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A battle is taking place on the frontiers of medicine between rapidly evolving bacteria and the doctors struggling to outwit them. "The Killers Within" tells this horror story that just happens to be true.

• Sales Rank: #1471458 in Books
• Published on: 2003-09-02
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .76" w x 5.51" l, .94 pounds
• Binding: Paperback
• 336 pages

Features

• ISBN13: 9780316735667
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
Bacteria preceded human life by millions of years but will they also outlive us? Shnayerson, a staff writer at Vanity Fair magazine, and Plotkin, an ethnobotanist, paint an alarming picture of the crisis posed by antibiotic-resistant bacteria. They focus on the three most common types: enterococci, streptococci and staphylococci. They tell of the deadly S. aureus a particularly virulent strain of staph that has shown up in deadly resistant strains and the infamous "flesh-eating bacteria" (necrotizing fascitis), whose incidence has been on the rise. They explain the myriad factors that have contributed to antibiotic-resistant bacteria and disease, most important among them the overprescription and misuse of the drugs, including the antibiotics fed to livestock to promote growth. Sharing the latest research, the authors suggest that future antibiotics are in the most unlikely places, from shark-bellies and silkmoths to the saliva of the Indonesian Komodo dragon. Shnayerson and Plotkin write in a lively, journalistic style and spotlight many victims, microbiologists and other "faces" behind the statistics, going far to make the copious scientific information accessible to general readers (though some may still be daunted). Yet their alarmist tone may strike many readers as overly sensationalistic and grating. Moreover, many of the facts about antibiotics abuse and drug-resistant bacteria are simply old news, and this book may not drum up much interest in spite of its informative analysis.
Copyright 2002 Cahners Business Information, Inc.

From Library Journal
At first glance, Shnayerson, a Vanity Fair staff writer, and noted ethnobotanist Plotkin (Tales of a Shaman's Apprentice) seem an unlikely pair to be writing a book about antibiotic resistance. Yet the reader quickly becomes engrossed in their tale. The authors provide an extremely readable look at the overuse of antibiotics, the methods bacteria use to develop resistance, the role of antibiotics as animal growth promoters, and the outlook for antibiotics. Drawing on a vast number of interviews with key people in the field, Shnayerson and Plotkin have managed to demonstrate their concern over the future of antibiotics while keeping the scientific background manageable for lay readers. A brief, annotated bibliography and list of web sites adds to the work. An interesting complement to Gerald Grob's The Deadly Truth, which discusses the inevitability of disease, this work also offers readers a riveting update to the section on antibiotics in Laurie Garrett's The Coming Plague. Recommended for public and academic collections.
Tina Neville, Univ. of South Florida at St. Petersburg Lib.
Copyright 2002 Reed Business Information, Inc.

From Scientific American
Commenting in 1969 on the success of antibiotics, U.S. Surgeon General William Stewart declared: "We can close the books on infectious diseases." Commenting three decades later on the rapid spread of bacterial resistance to antibiotics, U.S. Surgeon General David Satcher declared: "We are seeing a global resurgence of infectious diseases." Shnayerson and Plotkin (respectively, a staff writer at Vanity Fair and an ethnobotanist serving as president of the Amazon Conservation Team) recount what brought about the resurgence: "The principal cause was overuse--and misuse--of antibiotics." Poor infection control in hospitals and nursing homes is a contributing factor. Is there a way of stopping the march of the bugs? Maybe. The authors explore several possibilities but stop short of predicting that any of them will succeed.

Editors of Scientific American

Most helpful customer reviews

13 of 13 people found the following review helpful.
The frightening return of infectious disease
By Dennis Littrell
This book is scary. According to ethnobotanist Mark J. Plotkin and longtime Vanity Fair contributing editor Michael Shnayerson, the golden age of antibiotics that began with penicillin, a time when it was generally thought that infectious diseases were under control and largely a menace of the past, is over. Our naivete and our arrogance in imagining that we had just about defeated the bugs and could move on to other more pressing public health concerns came to an end in the nineties as one after another of the major human borne bacteria became resistant to our drugs. Through the exchange of DNA, that immunity has been transferred to other bacteria so that, as this book went to press just a few months ago, infectious diseases caused by bacteria are once again a major threat to humans everywhere in the world.
What happened? As the authors explain there are three main problems, (1) the overuse of antibiotics by the medical profession, (2) the misuse of antibiotics as growth enhancers in the meat and poultry industry, and (3) the failure of hospital personnel to follow CDC guidelines on hygiene, especially simply washing their hands.
(1) Too many doctors, either through ignorance or a desire to please their demanding patients, have over-prescribed antibiotics for routine infections, and in some cases actually prescribed antibiotics for viral infections (for which they are useless) "just in case" the patient also gets a bacterial infection. The result of this massive overuse of antibiotics is to give the bugs countless trillions of generational opportunities to evolve defenses against the antibiotic, leading to the antibiotic becoming useless.
(2) Tons of antibiotics--"24.6 million pounds a year," see p. 123--are routinely added to animal feed by the meat and poultry industry to promote growth so that their products will get fatter faster. What has happened is that the bugs have grown resistant to the antibiotics while transferring that immunity to bacteria living in, on and around humans. Even the use of an "analogue" antibiotic such as growth promoter virginiamycin can promote changes in bacteria that make them resistant to the antibiotic Synercid (e.g., see pages 115, 119 and 285). As the authors chronicle, this is a serious problem fraught with angry political battles as the meat and poultry people fight to maintain their profit margins while the disease control people fight to restrict the use of growth promoters.
(3) Surprisingly enough the authors report (see page 282 and elsewhere) that there is cynicism among some hospital personnel about the effectiveness of washing their hands and a belief that hygiene won't stop the proliferation of the bugs. The result is that hospitals have become very dangerous places. Most of the drug-resistant bacteria developed their resistance in hospitals. Most (or all) of them are endemic to the hospital environment. If you have to go to a hospital for any reason you are taking a chance of contacting a drug-resistant bug. Heaven help you if you have a compromised immune system, or if you are an infant or an elderly person.
How bad is the situation? According to the authors on pages 278-279 the high cost of developing new drugs (average "$802 million") and the fact that "return on investment from producing an antibiotic that might be used by a patient for less than a week versus return from a drug for a chronic condition that a patient might take daily for fifty years" is persuading big pharma to downsize the antibiotic end of the business. (See also page 94.) The authors ask the question, where are new drugs coming from? and answer that the "great glittering prospect was genomics." But "reality" has "sunk in." (p. 280) Drugs to fight bacteria developed from DNA manipulation "might take even longer to reach the market" than those previously developed. (p. 281)
The authors also touch on the possible use of drug-resistant bacteria as a bioterrorist weapon.

What does all this mean for you and me? It means that should we or our loved ones get a life-threatening bacterial infection, it's possible there won't be an antibiotic around that works. In effect, we might find ourselves back in the days before penicillin (the first really effective antibiotic, and one of the greatest of all medical miracles) when millions of people routinely died from staph, strep, TB and other bacterial infections. As Shnayerson and Plotkin report, right now there are strains of bacteria, including Staphylococcus aureus (the golden-globed bacteria pictured on the cover), Streptococcus pneumoniae, and the Mycobacterium that causes tuberculosis, that are immune to almost every antibiotic in use. There is even a strain of Enterococcus that is resistant to every antibiotic in use.
The authors do offer some hope. They report on the promising use of bacteriophages (viruses that invade and destroy bacteria)--see the very interesting Chapter 14, "Bacteria Busters." They present the idea of a more vigorously controlled use of antibiotics. If we prohibit their use as growth promoters and use them sparingly in an ordered sequence, perhaps bacteria would not have time to gain immunity and/or would lose it after the antibiotic is no longer in use. As pointed out on e.g., page 183, resistant bacteria are "encumbered" by an "extra chunk of DNA" that gives their non-resistant brethren an "ecological advantage" in an environment that doesn't contain the antibiotic. Additionally, the authors report the theory of population biologist Richard Levins who believes that if antibiotics are "saved for the most severe cases...then natural selection would favor the pathogens that produced the milder symptoms." (Explained on page 287).
Bottom line: this is a fascinating, scary and state of the art report on the pathogen wars written in a readable manner sure to interest not only the general public at which it is aimed but professionals as well.

10 of 10 people found the following review helpful.
Stephen King...stand aside! Reality is scarier...
By K. L Sadler
Excellent, excellent job done in research and writing by Shnayerson & Plotkin. If the reader is involved in science or public health, the 'news' in this book does not come as a surprise to anyone. It's been known for years among those in these communities that bacteria has been developing resistance to our antibiotics from day one. We get taught this if you work in a lab, because it becomes vitally important to keep everything absolutely sterile and clean. I know it is taught in medical school, but they don't emphasize this enough to medical students and doctors and nurses, because many doctors continue to dispense antibiotics like candy even though they have been warned and warned again by the Center for Disease Control and others.
For those who enjoy reading stuff like this to scare themselves...well, good luck. This is the stuff of nightmares, and if you spend a lot of your time worrying, I certainly wouldn't recommend you read this book. There is always hope, as the authors point out, that researchers will continue to find antibiotics that will temporarily restrain bacterial onslaught. However, be assured this hope has been relied upon in the past, and the bacteria always seem to find a way to mutate around medication, regardless of whether the antibiotics had an organic chemical basis or was a synthetic/man-made one, not seen in nature.
Most of the time, the people who pick up this type of book are already involved and concerned about this public health disaster-in-the-making. Yet these authors are trying to get this information out to the public, and write in such a way as to make this science knowledge understandable. The book starts out slowly, but picks up pace quickly. I had difficulty putting it down after the first couple of chapters. It is absolutely vital that the public be aware that responsibility for correct antibiotic use lies not just with the physicians, but with the patients and parents of patients who beg their doctors for antibiotics, when those antibiotics are not called for. As the authors bring up, most antibiotics given out by pediatricians are for ear infections (>60%). Yet often times those ear infections will go away on their own, with the antibiotics only minimalizing the length of time of the course of infection. Yet, all of us are guilty of expecting physicians to give us 'something' to make a cold or the flu 'go away'. Unfortunately, too often those illnesses are not caused by bacteria, but by viruses, and giving antibiotics in this manner just give bacteria an opportunity to switch genes around to build resistance. Same thing with not taking all of a prescription after the patient starts feeling better, or sharing medication not prescribed for others.
I hope this book is widely read. Maybe if enough consumers become concerned, we can put a stop to certain practices such as the use of antibiotics in animal feed as growth factors, regardless if they are known to be used for human consumption. The public needs to get more involved in their own medical care, and that means participating in governmental processes to fight against massive lobbying by pharmaceutical companies and livestock/meat companies and their lackeys, who often don't know and don't care about the possible consequences of their indiscriminate use of antibiotics.
Karen Sadler,
Science Education,
University of Pittsburgh

6 of 6 people found the following review helpful.
This is an important book
By Robert Adler
This is a serious book about a very serious subject--the escalating arms race between humans and disease-causing microbes. The bad news is that we're losing, making the emergence of resistant disease causing bacteria "one of the greatest threats to the survival of the human species."
Co-written by Mark Plotkin, a leading ethnobotanist and Michael Schnayerson, a talented writer and editor, The Killers Within is a highly readable, often gripping narrative, full of stories, personalities and drama. At the same time, it presents a lot of the history, science and politics that surround the struggle of medical science to stay a step ahead of the deadly bugs that are proving remarkably adept at evolving ways to defeat our antibiotics.
The authors have no trouble identifying the culprits in this losing battle--an agricultural industry pouring millions of pounds of antibiotics into poultry and livestock as "growth promoters," doctors and patients who overuse antibiotics, and the interaction of profits and politics that determine what kinds of drugs reach the market and when. But behind these lies our naive blindness to the bacterial world's incredible capacity to defeat our most powerful weapons. Bacteria have multiple ways to evolve and swap handy genetic information, such as how to cleave penicillin molecules or pump antibiotics out of their cells. All it takes is one bacteria that survives an antibiotic by evolving a new resistance mechanism; within a few years even unrelated bacteria thousands of miles away will know the trick. It's as easy for the bacteria, the authors write, "as collecting charms on a charm bracelet."
The authors chillingly describe the costs of this war being fought out in our labs, hospitals and bodies--millions of illnesses, hundreds of thousands of deaths worldwide, and the risk to all of us of returning to a world where we are no longer protected by antibiotics. Most of the major pathogens have already evolved multiple drug resistance. The very young and the very old are already dying from untreatable infections, but any one of us is now at risk that a cut, an accident, a minor surgery or a bout of flu can lead on to a raging infection by bacteria resistant to most if not all antibiotics.
The authors do hold out some hope. Perhaps phages, vaccines, or new generations of genetically engineered antimicrobial agents will once again tip the balance in our favor. But for now, expect to see more headlines about outbreaks of resistant strains of bacteria and to hear more horror stories from friends whose scratch or surgery turned into a life-threatening nightmare. This book will help you make sense of those events. Let's hope that the dedicated and farsighted researchers it depicts will eventually win the day.
Robert Adler, author of Science Firsts: From the Creation of Science to the Science of Creation (Wiley, 2002).

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Evidence of Things Not Seen, by Lindsey Lane

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When a teenage genius goes missing, the residents of a small Texas town try to unravel the mystery.

Tommy Smythe is missing.
Fact: Tommy was very good at physics and less good at basic human interaction.
Fact: Tommy recorded his thoughts and observations in a notebook.
Fact: Tommy believed in the existence of parallel universes.
Fact: Tommy was adopted.

The conclusions to be drawn from the facts are not simple. Did he run away to find his birth parents? Did he slip through a wormhole and enter one of the multiple universes he believed in? Did he simply wander off?
Only one thing is certain: until one possibility is proven true, all possibilities exist.

Told through multiple perspectives, here is a story about how the residents of a small town seek answers to the mystery of a teen’s disappearance. Evidence of Things Not Seen by Lindsey Lane explores themes of loneliness, connectedness, and the role we play in creating our own realities.

“Evidence of Things Not Seen masterfully weaves science, suspense, amazing characters, and scintillating writing to create a multiple universe of stories and lives joined by the power of a single mysterious event. Lindsey Lane has written a unique, powerful novel.” ―Francisco Stork, author of Marcelo and the Real World

• Sales Rank: #8801216 in Books
• Published on: 2016-12-06
• Released on: 2016-12-06
• Original language: English
• Number of items: 1
• Dimensions: 7.90" h x .62" w x 5.14" l, .0 pounds
• Binding: Paperback
• 240 pages

Review

“Evidence of Things Not Seen masterfully weaves science, suspense, amazing characters, and scintillating writing to create a multiple universe of stories and lives joined by the power of a single mysterious event. Lindsey Lane has written a unique, powerful novel.” ―Francisco Stork, author of Marcelo and the Real World

“Evidence of Things Not Seen is a powerful, gripping, beautifully written novel of multiple perspectives. Each voice is unique and compelling; together, they raise profound questions about existence, purpose, and belief, all while moving at a tension-packed pace.” ―Janet Fox, author of Sirens

“As original as it is compelling, Evidence of Things Not Seen captures the wild pulse of a town dealing with loss and moving on in the backwards-forwards leaning way of life. A gem of a first novel.” ―Alan Cumyn, author ofTilt and the Owen Skye series

“I was fascinated and moved by this thoughtful book about community, faith, and science. Be prepared to feel both hope and despair on every page. Evidence of Things Not Seen will make you look again.” ―Sarah Aronson, author of Believe and Beyond Lucky

“Each character has some connection, even if tangential, to Tommy, whose disappearance speaks to the inscrutability of time, the universe, and the construction of individual truths.” ―Publishers Weekly

“Complex and rich, the story hints at Tommy's fate, but with an open ending that is perfect for sparking discussion.” ―Horn Book

“When a high school boy obsessed with quantum physics suddenly disappears, friends and neighbors reveal details of their lives as they speculate on his whereabouts . . . Thought-provoking.” ―Kirkus Reviews

About the Author
Lindsey Lane received her MFA in writing for children and young adults from Vermont College of Fine Arts. She is the author of the award-winning picture book Snuggle Mountain. A playwright, Lindsey lives in Austin, Texas, with her family. Evidence of Things Not Seen is her YA debut.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Print on demand...watch out!
By goldrail
Word to the wise: the edition I ordered from amazon appears to be a print on demand. The problem this process poses: for some reason, the punctuation's incorrect throughout the text. Those absences can be confusing, to say the least; they confound the already challenging aspects of Baldwin's late style.

1 of 1 people found the following review helpful.
Brilliant Writer, Waning Powers, Atlanta Child Murders
By Timothy A. Gilmore
This is the last work published by one of America's most brilliant writers. It's far from his best. If you want Baldwin's best, read Go Tell It on the Mountain and The Fire Next Time. If you're willing to see what an elderly James Baldwin, in his waning powers, but with the accumulated experience of this master-writer's lifetime, could bring to ruminations on the Atlanta Child Murders of 1979 to 1981, then read this book.

0 of 0 people found the following review helpful.
Different students are interviewed about their relationship to a missing ...
By Tina A. Sanders
Different students are interviewed about their relationship to a missing teen boy who had limited social skills but was a genius in science. Each chapter includes a page from the missing teen's notebook which adds to the suspenseful story. Unique.

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Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities.

This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice.

Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.

• Sales Rank: #189349 in Books
• Published on: 2015-07-17
• Original language: English
• Number of items: 1
• Dimensions: 6.20" h x 1.10" w x 9.20" l, .0 pounds
• Binding: Paperback
• 512 pages

Review

"Clearly formulated starting points engage the reader in more challenging concepts and interesting lines of enquiry, contextualising the many perspectives surrounding each topic. This well researched treasure chest of quotes, references, and examples illustrates an insightful text which the author, himself with decades of experience as a transcontinental practitioner, has enriched with personal reflections that in turn allow the reader to do the same."-Natasha Barrett

Curtis Roads' book is a kind of prism that reevaluates the field of music composition in the light of the new technologies of the 21st century. He builds a thousand bridges between different approaches to attributes like pitch, rhythm, time scales, and even sonic narratives in order to help us to understand present music practices." -Horacio Vaggione, composer, Professor Emeritus, the University of Paris VIII

"A rich and enjoyable survey for the computer musician, ranging from the objects of compositional manipulation to the performative aspects of the shaping of sensory experience. This book will be of interest not only to the electronic music composer, but also to the performing musician, and the general reader interested in the process and principles of musical design." -Elaine Chew, Professor of Digital Media, Queen Mary University of London

"[I]f you want a great overview of just about any aspect of the field of electronic music, you'll find it in this book. Clearly written, with a minimum of mathematics, it's the kind of book you can refer to time and time again."--SoundBytes

About the Author

Curtis Roads is a composer and researcher who teaches electronic music composition at the University of California, Santa Barbara. He co-founded the International Computer Music Association and served as an editor/associate editor of Computer Music Journal for 23 years. The author of numerous books, his electronic music set POINT LINE CLOUD won the Award of Distinction at the 2002 Ars Electronica.

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3 of 3 people found the following review helpful.
A worthy contribution to the ways in which we hear, perceive, and talk about sound
By Saltillo
Overall, an excellent, clear, concise discussion of the aesthetic elements that drive most (but not all) manifestations of the use of electronic equipment to generate sounds in ways that are intended to be received as "art." Professor Roads tries to cover a lot of ground here: the history of the practices, audio examples (from the companion website) to hear what he is discussing, as well as general areas of intellectual, scientific and artistic concern for people engaged in these practices. For me, personally, the most important aspect of this book is its contribution to the formation of a fundamental vocabulary and set of discursive conventions for talking about electronic music. Let me clarify: I honestly believe that there is no "self-evident" art. We all need to be assimilated into discursive traditions concerning art and it is through that assimilation that we are taught how to perceive, understand and communicate our experience of art. One does not simply go to a Shostakovitch symphony and understand what one is hearing and why it is worth listening to. One does not simply walk into the Prado museum and see some old Hieronymous Bosch painting and know what is significant, relevant, valuable, and pleasing about it. In the case of electronic music practices, the challenge is profound. It is a practice that has emerged before we have developed a common set of discursive practices that allows your average listeners to appreciate it, talk about it, communicate what their hear or perceive and what opinions they may have about it. Most of us are left with some degree of residual "baggage" in our discourse - whether it is inherited from immersion in the traditions of European 12 tone orchestral or chamber composition, or the traditions of pop and rock music - that misguides our ability to make sense of what we hear when we attempt to listen to electronic music. Professor Roads has done a masterful job of helping to frame the discussion in this regard, giving us a set of "canonical" terms, concepts, and ways of describing what is happening to the sounds we hear that allows us to engage in a true praxis of participation in the aesthetic experience.

Unfortunately the book is not without its short-comings, most of which Professor Roads seems to be aware of, but which nonetheless detract somewhat from the book. The first and most thorough and pervasive is his fetishistic attachment to the concepts of "composition" and "composer." These concepts are useful of course. But I would argue they are far more useful in the realms of pre-electronic and non-electronic music. Within electronic music there are many ways in which the very concepts of "composition" and "composer" are undermined, subverted, and in some instances become irrelevant and meaningless. And yet for Professor Roads, an employee of the university as an institution, locked into a series of institutional norms and conventions that demand his acceptance, the idea that people are still "composers" engaged in "compositional practices" in the domain of electronic music remains natural and sacrosanct. I believe the idea of an aesthetic of electronic music must take into account the myriad ways in which this fetishized concept becomes "de-naturalized" by electronic musical practices.

Another shortcoming is Professor Roads's intentional and complete dismissal of the question of "live performance" as an element of electronic music praxis. He is painfully away of this short-coming, and offers an apology early on in the book. Unfortunately his apology is along the lines of "I know some people think live performance matters. Historically it did not in the early pioneer days. And my personal practice is so deeply tied to the idea of acting as a 'composer' making 'compositions' in a studio, that I have no experience with, familiarity with or authority to speak on the topic of live performance." I find this apology deeply dissatisfying. Its like someone writing a book about jazz and saying "I do not discuss improvisation in this book because I exclusively work as a composer and songwriter and therefore since I never actually play jazz, I have nothing to say about improvisation as an element of the jazz aesthetic." Well pardon me, but doesn't that miss one of the fundamental points of trying to describe the aesthetic of jazz in the first place? Likewise, much could - and should - be said about the unique ways in which performance is itself an element of the aesthetic. And it is not - as Professor Roads seems to believe - simply a matter of discussing the virtuosity of playing a synthesizer on a stage in real time. There are many layers to the question of performance that never even arise in the context of non-electronic or pre-electronic music, where there is a sharp conceptual and practical distinction between "composition" and "performance" (the latter being understood in the traditional paradigm as simply a "translation" of the pre-planned instructions into the actual creation of sound). If jazz improvisation taught us anything, it was that such a distinction is problematic. In the world of electronic music, things of course become even more interesting. For example, what should one make of - and is there anything to say for - forms of practice like when Swedish electronic music duo Minilogue recorded its 2013 album "Blooma" as a series of recorded "live performance" jam sessions from which they were able to extract enough particularly pleasing, note-worthy moments that could be compiled as "tracks" onto a CD? Some of the actual "live performance" footage as well as videos explaining the equipment set up - in general terms - was put onto youtube and profiled on the website of ableton, the makers of the software used by Minilogue to make the album. And more generally, what can be said about the phenomenon of the rise of the "DJ" or the emergence of "DJ" culture today? It is not uncommon to see artists like Julien Bayle share the stage at music festivals with performers with names like "Dillon Francis" and or Kaitlyn Aurelia Smith perform at Denmark's Roskilde Festival. And whither the DJ? I have been told - not sure if true - that the "Goa" music that eventually became known as "trance" was invented by DJs like Goa Gil at hippie parties in Goa India in the 1980s using techniques of tape splicing and tape looping - the exact same techniques pioneered by Pierre Schaeffer decades earlier in a workshop in France. At what point does that phenomenon become worthy of acknowledgement and discussion? At what point does the craftwork of a Sasha or John Digweed or Bassnectar or Skrillex become something that a true aesthetic of electronic music needs to recon with, whether for good or for bad?

This last comment brings me to the last and final shortcoming I found in Professor Roads's treatment: his sometimes unreasonably elitist dismissal of much of electronic music today as mere "pop music". This is problematic for several reasons. First it reflects another residual paradigm he has inherited from a pre-electronic/non-electronic musical aesthetic and his position as an academic professor of music: I am referring to the "high brow" / "low brow" mindset that pervades so many aspects of our contemporary cultural practices. Although he tries to defend his perspective early on in an end-note, Professor Roads basically takes the approach of focusing his discussion on performers and pieces of music that he deems worthy of discussion, and broadly dismisses much of what he ignores or passes over as "pop music" without specifying who or what he actually considers to be "pop music". It leaves one wondering: if he didn't mention a certain person or a certain work, is it because he just didn't have time or space to cover everything, or because he genuinely considers it beneath him to discuss such because it is mere "pop music" (which seems to be his preferred pejorative for anything he considers too low-brow for treatment in a work like this). Although this attitude only shows up sporadically, and by no means did it prevent me from being enormously impressed by this book, it happened often enough to become a mild on-going annoyance. And I don't say that just because I like "low brow" electronic music. On the contrary, I think Professor Roads is missing a major aspect of electronic music that is unique and significantly different from non-electronic, pre-electronic musical practices by allowing this elitist high-brow/low-brow mindset to color his perspective on electronic music itself. Namely this: the distance between the "high brow" of electronic music (that Professor Roads purports to speak for) and the "low brow" (of which he chooses not to speak) is much shorter than is the case in non-electronic/pre-electronic music and much shorter than Professor Roads believes. In writing a book on traditional European music theory, an author might be hard-pressed to avoid mentioning the name "Bach" anywhere in the text; but could quite easily get away with avoiding any mention of "Beatles" or "Lennon/McCartney". Such a schism is harder to sustain in speaking of electronic music. Let me be more specific: many, if not most, of the practices and techniques described in Chapter 4 (Creating Sound Materials), Chapter 5 (Sound Transformation), Chapter 6 (Processes of rhythm) chapter 7 (pitch in Electronic music), Chapter 8 (articulating space), chapter 9 (multiscale organization) and chapter 10 (sonic narrative) are routinely employed by creators of what Professor Roads would dismiss as "pop music". One can learn to hear and identify when listening to many of the most accomplished and serious producers of the many forms of dance-oriented electronic music examples of many of the topics emphasized in this book. The Table 5.1 on pages 132-134 of the book is essentially a list of the bread-and-butter tools of the trade for sound transformation in electronic music, whether for the lowest brow "pop music" maker or for those whom Professor Roads views and holds in esteem as his peers. This is not to say I question Professor Roads' choice of sound examples on his companion site. On the contrary - I think he has done a very good job of finding and hand-picking specific examples that very effectively illustrate the points he wants to make. I am simply saying, for someone who is interested in electronic music on its own terms, as a true "new aesthetic", there is far more being done that is interesting and of note and worthy of attention in the non-academic, allegedly "pop" side of things.

Overall, however, regardless of where one's preferences and tastes lean in listening to electronic music, what is truly to be admired by Professor Roads's work, is the way in which it frames basic issues and gives us all a common ground for listening to and talking about this phenomenon in a way that is a meaningful contribution to the advancement of defining such a "new aesthetic".

0 of 0 people found the following review helpful.
Definitive book on a new aesthetic of electronic music
By John_G
Dr. Roads, who teaches computer music research, obviously knows his stuff. The book is a well-written discussion of a new aesthetic of electronic music. It could become THE Text Book on the Subject. Text is written at college-level comprehension.

0 of 0 people found the following review helpful.
This book is a survey of aesthetics and techniques used ...
By William T. Bajzek
This book is a survey of aesthetics and techniques used in electronic music of all sorts. It's very academic and dry, but very thorough and informative.

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[U951.Ebook] PDF Ebook Krik? Krak!, by Edwidge Danticat

PDF Ebook Krik? Krak!, by Edwidge Danticat

By visiting this page, you have actually done the appropriate looking factor. This is your begin to choose the e-book Krik? Krak!, By Edwidge Danticat that you want. There are great deals of referred publications to review. When you would like to get this Krik? Krak!, By Edwidge Danticat as your e-book reading, you can click the web link page to download Krik? Krak!, By Edwidge Danticat In few time, you have owned your referred books as all yours.

Krik? Krak!, by Edwidge Danticat

PDF Ebook Krik? Krak!, by Edwidge Danticat

Krik? Krak!, By Edwidge Danticat As a matter of fact, publication is really a window to the globe. Also lots of people may not such as reading books; guides will always give the precise details concerning truth, fiction, encounter, adventure, politic, faith, and also much more. We are below a site that gives collections of books more than the book shop. Why? We offer you bunches of varieties of link to get guide Krik? Krak!, By Edwidge Danticat On is as you need this Krik? Krak!, By Edwidge Danticat You could discover this book easily here.

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When Haitians tell a story, they say "Krik?" and the eager listeners answer "Krak!" In Krik? Krak! In her second novel, Edwidge Danticat establishes herself as the latest heir to that narrative tradition with nine stories that encompass both the cruelties and the high ideals of Haitian life. They tell of women who continue loving behind prison walls and in the face of unfathomable loss; of a people who resist the brutality of their rulers through the powers of imagination. The result is a collection that outrages, saddens, and transports the reader with its sheer beauty.

• Sales Rank: #87241 in Books
• Color: Multicolor
• Brand: Vintage
• Published on: 1996-04-02
• Released on: 1996-04-02
• Original language: English
• Number of items: 1
• Dimensions: 7.99" h x .61" w x 5.18" l, .50 pounds
• Binding: Paperback
• 224 pages

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• Great product!

From Publishers Weekly
Danticat's collection of stories detailing daily life under dictatorship in Haiti was a finalist for the National Book Award.
Copyright 1996 Reed Business Information, Inc.

From School Library Journal
YA?Danticat, born under Haitian dictatorship, moved to the U.S. 12 years ago. Many of the stories in this moving collection reflect the misery she has observed from afar and leave readers with a deep sadness for her native country. Survivors at sea in a too-small, leaky boat endure any indignity for the chance at escape. Selections about those remaining in Haiti have a dreamlike quality. A woman must watch her mother rot in prison for political crimes. A young father longs so much to fly that he gives his life for a few moments in the air. A prostitute plies her trade while her son sleeps. "New York Day Women" shows what life might be like in the U.S. for immigrants without resources. Through unencumbered prose, the author explores the effects of politics on people and especially the consequences of oppression on women, the themes of which figure into each of these vignettes.?Ginny Ryder, Lee High School, Springfield, VA
Copyright 1995 Reed Business Information, Inc.

From Library Journal
This collection of previously published but interrelated short stories presents the harsh reality of daily Haitian life under a state-approved terrorist regime. Despite the harshness, Danticat beautifully balances the poverty, despair, and brutality her characters endure with magic and myth. For many characters, she also explores the inevitable clash between traditions of Haitian home life and a new American culture. Principally mothers and daughters confront each other in these cultural and intergenerational wars, wars that would be emotionally devastating were it not for the indomitable presence of love. This theme is treated best in the work's longest piece "Caroline's Wedding." krik? krak! is Danticat's second publishing venture and second triumph folowing her well-received first novel Breath, Eyes, Memory (LJ 3/15/94). Highly recommended.?Faye A. Chadwell, Univ. of Oregon, Eugene
Copyright 1995 Reed Business Information, Inc.

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0 of 0 people found the following review helpful.
Worth The Read
By Leyla Javadova
I got introduced to Edwidge Danticat in my English Literature class. The book is divided into nine stories (and an epilogue) and each, somehow connect to one another. As I was reading this book, a well-written book, I got introduced to different feelings and emotions. The author takes her time in Krik? Krak! introducing each character and describing each situation. If you love reading, you love being introduced to new plot stories, and want to feel what pain, suffering, and loss felt like - I highly suggest you read this book! It's an awesome read, you won't regret it!

0 of 0 people found the following review helpful.
It was a great book. I really enjoyed it
By Elie Jerome
It was a great book. I really enjoyed it. With her short stories, Edwidge helped her readers to travel back in time. The author depicted different aspects of the Haitian society during the Duvalier's regime, the risk took by many in their journey of finding better life which led to so many lost of lives within the sea, and the difficult choice some families made to come to the U.S.

5 of 5 people found the following review helpful.
If only more teachers taught short stories like these...
By Thomas Wight
In high school, I had the same experience that many of you had; English teachers, each year, would use the same short stories from "the canon" of English literature. From Faulkner's "A Rose for Emily" to Twain's "The Jumping Frog" to virtually anything by Poe, these stories are found throughout schools in the United States, with only small variations. Why? Well because they're classics, of course! Scholars have deemed that these stories, and the books that we can all name that accompany them, are "the best," and that every English student must know them.

Now, I'm not claiming that these stories aren't masterpieces--don't get me wrong. They are, I will agree, "classic," and they are full of brilliant examples of the power of the English language. I am, however, arguing that authors like Danticat--contemporary authors, who brilliantly present and deal with contemporary issues--are making very strong arguments as to the fact that they, too, deserve a place in contemporary English classrooms among all of the dead, white men.

In Krik? Krak!, Danticat shows readers a place that probably very few of them have ever seen--Haiti--and all of its complexities. Because this was my first piece of fiction I read about Haiti (Create Dangerously by Danticat being the only other book I had read), I was shocked by the bald, bold truth that Danticat shows us, about poverty, about family, about the United States, holding nothing back in her portrayal of "the poorest nation in the Western Hemisphere" (as newspapers and essays are always so quick to remind us of Haiti). Danticat's short stories show us sides of Haiti that you can't learn from a history book, especially American history books, giving fictional names and faces to the very real struggle, perserverence, and strength of an entire nation. Not only that, but her writing is nearly flawless, poetic, right from the opening lines.

In the 21st century, my hope is that writers like Danticat will continue to produce brilliant pieces of fiction that not only entertain, but also educate its readers. There is a world outside of the United States and outside of the dead, white men that we are so fond of reading, and learning, and teaching, and I hope that if you pick up this book it will open your eyes to it--teach you, interest you, encourage you to give Haiti, and nations like it, a deeper look.

Amazon asks: what would you have wanted to know before you purchased this product? And the answer that jumps to mind is something that I always tell readers as I'm trying to convince them to pick up a Danticat book or any book about Haiti: it gained its independence through the only successful slave revolt in history that led to a new nation, and eradicated slavery in 1804--decades before the United States. Consider it, this country that everyone sees as poor, destitute, ravished by both human nature and natural disaster, recognized the inhumanity of slavery way back in 1804.

If this hasn't convinced you to pick up this book and to learn about a country that has been vexed by its audacity, the audacity of taking its freedom, for centuries, then I'm not sure what will.

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[Z395.Ebook] Download Ebook Decentralized Spatial Computing: Foundations of Geosensor Networks, by Matt Duckham

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Computing increasingly happens somewhere, with that geographic location important to the computational process itself. Many new and evolving spatial technologies, such as geosensor networks and smartphones, embody this trend. Conventional approaches to spatial computing are centralized, and do not account for the inherently decentralized nature of "computing somewhere": the limited, local knowledge of individual system components, and the interaction between those components at different locations. On the other hand, despite being an established topic in distributed systems, decentralized computing is not concerned with geographical constraints to the generation and movement of information. In this context, of (centralized) spatial computing and decentralized (non-spatial) computing, the key question becomes: "What makes decentralized spatial computing special?"

In Part I of the book the author covers the foundational concepts, structures, and design techniques for decentralized computing with spatial and spatiotemporal information. In Part II he applies those concepts and techniques to the development of algorithms for decentralized spatial computing, stepping through a suite of increasingly sophisticated algorithms: from algorithms with minimal spatial information about their neighborhoods; to algorithms with access to more detailed spatial information, such as direction, distance, or coordinate location; to truly spatiotemporal algorithms that monitor environments that are dynamic, even using networks that are mobile or volatile. Finally, in Part III the author shows how decentralized spatial and spatiotemporal algorithms designed using the techniques explored in Part II can be simulated and tested. In particular, he investigates empirically the important properties of a decentralized spatial algorithm: its computational efficiency and its robustness to unavoidable uncertainty. Part III concludes with a survey of the opportunities for connecting decentralized spatial computing to ongoing research and emerging hot topics in related fields, such as biologically inspired computing, geovisualization, and stream computing.

The book is written for students and researchers of computer science and geographic information science. Throughout the book the author's style is characterized by a focus on the broader message, explaining the process of decentralized spatial algorithm design rather than the technical details. Each chapter ends with review questions designed to test the reader's understanding of the material and to point to further work or research. The book includes short appendices on discrete mathematics and SQL. Simulation models written in NetLogo and associated source code for all the algorithms presented in the book can be found on the author's accompanying website.

• Sales Rank: #3340385 in Books
• Brand: Brand: Springer
• Published on: 2012-07-27
• Original language: English
• Number of items: 1
• Dimensions: 9.20" h x .90" w x 6.10" l, 1.35 pounds
• Binding: Hardcover
• 322 pages

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• Used Book in Good Condition

Review

“This book is an excellent summary on the topic of distributed spatial planning. … This book provides valuable insight in terms of working with sensor networks which are now arising around the world. … the concepts and discussions are useful and valuable to a wide ranging auidence. For this reason, anyone working with geosensors today will find this book well worth the read.” (Jeff Thurston, 3dvisworld.com, December, 2014)

From the Back Cover

Computing increasingly happens somewhere, with that geographic location important to the computational process itself. Many new and evolving spatial technologies, such as geosensor networks and smartphones, embody this trend. Conventional approaches to spatial computing are centralized, and do not account for the inherently decentralized nature of "computing somewhere": the limited, local knowledge of individual system components, and the interaction between those components at different locations. On the other hand, despite being an established topic in distributed systems, decentralized computing is not concerned with geographical constraints to the generation and movement of information. In this context, of (centralized) spatial computing and decentralized (non-spatial) computing, the key question becomes: "What makes decentralized spatial computing special?"

In Part I of the book the author covers the foundational concepts, structures, and design techniques for decentralized computing with spatial and spatiotemporal information. In Part II he applies those concepts and techniques to the development of algorithms for decentralized spatial computing, stepping through a suite of increasingly sophisticated algorithms: from algorithms with minimal spatial information about their neighborhoods; to algorithms with access to more detailed spatial information, such as direction, distance, or coordinate location; to truly spatiotemporal algorithms that monitor environments that are dynamic, even using networks that are mobile or volatile. Finally, in Part III the author shows how decentralized spatial and spatiotemporal algorithms designed using the techniques explored in Part II can be simulated and tested. In particular, he investigates empirically the important properties of a decentralized spatial algorithm: its computational efficiency and its robustness to unavoidable uncertainty. Part III concludes with a survey of the opportunities for connecting decentralized spatial computing to ongoing research and emerging hot topics in related fields, such as biologically inspired computing, geovisualization, and stream computing.

The book is written for students and researchers of computer science and geographic information science. Throughout the book the author's style is characterized by a focus on the broader message, explaining the process of decentralized spatial algorithm design rather than the technical details. Each chapter ends with review questions designed to test the reader's understanding of the material and to point to further work or research. The book includes short appendices on discrete mathematics and SQL. Simulation models written in NetLogo and associated source code for all the algorithms presented in the book can be found on the author's accompanying website.

About the Author
Dr. Duckham is a Senior Lecturer at the Department of Geomatics, University of Melbourne, Australia. He also currently (2012) holds a prestigious Australian Research Council research fellowship, an ARC Future Fellowship, for research into ambient spatial intelligence. Previously he worked at the National Center for Geographic Information and Analysis (NCGIA) at the University of Maine, USA, as well as in the UK (Universities of Edinburgh, Leicester, Glasgow, and Keele). He is a coauthor with Prof. Mike Worboys of the significant advanced undergraduate/postgraduate textbook “GIS: A Computing Perspective" (2nd ed., CRC Press). He has many further related journal and book publications, and he is the Editor‐in-Chief of the Journal of Spatial Information Science (JOSIS).

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0 of 1 people found the following review helpful.
Condensing the most relevant topics in distributed algorithms, discrete math and networking to understand spatial computing
By Arthur Sanders
"Decentralized Spatial Computing" provides a unique compilation of algorithms and analysis tools for large-scale computing systems with a focus on sensor networks. After formally anchoring such systems in graph theory, the book describes a series of standard distributed algorithms that are relevant for this class of systems. Here, algorithms are grouped by their information requirements, that is neighborhood-based algorithms, location-based algorithms, and time-series/memory-based algorithms. All algorithms are accompanied by Netlogo code and rich online resources, making this a perfect resource for practitioners and as a graduate textbook.

What is great about this book is that there simply has not been a single resource to get started on spatial computing, combining the essence of the relevant distributed algorithms, discrete mathematics and systems knowledge, that are needed to understand large-scale distributed sensing/computation networks.

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• Published on: 1600
• Binding: Hardcover

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This volume offers the fruits of Peter Meineck and Paul Woodruff's dynamic collaboration on the plays of Sophocles' Theban cycle, presenting the translators' Oedipus Tyrannus (2000) along with Woodruff's Antigone (2001) and a muscular new Oedipus at Colonus by Meineck. Grippingly readable, all three translations combine fidelity to the Greek with concision, clarity, and powerful, hard-edged speech. Each play features foot-of-the-page notes, stage directions, and line numbers to the Greek. Woodruff's Introduction discusses the playwright, Athenian theatre and performance, the composition of the plays, and the plots and characters of each; it also offers thoughtful reflections on major critical interpretations of these plays.

• Sales Rank: #56829 in Books
• Published on: 2003-03-15
• Original language: English
• Number of items: 1
• Dimensions: 8.25" h x 5.50" w x .75" l, .55 pounds
• Binding: Paperback
• 304 pages

Review
The Meineck/Woodruff Oedipus takes us to the dramatic and lyric heights of Sophoclean tragedy. --Stanley Lombardo, Department of Classics, University of Kansas

About the Author

Peter Meineck is Clinical Associate Professor of Classics, New York University, and Artistic Director of the Aquila Theatre Company.

Paul Woodruff is Professor of Philosophy, University of Texas at Austin.

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0 of 0 people found the following review helpful.
Four Stars
By Amazon Customer
AWESOME

4 of 5 people found the following review helpful.
Incredibly Modern and Performable!
By Ryan Kouroukis
After comparing numerous Theban Plays (Fagles, Lattimore, Roche, Fitzgerald and others) I came across the one on Hackett.

I find it the most readable, comtemporary, up-to-date, powerful, poetic and most importantly...believable. It reads so realistically that I actually believe what the characters say...which makes me want to perform and see performed this edition by Meineck and Woodruff.

The print and spacing is perfect, and not to mention the price!

2 of 3 people found the following review helpful.
Theban Plays
By Michael Griswold
Really liked this selection of plays that I had to read for a political theory class. Lots of really cool ideas are represented like the all consuming ability of power and it's ability to destroy the people who possess it. There's also references to the divine and prophesy that suggest that both an over-reliance on the divine and a sheer ignorance of the divine are recipes for untold disaster and misery. Concerning the study of politics, it suggests that man is subject to entities outside of his control and therefore is often quite fallible through advisors and his own overreaching pride to be greater than great and these failings prove to be a great undoing. Power proves a very intoxicating drug that corrupts even the greatest of men. As an added bonus to these great moral and political lessons, their actually a pretty entertaining and moving read as Antigone seeks to give her brother a proper burial because she sees him as a hero, while the King views him a traitor. The sixty or so pages of Antigone take us through a sorted ride as every character is dealt with some tragic loss. God, how I wish Hollywood screenwriters could devise something this cool.

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