26 Results for : nanosecond
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The Stand , Hörbuch, Digital, ungekürzt, 2867min
This is the way the world ends: with a nanosecond of computer error in a Defense Department laboratory and a million casual contacts that form the links in a chain letter of death.And here is the bleak new world of the day after: a world stripped of its institutions and emptied of 99 percent of its people. A world in which a handful of panicky survivors choose sides - or are chosen. A world in which good rides on the frail shoulders of the 108-year-old Mother Abagail - and the worst nightmares of evil are embodied in a man with a lethal smile and unspeakable powers: Randall Flagg, the dark man.In 1978, Stephen King published The Stand, the novel that is now considered to be one of his finest works. But as it was first published, The Stand was incomplete, since more than 150,000 words had been cut from the original manuscript.Now Stephen King's apocalyptic vision of a world blasted by plague and embroiled in an elemental struggle between good and evil has been restored to its entirety. The Stand: The Complete and Uncut Edition includes material previously deleted, along with new material that King added as he reworked the manuscript for a new generation. It gives us new characters and endows familiar ones with new depths. It has a new beginning and a new ending. What emerges is a gripping work with the scope and moral complexity of a true epic.For hundreds of thousands of fans who heard The Stand in its original version and wanted more, this new edition is Stephen King's gift. And those who are listening to The Stand for the first time will discover a triumphant and eerily plausible work of the imagination that takes on the issues that will determine our survival.Cover artwork ©2020 CBS Interactive Inc. ungekürzt. Language: English. Narrator: Grover Gardner. Audio sample: https://samples.audible.de/bk/rand/002909/bk_rand_002909_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Living Life from the Inside Out: Who You Are Matters , Hörbuch, Digital, ungekürzt, 213min
As children, we're asked, "What do you want to be when you grow up?" As adults we're asked, "What do you do for a living?" We identify with our jobs, they define us. We're often so busy with our jobs, there's little time to question our chosen paths. That is, until life steps in. The Great Recession of 2008 left hundreds of thousands feeling lost and insecure; a similar but much bigger event occurred in 1929. When such events occur, we could fall into despair or perhaps it could be the time to re-evaluate what we really want out of life. What is most important to you? Most of you would say that you'd like to be better, happier people. In their pursuit of happiness people have defined themselves by their careers, their money, their possessions. They have acted as though their self-esteem, their self-worth, could be bought. Material acquisition became a way of life. Bigger and more is better. And then in a nanosecond it all can disappear. Wealth vanishes, careers and jobs are wiped out. Then what? This paradigm could be referred to as living life outside in. Defining oneself by stuff that lies outside of our control, by how things appear on the outside, as though happiness and self-worth can be bought, is living outside in. This book focuses on a different paradigm: living inside out. Rather than defining oneself by titles, wealth, possessions, acquisitions, and other things, this model requires a look inside of ourselves to discover who we really are. It creates an empowering model that places individuals in control of their life, their personal value, and their happiness, rather than placing external circumstances in control of how we feel about ourselves. Religious thinkers, philosophers, secular humanists have for centuries argued that the pursuit of the "golden calf" will not provide ultimate happiness. ungekürzt. Language: English. Narrator: George Napier. Audio sample: https://samples.audible.de/bk/acx0/070334/bk_acx0_070334_sample.mp3. Digital audiobook in aax.- Shop: Audible
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The Bluffer's Guide® to the Quantum Universe , Hörbuch, Digital, ungekürzt, 118min
Be an instant expert on the quantum universe and Bluff Your Way in the subject with everyone you know. No science required, just a sense of humour. From 'gluons' to 'gravitons', and from 'certainty' to 'superstrings', here's all you need to know to sound all-knowing. Extracts from the book: Quantus The study of subatomic particles is called quantum mechanics. This is strange because the word 'quantum' is derived from the Latin noun 'quantus' meaning 'how much'. In this case, not a lot. And it can be seen within a nanosecond that it is entirely alien to this subject to talk of anything 'mechanical', 'mechanistic' or 'machine-like'. Quantomime Einstein, whose work with light and electrons had opened the curtains on the whole quantomime, wavered between calling quantum mechanics 'incomplete' and declaring its ideas to be 'the system of delusions of an exceedingly intelligent paranoiac, concocted of incoherent elements of thought'. Quantity All matter can be broken down into atoms. Atoms are small. They are smaller than affordable apartments in Manhattan, they are smaller than portions at the Ritz, they are even smaller than the chance that a politician will be honest. The full stop at the end of this sentence will be a tiny blob of ink about a millimetre wide which will contain close to four billion atoms. Quantifiably Never commit yourself about the outer limits of the Universe or the quantum realm even to a 'probably'. Anything you utter with certainty, or declare to be 'probably true' could return to haunt you and, it can be said with confidence, probably will. If you know what's good for you, a 'possibly' is the farthest you will go. This is a Bluffer's Guide; Bluffer's Guides, Bluffer's Guide, Bluffer's, and Bluff Your Way, are Registered Trademarks. ungekürzt. Language: English. Narrator: Jack Klaff. Audio sample: https://samples.audible.de/bk/bluf/000006/bk_bluf_000006_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Manifest Abundance Now: Guided Meditation With Affirmations to Create Rich & Wealthy Life While You Sleep, Hörbuch, Digital, 71min
Everything is inside you, absolutely everything you can imagine. Imagine. You are the magician of your life. You create your reality with your body and mind. The real you is your consciousness, the witness, the one who is watching.Watching the movie of your life. Watching your body and mind. Watching the images shifting millions of times in a nanosecond in your consciousness. Each image is a completely separate frame in the universe. It does not move, it is still. You make it move by selecting the next image as a watcher, just like in the animation or a movie screen. Now, how do you select the next image where you see yourself living a rich, wealthy, and abundant life full of wonder and excitement. The next image is already in your body and mind, waiting to realize itself into your reality. The vibrations in you, manifest your reality. The vibrations of your body-mind create feelings, smells, sounds, and colors you can experience.Now, how can you amplify the vibration in your body-mind that represents a rich and abundant life? It is so easy. You have a voice, that voice is yours, it is one of a kind. And it is beautiful. This is your most powerful tool to create your reality. It has everything in it, the perfect tonality, pitch, and range to create all possible vibrational harmonics in your body and mind for every kind of reality. With your voice, you can move mountains and make people shine. With your voice, you can do everything you can imagine. By repeating words and affirmations with your voice, you create vibrational patterns in your mind. The more you repeat, the more they amplify and grow. Until they take over your whole body. You will feel these vibrations with your whole body, they must resonate fully in your body to manifest into physical reality. It is the feeling that manifests reality. Then your body starts to move to another reality. The image you see starts to change. You create a Language: English. Narrator: Reigo Vilbiks. Audio sample: https://samples.audible.de/bk/acx0/158914/bk_acx0_158914_sample.mp3. Digital audiobook in aax.- Shop: Audible
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The High-Speed Company
The High-Speed Company - Creating Urgency and Growth in a Nanosecond Culture: ab 9.99 €- Shop: ebook.de
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L'abbandono E la Corsa
We wish we had a new socio-musical tag at hand: an almost impossibly flexible one, encompassing both Theodor Adorno's "culture consumer" and the kind of listener Maurizio Della Casa described in his music pragmatics writings. Such tag could then be stretched to include the sensual level, the sheer pleasure of sound (Aaron Copland), or the self-centered approach, focusing on individual reactions (Dennis Smalley, Ernest Schachtel), and so forth, down to casual listening, to stop just a nanosecond this side of background muzak non-listening. It would then make a useful starting point for our thoughts on Francesco Antonio Mirenzi's creativity, it's appreciation and consumption. The word "consumption" should elicit no surprise. Despite today's negative overtones, it has always been the explicit or hidden goal every composer pursued, with few exceptions. Mirenzi himself keeps faithful to that ideal. Here, once again, he explores the art of musical dissimulation-making quite complex structures sound simple. Each one of his pieces is built on self-consistent formal patterns, both in it's general outline and inside each section. It may imply complex combinatorics and yet sound simple, easy to grasp, almost "natural", eschewing the superfluous, ostentatious, and extreme. Such traditional elements as melody, variation, repetition, contrast are employed, engendering a smooth horizontal musical flow. Lightness is his goal throughout, and there is more cropping out than adding. He seems deeply convinced that music needs not be fancy to be enjoyed as such. "You can write good contemporary music despite being a composer" could be his daily self-reminder. L'abbandono e la corsa ("Abandon and race") for flute and piano (July 2008) is the piece this CD is named after. The score has: "To my dad, (...) for all the times he brought me to train-watching". No extra-musical program is implied, yet the music, as often in Mirenzi, may evoke such imagery as vague landscapes and fog. (The opening marking is "Slow and light-Let it vibrate"). The dedication is a mere personal statement, however it is appended to the piece that the composer feels as the closest one to his present-day conception. His "communicative" musical thinking is made of precious few elements, actually, most of the piece is built on the three pitches forming the B-flat major triad. Only in the "race" section G flat is added, as to suggest movement. Toward the end, we find one of those displacement effects that are well known from the composer's earlier works-a tonal shift and a more melodic passage quickly heading to the finale, break any likely simmetry, and almost urging us to re-listen. Immediacy - one of Mirenzi's typical expressive traits - is most apparent in La valse qui tourne vite ("The Fast-Whirling Waltz"), for piano, sort of "sugar-coated Debussy" (April 2009). It is "dedicated to Francesco Prode, to his brilliant playing"-no fear, here or elsewhere, to acknowledge the composer's debt to performers. Two main sections can be detected, each one heading toward the treble department, the second one at thrice-faster speed. Also, two procedures alternate: repeated bass notes and a (more or less) rising upper line, both built according to deftly disguised mathematical procedures. Once again, undeveloped material from an imaginary Coda quickly rounds up the piece. The grace of grace notes, harking back to Erik Satie's free-form pieces, such as Trois morceaux en forme de poire, opens up I capricci della virtuosa ("The Lady Virtuoso's Caprices") for piano (October 2009), dedicated "To Cinzia Damiani, dear friend, great pianist". Dispensing, for once, with technical musical lingo, a verbal description of both the piece and the dedicatee would rather resort to the vast array of adjectives implied by the multiple facets of "capriccio"-strong-willed, voluptuous, fickle, irritable, bizarre, fancy, even freakish (echoes from Keith Jarrett's Köln Concert are heard). The latter two dedicatees are found again, ironically together, in Un flipper... nel mare ("A Flipper... in the Sea") for two pianos and pre-recorded sounds: "To Cinzia and Francesco with running-water admiration and affection". In this case we learn from the horse's mouth that the inspirational spark, so to say, came from a childhood remembrance of the tv series, Flipper, a sort of aquatic Lassie from the 1960's, located in an imaginary Florida Coral Key Park & Marine Preserve. Such title, with it's parentheses à la Musorgsky, subsequently triggers an imitation of a pinball machine (curiously known in Italian as "flipper"), Mirenzi's writing here suggesting it's little ball jumping all over the place. Then, the harmonic structure of Johann Pachelbel's celebrated "Canon" emerges - one of Mirenzi's frequent bows to the past - only to yield, in turn, to the slowly expanding pre-recorded sound of the sea. (The score reads: "A recording of calm sea waves breaking on the Tono shore, July 2007). Such long waves produce a sound carpet, the so-called "Sunflower" melody is gradually put together over it. Then the musical texture gradually thickens, up to a majestic, profound climax, redolent of early Messiaen. The final music-box episode hosts again the melody heard before. From Un flipper... nel mare Mirenzi subsequently drew Il girasole ("The Sunflower", May 2008), an extrapolation of a part from a whole to make another whole. No philosophical pretense is involved here-just an empyrical experiment in musical writing. The composer embraces the principle that nothing will be forever what it is, and nothing can be forbidden to become something else-while remaining oneself, one would add, as the act of modifying affects form, not content. The Studio V sul "Vater unser" brings back remembrances of Mirenzi's school days and debut as a composer. It is offered here in solo piano version, but had it's première in Latina, back in 1992, as a choral piece, conducted by Andrea Lunghi (1943-1999), Mirenzi's never-forgotten friend and partner in musical explorations. The score was then transcribed for organ (two versions, with and without pedalboard), and finally for piano, suggesting that the composer may have a special affection for it. The chronological gap between this piece (plus the following two) and the rest of the CD is quite apparent. Here, Bach's original is segmented and stuffed with new chromatic material, also in polyphonic fashion, grafting new lines onto the existing ones, multiplying entries and avoiding abrupt simultaneous breaks. The piece is called Studio for the composer fulfilled the self-imposed task of keeping his original parts in fourth/fifth relationship among them. As one can notice, the performer adds extra emphasis to the chorale melody, quite apparent in the original, but not so easy to perceive here because of such fragmented and contrasted writing-sort of extreme development of the punctus contra punctum concept. In section two, the piece seems to come to an end for a couple of times, yet two sudden stops trigger new expectations in the listener. Then, once again, these are swept away by the quick finale, which both the compositional genre and Mirenzi's penchant for short endings make virtually mandatory. Some of the most typical and interesting traits of Mirenzi's later style are already apparent here-the inevitable flow of the polyphonic texture, the static chorale, the sense of loss of tonal reference points. Tre ("Three", October 11, 1988) and Tredici ("Thirteen", 1986), for solo flute, also emerge from the past. They document a bygone but not forgotten or rejected era. Both pieces seems to have been originated as instrumental extemporizations. Yet, as usual in historical avant-garde, scores are tightly structured, especially Tredici, with it's thirteen sections, each made up of twelve pitches, and it's fixed but variously alternating rhythm patterns. Once again - or perhaps, earlier than ever - we find a rigorous musical architecture,- Shop: odax
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