The work of writing closed captions for television and DVD is not simply transcribing dialogue, as one might assume at first, but consists largely of making rhetorical choices. For Sean Zdenek, when captioners describe a sound they are interpreting and creating contexts, they are assigning significance, they are creating meaning that doesn t necessarily exist in the soundtrack or the script. And in nine chapters he analyzes the numerous complex rhetorical choices captioners make, from abbreviating dialogue so it will fit on the screen and keep pace with the editing, to whether and how to describe background sounds, accents, or slurred speech, to nonlinguistic forms of sound communication such as sighing, screaming, or laughing, to describing music, captioned silences (as when a continuous noise suddenly stops), and sarcasm, surprise, and other forms of meaning associated with vocal tone. Throughout, he also looks at closed captioning style manuals and draws on interviews with professional captioners and hearing-impaired viewers. Threading through all this is the novel argument that closed captions can be viewed as texts worthy of rhetorical analysis and that this analysis can lead the entertainment industry to better standards and practices for closed captioning, thereby better serve the needs of hearing-impaired viewers. The author also looks ahead to the work yet to be done in bringing better captioning practices to videos on the Internet, where captioning can take on additional functions such as enhancing searchability. While scholarly work has been done on captioning from a legal perspective, from a historical perspective, and from a technical perspective, no one has ever done what Zdenek does here, and the original analytical models he offers are richly interdisciplinary, drawing on work from the fields of technical communication, rhetoric, media studies, and disability studies."

The big steam train goes, CHUGGA chugga chugga CHUGGA chugga chugga CHOO CHOOOOOOO! The diesel train goes, "zooosh zooosh ZOOOOOOOOSH ding ding ding!" The American goes, "clang clang clang TOOT TOOT!" All aboard! Take a trip on eight noisy trains as they huff, puff, and toot-toot their way through this lively book! Perfect for the young train enthusiast. Plus, this is the fixed format version, which will look almost identical to the print version. Additionally for devices that support audio, this ebook includes a read-along setting.

A comprehensive, kid-friendly examination of how sound works. How does sound happen? How do we hear it? What makes some sounds loud and some soft? Some high pitched and some low pitched? How do humans and animals use sound to communicate? Which sounds happen naturally, and which are created for a specific purpose? This charming picture book explores all of these questions in easy-to-understand and child-friendly language, offering a gentle introduction to how sound works. Kids are experts at making noise. Now they’ll want to stop and listen, too!

Lily Laceby is nearly 90 and lives in a remote cottage with her dog, Butch Aggie. One wild winter night she drifts off to sleep. As she dreams peacefully of bygone days, Butch Aggie stirs, hackles raised, hearing strange noises. Who could be out on such a night? But Lily opens the door to a lovely surprise. A delightfully suspenseful story that children will enjoy again and again. Copyright © Libri GmbH. All rights reserved.

Old Peter is irritated by the noise in his house so he seeks the advice of the village wiseman.

An argument that theoretical works can signify through their materiality—their “noise,” or such nonsemantic elements as typography—as well as their semantic content. In Material Noise, Anne Royston argues that theoretical works signify through their materiality—such nonsemantic elements as typography or color—as well as their semantic content. Examining works by Jacques Derrida, Avital Ronell, Georges Bataille, and other well-known theorists, Royston considers their materiality and design—which she terms “noise”—as integral to their meaning. In other words, she reads these theoretical works as complex assemblages, just as she would read an artist's book in all its idiosyncratic tangibility. Royston explores the formlessness and heterogeneity of the Encyclopedia Da Costa, which published works by Bataille, André Breton, and others; the use of layout and white space in Derrida's Glas; the typographic illegibility—“static and interference”—in Ronell's The Telephone Book; and the enticing surfaces of Mark C. Taylor's Hiding, its digital counterpart The Réal: Las Vegas, NV, and Shelley Jackson's Skin. Royston then extends her analysis to other genres, examining two recent artists' books that express explicit theoretical concerns: Johanna Drucker's Stochastic Poetics and Susan Howe's Tom Tit Tot. Throughout, Royston develops the concept of artistic arguments, which employ signification that exceeds the semantics of a printed text and are not reducible to a series of linear logical propositions. Artistic arguments foreground their materiality and reflect on the media that create them. Moreover, Royston argues, each artistic argument anticipates some aspect of digital thinking, speaking directly to such contemporary concerns as hypertext, communication theory, networks, and digital distribution.

This ebook includes audio narration. Cow has lost her moo—can she find it again? Having lost her moo, Cow is stuck clucking. The only thing to do is go out and find that moo! Join Cow and her friends as they conduct their vocal barnyard search. Cow tramps through a wheat field and on into the starry night until she is too tired to look any farther. But in the end, Cow and her moo are reunited, and all is well. The simple repetition will have children chanting right along with Cow—"It is not you who has my moo!" Using a van Gogh-inspired palette and art style, Caldecott Honor winner Denise Fleming has created a character who will appeal directly to a preschooler's sense of humor. The Cow Who Clucked is a 2007 Bank Street - Best Children's Book of the Year. Read by Kathleen McInerny.

When the world gets too loud and chaotic, a young boy’s grandfather helps him listen with wonder instead. Kids laughing, sneakers squeaking, balls bouncing—for Thunder, the sounds of the school day often brew into overwhelming noise storms. But when Thunder’s mosom asks him what he hears on an urban nature walk, Thunder starts to understand how sounds like bird wings flapping and rushing water can help him feel calm and connected. Gentle, inviting illustrations by Joshua Mangeshig Pawis-Steckley emphasize Mosom’s lessons about the healing power of the world around us.

Mr. Noisy creates lots of different patterns in his every day activities.

At bedtime Caillou hears a funny scratching noise and needs Mommy's and Daddy's help to discover its source.