This anthology explores the current evolution of interactive storytelling across digital as well as physical spaces by examining how games, digital narratives, and participatory art can reshape creative expression and learning at fundamental levels.



The contributors propose that interactive fiction is best examined by combining social, literary, and technical analyses together. Used independently, each modality provides an insufficient picture of the deeply merged social, technical, and artistic media environments we currently inhabit. We focus instead on the nature of the social interactions involved when engaging in digital storytelling, emphasizing that an interactive narrative is perpetually constructed and reconstructed each time it is experienced.



The collection provides in depth analysis, organized into three distinct sections, the first two based on the key modalities of alternate realities and digital interactive fiction. The third section then provides an important political critique of gaming ideologies. Contributors with expertise and experience in each section topic provide diverse and timely analyses on how interactive narratives function in educational contexts, community engagement, and human-machine collaboration. The authors also investigate both theoretical frameworks and practical applications, from live-action role-playing to AI-assisted writing, while considering the significant social and political implications of gaming culture in general.



The collection's strength remains on its unique bringing together diverse perspectives from game designers, educators, artists, and theorists to examine how new forms of storytelling emerge at the intersection of analog and digital realms, with particular attention to the role of play and interactivity in contemporary learning environments.

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.’

Between 1989 and 2020 Jonathan Petherbridge worked as the Artistic Director of a community-based theatre company - London Bubble. This longer than average tenure allowed him time to forge a close working relationship with the community and develop new ways to involve people of all ages in theatre-making.



Out of a slew of projects emerged a particular methodology to make work that was researched, curated and performed by citizens between the ages of 8 and 80. The process that emerged was called Foraging – a methodology carefully divided into five phases, which attempts to bring the best out of both voluntary and specialist artists – making time and space for them to create theatre that has a striking beauty and an ingrained aesthetic of care. Vernacular Theatre describes the result – the aesthetic.



The case studies - based on work with citizens of London and Hiroshima - examine how this theatre has valued key moments of communal history, contemporary issues and everyday institutions. The book suggests reasons and techniques for others to make similar work. Concluding with a reflection on the pre-classical Chorus of Greek Theatre where original work was produced to celebrate events with and for the community, this book proposes a new genre – a social and intergenerational art form that invites people to gather and share their life experience, concerns and creativity.

The book explore how dance practices can be embodied through relationships with the environment. The book begins with discussing somatic experiences of being in Place; including discussing a sense of belonging to the environment through responsive movement. The second part offers infrastructures (scores) for generative movement drawn from transdisciplinary workshops. The book presents text, poetic prose, and image.



Dancing Place: Scores of the City, Scores of the Shore reveals the collaborative choreographic making process as a way of being in the world. In the book the authors story their experiences of working with scores as ways of noticing, sensing and bringing focus to moments within the assemblage of environments of which we are a part.

This book expands on theories of "theatricality" in French and critical studies, adopting a transdisciplinary approach that reaches beyond performance studies into poetry, media technology, translation, and psychoanalytic theory.



Building on Artaud’s concept of theatre as a "plague"—an unpredictable, cataclysmic, and contagious force that disrupts power structures and knowledge—the book challenges Aristotelian norms of theatre as a medium of "healing" and "teaching." Instead, theatricality emerges as a force of radical disruption, what Artaud called "the return of the repressed," demanding openness to otherness.



The chapters present theatricality as primarily aural rather than visual, inciting "paranoiac listening," invoking unretrievable "primal scenes," and allowing unconscious "psychic" contamination. "Theatricality" is explored through works by Artaud, Genet, Novarina, and Koltès, but also Freud, Barthes, Kristeva, Girard, and Derrida. Each writer challenges the premises of their own artistic genres and fields of study, questioning binary systems like artistic production versus theoretical articulation, the technological versus the natural, and art versus life.



As shown, these binaries underpin mechanisms of repression, sacrificial violence, and the exclusion of the voiceless other. The book assigns a generative function to traditionally maligned notions like unintelligibility, madness, marginality, contagion, and criminality.

This book tells inspirational stories of women who have worked with and within communities to bring stories to life through screenwriting. As such the book evidences that women’s work is important; that ‘films can change lives’. The collection divides the chapters according to worlds, in recognition of the fact that though we live on one planet, the conditions of existence are vastly different between first and third worlds; between the wealthiest and the poorest.



Each chapter shows how attitudes have shifted, policies have been rewritten, and life experiences and horizons have been altered for specific communities through these instances of screenwriting. The themes touched upon include gender, race, disability, culture, war, colonization, labour relations, political ideologies, to name a few. The parallels found amongst these themes across national, religious and cultural divides, are also telling. The book is wide in its scope, considering screenwriting a skill which can apply to games, social media, music videos, virtual reality … in fact, any of the burgeoning formats alive on our devices and through constantly evolving platforms. All are considered screenwriting.



The book is a celebration of the female writers who have told screen stories that educate and heal.



The book suits readers across disciplines, including screenwriting, filmmaking, women’s studies, history, sociology, and many other areas.

Transformative Professional Learning in Arts Integration invites educators and artists to name and center dilemma, discovery, and learning at the core of their collaborative efforts to improve the learning culture of classrooms through the arts. A dilemma comes in many forms.



Personal and programmatic dilemmas are often the result of a rupture between personal belief and the requirements of a system. The rupture - or dilemma - seeds a desire for something new, something better. However, as Queensland Aboriginal activists remind us, we must address our own bias and power in relationship to those we presume to support: "If you have come to help me, you are wasting your time; but if you are here because your liberation is bound up with mine, then let us work together.” This text, therefore, shares the stories of individuals working towards collective educational improvement and change.



It is a story of failure and possibility, about individuals “bound up with” with each other, harnessing the power of the arts, in the common effort to make education more just and equitable for all.

Drama for Schools and Beyond: Transformative Learning Through the Arts, tells the story of twenty years of research and practice grounded in the Drama for Schools (DFS) professional development learning model based at The University of Texas at Austin, USA.



This book offers a critical look at the evolution of Drama for Schools through the learnings of its leaders and participants. It also gathers stories from partners across the globe who have adapted and built upon this model at their own sites. It is a primer for how to centre teacher and student inquiry and learning at the core of educational improvement. It is an invitation for teachers, administrators, and researchers to address their own bias and power in relation to those they aim to support.



Throughout, the authors show that by integrating the arts across education, new networks of possibility can be grown, to create a more just and equitable education for all.

How does whiteness sediment worlds? How does it format individuality in the name of a neurotypicality that polices how one bodies, and how one comes to know? And how does a poetics of relation shift the very logic of this sedimentation?

Edouard Glissant’s poetics of relation are bold in their call to “consent not to be a single being.” This transindividual consent, born in the process of worlds crafting themselves in what he would call an “aesthetics of the earth,” are felt in Fernand Deligny’s errant lines. These errant lines, traced to move with the complex gestures of autistics over a period of several years in Monoblet, France (1965-1970), offer an alternative to pathology, and individual psychological assessment.



The Being of Relation brings these two projects into encounter, exploring what else blackness can be at this non-pathological juncture where what is foregrounded is the very being of relation. On the way, trails of whiteness are excavated and interrogated. The aim: to move toward parapedagogies of resistance, in a logic of a poetics of relation, a logic of neurodiversity, minor sociality and the kind of difference without separability that refuses the binary that holds neurotypicality – as whiteness – in place.

Irony and the satirical impulse in cinema have gradually lost favor, mockery increasingly more selective in its choice of targets. As Linda Hutcheon notes, irony is becoming a problematic mode of expression in the 21st century.



The book examines the work of eight film auteurs: Luis Bunuel, RW Fassbinder, Stanley Kubrick, Robert Altman, Paul Verhoeven, Aki Kaurismaki, Aleksei Balabanov and David Lynch, much of whose work is not always regarded thus and the films examined are often more ironic than satirical. From apparent melodrama and eroticism to fantasy and horror, these eight directors redefine satire’s limits, providing evidence that irony in cinema often goes unrecognised.



The introduction examines the various categories of satire, and the chapters then study the filmmakers individually through selected works, offering interpretations of films and identifying a consistent approach. Since the work is often ambiguous the book speculates on each film’s purport, engaging in textual interpretation of individual works to understand concerns underneath the most obvious. The Afterword tries to find common targets and strategies on the filmmakers’ part.

There is a mental health crisis among media professionals around the world - in journalism, advertising/marketing/PR, film and television, digital games, music (recording and performance), and online content creation. The crisis consists of mental issues – with extraordinarily high instances of anxiety, trauma, burnout, and depression; physical ailments - prevalent substance abuse, unhealthy living, sleep problems, and exhaustion; and spiritual problems – including people becoming disenchanted with the promise of a creative career.

At the same time, most professionals claim to love doing what they do, suggesting that what makes people happy also makes them sick.

This book documents what is particular about well-being in creative careers in the media, offers an analysis of systemic issues throughout the media industries that explain why so many practitioners get sick on the job and shows what can be done. What ends up causing work-related stress disorders is a combination of a lack of reciprocity between what people bring to the job and what the industry offers in return, organizational injustice as people perceive policies and decisions at work to be discriminatory and unfair, and persistent high workloads.

In conclusion, Deuze suggests that the labor-of-love work ethic that is so typical of the way people 'make it work' can be a problem as much as it provides a way forward.

Architectural expressions resonant with Islamic traditions appear in diverse modes across the Americas, from Andalusian-inspired colonial patios in Peru to the modern and contemporary patronage of immigrant communities in the United States and Canada. This volume examines the multiple manifestations of Islamic architecture that permeate the region’s built environment to invite an expanded framing of this architectural legacy via a hemispheric consideration of aesthetics, narrative, and patronage.

Chapters consider a broad range of topics from the migration of aesthetic traditions and construction techniques tied to the architectural forms of the Islamic world in the colonial “New World,” to the direct contributions of modern and contemporary migrants in shaping a collective identity and the built environment.

By placing in productive dialogue sites that represent Islamic and Islamicate architecture across North and South America – two areas outside of the traditional conceptions of the Islamic world– this volume bridges transregional and transcultural gaps in the current literature.

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.

This book examines film reviewing and screenwriting as key sites of cultural mediation, providing new insights on the relationship between criticism and reviewing, as well as the way reviewers handle concepts of story, dialogue, and narrative.



Drawing on the work of Pierre Bourdieu on the cultural field, and his theory of taste, the book provides an assessment of the place of film reviewing in contemporary screen culture. The book analyses a case study comprised of ten years of television scripts of the Australian film reviewing programme, At the Movies (2004–2014). Hosted by two of Australia’s most eminent film critics, Margaret Pomeranz and David Stratton, for over two decades, this study of At the Movies provides a unique window into film reviewing, movie consumption, and wider cultural attitudes in this period of Australian cultural history. It examines the programme’s cultural significance, and the contribution of Margaret and David to screen culture.



This book makes a significant contribution to an under-studied area of media studies (the review), screenwriting research through the analysis of broadcast scripts, and cultural studies through the study of an important television programme.

The Intellect Handbook of Popular Music Methodologies provides a comprehensive overview of methodological approaches within the field of popular music studies. Alongside contributions from key thinkers already established in popular music studies, the strength of the collection lies in its inclusion of many new and emerging writers in the field. Therefore, the collection incorporates a wide range of practitioners, pedagogues and academics from an extensive range of disciplines, and thus drawing from a diversity of methodological approaches. These include those that are perhaps more established, such as semiotics, ethnography and psychology, alongside exciting new approaches within popular music, including eco-musicology, religion, intersectionality and archeology. Although previous books have provided an overall of concepts studied within popular music studies, this will be the first comprehensive Handbook of popular music methodologies.

This study of five of Nintendo’s landmark music scores offers new insights into video game music composition and creativity with limited technology.



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.



Andrew Schartmann 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.

Industrial music appeared in the mid-1970s, and far from being a simple sound experimentation phenomenon, it quickly spawned a coherent visual culture operating at the intersection of a multitude of media (collage, mail art, installation, film, performance, sound, video) and initiated a close inspection of the legacy of modernity and the growing, pervasive influence of technology.



Originally British, the movement soon outgrew Europe, extending into the United States and Japan during the 1980s. The sound experiments conducted by industrial bands – designing synthesizers, manipulating and transforming recorded sounds from audio tapes, either recycled or laid down by the artists – were backed up by a rich array of radical visual productions, deriving their sources from the modernist utopias of the first part of the 20th century. Such saturated sounds were translated into abrasive images, manipulated through the détournement of reprographic techniques (Xerox art), that investigated polemical themes: mind control, criminality, occultism, pornography, psychiatry and totalitarianism, among others.



This book introduces the visual and aesthetic elements of 1970s and 1980s industrial culture to a general history of contemporary art by analysing the different approaches taken and topics addressed by the primary protagonists of the movement, who perceptively anticipated the current discourse concerning the media and their collective coercive power.

Last Artist Standing shares the essays of the lives of 31 artists over the age of 50, how they have sustained their creative lives, what paths they have led, showing who contemporary artists are today.

They are mentors to other artists, having learned how to thrive and be creative through decades of life's travails. Sharon Louden wants to share these stories with the public so that their models can be replicated by all age groups, both within and beyond the art world.

This collection addresses the ability of these artists to remain contemporary as they adapt through generational shifts, the physical, financial and professional challenges they have overcome to remain vibrant and sustaining artists, and their role as inspirational models to others who may be turning to art late in their lives.

What happens when precarious urban cultural labourers take data collection, laws and policymaking into their own hands? Buskers have been part of our cities for hundreds of years, but they remain invisible to governments and in datasets. From nuisance to public art, this cultural practice can help us understand the politics of data collection, archives, regulatory frameworks and urban planning. Busking also responds to underlying questions on the boundaries of the right to the city – and who has a voice in shaping how our cities are planned and governed.



A transnational exploration of street performance, Urban Music Governance examines the intricate limits of legality, data visibility and resistance from the perspective of those working at the social and regulatory margins of society. Based on a decade of fieldwork in Rio de Janeiro and Montreal, this book puts forward a lively account on why such an often-overlooked practice mattes today.



By investigating the role of busking in contemporary society, Urban Music Governance presents an original interdisciplinary study that exposes how power dynamics in policymaking decide issues of access – and exclusion – around us, above and below ground.

The Social Object uses the methods of design history, material culture studies and the social construction of technology to analyse the domestic spaces and objects in the homes of the middle class in India. The book describes how people make meaning of the objects they buy, own, and gift.

This is a book about the biography of projects and objects. The projects in the book serve as book ends to a detailed and affectionate account of the biographies of objects within the homes of the not so rich.



The aim of the author has been to silence the voice of the designer to allow the accounts of objects to emerge as periodic irruptions that reveal a hidden maelstrom of passion, ideas and failed projects. The book opens with the biography of a project dealing with waste, leading the reader to a very particular kind of object, the bads. This object is illicit, handled by criminals and in the writing by the author serves to invert the dominant discourse of objects as commodities. This book makes the case that the program of design is better seen as a democratic community, where the householders, the zietgiest, technology and all manner of hidden agents collide to allow unforseen periodic objects to emerge.

Varadarajan argues against a simplistic universal account off the way we think about how objects are designed. As an enterprise, the book was a journey to assemble the evidence - of places and objects - and observe the enactment of practices with the objects. It was also a project of speculation upon the possible ways in which objects come to be, as local collaborations of action.

What can a fold be? Virtually anything and everything.

For centuries, folds and folding have captured the world’s imagination. Folds readily appear in revivals of the ancient craft of origami, amid the simplest acts of pedestrian life, within the philosophical turnings of the mind, and in art, design, architecture, performing arts, and linguistics around the world. What awaits our understanding is how deeply the fold figures into embodiment, into our very impulse to create.

This book is about folding as a vibrant stimulus for inter/trans/postdisciplinary artistic research, whether for the performative, for product realization, or simply to enliven body, mind, and spirit. Destined for artmaking—for making any art—the f/old practice etches into the very fabric of embodiment. As such, the f/old reaches outside the constraints of disciplinary silos into nice areas that embrace the unknown, with all its underlying tensions and ambiguities. In conceiving of art made differently, two seasoned facilitators Susan Sentler and Glenna Batson share the abundance of their decade-long collaboration in developing their approach to practice research in the fold. In addition to their insights, they invite eight of their collaborators to contribute, each a veteran artist of a diverse genre.

Featuring a wide variety of practice samples and images, this book reflects on a current and unique somatic-oriented arts research practice and pedagogy with an intriguing blend of interdisciplinary concern and practice.

Part of the Living and Sustaining a Creative Life series of books, edited by Sharon Louden, Artists as Writers offers first-person narratives that explore the day-to-day lives of individuals who use writing as both a creative practice and a means of sustaining their daily lives.

This collection features thirty-two chapters where writers share their insights, offering pathways for others to follow. They delve into how they balance multiple roles, the choices they made, the challenges they faced, and the successes they achieved.

Contributors include writers from Ethiopia, Jamaica, Guatemala, Nigeria, Palestine, Poland, Sweden, and the United States , who vividly recount the circuitous journeys that brought them to where they are today. Through richly detailed stories, they reveal how writing became a central force in their lives and how it continues to sustain them emotionally, creatively, and financially.

More than half a century after his death, Soviet filmmaker Aleksandr Rou remains a cinematic icon across Russia and other countries of the former Soviet Union and Eastern Europe. Dubbed ‘King of the Fairy Tales’ and ‘The Main Storyteller of the Country’, Rou revolutionized Soviet fantasy and fairy-tale cinema during a remarkable directorial career spanning from 1938 to 1972.

Deftly navigating the shifting ideological landscapes of the Stalin, Khrushchev and Brezhnev eras, Rou created an idiosyncratic succession of weird, witty and wonderful films that celebrated and perpetuated the nation’s folkloric traditions while constantly refreshing them for new generations of appreciative young audiences. In English-speaking countries, by contrast, Rou’s films remain relatively little known. With streaming platforms now increasing their accessibility to western viewers, this book provides a timely introduction to his unique and exhilarating blend of mirth and magic.

'This book takes us on a journey through the fairy-tale films of Alexander Rou, one of the Soviet Union's most prolific and inventive filmmakers of the genre. Deborah Allison's always engaging and enjoyable writing provides the cultural and technical contexts as she reveals the features that make up Rou’s personal style, whilst also highlighting the narratives, actors and special effects in Rou's work. To put it in fairy-tale language: this is a beautifully woven carpet, whose intricate pattern emerges as we read and takes us on a flight into Rou’s fairy-tale world.'

–Birgit Beumers, Professor emerita in Film Studies, Aberystwyth University

A Renaissance is underway. It can be seen as a response to environmental, societal and ethical issues so acute that human survival is in question. Artistic, philosophical and political, it builds on the scientific revolutions of the last decades and positions itself in relation to technoscientific and transhumanist promises. Within this Wild Renaissance, man no longer positions himself as master and owner, imposing his will on a passive and purposeless nature. He makes ready to listen to a new partner: the world around him. He discovers the potential of its forces, which he both harnesses and engages with, joining them with his own. A new era is taking shape, restoring man to his “wild” dignity and giving his existence meaning, joy and ambition. An art is emerging that is redefining the paradigms of creation. Its work is in the vanguard of this societal project.

There is a major tendency in contemporary art and design, and perhaps the most innovative one, that is putting in place new ways of working and producing works which represent a significant break with the principles that have guided modernity up to the present. We are witnessing the beginnings of a renaissance that can be described as “wild.” Powerfully ambitious, it stands as a response to the acute environmental, societal and ethical questions raised in today’s world and, at their heart, the very survival of the human species as we enter the Anthropocene era. It bears witness to massive shifts in consciousness, and echoes a call for a change that is becoming increasingly audible. Nature, or, more precisely, a new way of being “wild” – that is to say, of thinking and acting on the Earth, is the key reference around which the contents of an alternative common destiny are being articulated. The “Wild Renaissance” is supplanting both the modernity that placed man at the center of the world, assigning him the vocation of becoming the master and owner of nature, and postmodernity, which put an end to the great narratives and left only an absolute relativism incapable of supporting new sustainable models.



The word “renaissance” is not used lightly. It stems from a philosophical and ecological analysis of the turn of the 15th and 16th centuries in Italy. This upheaval did not come out of nowhere. Today, as back then, a period of some hundred and fifty yeas paved the way for its emergence. The proto-Wild Renaissance goes from the mid-19th century to the early 21st century. The evolution and convergence of art, philosophy and the sciences of the environment can be observed there in relation to key historical and political moments that have repeatedly raised the question of the continuing habitability of the Earth.



The Wild Renaissance is articulated around a renewed vision of humankind and nature. Humankind no longer aspires to impose its will on a passive, purposeless nature. Instead, it is beginning to listen to a new partner: the world around it. Humanity is discovering the potential of these forces and entering into a relation with them, allying them with its own. Humanity is going from from master to collaborator, assuming an ecological responsibility that goes hand in hand with a revived dignity and an existence that is all the more exciting for all that. Already-established figures in contemporary art and design together with emerging creators are at the forefront of this new movement. The works and practices analyzed here are shown in a new light, with a fresh understanding of their historical grounding, conceptual underpinnings and significance for the present.

Previously published in French by Presses Universitaires de France (PUF).

This cultural history critically examines product design and its development from pre-industrial times to the present day, considering major milestones in the mass production of goods and services, aiming to incorporate a more inclusive worldview than traditional surveys of the topic.

The breadth and versatility of product design through history has been profound. Products have long supported the integration and interpretation of emerging technologies into our lives. These objects include everything from tools, accessories, furniture, and clothing, to types of transportation, websites, and mobile apps. Products provide singular or multiple functions, are tangible and intangible, and in many instances have impacted the quality of our lives by saving time or money or by increasing feelings of personal satisfaction. At the same time, many products have negatively impacted people and the environment. For nearly every product that makes it into the hands of a consumer, there is also a designer who created it and someone who laboured to make it.



Examines the relationship between products, consumption, sustainability, politics, and social movements. This "pocket history" surveys product design from the agricultural revolution and the birth of cities, through industrialisation, and a digital design revolution.

Ernst Gombrich can be considered the most influential art historian of the 20th-century. Until now, however, the global impact of his work has been under-appreciated. Global Culture after Gombrich: Art, Mind, World presents essays by historians of art and culture - themselves students of Gombrich or associated with his scholarly home, the Warburg Institute - from Asia, the USA, and Europe.



Subjects range from picture-making’s place in human evolution to the visual marginalia of the Renaissance, and from nineteenth-century modernism to the implications of the latest neuroscience for cultural history. Other chapters treat fundamental issues, such as the notion of connoisseurship, the fate of the idea of ‘culture’, or the cultural specificity of modernism. They range from theoretical broadsides – notably, a defence of the ‘intelligence’ of art - to intricate reflections – for example on caricature as a style.



In showing how Gombrich initiated enquiries that have spread in numerous – and global – directions, Global Culture after Gombrich: Art, Mind, World makes a vital contribution to contemporary debates around the languages of art history and showcases the range of approaches and methods by which art history is, and has yet to be, written.

This edited collection features fourteen newly commissioned articles, each of which responds to the theme of plague from different disciplinary perspectives. Contributors focus on the effects of COVID-19 on everyday life, drawing also on insights from different historical experiences of plague as a way of exploring human responses to epidemics, past and present.

Each chapter opens with a different illustration that serves as a source for subsequent discussion, enabling readers to make connections between everyday objects, experiences, and broader critical debates about plague and its impact on humanity. Thought-provoking commentaries stem from a variety of humanities disciplines including archaeology, electronic literature, history, linguistics, media and cultural studies, and musicology.



Encountering the Plague explores ways in which humanities research can play a meaningful role in key social and political debates, and provides compelling examples of how the past can inform our understanding of the present.

This book, and its individual essays, examine key emerging and evolving practices, theories and methodologies that operate in the blurred boundary between spatial design disciplines, such as architecture, interior and urban design, and film and moving image studies more broadly.

The collection is an exploration of the evolving interdisciplinary rhetoric connecting spatial design disciplines like architecture and urban design with film and moving image studies. It is premised on the argument that the understanding of ‘space’ in these areas continues to draw on each other’s fields of reference and that, in recent times, this has expanded further to the point in which it blurs with multiple other disciplines including media art, cultural studies and art practice, to name but three. The result of this evolving interdisciplinary understating of ‘space’ in design disciplines and moving image studies is an expanded field of haptic-visual practice and theory that can be investigated as both a material and an image-based construct.

It engages with this evolving set of ideas and underlines how each of its primary discipline areas now increasingly incorporate tools and methodologies from each other’s fields. For example, architects routinely engage with cinematic practice as a means of exploring space, cultural theorists inspect filmic space as a two-dimensional surrogate of the real, media artists incorporate knowledge of spatial design in video installations, and film makers create spaces on screen that are informed by architectural theory. This all follows what can be defined as a discursive turn in our view of spatial relationships across disciplines which, by definition, is complex, eclectic, occasionally contradictory and at times characterised by surprising confluences.

Conceived as a form of mapping of these confluences and contradictions, this book collects varied essays that, in their own unique ways, explore the diversity of how we today define, understand and engage with notions of the body in architectural-urban space. It does so through a triadic structure that progresses from haptic relationships of the body in architectural space, through film readings of represented space in mainstream cinema, and concludes with ‘experimental spatial’ projects inspired by film and the moving image. This tripartite structure specifically encourages a look across disciplines, broadening architectural, urbanist, media and cinematic concerns through insightful case studies that engage with their subjects by means of novel techniques, i.e. employing graphic software for an analysis of pre-digital films, deconstructing cinematography in modernist classics, or researching urban edgelands via collaging and montage etc.

Presents new perspectives on queer visual culture in the Southwest Asia North Africa region from queer artists as well as scholars who work on queer themes. With contributions from both scholars and artists, this volume demonstrates that queer visual culture in the SWANA region is not only extant, but is also entering an era of exciting growth in terms of its versatility and consciousness. The volume focuses on artworks produced in the contemporary era while recognizing historical and contextual connections to Islamic art and culture within

localities and regions from the pre-modern and modern eras.



By framing this volume as unambiguously located within queer studies, the editors challenge existing literature that merely includes some examples of queer studies or queer representation, but does not necessarily use queer studies as a lens through which to engage with visual culture and/or with the SWANA region. Through four interrelated sections - Gender and Normativity, Trans* Articulations, Intersectional Sexuality, and Queer SWANA - this volume probes several previously unexplored academic areas, namely the intersections of queer studies with other fields.



Part of the Critical Studies in Architecture of the Middle East series.

World Film Locations: Los Angeles Volume 2 is an engaging and highly visual city-wide tour of both well known and slightly lesser known films shot on location in one of the birthplaces of cinema and the ‘screen spectacle’. It pairs 50 synopses of carefully chosen film scenes with evocative full-colour film stills.

When the World Film Locations series was launched in 2011, with volumes on Los Angeles, New York, Paris and Tokyo, the world was a different place. Although interest in film locations has grown steadily for years as people seek to walk in the footsteps of their cinematic idols by visiting sites from their favorite movies – the recent global lockdown seems to have only increased an appetite for cinetourism; prompting us to consider a second volume for one of the world’s most evocative and enduring locations. The city of Los Angeles, with its meandering sun-baked sweep and beautifully fractured topography, continues to lure filmmakers into its clutches – affording an endless panoply of locations to prop up both character and story. Since 2011, thousands of new productions have made the most of what the city has to offer; using, reusing and discovering places that will surely become sites of pilgrimage in years to come - and while this volume includes just 50 of them, our modest selection is carefully curated to compliment volume 1 and further reveal both the well-known and more hidden parts of a Los Angeles in constant flux. 

The heart of Hollywood’s star-studded film industry for more than a century, Los Angeles and its abundant and ever-changing locales – from the Santa Monica Pier to the infamous and now-defunct Ambassador Hotel – have set the scene for a wide variety of cinematic treasures, from Chinatown to Forrest Gump, Falling Down to the coming-of-age classic Boyz n The Hood.



This second volume marks an engaging citywide tour of the many films shot on location in this birthplace of cinema and the screen spectacle. World Film Locations: Los Angeles Vol 2 pairs fifty incisive synopses of carefully chosen film scenes – both famous and lesser-known – with an accompanying array of evocative full-colour film stills, demonstrating how motion pictures have contributed to the multifarious role of the city in our collective consciousness, as well as how key cinematic moments reveal aspects of its life and culture that are otherwise largely hidden from view.



Insightful essays and interviews throughout turn the spotlight on the important directors, iconic locations, thematic elements and historical periods that provide insight into Los Angeles and its vibrant cinematic culture. Rounding out this information are city maps with information on how to locate key features, as well as photographs showing featured locations as they appear now.



A guided tour of the City of Angels conducted by the likes of John Cassavetes, Robert Altman, Nicholas Ray, Michael Mann and Roman Polanski, World Film Locations: Los Angeles Vol 2 is a concise and user-friendly guide to how Los Angeles has captured the imaginations of both filmmakers and those of us sitting transfixed in theatres worldwide.

 

Dystopian and post-apocalyptic movies from 1968 to 2021 usually conclude with optimism, with a window into what is possible in the face of social dysfunction - and worse. The infrastructure that peeks through at the edges of the frame surfaces some of the concrete ways in which dystopian and post-apocalyptic survivors have made do with their damaged and destroyed worlds.



If the happy endings so common to mass-audience films do not provide an all-encompassing vision of a better world, the presence of infrastructure, whether old or retrofitted or new, offers a starting point for the continued work of building toward the future.



Film imaginings energy, transportation, water, waste, and their combination in the food system reveal what might be essential infrastructure on which to build the new post-dystopian and post-apocalyptic communities. We can look to dystopian and post-apocalyptic movies for a sense of where we might begin.

Taking as its starting point the first-ever retrospective exhibition (2021) of performance art icon Jess Dobkin, the book reflects on the internationally acclaimed artist’s playful and provocative practice as performer, activist, curator, and community leader. At the same time, it grapples with a question that is vital for art and performance studies: How do archives perform?



More than a discrete showing of a single artist’s work, the exhibition, including its new staging in book form, is a large-scale research experiment in performance curation, investigating what it might mean for art institutions to take seriously the embodied and communal nature of performance art in their practices of archiving and museological display.



In Jess Dobkin’s Wetrospective, a cast of renowned international performance theorists and artists dive into this exploration alongside Dobkin, curator Emelie Chhangur, and performance theorist and dramaturg Laura Levin. These contributions appear alongside a riot of full colour photographs, providing access to Dobkin’s celebrated artistic productions from the last 30 years.

What happens to contemporary dance costumes when the show is over and their surrounding legacy slips from view? How might costumes be mobilised towards representational repair, post-performance? Located within Lea Anderson’s choreographic archive, this book charts a series of hands-on interventions with the fabric remains of her companies The Cholmondeleys and The Featherstonehaughs. Centred on practices of Disintegration, Preservation, Transaction and Display, they offer provocative modes of engaging with the physical leftovers of performance, the degrading of memory and legacy around pre-digital theatre work, and the temporal material transitions of artefacts enduring outside of traditional museological contexts.



How might we regard these mercurial items? As precious relics to be protected in museum holdings, ghostly harbingers of residual performance histories, or inconvenient detritus? The book travels from props-makers’ studios to auction houses and galleries, incorporating film-making, artefact handling and curation along the way, in lively dialogue with perspectives from dance history, material culture, sociology and performance studies. The choreographic archive is envisioned as repository of the awkward, scattered remains of legacy blown apart into fragments. Smithereens, which can, if we allow them, demand an alternative after-life that disrupts the vanishing inflicted on these costumes and the companies who danced in them.

Some have called this an age of absurdity, and as such Contemporary Absurdities, Existential Crises, and Visual Art presents the contributions of artists, theorists, and scholars whose words and works investigate the absurd as a condition of, a tactic for, and a subject in the contemporary.

The absurd is a lens on the disturbances of our moment and a challenge to the propositions about and solutions for the world. The absurd shakes off the paralysis that what we know must be the only thing we (re)produce. Those willing to recognize that and confront it, rather than flee from it, are thereby introduced to the political writ large.

This edited collection adopts ideas and practices associated with the absurd to explain how the contemporary moment is absurd and how absurdity is a useful, potentially radical tool within the contemporary.

Critical art allows the absurd a space within which audiences can observe their own tendencies and assumptions. The absurd in art reveals our inculcation into hegemonic belief structures and the necessity to question the systems to which we subscribe. Today we see the absurd in memes, performative politics, and art, expressing the

confusion and disorientation wrought by the endless, emerging crises of our 24/7 relations.

The Physical and the Digital City is a unique collection of projects where researchers and designers show how the theories of technology underpinning the digital urban environment are applied in practical and spatial terms. The authors are experts in their respective fields, who pursue cutting edge solutions for city-making and consider the theoretical premise critically. It is designed to be a self-contained and interdisciplinary reference text to introduce students, designers and scholars to the idea of physical/digital and its urban application.



The book will help students and designers to develop a clear understanding of the physical and digital principles underpinning urban assemblages and a solid set of references to start working within this topic with confidence. Of interest to all students and scholars interested in urban studies (geography, planning, urban design, social sciences and humanities) and human-computer interaction (media studies, computer science, social sciences, cognitive sciences, anthropology and psychology). The book will clarify the role of digital technologies within the city, along with its possible implications for people and communities.

It is oriented to the academic and professional communities interested in architectural, urban and digital design from different angles. This includes those interested in computational architecture, for example, eCAADe Education and Research in Computer Aided Architectural Design in Europe, ACADIA Association of Computer Aided Design in Architecture, CAADRIA Computer Aided Architectural Design Research in Asia, SIGraDi Sociedad Iberoamericana de Grafica Digital, CAAD Futures Foundation as well as those interested in the human-computer interaction.

Dedicated to the stories of migrants, refugees, asylum seekers, and exiles, this collection asks how these stories are interwoven with art, art practices, activism, reception, and (re-)presentation. It explores the complex entanglements of art and aesthetic practices with migration, flight, and other forms of enforced dislocation and border/border crossings in global contexts - the latter significant phenomena of social transformation in the twentieth and twenty-first centuries.

These entanglements take centre stage when migration shapes forms and aesthetics (and vice versa), when actors employ image politics and visualisation strategies in and about migration at different times and places, or when materialities, sites, and spaces gain importance for decision-making processes.

Giving space to these stories of art and migration and its power of pluriverse knowledge production, the book takes an art and cultural studies perspective and questions the significance of spatial changes for artistic practice in migration and elaborates on new or different theory formation. Bringing together its case studies and theoretical approaches, the argumentation unfolds over the five sections of the book Visibilities | Invisibilities, Sites | Spaces, Materiality | Materialisation, Racism | Resistance and Practices | Performativity.

A timely examination of the use of emerging technologies in the arts in recent decades, from the first wave of Virtual Reality through to the current use of Mixed, Augmented and Extended Realities. It highlights the necessity of understanding technological experiences through the assumption that all experience is embodied. An explosion of digital culture and experience has most certainly given artists and creative practitioners new ways of exploring a hybridisation of creative practices with access to technological tools only previously dreamt of. Further, there are a number of threads around digital embodiment and its centrality to the digital experience.



The book is divided into 3: Section 1 explores the whole notion of embodied experience through a study of space and virtuality, imagination, and technology. Section 2 lays the ground for a more explicit understanding of the role the body has in our engagement with the digital technologies focussing on three distinct bodies: the  gravitational body, the virtual body, and finally the hybrid body. Section 3 is split into three chronological chapters in terms of technological developments, that of VR, Virtual Worlds, and Augmented, Mixed, and Extended Realities.

While individual aspects and themes covered here can be found in some recent books, there is little that places digital embodiment within the arts in the way this book does. A unique synthesis.

Professional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways.

Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes.

The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice.

The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses.

With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims.

Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process.

Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.

This book presents key findings from a 4-year project that sought to understand Ethno Gatherings, an organized residential folk, world, and traditional music programme for young people aged 18-30. In response to three lines of enquiry, pedagogy and professional development, participant experience, and the impact it had upon those who attended, the authors examine the complexity of an Ethno music experience. By considering its history and current practices, the following themes are explored: non-formal music making, personal authenticity, holistic praxis, musical possible selves, intercultural music exchange, sustainability, social media engagement, song sharing, and future practices. Constructed through data drawn from participant observations, interviews, online social media analysis, onsite and video observations, surveys, and questionnaires the authors ask critical questions concerning Ethno’s history, ethos, pedagogy, and philosophical ideals. First held in Sweden in 1990, Ethno Gatherings are now located in over 40 countries worldwide and are part of JM Internationals youth music programmes. As a collection of integrated thought, the book’s purpose is to illuminate new understandings of what Ethno does to support its future growth and development.

The first English language scholarly collection of articles on the leading Berlin based German artist and film-maker Ulrike Ottinger. The articles engage with the full range of the works, from the early Berlin feature films of the 1970s and .'80s to the ethnographic documentaries also including the art exhibitions, photography shows, installations, and artist books. The book brings together feminist film theorists with art historians and cultural theorists, each with a distinctive and detailed perspective on the queer fabulist genres of Ottinger now in her 80s.

Based on over a decade of collective teaching, this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Chapters articulate a collective learning based on the experiences of the International Art Collaborations Network (INTAC), Collective Body group and related programs which the authors and contributors have participated in as educators and students.

Illustrated with photographs, screenshots and student projects, the book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to INTAC, providing perspectives on working collaboratively in a global context.

Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnership. Chapters end with suggested points for conversation, whether between educators, students of art education or students entering collaborations. Although based on experiences in the visual arts, the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.

Fully illustrated with examples of collaborative art projects, photographs, screenshots, diagrams and posters.

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.

Reframing Berlin is about how architecture and the built environment can reveal the memory of a city, an urban memory, through its transformation and consistency over time by means of ‘urban strategies’, which have developed throughout history as cities have adjusted to numerous political, religious, economic and societal changes. These strategies are organised on a ‘memory spectrum’, which range from demolition to memorialisation.

It reveals the complicated relationship between urban strategies and their influence on memory-making in the context of Berlin since 1895, with the help of film locations. It utilises cinematic representations of locations as an audio-visual archive to provide a deeper analysis of the issues brought up by strategies and case studies in relation to memory-making.

Foreword by Kathleen James-Chakraborty

A new volume in the Mediated Cities series from Intellect

Proposes a methodology for incorporating concepts drawn from ancestor trance in Afrolatinx ritual for actors trained in Western methods. Danowski created four new works of theatrical performance, writing the play texts, and incorporating acting exercises from Afrolatinx rituals adapted for non–practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character, drawing on the ritual knowledge of trance possession in Lukumí and Palo Monte to examine how ontologies might speak to each other.

Constructing a methodology called kanga (from the Bantu for tying and untying), using three methods based on aspects of Afrolatinx ritual, and modified for performance contexts: spell, charm, and trance. This methodology enacts and complicates distinctions between performance and ritual, serving as a contribution to respectful and responsible intercultural performance practices.

The methodology is bricoleur, drawing from ethnography, psychoanalytic theory, and phenomenology. Kanga in practice leads to a state of consciousness that Danowski calls hauntological. This borrows from Derrida but is redefined to refer to the study of haunted states of consciousness, where reality is co–constituted by the living and the dead, where ancestral spirits are invoked to do the work once reserved for characters.

Comics have always embraced a diversity of formats, existing in complex relationships to other media, and been dynamic in their response to new technologies and means of distribution. This collection explores interactions between comics, other media and technologies, employing a wide range of theoretical and critical perspectives.

By focusing on key critical concepts within multimodality (transmediality, adaptation, intertextuality) and addressing multiple platforms and media (digital, analogue, music, prose, linguistics, graphics), it expands and develops existing comics theory and also addresses multiple other media and disciplines.

Over the last decade Studies in Comics has been at the forefront of international research in comics. This volume showcases some of the best research to appear in the journal. In so doing it demonstrates the evolution of Comics Studies over the last decade and shows how this research field has engaged with various media and technologies in a continuously evolving artistic and production environment. The theme of multimodality is particularly apt since media and technologies have changed significantly during this period. The collection will thus give a view of the ways in which comics scholars have engaged with multimodality during a time when “modes” were continually changing.

This book is for artists, teachers, and those who prepare teachers. In the field of art and design education there are many theoretical strands that contribute to the practices of teaching and learning in the visual arts. The problem for artist teachers and those who prepare teaching artists is how to frame the diverse methodologies of art and art education in a way that affords divergent practices as well as deep understanding of issues and trends in the field. Teachers need a field guide that provides a contextual background of theory in order to make their own teaching practice relevant to contemporary art practices and important ideas within the field of education. The book, in its content and presentation of content is pedagogical; it provides a catalyst and prompt for meaningful and personal artistic inquiry and exploration.



The book describes connections between teaching and artistic practices including the pedagogical turn in contemporary art. As a book for artists and designers, it is graphically compelling and visually inspiring. It is designed to be engaging for the practitioner and theoretically robust. A problem with many current texts is that they are written by academics who are often a step removed from the issues of classroom instruction and tend use the language of the scholar, which is appropriate for a scholarly journal, but can be difficult for other audiences. This book will bridge this divide through its use of design, narrative, and descriptions of innovative artistic practices. Rather than being a book about “best practice” it is a book about “diverse practices” within art making and teaching.



This field guide to artistic approaches, including methods for teaching art, frames its arguments around critical questions that artists and art teachers must address such as: What is the role of art and design in secondary education? What will I teach? How do we go about teaching art? How do I know if my teaching is working? What is the role of traditional mediums and methods within contemporary art practices? How can art teachers contribute to the reinvention of schools? How might fluency within a medium be connected to important issues within culture, including the culture of adolescents? This book includes examples of approaches that might provoke or inspire artist and pedagogical inquiry. These are approaches that actively engage students in work that disrupts taken for granted conventions about schooling and its purposes. It considers how art and design might transform the school experience for adolescents.

This substantially revised and expanded edition of the The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by uniting drama therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes.

This book is a practical guide in four sections, not a checklist. Rather than using a standardized protocol that makes the decisions for the therapist, drama therapy is based on dynamic, embodied, creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity, preparing them to make good therapeutic decisions in the moment during the session.

The opening section guides readers through the foundational principles leading readers into Section Two, The Decision Tree, which is a series of questions for early career drama therapists to ask themselves as they prepare treatment plans for clients. Diversity, Equity, and Ethics are covered in Section Three from the point of view of creative arts therapy practitioners. Section Four looks at Integrating the Five Phases of Treatment with the Drama Therapy Pie, following different populations (diagnosis) of clients through the five phases of group therapy in order to illustrate how the Decision Tree supports intervention choice in the different phases of treatment.

The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide, early career drama therapists can move forward confidently and ground their work with participants in an integrated system. 



An online searchable database of drama therapy interventions provides descriptions, therapeutic outcomes addressed, and other useful information provides a wealth of additional supporting material. There is also a separate online resource of deroling activities.



The online resources, here, can also be an asset for non-drama therapists who are wanting to incorporate a more active and embodied component safely into their work, particularly in terms of warm-ups, closure, and deroling.

This edited collection highlights ways that arts-educators have taken up important questions around learning with the land through walking practices across spatial, temporal and cultural differences. These walking practices serve as ecopedagogical moments that attune us to human-land and more-than-human relationships, while also moving past Western-centric understandings of land and place. Yet it is also more than this as the book situates this work in a/r/tographic practices taking up walking as one method for engagement.

Authors explore walking and a/r/tography in their local contexts. As a result, the book finds that kinship and relationality are significant themes that permeate across a/r/tographic practices focused on ecopedagogy and learning with the land.

Unique to this collection is the weaving of groundings that both guide each chapter and emphasize the philosophical commitment of the book. Each grounding is written by scholars or artists with Indigenous backgrounds to Turtle Island (North America) or are scholars who are Indigenous to other countries and places who are now working in Canadian university settings. Many are Elders, cultural stewards, knowledge keepers, and stewards of the land who find themselves immersed in practices that are artful, ecological, and in many instances, involve the practice of walking. Each grounding offers an important lesson or prompt for readers to consider as they engage with the chapters, as well as offering a conceptual re-centring and grounding to the land and the traditional knowledges from the territories on which this collection is being produced and edited.



Anishnaabe kwe scholar and artist Anna-Leah King reflects on the teachings of Alfred Manitopeyes, a Saulteaux Elder from Muskcowekwun, Pimosatamowin, who shares that good walking and good talking is more than just a metaphor.



Ojibwa scholar and artist Natalie Owl troubles the dictionary definition of anecdotal in relation to walking in the world as an Indigenous woman.



Mukwa Musayett, Shelly Johnson, reflects on her relationship to the natural elements, revealing how the winds have helped her learn emotional intimacy- from feelings of grief, frustration, anger, respect, power, love and gratitude.



Metis scholar and artist Shannon Leddy invites the reader to a time-travelling walk, tracing the colonial legacies of the land where she now lives in Vancouver, Musqueam Territory, going back to ancient Greece and engaging with Greek mythology, and bringing us to creation itself, as we gestate in our mother’s womb.



Cathy Rocke invites readers to her favourite walking path where she focuses her attention to the reciprocal relationships found in nature and considers how they can help us better understand healthy human relationships.

Gloria Ramirez reflects on her homeland in the Andean Mountains and how her body is intimately tied to the places she has walked.



In a poetic grounding story, Shauneen Pete reflects on the traditional teachings shared by her grandfather from Little Pine First Nation about living and learning with the land.



Sheila Blackstock, member of the Gitxsan First Nation, invites readers to join her on a walk along the lakeshore in early springtime, as she reflects on her walking practices that have taught her how to learn from nature. She describes her movements and senses as “a heart catalogue of understanding how to be in nature”.



In this grounding lesson from Peter Cole and Pat O’Riley, the characters of Coyote and Raven invite readers to the Kichwa-Lamista of the High Amazon and the Quechua Andeans in the Sacred Valley of the Incas in Peru. Through story they talk about returning to the land in an era of climate change and learning about traditional lifeways of Indigenous relations that emphasize preserving, maintain, repairing, caring and sharing.



In her grounding poem, Yasmin Dean attunes to and shows gratitude to the Earth, as she thoughtfully considers how to open and walk through the gate that leads to the sacred.

Fashion Projects: 15 Years of Fashion in Dialogue anthologizes the New York–based journal Fashion Projects. The book is an index of a particular time within the fashion studies landscape and the attendant fields of fashion writing, fashion curation, and critical fashion practice during which the field witnessed a meteoric rise.

The long-running non-profit journal Fashion Projects was described by The Paris Review as “a journal devoted to critical discourse in fashion,” Fashion Projects was founded in New York in 2005 as a zine. It gradually morphed into a larger journal straddling the academic and general interest worlds, with international distribution and an ardent readership. It served as a platform to highlight the importance of fashion within current critical discourses through longform interviews with a range of curators, critics, artists and designers. This book collects together the best articles from the journal, most issues of which are now unavailable.

From exploring the rise of digital fashion media with Penny Martin (the founding editor-in-chief of SHOWstudio) to the continued importance of connoisseurship with Harold Koda (former Curator in Chief of the Met’s Costume Institute), the anthology records the increasing centrality of fashion to contemporary critical discourse.

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 book explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The focus of the book is the neoliberal self, which, far from being a stable marker of urban, liberal, millennial Indian identity, has a schizophrenic quality, one that is replete with contradictions and oppositions, unable to sustain the weight of its own need for self-promotion, optimism, and belief in a narrative of progress and prosperity that has marked mainstream cultural discourse in India. The unstable and schizophrenic neoliberal identity that is the concern of this book, however, belies this narrative and lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects.

The analysis is explicitly political and draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examine a variety of other peripheral ‘texts’ in her analysis such as the film star, the urban space, web series, YouTube videos, and social media content.