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Books on the topic 'Stall noise'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Abdol-Hamid, Khaled S. Multiscale turbulence effects in supersonic jets exhausting into still air. [Washington, D.C.]: National Aeronautics and Space Administration, Scientific and Technical Information Office, 1987.

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2

Standardization, International Organization for. Photography--electronic still-picture imaging--noise measurements =: Photographie-imagerie des prises de vue électroniques-mesurages du bruit. Geneva, Switzerland: ISO, 2003.

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3

Kukulin, I. Mashiny zashumevshego vremeni: Kak sovetskiĭ montazh stal metodom neofit︠s︡ialʹnoĭ kulʹtury = Machines of noisy time : How early Soviet montage became a method of unofficial art. Moskva: Novoe literaturnoe obozrenie, 2015.

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4

unk. Still Noise : Australian Rock Photography. ABC Books, 1991.

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5

Lauder, Afferbeck. Strine: Let Stalk Strine and Nose Tone Unturned. Australia in Print, 1989.

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6

Sundberg, Minna. Stand Still - Stay Silent, Book 2. Hiveworks, 2018.

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7

LA CHAMBRE NOIRE. GERMAINE DE STAEL ET LA PENSEE DU NEGATIF. DROZ, 2016.

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8

Boutin, Aimée. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0001.

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This introductory chapter provides an overview of the book's main themes. This book adopts a sensory approach to understanding the city as a sonic space that orchestrates different, often conflicting sound culture. It shows how city noise heightens the significance of selective listening in the modern urban condition and argues for an aural rather than visual conception of modernity. In nineteenth-century Paris, urban renewal did not mark the beginning of a period of diminution of sound, but rather it was a time of increasing awareness of, and emphasis on, noise. By reconsidering the myth of Paris as the city of spectacle, where the flâneur's scopophilia reigns supreme, this book attends to what has been silenced by the visual paradigm that still prevails in nineteenth-century French cultural studies. It explores perceptions of street noise in nineteenth-century Paris by selecting specific sounds from the 1830s to the 1890s—peddling sounds—that were distinctive.

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9

Little, Jean. Julieta, Estate Quieta!/julieta, Be Still. Tandem Library, 1994.

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10

Succi, Sauro. Lattice Boltzmann Models without Underlying Boolean Microdynamics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199592357.003.0013.

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Chapter 12 showed how to circumvent two major stumbling blocks of the LGCA approach: statistical noise and exponential complexity of the collision rule. Yet, the ensuing LB still remains connected to low Reynolds flows, due to the low collisionality of the underlying LGCA rules. The high-viscosity barrier was broken just a few months later, when it was realized how to devise LB models top-down, i.e., based on the macroscopic hydrodynamic target, rather than bottom-up, from underlying microdynamics. Most importantly, besides breaking the low-Reynolds barrier, the top-down approach has proven very influential for many subsequent developments of the LB method to this day.

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11

Boutin, Aimée. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0007.

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This concluding chapter summarizes key themes and presents some final thoughts. It argues that the collective experience of sounds is what gives aurality meaning, even though there is an element of idiosyncrasy in sound perception. The street cries of peddlers and hawkers were meaningful sounds that resonated as a shared cultural experience in the nineteenth century, even for those who rarely heard them, or chose not to write about them. In the twenty-first century, peddlers still operate and vocalize in locations as diverse as New York City, Mexico City, Dakar, Port-au-Prince, Calcutta, Sidi Bouzid, and even Paris. Modern forms of peddling are alive and well, and the intrusiveness of street trade remains a point of contention in today's noise-conscious society.

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12

Cooper, Kory. Arctic Archaeometallurgy. Edited by Max Friesen and Owen Mason. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199766956.013.13.

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By at least the first century A.D., metals were being integrated into the technologies of indigenous cultures across Arctic and Subarctic North America. In addition to naturally occurring pure forms of copper and iron in the region, Old World metals were also available via trade across Bering Strait to the west and with Norse in the east. The importance of metals, both before and after contact with Europeans, has been recognized by scholars since the early days of Arctic exploration, but despite long-term interest in the topic there is still much to be learned about metallurgical innovation in the region. This chapter provides an overview of precontact metal use in the Arctic, discusses analytical methods, and offers suggestions for future research on the topic.

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13

Frid, Christopher L. J., and Bryony A. Caswell. Marine Pollution. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198726289.001.0001.

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We use more than 100 000 chemicals in our daily lives to promote health, treat disease, facilitate transportation, use in industrial processes, grow food and access clean water. While these developments have improved human lives, many of these compounds ultimately end up in our seas and oceans where they represent a threat to marine life, ourselves and our continued use of the oceans to treat our waste, provide us with food and offer us recreation. Many of the pollution problems of previous decades seem to have been resolved, in the developed world, or at least managed to minimise their environmental impacts. However, despite treatments being available that reduce their damaging qualities, a potent mixture of toxic compounds enter the marine environment every day along with other potentially harmful additions including heat, noise and light and non-native species. The question thus arises: is pollution a problem that has really been solved? How well are we managing traditional pollutants? What are the challenges we still face today? What are the upcoming marine pollution challenges that face society? This volume describes the different marine pollutants, the science behind measuring their ecological impacts and how they are monitored in the environment, including traditional and new management approaches. This is an up-to-date account of marine pollution within the broad ecological and social context of a growing, technologically advanced, global population.

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14

Schram, Frederick R., and Stefan Koenemann. Evolution and Phylogeny of Pancrustacea. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780195365764.001.0001.

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The understanding of arthropod phylogeny and evolution in the past three decades has undergone major changes. These have arisen from new sources of data applicable across several fields of study. Developments within ontogenetic studies not only in regard to gross patterns of embryology but also regarding a revolution in the application of development genetics continue to generate remarkable insights into crustaceomorph evolution. Phylogeny techniques of analysis and new sources of data derived from molecular sequencing have forced consideration of new hypotheses concerning the interrelationships of all the pancrustaceans, both crustaceomorphs and Hexapoda. Furthermore, it is not uncommon that this multiplicity of sources for new data from opposing research teams can result in different hypotheses for phylogenetic relationships. This situation should not be treated as a defect, or an impediment, but rather as a source for multiple alternative hypotheses—the bases for further data gathering and analyses. Also, one should never view consideration of fossils as a vexing source of noise. Here, too, consideration of multiple hypotheses has proven useful. Often, fossils can produce deeper understanding of the paleodiversity of body plans. Nevertheless, some fossil groups still remain as enigmas, such as Thylacocephala. But even fossils incompletely understood can help fill in gaps in knowledge of paleobiodiversity that can prove useful, for example, in analyzing the the origin and early evolution of Hexapoda. Old ideas about pancrustacean evolution have served the field well, but results derived from all data inputs should be embraced.

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15

Gelbart, Matthew. Musical Genre and Romantic Ideology. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190646929.001.0001.

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Abstract European Romanticism gave rise to a powerful discourse equating genres to constrictive rules and forms that great art should transcend; and yet without the categories and intertextual references we hold in our minds, “music” would be meaningless noise. This book teases out that paradox, charting the workings and legacies of Romantic artistic values such as originality and anti-commercialism in relation to musical genre. Genre’s persistent power was amplified by music’s inevitably practical social, spatial, and institutional frames. Furthermore, starting in the nineteenth century, all music, even the most anti-commercial, was stamped by its relationship to the marketplace, entrenching associations between genres and target publics (whether based on ideas of nation, gender, class, or subtler aspects of identity). These newly strengthened correlations made genre, if anything, more potent rather than less, despite Romantic claims. In case studies from across nineteenth-century Europe engaging with canonical music by Bizet, Chopin, Verdi, Wagner, and Brahms, alongside representative genres such as opéra-comique and the piano ballade, Gelbart explores the processes through which composers, performers, critics, and listeners gave sounds, and themselves, a sense of belonging. He examines genre vocabulary and discourse, the force of generic titles, how avant-garde music is absorbed through and into familiar categories, and how interpretation can be bolstered or undercut by genre agreements. Even in a modern world where transcription and sound recording can take any music into an infinite array of new spatial and social situations, we are still locked in the Romantics’ ambivalent tussle with genre.

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16

Barbour, Charles. Conclusion: Secretions. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424998.003.0006.

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The image is Francesca Woodman’s, a New York artist who worked in the 1970s and early 1980s, until she killed herself at the age of twenty-two. It is a photographic self-portrait. She is a woman holding a mirror up to her face – a fairly common trope in our artistic tradition, and one with which Woodman often engaged and manipulated throughout her tragically brief career. But the reflective side of the mirror is not directed at her, as we often see in such pictures. Rather, it is directed at us, or whoever happens to be looking at the image. In the mirror, we should see our face, or us looking back at ourselves, narcissistically, no doubt, or confidently self-aware. But we do not see ourselves. Rather, we see her back and the back of her head. In other words, and paradoxically, she faces us with her back turned towards us. She looks out at us looking at her refusing to look at us. Or is that the best and most felicitous interpretation? I am not sure. For, obviously, with the back of the mirror pressed up against her nose, she cannot see us either. We look at her not looking at us, facing forward, with her back to us. Or, perhaps, we somehow occupy her position, turning her back on herself, even as she, or we, are still able to watch her do so. We watch her ...

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