Cambridge Checkpoint English Workbook 3
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Cambridge Checkpoint English Workbook 3
Product ID: 54553
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Year: 2018
Language: English
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Cambridge Checkpoint English Workbook 3
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UC_Nash.qxd 8/21/06 12:21 PM Page i
INESCAPABLE ECOLOGIES
UC_Nash.qxd 8/21/06 12:21 PM Page ii
UC_Nash.qxd 8/21/06 12:21 PM Page iii
Inescapable Ecologies
A History of Environment, Disease,
and Knowledge
LINDA NASH
UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London
UC_Nash.qxd 9/11/06 10:22 AM Page iv
University of California Press, one of the most
distinguished university presses in the United States,
enriches lives around the world by advancing
scholarship in the humanities, social sciences, and
natural sciences. Its activities are supported by the UC
Press Foundation and by philanthropic contributions
from individuals and institutions. For more
information, visit [Link].
Portions of chapters 1 and 2 were previously published
in Linda Nash, “Finishing Nature: Harmonizing Bodies
and Environments in Late-Nineteenth-Century
California,” Environmental History 8 (January 2003):
26 – 52. Environmental History is jointly published by
the American Society for Environmental History and
the Forest History Society, Durham, NC.
Portions of chapter 4 were previously published in
Linda Nash, “The Fruits of Ill-Health: Pesticides and
Workers’ Bodies in Post – World War II California,”
Osiris 19 (2004): 203 – 19 (©2004 by the History of
Science Society).
University of California Press
Berkeley and Los Angeles, California
University of California Press, Ltd.
London, England
©2006 by The Regents of the University of California
Library of Congress Cataloging-in-Publication Data
Nash, Linda Lorraine.
Inescapable ecologies : a history of environment,
disease, and knowledge / Linda Nash.
p. cm.
Includes bibliographical references and index.
isbn-13: 978 – 0-520 – 24891 – 5 (cloth : alk. paper)
isbn-10: 0 – 520 – 24891 – 0 (cloth : alk. paper)
isbn-13: 978 – 0-520 – 24887 – 8 (pbk. : alk. paper)
isbn-10: 0 – 520 – 24887 – 2 (pbk. : alk. paper)
1. Medical geography — California—History.
2. Environmental health — California — History.
3. Public health — California — History. I. Title.
ra807.c2n37 2006
614.4'2794 — dc22 2006002009
Manufactured in the United States of America
15 14 13 12 11 10 09 08 07 06
10 9 8 7 6 5 4 3 2 1
This book is printed on New Leaf EcoBook 50, a 100%
recycled fiber of which 50% is de-inked post-consumer
waste, processed chlorine-free. EcoBook 50 is acid-free
and meets the minimum requirements of ANSI/ASTM
D5634 – 01 (Permanence of Paper).
UC_Nash.qxd 8/21/06 12:21 PM Page v
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Table of Contents
Downmix Two Stereo Inputs to One Stereo Output�������������������������������������������134
Render a Visual Waveform of the Audio������������������������������������������������������������136
Detect Silence���������������������������������������������������������������������������������������������������138
Silence the Video����������������������������������������������������������������������������������������������138
Convert Text to Speech�������������������������������������������������������������������������������������138
Apply a Low-Pass Filter������������������������������������������������������������������������������������139
Summary����������������������������������������������������������������������������������������������������������140
Chapter 9: All About Subtitles����������������������������������������������������������141
Add Subtitles to a Video as an Extra Stream�����������������������������������������������������142
Permanently Burn Subtitles to a Video�������������������������������������������������������������143
Add a Custom Font for Displaying Subtitles of a Video�������������������������������������145
About the Substation Alpha (SSA/ASS) Subtitle Format������������������������������������146
Add Subtitle Files in Different Languages���������������������������������������������������������150
Extract Subtitles from a Video���������������������������������������������������������������������������151
Extract Subtitles from a DVD�����������������������������������������������������������������������������152
Summary����������������������������������������������������������������������������������������������������������153
Chapter 10: All About Metadata�������������������������������������������������������155
Add Album Art to MP3���������������������������������������������������������������������������������������155
Set MP3 Tags����������������������������������������������������������������������������������������������������157
Export Metadata������������������������������������������������������������������������������������������������158
Import Metadata�����������������������������������������������������������������������������������������������159
Extract Album Art����������������������������������������������������������������������������������������������160
Remove All Metadata����������������������������������������������������������������������������������������162
Set Language Metadata for Audio Streams������������������������������������������������������163
Summary����������������������������������������������������������������������������������������������������������164
ix
Table of Contents
Chapter 11: FFmpeg Tips and Tricks������������������������������������������������165
Customize the Terminal�������������������������������������������������������������������������������������165
File Manager Automation����������������������������������������������������������������������������������167
Hide the Banner������������������������������������������������������������������������������������������������170
Add an espeak Intro to Your MP3 Files�������������������������������������������������������������170
Best MP3 (MPEG 2 Audio Layer 3) Conversion Settings������������������������������������173
Colors in Hexadecimal��������������������������������������������������������������������������������������174
Colors in Literal�������������������������������������������������������������������������������������������������175
Streams Information from ffprobe��������������������������������������������������������������������177
Extract Non-pixelated Images from a Video������������������������������������������������������185
Create a Thumbnail Gallery for a Video�������������������������������������������������������������188
Record from Microphone����������������������������������������������������������������������������������192
Record from Webcam����������������������������������������������������������������������������������������194
Screen Capture�������������������������������������������������������������������������������������������������195
Render an Animated GIF on a Video������������������������������������������������������������������197
Show a Timer on the Video�������������������������������������������������������������������������������200
Create a Silent Ringtone�����������������������������������������������������������������������������������201
Create a Countdown Beep Audio�����������������������������������������������������������������������202
Generate Noise of a Certain “Color”������������������������������������������������������������������203
Create a Bleep Audio�����������������������������������������������������������������������������������������204
Add an Echo to Part of a Video��������������������������������������������������������������������������204
Reverse a Video������������������������������������������������������������������������������������������������205
Fade into Another Video Using a Transition Effect���������������������������������������������206
Create Waveform Video of Audio�����������������������������������������������������������������������208
Create a Waveform Image of Audio�������������������������������������������������������������������210
Forensic Examination of Audio (Not Really)������������������������������������������������������210
Replace a Green-Screen Background with Another Video��������������������������������212
x
Table of Contents
Turn All Colors Gray Except One������������������������������������������������������������������������213
How to Pan Across a Video��������������������������������������������������������������������������������213
Using FFmpeg with Timeline-Based Video-Editing Software����������������������������214
Make ffmpeg -version More Meaningful�����������������������������������������������������������214
Hardware Acceleration��������������������������������������������������������������������������������������216
Finis������������������������������������������������������������������������������������������������������������������218
What Next…�����������������������������������������������������������������������������������������������������220
Chapter 12: Annexures���������������������������������������������������������������������223
Annexure 1: Sample List of Codecs�������������������������������������������������������������������223
Annexure 2: Sample List of Decoders���������������������������������������������������������������234
Annexure 3: Sample List of Encoders���������������������������������������������������������������244
Annexure 4: Sample List of Filters��������������������������������������������������������������������249
Annexure 5: Sample List of Formats�����������������������������������������������������������������261
Index�������������������������������������������������������������������������������������������������271
xi
About the Author
V. Subhash is an invisible Indian writer,
programmer, and illustrator. In 2020, he
wrote one of the biggest jokebooks of all
time and then ended up with over two dozen
mostly nonfiction books including Linux
Command-Line Tips & Tricks, CommonMark
Ready Reference, PC Hardware Explained,
Cool Electronic Projects, and How To Install
Solar. He wrote, illustrated, designed, and
produced all of his books using only open source software. Subhash has
programmed in more than a dozen languages (as varied as assembly
and Java); published software for desktop (NetCheck), mobile (Subhash
Browser & RSS Reader), and the Web (TweetsToRSS); and designed several
websites. As of 2022, he is working on a portable JavaScript-free CMS using
plain-jane PHP and SQLite. Subhash also occasionally writes for the Open
Source For You magazine and [Link].
xiii
About the Technical Reviewer
Gyan Doshi has been with the FFmpeg project as a developer and
maintainer since 2018. During this time, he has focused on FFmpeg
filters, formats, and command-line tools. From his experience in video
postproduction stages such as editing and motion graphics, Gyan has
learned how FFmpeg can be used in multimedia workflows as a valuable
addition or as a substitute for expensive tools. Aside from being engaged as
a multimedia/FFmpeg consultant, Gyan also troubleshoots FFmpeg issues
on online forums such as Stack Exchange and Reddit.
Gyan builds the official Windows binary packages of FFmpeg (ffmpeg,
ffprobe, and ffplay) and other tools (ffescape, ffeval, graph2dot, etc.)
and offers them for download from his website at [Link].
xv
Acknowledgments
The author would like to thank:
• The publisher Apress who insisted on not using any
third-party video in the screenshots, as the author did
in the original self-published book (FFmpeg Quick
Hacks). Most screenshots in this Apress book were
taken from the author’s own videos. The rest used
videos and images that were in the public domain
([Link], [Link], and [Link]). This
led to a rewrite of most of the content, and in the
process, several mistakes were eliminated.
• The technical reviewer Gyan Doshi for pointing
out several other mistakes and making valuable
suggestions.
• Creators and supporters of free and open source
projects.
• The author's family, friends, enemies and governments
without whose help and encouragement this book
would have been completed much ahead of its
deadline.
xvii
Introduction
FFmpeg is a free and open source program for editing audio and video files
from the command line. You may have already known FFmpeg as a nifty
program that can do simple conversions such as:
ffmpeg -i [Link] same-video.mp4
ffmpeg -i song-video.mp4 song-audio.mp3
FFmpeg is much more capable than this, but it is this intuitive interface
and support for a wide variety of formats that has won it millions of users.
The FFmpeg project was originally started by a French programmer
named Fabrice Bellard in the year 2000. It is now being developed by a
large team of open source software developers spread around the world.
This book can serve as an easy FFmpeg tutorial, hack collection, and a
ready reference. However, it is not possible for one book to cover everything
that FFmpeg can do. FFmpeg has a very huge online documentation with
which you may have to craft your commands. While this book may seem
more than enough for most users, the documentation will open up vastly
more possibilities. DO NOT avoid going through the documentation.
Before you go further into the book, you should be aware that the
FFmpeg project creates two types of software:
1. libav libraries: These are FFmpeg programming
software or “libraries” that are used by programmers
to create audio/video processing software such as
media players, browser plug-ins, and audio/video
editors. The libav libraries have been used to build
some parts of popular software such as VLC, xine,
Blender, and Kodi.
xix
Introduction
2. ffmpeg command-line program: This is the
FFmpeg end-user software that most people can
use. The ffmpeg command-line program internally
uses the libav libraries.
In this book, we will ignore the libav libraries and instead focus on the
ffmpeg command-line program.
Extra Resources for This Book
• All code snippets used in this book are available in
a plain-text file, complete with chapter and section
titles and comments. It is actually a MarkDown/
CommonMark file. You can easily convert it to
an HTML, ODT, DOCX, or PDF file. Conversion
instructions are in the text file.
• Videos of several code examples used in the book are
available in an online video playlist.
xx
CHAPTER EIGHT
ALEX
I’m pleased to see the village is still yet to shift into the modern world. There’s a television in the
corner of this room, but it doesn’t seem to be connected. It’s more for decoration than use.
Egor, a boyhood friend and one of my most trusted men, enters wearing a ushanka, or Russian fur
cap. I’m surprised by how grey his hair’s become when he takes it off.
I stand up and embrace him. “It’s good to see you, my friend.”
He holds me away smiling and checks my jacket. “And you, with no holes.”
I motion for him to take a seat at the small table. The resident babushka arrives with a tray, placing
two glasses of vodka down. Around these parts it’s basically water.
Egor picks one up, examining the liquid. “You’re more likely to die from this home-brewed rocket
fuel than a gunshot, I’d say.”
His accent remains thick. I sit back and down the vodka. Rocket fuel is right. “How was your
journey?” I ask.
Egor laughs. “The road hasn’t gotten any better, if that’s what you’re asking.” He shifts in his chair.
“I feel like I’ve been ass-fucked by a bear.”
The babushka looks over her shoulder and raises an eyebrow from the kitchen. Egor apologizes in
Russian, winking at me.
Egor has lived in a nearby village his entire life, his family with barely a donkey to their name.
“I hear you have company at the Glasshouse,” he says.
I nod. “I do.”
“A plaything to keep you amused while this blows over?”
There’s nothing I’d love more than to turn Elizabeth into my own personal toy. “She’s my new
personal assistant, actually.”
Egor dips his head knowingly. “But she is no hag now, is she?”
I place my glass back on the tray. “She is not. You know this.”
I see concern cross Egor’s face. “Are you sure it is a good idea, Alex?”
“Let me handle it, Egor. Now, shall we talk business? What is the word on the street?”
“The ‘word,’ my friend, is that you’re in the shit.”
“You never were one for blunting the blow, Egor.”
He laughs, speaking a Russian proverb that equates to ‘Better to be slapped with the truth than
kissed with a lie’. He switches to English. “There are detractors on the board, of that we’re quite
certain now, those who would happily see you out, in any way possible.”
“Dimitri has been working behind the scenes?”
“He has,” says Egor, “actively promising them the world to do away with you and see him take up
company control.”
“This is not new information.”
“No, but given the attempt on your life, I think it must be taken seriously. But that’s not all of it.”
“No?”
He shifts forward and fixes his eyes on me. “Your competitors are desperate to increase their
influence and margin, particularly in Asia. I know you’re addressing this, but if they decide to work
with Dimitri…”
I put my hand up. “I understand. And Fedor?”
“Tough as an old bear. He’ll outlive us all.”
“Good,” I nod. “Make sure he has everything he needs.”
“I will.”
“And should anything happen to me…”
Egor nods gravely. “I know what to do.”
*
The Glasshouse has turned white in the midday sun. I park up the side and take a moment to compose
myself before opening the side door.
I breathe in deeply. I’m besieged from all sides, but at least I’m ahead of the game. That’s all it is at
the end of the day—petty children in suits squabbling over power and position.
I open the door and walk in to music filling the air.
I close the door as quietly as I can and walk silently into the living area.
Elizabeth is seated at the piano. She’s singing a jazzy, modern take on Ella Fitzgerald’s Dream A
Little Dream of Me. Her voice is remarkable.
Stars shining bright above you, she sings.
Night breezes seem to whisper ‘I love you’
Birds singing in the sycamore trees
Dream a little dream of me…
She ends this last line with a beautifully subtle vibrato, adding a series of atonal fourth chords to
match. I can’t believe it. She can sing and play. Her technique is not perfect, nothing like her father’s,
but the potential is there for greatness.
It only makes me want her more.
I start to clap when she begins the second verse, walking over to the piano.
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4 INTRODUCTION
terms in psychiatric history—social control and reform. The historiog-
raphy of psychiatry has matured to a point where it is no longer possible
to describe the history either as one of progress toward ever more be-
nevolent reforms, or toward increasingly sinister forms of social con-
trol. 13 The most important stimulus to the anti-hagiographic research
on the history of psychiatric institutions was the publication in 1961 of
Michel Foucault's arresting study Madness and Civilization. The begin-
ning of a remarkable career of unsettling scholarship, Madness and Civi-
lization remains a touchstone for historians and anthropologists inter-
ested in mental illness and asylums, for whom it has become a ritual to
cite Foucault's work early on. 14 Foucault's most famous claim, that the
Enlightenment inaugurated a "great confinement" which interrupted a
dialogue of reason and madness as the mad were incarcerated, has be-
come popular folklore as well as a subject of scholarly debate.15
The studies that followed Foucault's adopted "social control" as a
central concept.16 The large, custodial asylum was seen as only the most
dramatic example of how psychiatry and its allied institutions served to
enforce the social order. Though recent scholars have not dropped the
phrase, it has come to seem at least passé, if not entirely misguided.17
Elizabeth Lunbeck, in one of the more successful monographs using
Foucaultian approaches, distinguishes "social control" from "the point
at which knowledge and power fostered the conditions conducive to
the realization of both." 18 And in a study of the European insane in In-
dia, Waltraud Ernst maintains that "social control" is overdone if used
to maintain the impression that complex phenomena can be captured
with a catch phrase.19
All of these reactions to "social control" approaches are helpful anti-
dotes to its excesses. But psychiatry, whether caring or coercive, exists
for the purpose of controlling anomalous behavior and emotion. His-
torians of psychiatry will only apprehend their subject by combining
a sympathetic understanding of the impetus to reform with an appreci-
ation of the drive toward social control. Description of reform need
not be uncritically celebratory, and an appreciation of social control—
a scapegoated term, which has often been made to carry the blame for
reductionist approaches—need not posit uniformly evil institutions. I
use the phrase, therefore, with the following qualifications: It should
not be taken to imply that control is unidirectional, the result of the
conscious intent of sinister doctors. Nor should it imply that therapy
and control are mutually exclusive categories. The social pathways to
asylums are complex; doctors and administrators have complex agendas
INTRODUCTION 5
and often act only at the end points of paths to treatment initiated by
family members and communities.
My approach draws on the sociology of Allen Horwitz, who, instead
of equating "control" and "coercive," sees a spectrum of forms of con-
trol, ranging from the more custodial and coercive to the more support-
ive and therapeutic. 20 Horwitz attempts to predict what circumstances
will produce what kind of control, arguing that cultural and social dis-
tance between the deviant and the responding community encourages
a more coercive, custodial approach, as does lack of social status on the
part of the deviant. Certainly Horwitz's theory has applicability to Ni-
geria, where colonial lunatic asylums housed people whose status and
cultural difference made them virtual nonentities in the eyes of British
administrators, but where therapeutic services were developed increas-
ingly as the institutions became the charge of Nigerians themselves.
The fundamental question of what mental illness is, still
haunts the profession. . .
What, though, is a "lunatic," anyway? In most cases, I bracket the ques-
tion of whether or not anyone was "really" afflicted with a mental ill-
ness. A trained healer has enough of a challenge diagnosing an individ-
ual in the course of a face-to-face encounter. The evidence on specific
cases of confined individuals in Nigeria only provides clues about what
behavior led others to believe these people were mad. Diagnoses were
usually made over an intricate political and cultural frontier, by colo-
nial clinicians who were using a clinical vocabulary that is now obsolete.
We must work with what we know—that these people were considered
mad—rather than speculating about the validity of these considera-
tions. Since my subject matter will in part be the historical meaning of
psychiatric labels, it would be ahistorical to encumber the analysis with
reference to "real" mental conditions. On this point, Foucault's The Ar-
chaeology of Knowledge may be more apposite than his works on mad-
ness and incarceration: "We are not trying to find o u t . . . whether his
disturbances were identical with those known to us today. . . . We are
not trying to constitute what madness itself might be." 21
As I read this passage, Foucault is urging against the pursuit of an es-
sence of madness, in favor of historical inquiry into the ways madness
has been named, defined, treated, and challenged. This reasoning in-
forms my terminology. I use words such as "insane," "lunatic," and
"madness," which have no clinical status, in what follows to denote so-
cial phenomena: those considered to be insane or lunatic, that which is
6 INTRODUCTION
considered to be madness. They should not be taken to suggest that
such designations are valid in any "objective" or supra-situational sense.
I add emphatically, though, that this approach does not deny the real-
ity of mental illness. The danger, in fact, of much labeling theory and
anti-psychiatry is that it risks trivializing the suffering of the mentally ill.
It seems reasonable that to understand something as complex and trou-
bling as madness, we might need biochemical, sociological, and psycho-
dynamic approaches.
The criteria for medical diseases are physico-chemical, while
the criteria for psychiatric diseases are social and ethical. . .
Nevertheless, it will be useful to consider some anti-psychiatry and la-
beling theory because these fields have yielded important social insights,
even if one does not accept them in full. Thomas Scheff, who argued
that psychiatry, whether it emphasized organic disturbance or trauma
and inner conflict, overemphasized the individual, as opposed to the so-
cial context, gave labeling theory its most significant expression.22 He
maintained that all members in a society at times engage in "primary
deviance," or the nonconformist behavior of a normally conforming
person. If others notice primary deviance, the deviant may be labeled as
"crazy" or "mentally ill," labels that arouse pity, fear, and stigmatiza-
tion. The deviant will then be socialized to act out the "crazy" role—
and in turn to reinforce the label. Psychiatry, according to this view, is
a science that authorizes final and definitive stigmatization. Once in the
hands of the psychiatrist, the deviant is subject to imprisonment, injec-
tions, electric shocks, and (in the view of Scheff's most anti-psychiatric
followers) diabolical abuse. One of the most critical insights of label-
ing theory is that once you are designated mad, it can be hard to change
the minds of those around you, an insight perhaps expressed by one of
David's fellow patients in Yaba, who wrote, "The name written cannot
be cleaned." 23
An apt illustration of labeling theory appears in Chinua Achebe's
story "The Madman." 2 4 In the story, an honorable man named Nwibe
is bathing in a river when a known madman steals his clothes and runs
off. Nwibe does the logical thing and runs after him to retrieve his
clothes but is taken for a madman when he is spotted, public nakedness
being a well-known indication of madness in many parts of southern
Nigeria. As Scheff might have predicted, the label creates the disease,
and Nwibe begins to act like a madman, becoming mute and inscru-
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