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Sabtu, 07 Januari 2017

Free PDF Sailing a Serious Ocean: Sailboats, Storms, Stories and Lessons Learned from 30 Years at Sea

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Sailing a Serious Ocean: Sailboats, Storms, Stories and Lessons Learned from 30 Years at Sea

Sailing a Serious Ocean: Sailboats, Storms, Stories and Lessons Learned from 30 Years at Sea


Sailing a Serious Ocean: Sailboats, Storms, Stories and Lessons Learned from 30 Years at Sea


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Sailing a Serious Ocean: Sailboats, Storms, Stories and Lessons Learned from 30 Years at Sea

Product details

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Audible Audiobook

Listening Length: 10 hours and 37 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Tantor Audio

Audible.com Release Date: February 26, 2019

Language: English, English

ASIN: B07NHTF1FR

Amazon Best Sellers Rank:

Sailing a Serious Ocean is John Kretschmer's memoir about 30 years of sailing as a delivery boat captain and off-shore passage instructor. Along the way, Kretschmer tries to teach about not just passage making, but also how to evaluate and buy a boat for such an adventure, what to do when the ocean becomes "serious", and recommends other books for deeper reading about storm tactics and so forth. But the real reason to buy and read this book is the stories, because while Kretschmer's an experienced sailor and probably a good instructor, he's a lousy technical writer.Every chapter of the book's anchored by one or several anecdotes or stories. These are really exciting and impressive. When you set out specifically to teach off-shore passage making, your intention is to expose your crew mates (and yourself) to heavy weather sailing. The net result is that you're intentionally making poor sailing decisions like leaving port as a storm is starting. While Krestchmer doesn't go out of the way to tell you how harrowing the passage is, the events that happen tell the story. In every case, there's at least one incident which causes a flooded cockpit. In some cases, the hatch into the cabin was left open so the living space gets a deluge of water as well. (Kretschmer provides good reason as to why this was the case, so he's not entirely an incompetent skipper)In one story, he tells of a daughter whose father is swept off the boat by a massive wave, and she can do nothing but watch as he drowns as she is unable to pull him back aboard. With reasonable humility, Kretschmer observes that he was more lucky than good: the other boat simply was at the wrong place at the wrong time.It's clear that Kreschmer has been everywhere, though this book focuses mostly on the Atlantic with a side-helping of the Mediterranean. While I'm unfamiliar with the Atlantic, I have sailed the Mediterranean, and I agree with his observations that you either get too little wind or too much wind, with nothing in between.There's a significant bit of sailboat philosphy in the book, as Kretschmer tries to justify his love of off-shore passage making, which he knows is dangerous. Some of it is related to sailing:Fear leads to inaction and then finally to panic, and that’s a deadly course to follow. The majority of sailing disasters result from boats and crews taking passive approaches to storm conditions. Staying engaged with the boat and the situation is the single most important heavy-weather tactic. You made the decision to go to sea and you own your decision. It’s your storm and you have to deal with it. You can’t just push the reset button.(Loc 2989-93)Some of it is related to life, and why he deliberately chose a "career" that's fundamentally kept him relatively poor financially but rich in experience:And time, the most precious commodity of all, far more valuable than gold, has been devalued as people are forced to squander it in a terribly backward equation—trading it for money. Just how crazy is that? Who, when their allotment of time is all but spent, would not trade every bit of gold for just a fraction more time?(Loc. 1755-57)Kretschmer does note (and it's something that I've observed as well), that outdoor life and experience makes us all equal and honest. When you're on a sailboat with gale force winds coming down on you, it doesn't matter what your credentials or job title is, your life is on the line just as well as anybody else's is on the boat. You can't politically-maneuver out of storms, nor can you bluff your way down a mountain on a twisty windy descent. You either have the skills, mind-set, and ability to do so, or you don't. That's why those of us who regularly do outdoor activities have a more trusting and open mind-set than those who don't: when you regularly face natural disasters, more people are willing to help you with no agenda than when you're in the office facing the next performance review, and that can't help but spill over into the rest of your life as well.The weakest part of the book is on the technical side. Kretschmer tries to teach you what kind of features to look for in a boat with blue-water aspirations, but with his many years of experience and hanging out with people familiar with technical jargon, he's not only unable to explain things clearly, he fails to start with engineering principles behind blue-water sailboats. For instance, he talks about how pretty a boat should look with its line and beam, but doesn't explain that a wide boat with spacious living quarters wouldn't handle well in a storm because the high waterline would provide too big a surface area for wind to catch and thereby hinder control in high winds. Instead, he praises the Contessa 32 as a submarine with a mast attached, leaving the reader to extract the principle of boat design from that metaphor.Here's what I was able to extract from the book in that respect: you want a boat with the rudder amid-ships rather than at the end of the boat like performance cruisers have. The reason is when the boat's being pitched in steep seas, you'll end up with the rudder out of the water, which means you can't steer at precisely the most important time when steering is important. You want a boat with multiple sail plans, so sloops and cutters aren't that great, since roller furling head sails aren't very good when in a storm: chafing at the furling line could easily unfurl the sail at just the wrong time, and stay sails that are heavy and hank on are actually more reliable. Finally, you want as low a waterline as you can find to reduce windage. He claims that design is more important than construction, but really should have emphasized that design and construction are both incredibly important.My biggest criticism of the book as such is that it appears Kretschmer has no experience sailing Catamarans, so he doesn't address that important topic. He also doesn't provide references to other books that would cover that gap. He addresses storm tactics in a fine and reasonable fashion, but again, those are mostly restricted to the boats he's delivered and owned. The diagrams in the book are nice, but of course, next to useless on the Kindle version. (He does explain the The Perfect Storm was riddled with technical inaccuracies and was written by a landlubber, but fails to provide explanations of how you could tell)All in all, the book's a fun read and enjoyable even if you're not a sailor, or even if you have no intention of ever making an off-shore passage. And if you do intend to make an off-shore passage, booking a passage with Kretschmer is probably a must-do.My one caveat with this book is that if you do intend to make an off-shore passage at some point, by no means should you allow your spouse to read this book. You will absolutely not be allowed to go if that happens!

I regard John Kretschmer as the poet laureate of cruising sailors. His writing is that good - uncluttered, easy to read, gripping, and expressive. Sailing a Serious Ocean is sort of the third in a trilogy of John’s books, beginning with Cape Horn to Starboard and continuing with Flirting With Mermaids. In each of these three books, John uses a chapter in his personal life as the frame for telling his sea stories, and for offering philosophical and practical advice on how to deal with the vicissitudes of King Neptune. He bares his soul for the reader.Having had the privilege of sailing with John, I can say that the person who comes across in his books is exactly the person that he is - intelligent, an easy conversationalist, an excellent listener, and a great sense of humor with a healthy dose of self-deprecation. He treats everyone he meets as a friend, and he never fails to show kindness towards those of us who may gotten in a little over our heads.

I read the book as a fun read vs the business, leadership or self-help books I often read. Then about ½ way through I realized I need to read this again, with more highlighting and notes. As a captain and sailing instructor myself, this book provided so many real life examples and mistakes I don’t need to make now. Plus it reawakened my desire to cross more oceans and see distant lands. Bravo JK

While no real training is laid out , the book adds tips in stories . Great one liners " He was still in a leg brace that trip , one of my best crew was pretty limited . But No matter how rough it got ," he could make a sandwich & drink for anyone who may be steering" . One rich boat owner was found smiling at the wheel , as everyone came up from below ,hearing a loud grinding sound . " You said you are not a sailor till you run aground " .Never really pins down a favorite boat or manufacture . Sort of a 10 boat " these are OK " or " it's ugly , slow , but drifts well in heavy seas " . Not the best , but did 30K miles at sea on one . No real catamaran stories / details . Great book .

This is a must read for those like me who dream of buying a fast performance cruiser to sail the seven seas. The book is an excellent account of heavy weather sailing with many sidebars about weather, the state of the sea's roughness, and an examination of what makes a good boat for heavy weather sailing. John Kretschmer is a great writer and has well over 300,000 miles delivering boats around the world, teaching would be world cruisers in the sailors arts, and conducting seminars on blue water sailing. John bought his current boat, a Kaufman 47, and has sailed the boat all over the globe. The book has impressed me in a number of ways, and I highly recommend it to would be global cruisers. John's writing puts the reader in the middle of the action.

This is one of the best books I have read to give me a better understanding of passages and storm tactics. His entertaining writing style adds to the enjoyment as well as his humility.

John writes with an easy-flowing style about his life on the sea. His knowledge, wit and humor shine through on every page.I love how he shows some of the real feelings of untying from the security? of land, the lessons learned on the sea and knowledge gained through some hard knocks. Taking responsibility for the errors of his crew shows he knows the place of a captain, yet he remains humble.Some good takeaways for me are the value of the stays'l, the ability to pull in a reef while off the wind, and in general the importance of high quality gear.Thanks for some good sea stories John! I hope to see you out there!Keith DezelleS/V Sofia, Tayana 42V, currently in Bocas del Toro, Panama

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Selasa, 03 Januari 2017

Ebook Download Encountering Poverty: Thinking and Acting in an Unequal World (POVERTY, INTERRUPTED)By Ananya Roy, Genevieve Negrón-Gonzales, Kwe

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Encountering Poverty: Thinking and Acting in an Unequal World (POVERTY, INTERRUPTED)By Ananya Roy, Genevieve Negrón-Gonzales, Kwe

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Encountering Poverty: Thinking and Acting in an Unequal World (POVERTY, INTERRUPTED)By Ananya Roy, Genevieve Negrón-Gonzales, Kwe


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Encountering Poverty: Thinking and Acting in an Unequal World (POVERTY, INTERRUPTED)By Ananya Roy, Genevieve Negrón-Gonzales, Kwe

Encountering Poverty challenges mainstream frameworks of global poverty by going beyond the claims that poverty is a problem that can be solved through economic resources or technological interventions. By focusing on the power and privilege that underpin persistent impoverishment and using tools of critical analysis and pedagogy, the authors explore the opportunities for and limits of poverty action in the current moment. Encountering Poverty invites students, educators, activists, and development professionals to think about and act against inequality by foregrounding, rather than sidestepping, the long history of development and the ethical dilemmas of poverty action today.  

  • Amazon Sales Rank: #1061757 in Books
  • Brand: imusti
  • Published on: 2016-03-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .60" w x 6.00" l, .0 pounds
  • Binding: Paperback
  • 208 pages
Features
  • University Press Group Ltd

From the Inside Flap “Encountering Poverty is a genre-busting book, hybrid critical textbook and scholarly monograph, that pushes the reader to reflect on her or his preconceptions about, and desire to redress, global poverty. Its provocative arguments and deployment of innovative teaching tools will stimulate the most seasoned poverty scholar-educator.”—Eric Sheppard, coauthor of A World of Difference: Encountering and Contesting Development “In a neo-neoliberal era of philanthrocapitalism, globalized microfinance, and expanding entrepreneurial efforts at enlisting ‘the poor’ in market foster care, Encountering Poverty critically reminds us that students of poverty need to think about their own complicity in the processes that produce the suffering of poor people. But far from leading us to a place of paralysis and moralistic self-flagellation, the authors advance a more reflective and constructive approach, arguing that we can still take modest steps against massive global inequality even as we navigate its contradictions and complexities. Out of the docility and dead ends of neoliberal responsibilization, Encountering Poverty enables new and more reflexive response abilities for a world in crisis.”—Matthew Sparke, author of Introducing Globalization

About the Author Ananya Roy is Professor of Urban Planning and Social Welfare at the University of California, Los Angeles, and Director of the Institute on Inequality and Democracy at UCLA Luskin.   Genevieve Negrón-Gonzales is Assistant Professor of Education at the University of San Francisco.   Kweku Opoku-Agyemang is Global Poverty and Practice Postdoctoral Fellow at the University of California, Berkeley.   Clare Talwalker is Lecturer in International and Area Studies and Vice Chair of Global Poverty and Practice at the University of California, Berkeley.  

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Senin, 02 Januari 2017

PDF Download Kick White's Ass with the Queen's Gambit Accepted (Chess Opening Preparation Book 1)By Riccardo Annoni

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Hi, my name is Riccardo Annoni.
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  • Sales Rank: #954446 in eBooks
  • Published on: 2013-08-28
  • Released on: 2013-08-28
  • Format: Kindle eBook

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Rabu, 07 Desember 2016

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I Love You This MuchFrom Igloo Books Ltd

  • Sales Rank: #1066801 in Books
  • Published on: 2015-02-01
  • Binding: Board book
  • 24 pages

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Sabtu, 03 Desember 2016

Free Download Baseball's Great Experiment: Jackie Robinson and His LegacyBy Jules Tygiel

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Baseball's Great Experiment: Jackie Robinson and His LegacyBy Jules Tygiel

In this gripping account of one of the most important steps in the history of American desegregation, Jules Tygiel tells the story of Jackie Robinson's crossing of baseball's color line. Examining the social and historical context of Robinson's introduction into white organized baseball, both on and off the field, Tygiel also tells the often neglected stories of other African-American players - such as Satchel Paige, Roy Campanella, Willie Mays, and Hank Aaron - who helped transform our national pastime into an integrated game. Drawing on dozens of interviews with players and front office executives, contemporary newspaper accounts, and personal papers, Tygiel provides the most telling and insightful account of Jackie Robinson's influence on American baseball and society. The anniversary issue features a new foreword by the author.

  • Sales Rank: #94304 in Audible
  • Published on: 2013-11-15
  • Format: Unabridged
  • Original language: English
  • Running time: 1027 minutes

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Jumat, 02 Desember 2016

Free Download Modern Trains and Splendid Stations: Architecture and Design for the Twenty-first Century

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  • Published on: 1600
  • Binding: Paperback

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Rabu, 23 November 2016

Free Ebook Essentials of Music TechnologyBy Mark Ballora

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Essentials of Music TechnologyBy Mark Ballora

Computers in music have gone from being a niche subject to becoming a ubiquitous presence that all music students are bound to encounter in their professional lives. Meant to serve as a general reference for music technology courses, Essentials of Music Technology provides an overview of musical acoustics, psychoacoustics, MIDI, digital audio, and sound recording.

Topics covered include:

* The Internet

* MIDI software

* The nature of digital audio storage

* Filters

* Effects

* Room acoustics

* Sampling and synthesis techniques

  • Sales Rank: #1110130 in Books
  • Published on: 2015-04-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .60" w x 10.20" l, .0 pounds
  • Binding: Paperback
  • 256 pages

From the Back Cover

Within the span of the last decade, computers in music have gone from being a niche subject to becoming a ubiquitous presence that all music students are bound to encounter in their professional lives. Meant to serve as a general reference for music technology courses, Essentials of Music Technology provides an overview of musical acoustics, psychoacoustics, MIDI, digital audio, and sound recording.

Among the topics covered in this book are:
  • The Internet
  • MIDI software
  • The nature of digital audio storage
  • Filters
  • Effects
  • Microphone types
  • Room acoustics
  • Sampling and synthesis techniques

The author has a background in theater arts, music composition, and multi-media production. He studied music technology at New York University and McGill University. He is assistant professor of Music Technology at the Pennsylvania State University.

About the Author

Mark Ballora has a background in theater arts, music composition, and multimedia production. He studied music technology at New York University and McGill University. He is Associate Professor of Music Technology at Pennsylvania State University.

Excerpt. © Reprinted by permission. All rights reserved.
What Is Music Technology?

This newly defined component of music education means many things to many people. Music technology, a broad subject, has meanings that may differ for music educators, composers, performers, audio producers, electrical engineers, computer programmers, or perceptual psychologists. All of the music activities in these fields intersect in the personal computer. Within the span of the last decade or so, computers in music have gone from being a niche subject to becoming a ubiquitous presence that all music students are bound to encounter in their professional lives. Furthermore, the new and varied role of the computer in music making brings about surprising overlaps with all of these fields.

Prior to the 1980s, "music technology" (if the term was used at all) would most likely have referred to audio engineering, the conversion (transduction) of musical material into electricity for purposes of amplification, broadcasting, or recording. The first step in the process was the microphone, which performed the acoustic-to-electronic conversion. Once the musical material existed in the form of electrical current, it could be sent to an amplifier that would drive a set of speakers, thus relaying the material over a public address system. Alternatively, the electromagnetic radiation that resulted from the electrical current could be broadcast from an antenna for television or radio reception. Or, if the signal were to be recorded, the musicians were likely to be assembled in a recording studio, with a number of microphones strategically placed for optimal sound capture. The signals from the various microphones were combined in a mixer, which allowed a technician to adjust the relative volumes and stereo positions of each microphone's signal. With a mixer, it was also possible to send the signal to processing devices to adjust the character of the sound, making it, for example, sound as though it were occurring in a large room. Following effects processing, the mixed signals could be sent to tape for storage.

Other possible meanings for "music technology" might have included the use of synthesizers for composing electronic music, an activity attractive to musicians who had a penchant for electrical assembly or who had the means to employ technicians to create and maintain the machinery. Perhaps least known to the general public were those who worked in high-end research institutions who had access to computers, sharing time on these mysterious machines with engineers and rocket scientists and programming them to emit sounds and music.

The personal computer has generalized and expanded these models and affected every area of education. Music technology, implying "the use of computers as an aid to music making" is now a subject that all music educators must address in some way. Small desktop computers may now be part of every step of the musical production process just described, acting as performer, mixer, processor, and storage medium. This development has implications for all practitioners of music, regardless of their specialty. Whether they find themselves working at a school, a recording studio, or concert hall, musicians can count on finding computers at work in the production of musical activity. Performers are often expected to send CDs of their performances as part of applications for jobs. Educators are expected to employ the resources of the Internet and multimedia technology to teach students about music rudiments. Composers are expected to provide performers with laser-printed scores and parts. Thus, knowledge of music technology is becoming a core skill of musical training, along with history, figured bass, and Roman numeral notation. Purpose of This Book

Things should be made as simple as possible, but no simpler.
— Albert Einstein

With any learning endeavor, it is typically the basics that are most difficult to master. This book is meant to provide an overview of essential elements of acoustics, MIDI, digital audio, and sound recording so that students may understand what musical elements may be stored in a computer and what type of manipulations and representations of musical information are possible. It is written in an attempt to find a balance between simple and straightforward presentations and descriptions that are thorough enough to explain the material without "dumbing it down."

The book is not meant to be a substitute for a qualified instructor. A performer cannot master an instrument without the help of an experienced musician, just as an athlete cannot excel at a sport without the guidance of a coach. But even experienced performers and athletes find it useful to consult a fingering chart or a rule book as a reference. This book is intended to play a similar role for a student learning some aspect of music technology. Different sections will be relevant for different types of projects or different levels of learning. It is broken into short sections in order to allow an instructor to assign reading selectively to focus on areas that are important for a given group of students.

The only assumptions are that students are familiar with a computer operating system and fundamentals of music. Certain concepts are best presented with equations, but no advanced mathematical training is necessary to understand the main points. Computers deal with information in the form of numbers, and different programs may require information to be entered differently. A given program may ask for frequency values or musical pitches, for loudness in decibels or in arbitrary units. Mathematics is not presented for its own sake, but rather to give students alternative views of how to understand and work with music in a computer environment. The cognitive psychologist Marvin Minsky has stated that a thing or idea seems meaningful only when we have a variety of different ways to represent it, providing different perspectives and different associations. Viewing music through the lenses of acoustics, physics, or computer science has the potential to yield rich rewards in the form of new perspectives and associations that they bring to the meaning of music.

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