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  • Streaming Music : Practices, Media, Cultures
    Streaming Music : Practices, Media, Cultures

    Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption.The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life.The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways.Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes.Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today.As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

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  • Audio Technology, Music, and Media : From Sound Wave to Reproduction
    Audio Technology, Music, and Media : From Sound Wave to Reproduction

    This book provides a true A to Z of recorded sound, from its inception to the present day, outlining how technologies, techniques, and social attitudes have changed things, noting what is good and what is less good.The author starts by discussing the physics of sound generation and propagation.He then moves on to outline the history of recorded sound and early techniques and technologies, such as the rise of multi-channel tape recorders and their impact on recorded sound.He goes on to debate live sound versus recorded sound and why there is a difference, particularly with classical music.Other topics covered are the sound of real instruments and how that sound is produced and how to record it; microphone techniques and true stereo sound; digital workstations, sampling, and digital media; and music reproduction in the home and how it has changed.The author wraps up the book by discussing where we should be headed for both popular and classical music recording and reproduction, the role of the Audio Engineer in the 21st century, and a brief look at technology today and where it is headed.This book is ideal for anyone interested in recorded sound. “[Julian Ashbourn] strives for perfection and reaches it through his recordings… His deep knowledge of both technology and music is extensive and it is with great pleasure that I see he is passing this on for the benefit of others.I have no doubt that this book will be highly valued by many in the music industry, as it will be by me.” -- Claudio Di Meo, Composer, Pianist and Principal Conductor of The Kensington Philharmonic Orchestra, The Hemel Symphony Orchestra and The Lumina Choir

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  • Democracy's Fourth Wave? : Digital Media and the Arab Spring
    Democracy's Fourth Wave? : Digital Media and the Arab Spring

    In 2011, the international community watched as a shockingly unlikely community of citizens toppled three of the world's most entrenched dictators: Ben Ali in Tunisia, Mubarak in Egypt, and Qaddafi in Libya.This movement of cascading democratization, commonly known as the Arab Spring, was planned and executed not by political parties, but by students, young entrepreneurs, and the rising urban middle class.International experts and the popular press have pointed to the near-identical reliance on digital media in all three movements, arguing that these authoritarian regimes were in essence defeated by the Internet.Is that true? Should Mubarak blame Twitter for his sudden fall from power?Did digital media "cause" the Arab Spring? In Democracy's Fourth Wave?, Philip N. Howard and Muzammil M. Hussain examine the complex role of the Internet, mobile phones, and social networking applications in the Arab Spring.Examining digital media access, level of grievance, and levels of protest for popular democratization in 16 countries in the Middle East and North Africa, Howard and Hussain conclude that digital media was neither the most nor the least important cause of the Arab Spring.Instead, they illustrate a complex web of conjoined causal factors for social mobilization.The Arab revolts cascaded across countries largely because digital media allowed communities to realize shared grievances and nurtured transportable strategies for mobilizing against dictators.Individuals were inspired to protest for personal reasons, but through social media they acted collectively.Democracy's Fourth Wave examines not only the unexpected evolution of events during the Arab Spring, but the longer history of desperate-and creative-digital activism through the Arab world.

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  • Feminist Media : From the Second Wave to the Digital Age
    Feminist Media : From the Second Wave to the Digital Age

    Feminist Media: From the Second Wave to the Digital Age analyses the relationship between second wave feminist media production and capitalism, as well as identifying the tradition that can be drawn between second wave feminism, Riot Grrrl and feminist blogging today.There has been a recent re-evaluation of the importance of second wave feminist media, demonstrated by the digitization of Spare Rib by the British Library in 2015.However, up until now, research on the magazine has been limited.This book analyses the relationship between Spare Rib and the capitalist publishing industry, comparing it to American feminist magazine Ms. The book argues that it is important to understand the cultural economies of the magazines as this had an impact on the assumed readership of the magazines, therefore having an impact on the issues that were privileged.The second half of the book charts a crucial and often overlooked link between feminist media production in the ‘second wave’ and more contemporary forms of feminist media activism.

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  • Is the music genre Tween Wave real?

    Tween Wave is not a recognized or widely accepted music genre in the industry. It is often used as a term to describe music that is popular among tweens, or pre-adolescents, and typically includes pop, dance, and electronic elements. However, it is not an official genre and is more of a colloquial term used to describe music that appeals to a specific age group.

  • What is the content of the book 'The Wave'?

    'The Wave' is a novel by Todd Strasser that tells the story of a high school history teacher who conducts an experiment to demonstrate the dangers of fascism to his students. The experiment spirals out of control as the students become deeply involved in a movement called "The Wave" that promotes discipline and unity but also leads to authoritarianism and violence. The book explores themes of conformity, manipulation, and the allure of power.

  • Did he wave or did he wave back?

    He waved back.

  • Is a transverse wave also a longitudinal wave?

    No, a transverse wave is not the same as a longitudinal wave. Transverse waves have oscillations perpendicular to the direction of wave propagation, while longitudinal waves have oscillations parallel to the direction of wave propagation. This means that the particles in a transverse wave move up and down or side to side, while the particles in a longitudinal wave move back and forth in the same direction as the wave.

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  • Content Production for Digital Media : An Introduction
    Content Production for Digital Media : An Introduction

    This book provides an introduction to digital media content production in the twenty-first century.It explores the kinds of content production that are undertaken in professions that include journalism, public relations and marketing.The book provides an insight into content moderation and addresses the legal and ethical issues that content producers face, as well as how these issues can be effectively managed.Chapters also contain interviews with media professionals, and quizzes that allow readers to consolidate the knowledge they have gathered through their reading of that chapter.

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  • Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media
    Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media

    How creators of online video critique politics and society and amplify public discourse in Latin American countries This book analyzes how digital-native audiovisual satire has become increasingly influential in national public debates within Latin America.Paul Alonso illuminates the role of online video in filling gaps in sociopolitical critique left by television, traditional journalism, and commercial entertainment while exposing some of the prevalent tensions of the region.Alonso draws on interviews and analyzes media content to consider some of the most representative and influential satirical shows born on the internet and produced in Argentina, Colombia, Ecuador, Peru, Mexico, and Latinx communities in the United States.He discusses YouTubers Chumel Torres, Malena Pichot, Guille Aquino, Joanna Hausmann, and El Cacash; the Enchufe.tv collective; and the video columnists Maria Paulina Baena from La Pulla and Mariángela Urbina from Las Igualadas.These creators use professional and non-mainstream practices and resources to dismantle fake news, highlight social tensions, and offer in-depth content that goes beyond confrontational attacks.In contexts of highly ideological polarization, Alonso argues, digital satire is a unique type of hybrid alternative media that can articulate nonpartisan interpretations of reality while also questioning, deconstructing, and subverting the authoritative role of media.Satiric voices can offer an informed, reflexive, argumentative, or historically rooted perspective that amplifies public discourse and shapes changing notions of journalism and political communication in democratic societies. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

    Price: 91.00 £ | Shipping*: 0.00 £
  • Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media
    Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media

    How creators of online video critique politics and society and amplify public discourse in Latin American countries This book analyzes how digital-native audiovisual satire has become increasingly influential in national public debates within Latin America.Paul Alonso illuminates the role of online video in filling gaps in sociopolitical critique left by television, traditional journalism, and commercial entertainment while exposing some of the prevalent tensions of the region.Alonso draws on interviews and analyzes media content to consider some of the most representative and influential satirical shows born on the internet and produced in Argentina, Colombia, Ecuador, Peru, Mexico, and Latinx communities in the United States.He discusses YouTubers Chumel Torres, Malena Pichot, Guille Aquino, Joanna Hausmann, and El Cacash; the Enchufe.tv collective; and the video columnists Maria Paulina Baena from La Pulla and Mariángela Urbina from Las Igualadas.These creators use professional and non-mainstream practices and resources to dismantle fake news, highlight social tensions, and offer in-depth content that goes beyond confrontational attacks.In contexts of highly ideological polarization, Alonso argues, digital satire is a unique type of hybrid alternative media that can articulate nonpartisan interpretations of reality while also questioning, deconstructing, and subverting the authoritative role of media.Satiric voices can offer an informed, reflexive, argumentative, or historically rooted perspective that amplifies public discourse and shapes changing notions of journalism and political communication in democratic societies. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

    Price: 28.95 £ | Shipping*: 0.00 £
  • The Arena Concert : Music, Media and Mass Entertainment
    The Arena Concert : Music, Media and Mass Entertainment

    The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century.This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne.The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert.The arena concert becomes the “real time” centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space.The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century.This volume finds out why.

    Price: 140.00 £ | Shipping*: 0.00 £
  • Which to choose: body wave, permanent wave, etc.?

    The choice between a body wave and a permanent wave depends on your desired outcome. A body wave creates loose, natural-looking waves that add volume and texture to the hair, while a permanent wave creates tighter, more defined curls or waves that last longer. Consider your hair type, desired style, and maintenance routine when deciding between the two options. It's best to consult with a professional stylist to determine which type of wave will best suit your needs and preferences.

  • 'The Wave Cast'

    "The Wave Cast" is a term used to describe the group of actors and actresses who starred in the 1981 TV movie "The Wave," which was based on the true story of a high school teacher's social experiment gone wrong. The cast included Bruce Davison, Lori Lethin, and John Putch, among others. The film explores the dangers of groupthink and the power of authority, and the cast's performances effectively conveyed the chilling transformation of the students as they become increasingly influenced by the teacher's experiment.

  • 'Wave or cockatiel?'

    It ultimately depends on your personal preferences and lifestyle. Waves are known for their intelligence and ability to mimic sounds, while cockatiels are known for their friendly and affectionate nature. Consider factors such as space, time commitment, and noise level when deciding between the two. Both make wonderful pets, so choose the one that best fits your needs and interests.

  • What comes first, the pressure wave or the sound wave?

    The pressure wave comes first, followed by the sound wave. When an object creates a disturbance, it generates a pressure wave that travels through the medium, such as air or water. This pressure wave then causes the particles in the medium to vibrate, creating the sound wave that we perceive as sound. So, the pressure wave is the initial disturbance that leads to the formation of the sound wave.

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