This book examines the distinctive nature of Arts Based Learning in Education (ABLE) in the context of a changing curriculum in Ireland. It draws on recent research on the state of the arts in Irish schools from early years primary schools post primary to higher education institutions.



The wide range of perspectives from pedagogy to practice draws on research in the visual arts literature and the arts within teacher education. Teacher identity formation and students’ perceptions of learning within the writers in school’s scheme are some of the themes within the book. It also includes examples of collaborative interdisciplinary practice between educational and cultural institutions. The book is situated within a rapidly changing curriculum policy framework and examines the relevance of arts-based learning against the backdrop of the drive for 21st century skills.

Faced with severe technological constraints on system memory composers of the Nintendo Entertainment System (NES) sought ways to disguise repetition in music that repeats extensively. Their efforts gave rise to a set of compositional techniques for creating the illusion of variety.



This book distills these techniques into a theory of harmony and form for the analysis of NES music. It then uses this theory to analyze five landmark scores of the NES era: Super Mario Bros. Dragon Warrior Metroid Mega Man 2 and Silver Surfer. Both theory and analysis are scaffolded by a detailed description of the NES hardware and its attendant constraints highlighting the ever-evolving dialogue between technology commercial demand and artistic sensibility that characterizes video game music of the 1980s and 1990s.

Part of the Living and Sustaining a Creative Life series Artists as Writers joins the tradition of writing books designed or intended to inspire would-be writers to write but distinguishes itself by offering succinct first-person narratives by writers of varied genres about the day-to-day life of writing for a living.  

Artists as Writers offers accounts of the journeys that thirty two writers have taken to becoming a real writer what decisions were made which paths were taken rejected charted and why. It answers the question: What magic keeps a writer writing?

Writers from Ethiopia Guatemala Nigeria Palestine Poland and Sweden as well as several who live throughout the United States: California Colorado Georgia Louisiana Pennsylvania Texas and Washington contribute their stories.  They each provide vividly detailed accounts of the circuitous roads that each individual took to earn the title “writer.” These are richly descriptive stories from writers who write consistently relating how they came to the writing life who helped them get there and what sustains them as writers.

This collection considers how Canadian art educators are engaging with a new range of approaches to museum education and why educators are responding to 21st century challenges in ways that are unique to Canada.



Organized into three sections this collection reconceptualizes museums to consider accessibility differences in lived experiences and how practices create impactful change.



With the overarching concept of relationality between art museums and interdisciplinary perspectives authors consider methodological philosophical experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums articulating how museums are shifting and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives and as catalysts for public scholarship each chapter is passionate in addressing the mobilization of equity diversity and inclusivity (EDI) in relation to practices in the field.



By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models they suggest a discourse of living futures is already upon us in museums and in art education.

This book guides artists through the discovery and development of the art that they alone were born to create. Through real-life examples and exercises we tear down the cultural educational and psychological obstacles to finding authentic visual voice stripping away years of assumptions external and self-imposed limiting parameters.



We learn how to listen to the Universe and get out of the way when work wants to come through us. We construct a core foundation unique to each artist one that will grow along with them in their artistic

practice. Artists will discover their own singular visual vocabulary by mining their personal history psyche and world view to reveal new creative directions and learn how to intensify and develop their core ideas to make them more resonant and complex. We explore methodologies to tap into the subconscious cultivate breakthroughs create environments to maximize the gestation of ideas instill bravery and do meaningful research to produce deeply layered works of art.



While designed for college students professional artists will also find it allows them to get to that illusive

“next level” in their work; the one that calls to them haunts them in their dreams yet remains unarticulated in their practice.



In addition to helping undergraduate and graduate students who are looking to identify articulate and hone their vocabulary it can serve as a tool for more established artists to step up or refresh their practice. It is the kind of book that artists will keep on the studio shelf to pick up time and time again as their responses to the exercises will change throughout the course of their career.

There are extensive lists exercises and questionnaires anecdotes of art-historically significant artists and detailed descriptions of the methodologies they employ to tap into the subconscious various types of research on creative breakthroughs (and how to apply it to your own process) helpful suggestions to create an environment / lifestyle to maximize the gestation of ideas and how to do meaningful research to produce deeply layered works of art. While the tone of the book is often earnest and spiritual (in an “art is religion” kind of way) Kretz is aiming for a straightforward accessible kind-but-no-nonsense tenor with some humor and nurturing “tough love” when needed to say some of the things that artists need to hear but few people have the guts to tell them.

This original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.

Introducing the study and application of performance art through phenomenology for radical artists educators and practitioner-researchers; this exciting new book invites readers to take part explore contemporary performance art and activate their own practices.

Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s the book guides readers to be academically rigorous when capturing embodied experiences featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’

This is an important contribution to the field and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.

It will be relevant to students of performance as well as to artists audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field. 

The long-established dialogue between architecture and film offers an interdisciplinary platform for a critical examination of spaces of in-between.

Apart from architecture informing scenography and cities serving as backdrops to the moving image films have actively participated in shaping the public opinion about architecture and its allied disciplines. While architecture and design may not necessarily be central themes in a film their spatial contextualization of the narrative informs cinematic productions. Screen Space and the In-Between looks at both the filmic imagination/representation of architectural in-betweenness as well as the in-between spaces within the inherent architectural structure of filmic expression.

On the one hand cinematic production serves as a site to project utopian fantasies of the built environment and on the other hand the processes tools and methods involved in both architecture and film function as mediators between abstract ideation and its materialized manifestation.

The book interrogates the filmic creation of spatial imaginaries through the anthropological lens especially as the disciplines in the built environment react to the liminal spaces of the cinematic. It adopts cinematic experiences of the built environment as a vantage point to reframe ongoing theoretical debates about liminal spaces.

Foreword by Mark Foster Gage

Contributors: Giuliana Bruno Beatriz Colomina James F. Kerestes Graham Harman Ferda Kolatan Juhani Pallasmaa Eva Perez De Vega Mehmet Sahinler Patrik Schumacher Maria Sieira Alican Taylan Vahid Vahdat Jason Vigneri-Beane Jon Yoder Michael Young

The book investigates speculative filmic architectural projects and animations that go beyond representing buildings touching upon issues concerning medium act of representation or conducting criticism on history culture society or urban politics along with the mediated character of contemporary spatial experience – interpreting it primarily through protocols of architectural imaging.

The book centres on the influence of simulation and cinematic design on visionary or speculative architecture.  It outlines the impact of film and animation in architectural representation through key projects. The opening analysis is useful in contextualizing speculative architectural projects while the later chapters link the theory to the imagery. Stasiowski uses a diverse collection of interesting case studies that are easy to read and well-chosen to support his argument.

This is a well-researched work and comprehensive review of speculative architecture and various media that describe it. Stasiowski makes a thorough argument about the use of cinema and animation as a method of architectural visualization.

Stasiowki’s book sets itself apart from other work in the same area by in discussing speculative projects in relation to cinema. and specifically the effect that modern technologies are having on the subject now and in its potential futures.

The borderline between material environment and spatialized imagery becomes progressively more blurred while demand for visionary works that would make sense of this merging has never been greater.

It will appeal primarily to architects and designers filmmakers and academics. It may also be of interest to artists set designers and film production designers.

Despite the contemporary trend of focusing on personal experience in art and writing there is very little critical analysis of the concept of experience within fine art. The overarching conceptual aim of this book is to examine the concept of experience as both content and as interpretative register in the context of fine art. It explores the reasons why experience when compared to other modes of consciousness – such as understanding knowing perceiving or recognizing – is more aligned with the notion of actuality and thus more likely to be viewed as authentic. It then discusses the idea of writing about experience as a practice in fine art – the idea that writing can be understood as a practice like painting sculpture video etc.– and explores a viable methodology for the art-writing practice.  

The book seeks to provide a more fluid interpretation of experience. In so doing it explores the following questions: Why does the reading of experience as self-presence predominate? What is the status and value of experience as evidence? How is experience written and seen? In exploring these questions Kate Love creates a workable strategy for writing about experience.

KinoSputniks closely analyse some key films from the history of Russian and Soviet cinema. Written by international experts in the field they are intended for film enthusiasts and students combining scholarship with an accessible style of writing.

Ira Österberg's KinoSputnik on Aleksei Balabanov's cult film Brother (1997) examines the production history context and reception of the film and offers a detailed reading of its key themes.

Balabanov’s Brother made a mark on the new Russia’s film history as its hero Danila Bagrov quickly gained cult status and the nostalgic rock soundtrack hit the nerve of the young post-Soviet generation. This study unravels the film’s effective and ingenious mixture of genre elements art narration and almost documentary-style realism which would become trademarks for Balabanov’s oeuvre.

Primary readership will be among film studies students and film enthusiasts but will also be of interest to anyone researching or studying film soundtracking.

A list of all books in the series is here on the Intellect website on the series page KinoSputnik