The field of digital heritage, definable in the most elementary terms as the application of digital technologies to the practices of conservation and heritage practices, has exploded in recent years.



Today it is typical to see 3D modelling, augmented reality, virtual tours and mobile apps as part and parcel of the heritage sector in a whole variety of ways. This has been reflected in academia with a growing number of conferences and publications dedicated to these questions.



The objective of this book is to offer an interdisciplinary examination of such practices which, it is expected, will reveal more of the nuances, interplays and a wider range of interests than is found in the current literature. To that end, the book offers chapters from international scholars in several disciplines: architectural conservation, archaeology, cultural tourism, urban studies and photography; heritage, film, game, museal studies, and scenography.



Their work deals with three broad areas of activity in the digital heritage field that this book defines as the ‘digital politics of conservation’; technology as a heritage ‘storytelling’ device; and digital technologies as tools to create ‘virtual models of the past’.

The book argues that both the Republican and the Democrat political parties are responsible for the decline of democracy in the United States. It premises objective evidence of how the current political crisis in the U.S. in particular, and in the West in general, is a result of the disregard of the Greeks by the U.S. Constitution as well as the gradual withdrawal of the Classics from our educational system. The book concludes that the current state of affairs leads to a new form of totalitarianism.

The core argument of this book is that the current political unrest in America and the West is ultimately traceable to the utter failure of Western education. The purging of the Greeks from our schools with the masquerade that was modernity, combined with a constitutional anti-intellectualism in America, has bred generations of Western citizens who cannot think. In the absence of human thought market ideologies have enjoyed a long leash to establish as incontestable the idea that any existential proposition alternative to their own is nothing but an arrogant desire to redesign life itself. In our “Age of Trumpism,” where President Trump is summoned to check uncritical progressivism, and where technoligarchs have availed themselves to either side, stupefied electorates must choose from either a preanthropic or a metanthropic future.



In the absence of any anthropic constancy, either one of the alternatives are served by unfettered encroaching technologies that entail forms of totalitarianism as never before. It may be already too late, this book argues, but to bring back human thought towards the possibility of democracy and freedom, is to assess our situation out of Heidegger’s phenomenology and the metaphysical objectivity of Greek tragic art.

Why can post-catastrophe films tell us about our current real-world circumstances?

This book proposes that a new sub-genre of film called ‘post-catastrophe’ is emerging that displays narratives

directly analogous to our current predicament of runaway climate disruption. Post-catastrophe film sits in the

space between blockbuster disaster movies that use scenes of destruction to blow the world up and disrupt the flow of humanity and post-apocalyptic films where a version of society has formed in the ashes of the disaster.

In these narratives, the characters are thrown into a world of unsettling circumstances in which they have to adapt and strive for survival and reimagine the world as it changes around them. We face a similar predicament."

The Intellect Handbook of Nordic Cinema is a comprehensive reference work providing an overview of cinema in the Nordic countries - Sweden, Denmark, Norway, Finland and Iceland. Comparing the cinematic cultures of the five Nordic nations as well as Sápmi, it gives the readers a more comparative and general perspective of Nordic Cinema. Even though the Nordic countries are very different, and have very different cinematic traditions and media histories, they have many institutional and thematic elements in common. One example is how film production in all five countries, and in Sápmi too, is dependent on different forms of government support systems.

The main focus is on feature films but the book also presents chapters and central discussions on documentaries and animation as well as connecting film production in the Nordic countries to the emerging media situation with television and streaming services as central partners and competitors.

The inclusion of a number of smaller case studies and thematic explorations enables the Handbook of Nordic Cinema to broaden the understanding of individual genres including occupation dramas, comedies, animation and documentary. There is also thorough exploration of attitudes towards cultural motifs and elements - the roles of nature, crime, disaster and piracy.

Lines of Inquiry: Multi-disciplinary Methodologies in Drawing and Education is a collection of essays written by researchers, scholars, and artists from nine countries around the world.



The multi-disciplinary contributors include teachers, artists, architects, psychotherapists, museum educators and curators who bring their distinct positions and experiences of using drawing in collaboration with others, in classrooms, in the community, in private practice, and as researchers interpreting and analyzing the experiences of others.The collection is organized in a way that takes the reader through a journey of what drawing is and can be; whether that is through a mapping of one’s daily route, a marking of territory, an expression of an experience, a problem-solving equation of arrows and lines, a comic, or a concept of imagined lines that demarcate power. Some contributions speak to the embodiment that drawing allows, some to learning and knowledge construction, and some to an age-old way of communicating.



The international roster of contributors provides suggestions for developing new ways of knowing, for developing empathy toward things that may lie outside our own experiences, and for seeing alternative perspectives through drawing.

The book considers the regulatory interventions that have been introduced for new media forms in Africa. This includes regulation covering digital broadcasting, social media and the wider digital media. Emphasis is placed on the regulation of new media, including digital media legislation, internet bans, regulation of online harms, data infrastructure, and digital policymaking. It presents new ideas on media and digital regulation in the Global South, focusing on the review, analysis, and critique of interventions in Africa.

Detailed discussion of country case studies in the Southern African Development Community (SADC), Economic Community of West African States (ECOWAS), and Common Market for Eastern and Southern Africa (COMESA) regions highlights trends, patterns, contradictions, and dilemmas in policy and regulation of new media.

Decolonial Media Imaginaries (DMI) begins from the basic premise that imaginaries serve an important role in the articulation and elaboration of identity, sociality, collectivity, and solidarity, especially in terms of the co-fashioning of ways of life and living.



Imaginaries are designed to be inhabited and eventually to be lived in. The most dominant imaginaries of the industrialist past and late capitalist present have been most finely attuned to expanding the influence of colonial, capitalist, and neoliberal priorities and imperatives. One of the consequences associated with the circulation of these dominant imaginaries has been the marginalization and diminishment of other modes of representation that illuminate alternative ways of living that run counter to these powerful tools of worldmaking.



DMI lays the groundwork to examine the power and limitations of both dominant and marginalized imaginaries, suggesting that the work imaginaries perform is ongoing, longstanding, and deeply engrained in broader historical, political, and geographical currents. As such, this book offers a more speculative, albeit theoretically- and conceptually- engaged discussion surrounding the future viability and vitality of decolonial media imaginaries as instruments for decolonial worldbuilding.

Chimera identifies the characteristics of the "Expanded Body", here defined as a meeting point between science, technology, art, and design in their trans-disciplinary investigation of the human body in dialogue with its surrounding environment.



Methodologically, the book investigates how the bio-mechanical, sensory, and cognitive expansions of our soma, provided in XX and XXI century by techno-science and studied by art, design and philosophy, can contribute to model a new natural-artificial body able to activate "entangled" relationships with both human and non-human elements that inhabit the environment in which we are immersed. Chimera highlights and systematizes common features and affinities in the works of artists and designers working with tools of techno-science - Heather Dewey-Hagborg, Marco Donnarumma, Sputniko!, Margherita Pevere, Neil Harbisson, Anouk Wipprecht among others - who place the relationship between us and context around us at the center of their poetics.



Drawing on researches of the 20th century and placing them in dialogue with the latest developments in the fields of neuroscience, biotechnology, prosthetics, and body hacking, this book is the first research that, through a radical systematization of the main currents of posthuman thought, identifies the boundaries between art and design capable of suggesting an alternative to transhuman nightmares, anthropocentric dystopias, and hypermedia-driven drifts of our bodies. Opening, in an original and courageous way, to new fluid, queer, and non-hierarchical relational dimensions between us and the more-than-human environment in which we are immersed.

The study of men’s fashion has evolved from an emerging subject to a dynamic and growing field, intersecting with critical conversations on gender, race, sexuality, disability, colonialism, and globalization.



The Handbook of Men’s Fashion pushes beyond conventional narratives by centering three guiding approaches: decentralizing and decolonizing men’s fashion studies, global viewpoints, and intersectionality. With 34 chapters from fashion and dress scholars, the collection offers a uniquely progressive perspective on the field’s development.



Divided into six sections—Theoretical Perspectives, People and Bodies, Places, Objects and Products, Promotions and Business, and Popular Culture—the book examines how masculinity is fashioned, contested, and expressed across time and space. Topics range from national dress and subcultural style to queer and disabled masculinities, luxury branding, and digital fashion communities. By centering histories and communities that have been marginalized in previous scholarship, the chapters collectively expand the boundaries of men’s fashion studies.



Rather than providing a definitive account, The Handbook of Men’s Fashion serves as an invitation to rethink the field, interrogate absences, and imagine new possibilities. It is an essential resource for scholars, students, and industry professionals invested in the past, present, and future of men’s fashion.

The main audience for this book is academic, but it will also appeal to fashion practitioners, curators, and cultural critics, and to general readers interested in the history, culture, and meaning of men’s fashion and dress.

Over the past decade, Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness, tiny house sites are proliferating across the country.



This book takes a look at life inside the ‘Tiny House Nation’, shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents, their homes and communities, while analysing the broader socio-economic structures shaping their lives. In so doing, it paints a compelling and complex picture of a trend at the crossroads of several key social, cultural and economic shifts, at a pivotal moment for America’s housing future.

Fundamentally, this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism, whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle, and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin, Texas, as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin, as both centring community and shared assets, and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another, but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.

Despite its unattainability for all but the most privileged, the American Dream - the home-owning society, the suburban bliss, the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down, expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment, it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows, both impacts of tiny housing are equally true, and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects, it offers an alternative to the prevailing housing status quo. In others, it demonstrates what options have already been taken away from us.

from the Introduction



‘In the rest of this book, we’ll lead you through our exploration of tiny housing in Texas. We’ll start, in the next chapter, by introducing some of the places and people we encountered on our travels to set the scene. Then, the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see, our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there, we go into three empirical chapters, focusing on economies of tiny living, the materiality of tiny housing as domestic spaces, and community culture. We then draw the book to a close, and speculate about what tiny housing means for the future of domestic life, especially in relation to the American Dream.



‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith, who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven, in large part, by the aesthetic cultures surrounding it. Tiny homes are the picturesque, boutique, upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing, as we’ll argue in this book, specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages, to countless coffee table books, to Etsy shops dedicated to crafted tiny house merchandise, a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However, we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints, the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living, but you’ll already know, if you’ve read this far, that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it, not to deny its beneficial impacts for a huge number of people, but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’