can prevent damage to their sight and hearing, including practicing good hygiene to prevent infections, wearing protective gear during sports, and turning down the volume on mobile music players. Also discussed is how professionals evaluate sight and hearing and address deficits so people can see and hear more clearly.

The Open Access version of this book, available at www.taylorfrancis.com/books/9781472453983, has been made available under a Creative Commons Attribution-Non Commercial-No Derivative 4.0 license. Experiences of hearing the voice of God (or angels, demons, or other spiritual beings) have generally been understood either as religious experiences or else as a feature of mental illness. Some critics of traditional religious faith have dismissed the visions and voices attributed to biblical characters and saints as evidence of mental disorder. However, it is now known that many ordinary people, with no other evidence of mental disorder, also hear voices and that these voices not infrequently include spiritual or religious content. Psychological and interdisciplinary research has shed a revealing light on these experiences in recent years, so that we now know much more about the phenomenon of "hearing voices" than ever before. The present work considers biblical, historical, and scientific accounts of spiritual and mystical experiences of voice hearing in the Christian tradition in order to explore how some voices may be understood theologically as revelatory. It is proposed that in the incarnation, Christian faith finds both an understanding of what it is to be fully human (a theological anthropology), and God’s perfect self-disclosure (revelation). Within such an understanding, revelatory voices represent a key point of interpersonal encounter between human beings and God.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.