Understanding the principles and implications of pressure measurement is vital in anaesthesia. Here, in a similar structure to previous chapters we outline the basic physical principles of pressure, the variety of ways that it can be measured in clinical practice and the relationships with other physical principles. There is then focussed material on blood pressure measurement, through invasive and non-invasive techniques, on resonance and damping in pressure measurement systems, and on the measurement of intracranial pressure. The chapter finishes by discussing cardiac output measurement in clinical practice.

It is perhaps one of the most prominent assumptions of rhetorical guidebooks and trainers that abdominal breathing leads to better, e.g., more charismatic and persuasive speech performances. However, recent phonetic evidence was not consistent with this assumption: trained speakers (males more than females) primarily intensified chest breathing when they switched from a matter-of-fact to a charismatic presentation style – and this disproportionate intensification of chest breathing also came with a more charismatic voice acoustics. The present perception experiment builds on these recorded speeches and their acoustic results. We test whether significant correlations would emerge between the acoustic and respiratory measures on the one hand and listener ratings on the other. Twenty-one listeners rated all recorded speeches in individually randomized orders along two 6-point Likert scales: resonance of the voice and charisma of the speaker. Results show significant positive correlations of perceived speaker charisma with f0 variability, f0 range, f0 maximum, and spectral emphasis. Moreover, resonant-voice ratings were positively correlated with both abdominal and chest breathing amplitudes. By contrast, perceived speaker charisma only correlated positively with chest but not with abdominal breathing amplitudes. We discuss the implications of our results for public-speaking training and outline perspectives for future research.

This chapter, which opens by employing Forest as an example of an app which aims to help people avoid procrastinating on screens, is concerned with screen time. In particular, it discusses postdigital temporal rhythms, or the ways in which people experience time on, at, with, and against screens. Drawing on Henri Bergson’s theory of time, Chapter 6 situates durational time within a new, postdigital context, where free-flowing subjective time on screens is mediated by what Bergson terms qualitative multiplicity. These ideas are discussed against a backdrop of reflections from crescent voices, including data processed by ATLAS.ti, which tabulates what interviewees had to say about time and memory on screens. The chapter observes a trend in interviewee responses that experiences of time on screens were very often described as being strongly intuitive. Crescent voices frequently lost track of time in habitual movements on screens, a slip which interviewees found could give comfort by offering a break from clock time. Expanding on this, the chapter elaborates how screens disrupt notions of time as a predictable, measurable entity.

Chapter 5 focuses on the different temporalities that are interwoven in the station, feeding into everyday experiences and informing patterns of action. In Accra’s station, just as in most bus stations in Ghana, departures do not follow designated scripts dictated by clock time; instead, they are collectively timed by the inflow of passengers. These inflows follow different rhythmic temporalities co-composed in Accra and in the destinations served by the station. By detailing the daily work activities of an inexperienced and an experienced station worker, it teases out different levels of perceptual attunement to movement and rhythm taking shape hundreds of kilometres away. It argues that the tacit dimension of temporal and kinaesthetic enskilment highlights important qualities needed to make hustle successful, which essentially requires the ability to ‘read’ the different rhythms of eruptive situations and to align and time one’s actions accordingly.

Chapter 7 considers structural loading and response of horizontal-axis machines, with some theoretical background and illustrative measurements from different wind turbine types. The chapter begins with a recap on the dynamics of a single degree of freedom system, leading into a discussion of multi-DOF systems and modal analysis. The cyclic loads affecting a wind turbine structure are described including wind shear, tower shadow, and rotationally sampled turbulence. The concepts of stochastic and deterministic loading are explained and the principle of aerodynamic damping illustrated. Qualitative descriptions are given of gyroscopic, centrifugal, and electromechanical loading. The phenomenon of blade edgewise stall vibration is explained, with discussion of mechanical damper solutions. The last part of the chapter draws on an early experimental campaign in which the dynamic loading on a full scale wind turbine was measured and compared with the results of software simulation. Results from the same trials also demonstrate the difference in rotor thrust loading arising from positive and negative pitch control. The chapter concludes with a brief summary of fatigue prediction methods.

This chapter explores the interpersonal function of emoji as they resonate with the linguistic attitude and negotiation of solidarity expressed in social media posts. We have introduced a system network for describing the ways in which this resonance can occur, making a distinction between emoji which imbue the co-text with interpersonal meaning (usually through attitudinally targeting particular ideation) and emoji which enmesh with the interpersonal meanings made in the co-text (usually through coordinating with linguistic attitude). We then explain the more delicate options in this resonance network where emoji can harmonise with the co-text by either echoing or coalescing interpersonal meaning, or can rebound from the co-text, either complicating, subverting or positioning interpersonal meaning. Following this traversal of the resonance network we considered two important dimensions of interpersonal meaning noted in the corpus: the role of emoji in modulating attendant interpersonal meanings in the co-text by upscaling graduation and emoji’s capacity to radiate interpersonal meaning through emblematic usage as bonding icons.

This chapter shifts the focus from principle to pragmatic concerns. It starts by considering a number of pragmatic maxims that apply to the enforcement of morality. These maxims limit the relevance of the more abstract principles discussed in this book and will suggest to some that a better approach would start first with the maxims and consider principles only when necessary. This chapter indirectly defends the principles-first approach adopted in this book by outlining what would be lost if this rival maxims-first approach were pursued. The chapter then turns to the problem of overcriminalization, to which the ethical environmentalism defended in this book may seem to be especially vulnerable. This problem points to the importance of identifying alternative enforcement methods to the criminal law, and the importance of comparative assessments of legal and social enforcement mechanisms. The chapter concludes by discussing the social fact of intractable disagreement over the content of morality in modern societies, and the limits, as well as the benefits, this fact presents to the project of ethical environmentalism.

In 1772 Joseph Banks recorded observations on the Hebridean island of Staffa. His most striking ‘discovery’ was a sea cave resembling a cathedral. Banks claimed the cave was known by the name of the mythical Irish warrior Fionn mac Cumhaill, or Fingal, to use the variant made famous by Macpherson’s Ossian poems. The publication of Banks’s findings prompted a small industry of travel writing that combined lithic observations with minstrelsy and national history. In 1797 the French geologist Barthélemy Faujas de Saint-Fond published his research on the topic, which suggested that the association with Ossian was the result of a misunderstanding: whereas the Gaelic for Fingal’s Cave would be ‘an-ua-fine’, the actual name was ‘an-ua-vine’, which translated as ‘melodious cave’. Far from settling the matter, Saint-Fond’s intervention only added to the mystique. In this chapter I argue that the cave’s fashionable status can be partly attributed to a series of re-soundings, by which printed texts and theatrical performances relayed aspects of on-site accounts to new readers and audiences. Where existing models of Romantic resonance have emphasized a correspondence between sound and thought, the fame of Fingal’s Cave emerges here as the result of almost mindless repetition.

Newton’s laws and consideration of units are used to present and discuss the mass on a spring as an example of a harmonic oscillator, a mechanical oscillator with a sinusoidal time dependence. Both the transient solution, where the oscillator is started away from equilibrium and left on its own, and the driven solutions, where a sinusoidal driving force is applied, are presented. The quality factor, Q, is introduced, which characterizes the relative amount of damping forces present, such as those of friction or air drag. The quality factor is related to the number of oscillations that are made when left on its own and to the excitation bandwidth, the range of frequencies over which resonance is observed. Musically relevant examples include the ocarina, tuning fork, some speaker enclosures, and the phenomenon of sympathetic resonance.

The decade of the 1950s witnessed a great transformation in the compositional practice of Pierre Boulez. The usual narratives of serialism during this decade have tended to dwell on Boulez’s experiments with multiple serialism in Structure Ia (1951), which were tremendously short lived. His desire to expand the serial principle, however, did not end with them. Ensuing works, like Le Marteau sans maître (1952–5), Pli selon pli (1957–62/89), and the Third Piano Sonata (1955–7/63), which brought Boulez to the pinnacle of his reputation within the European circle of composers, are those that truly redefined serialism. Through this redefinition, serialism remained an important element of Boulez’s compositional technique until the end of his career. This chapter shows that Boulez’s serialism was an essential forerunner of future trends, rather than a culmination of an abandoned practice, resulting in works and approaches that opened up new avenues for composition.

Disenchantment is doubtless a serious part of a modern attitude to nature. Even Lucretius’ ancient materialism gave good reasons for celebrating nature as a random interplay of forces without seeking a deeper meaning within. In addition, experiences of a silent nature and personal accounts by the deaf have become common. Nevertheless, human consciousness exhibits phenomena that allow us to speak of a voice of nature; closer examination of these phenomena of resonance and empathy provides good reasons for an idealistic understanding of the enchantment of nature. In the human mind, the spirit of the universe awakens unto itself.