The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border, and released on a tiny independent record label, became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this ‘socialist’ country have one of the most vibrant punk scenes in the world?

Gloucester, England, 1981; multi-racial, teenage street-punk band, Demob, recorded and released what would become their best known and most enduring song, No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived, punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set, the lyrics were either a howl of rage at the injustice, a wail at the loss, or a love-song to an era.

More than three decades later, the author – and Demob’s bass player in 1981 – set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era, through the disintegration and wars, forced displacements and permanent exiles, to today’s turbulent ‘reconstruction. Who were ’Tito’s punks’ and who are they now?

An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present, seen through the unlikely lens of punk and punk rockers. Part travelogue, part history the book is both, and neither, of those things. Rather, it is a mural and soundtrack of a journey through a time and place which no longer exists.

The latest addition to the Global Punk series from Intellect.

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.

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’.

Medievalizing epicism - defined as a style or sensibility that evokes the medieval and the epic—has been a hallmark of metal music since its inception. In this regard, metal is not unique among forms of Western pop culture; its fascination with the medieval owes much to the influence of fantasy literature, cinema, and later, video games. Yet medievalizing epicism also plays a key role in shaping (ethno)nationalist ideologies, fascist narratives, and alt-right discourse, as well as official efforts to foster patriotic sentiment. As such, it is often entangled with sexism, racism, nationalism, and exclusivity - elements that frequently echo in metal’s lyrics, imagery, and album art.



This book examines how metal engages with these tensions through the specific lens of medieval Hispanic epic themes. It explores whether and how metal bands deal with the problematic associations that medievalizing epicism can carry, and what this means for the broader metal scene. By exploring these intersections, Amaranta Saguar García invites readers to reflect on the cultural and political dimensions of metal’s medieval epic imagination.

This Open Access publication is funded by the research project PoeMAS: POEsía para MÁS gente. La poesía en la música popular española contemporánea (PGC2018-099641-A-I00, Ministerio de Ciencia Innovación y Universidades de España).

Human Theatre: The Energetic Alchemy of the Performer is a practice-based, interdisciplinary exploration of embodied performance, presence, and the energetic body. Drawing from physical theatre, somatics, trauma-informed practice, and voice-body integration, the book introduces Human Theatre, a method centered on the DEE cycle—Dynamis (potential), Energeia (action), and Entelecheia (transformation). It invites performers to move beyond imitation and toward energetic authenticity through breath, movement, and vulnerability.

The book weaves theory, testimony, and exercises to support actors, dancers, and educators seeking deeper connection with their bodies and audiences. It engages traditions from Lessac Kinesensics, flamenco, clown, Commedia dell’Arte, and contemporary somatic techniques. Core themes include embodiment, presence, dissociation, trauma, and the poetic role of silence and gesture in storytelling.

Written with both artistic rigor and emotional honesty, Human Theatre is a vital resource for performers, theatre-makers, and researchers interested in the intersection of performance, healing, and human truth. It affirms that performance is not only an artistic act but a deeply human one—an alchemical space where energy becomes expression and transformation begins.

This collection explores the dynamic place of Muslim visual and expressive culture in processes of decolonization across the African continent. Presenting new methodologies for accentuating African agency and expression in the stories we tell about Islamic art, it likewise contributes to recent widespread efforts to “decolonize” the art historical canon.

The contributors to this volume explore the dynamic place of Islamic art, architecture, and creative expression in processes of decolonization across the African continent in the twentieth and twenty-first centuries. Bringing together new work by leading specialists in the fields of African, Islamic, and modern arts and visual cultures, the book directs unprecedented attention to the agency and contributions of African and Muslim artists in articulating modernities in local and international arenas. Interdisciplinary and transregional in scope, it enriches the under-told story of Muslim experiences and expression on the African continent, home to nearly half a million Muslims, or a third of the global Muslim population.



Furthermore, it elucidates the role of Islam and its expressive cultures in post-colonial articulations of modern identities and heritage, as expressed by a diverse range of actors and communities based in Africa and its diaspora; as such, the book counters notions of Islam as a retrograde or static societal phenomenon in Africa or elsewhere. Contributors propose new methodologies for accentuating human agency and experience over superficial disciplinary boundaries in the stories we tell about art-making and visual expression, thus contributing to widespread efforts to decolonize scholarship on histories of modern expression.

The depiction of New York City in song across a variety of different genres, focusing on jazz genres, as well as the work of both New York born artists like Billy Joel or Lin-Manuel Miranda and artists living most of their life in New York City like Shinehead or Debbie Harry, that are intimately connected with the city.



The book analyzes songs written about New York City, and engage with the depiction of the city within them, but mainly use it as a way to deal with several musical genres that the city has been home to, and instrumental in developing. These include the musical theatre scene on Broadway and beyond, but also early 20th century sheet music, hip hop, disco, punk, dancehall, jazz, swing, rock or pop music. The collection includes essays from authors with a cultural studies, media studies, cultural history or musicology background, making possible a far-ranging treatment of the interconnection of the city space and its musical history.

This book combines art, history and cultural studies, by way of a series of journeys on which the author and others make artworks. Each of these journeys resulted from an investigation into the meaning of an everyday substance, salt, in very different places – South Africa, Lithuania and Russia, Portugal and Haiti. Katy Beinart explores cultural meanings and everyday rituals of salt in these four journeys that link migration, trade, empire, slavery and colonialism.



Histories of salt have showed how it has been central to trade, power and capitalism, but these histories don’t offer a way of understanding salt’s poetics. Drawing on fiction, poetry and art Beinart weaves together an argument that develops a material poetics of salt, understanding how salt artworks can symbolise relationships, mobilities, migrations, memory, and intercultural connections from the past and present.



The book begins with a search for family history, and combines family memoir, travel stories, trade histories, auto-ethnographic reflection and artistic process. The journeys, artistic practices and embodied engagements with place and people this book narrates are a way into a different understanding of material entanglements and relations through sensory experience which opens up other ways of knowing.

Presents a diverse range of perspectives on contemporary superhero scholarship. It links in-depth close readings of central texts of the superhero discourse from a variety of media (comics, TV, film) with larger societal and cultural discourses such as cross-medial, meta-textual and more general intersections and negotiations between the figure of the superhero and culture.



The book explores various functionalizations of superheroes such as Batman, Iron Man or Watchmen within society, analysing how superheroes reflect and problematise ideology, the military industrial complex, public and private responsibility. Processes of identity construction are analysed by looking at the superheroes’ secret identity and the notion of masking. Furthermore, cultural and personal grief and trauma in relation to such discourses as race and politics are investigated.

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.

Performing Punctuation gathers writers/performers to highlight, question and contest colonising facets of English language punctuation, while looking for ways to reveal and rarefy these proprietary rules such that they are responsive, playful, generous, generative, and ultimately more inclusive.



A transdisciplinary collaborative book that brings awareness to the limiting effects of the prevailing dominance of English language and its vociferous use of punctuation. The book's content and design is guided by this question: How can English language punctuation discard its domineering and strident overcoat to enable a greater diversity of readers, listeners, performers, writers, and practices?



Performing Punctuation, bears out digressions, indiscretions, transgressions and fabulations of grammatical marks unfaithful to propriety. It makes public an on-going and refreshed movement to play humorously and tenaciously with those small but powerful writing marks that regulate, discipline and structure textual language and spoken discourse. These marks, symbols and rule-makers are anything but a mere neutral grammatical systems; they are language gremlins and pixies; inflecting and infecting agents with histories, voices and messages of their own accord. These marks are understood as part and parcel to the on-going colonising history of the English language.



The collection brings together of a range of voices – Māori and Pākehā – and the collaborative editorial relationship with contributors allows conversation to develop between the elements of the book.

An exploration of what performance can do to expand conventional representations of becoming a mother. Maternal bodies and processes of pregnancy, childbirth and sustenance have historically been depicted in art and literature as variously uncanny, abject, grotesque, monstrous, and hybrid.



Societal conventions and myths around what makes a good or bad mother have limited the representations of maternal ambivalence and labour. Lived experiences of matrescence as depicted by mothers themselves have remained almost invisible with little exposure in galleries or mainstream art and media. Challenging complex and disparaging representations, or the erasure and invisibility of experiences of matrescence altogether, contemporary mother/artists working in the field of performance use their live bodies to subvert dominant images of conventional myths of motherhood.



Using strategies of mimesis, liveness, embodiment, relationality, and performativity to render their own matrescent bodies, these artists explore historically pejorative theoretical concepts and aesthetics in new, feminist ways. This book frames performance as a site where becoming a mother can be understood as both a becoming and an unbecoming to expand understandings of matrescence.

Reimagines the human relationship with technoscience and environment, offering fresh, non-hierarchical and ethical perspectives beyond dystopian futures.



Exploring the evolving relationship between the human body, technoscience, and the environment, Chimera introduces the concept of the “expanded body” as a transdisciplinary meeting point between art, design, technology, and science. Through a critical examination of developments such as biomechanics, prosthetics, body hacking, and biotechnology, the book investigates how these innovations alter our bodily, sensory, and cognitive capacities. Providing a unique methodological systematization of the main ecological and posthuman philosophy theories, it argues for a new framework in which the human is deeply entangled with both human and nonhuman elements in a shared environment.



Building on ideas from both past and present—ranging from twentieth-century research to current discussions in neuroscience, design, and media theory—Chimera offers a thoughtful response to common fears about futures driven by technology and science. Instead of imagining a world dominated by machines or centered only on human needs, the book imagines fluid, queer, and nonhierarchical relational models between human bodies and the environment. Essential reading for scholars and students in contemporary art, new media, science and technology studies, and environmental and posthuman studies, Chimera also speaks to a wider audience interested in how technology and science is reshaping our understanding of life, identity, and ethical coexistence.

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.’

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.’

The book presents an interpretation of neo-noir filmmaking through the lens of economics, based on readings of central neo-noir works from the noir revival of the early 1970s to recent films. Analyzing key themes and figures of neo-noir – desire and betrayal, corruption and alienation, the private detective and the femme fatale – the project reads neo-noir filmmaking as a privileged site for the expression of anxieties around work, money, trust, and exchange. Neo-noir filmmaking embodies a profound reflection on the hollowing-out of economic and social life, the collapse of trust, the erosion of institutions, and fears regarding legacy and identity, developments that have undermined the promise of American life in the long twilight of the American dream since the end of postwar prosperity.



Aimed at the many scholars and faculty who study and teach film noir and neo-noir at levels from high school to post-graduate. It will appeal as well to the extensive community of cinephiles enthusiastic about noir, those who attend “Noirvember” screenings at repertory movie houses, who read the websites of the Film Noir Foundation or Eddie Muller (the self-styled “Czar of Noir”), and participate in discussions of noir and neo-noir filmmaking on online forums.

The Intellect Handbook of Adult Film and Media collects 36 chapters in six broad sections related to the study of adult film and media: History; Methodologies and Pedagogies; Representations; Production, Spectatorship, and Distribution; Area Studies and Transnationalism; and Law, Health, Policy, and the State. These chapters offer a survey of the discipline, with overviews of the primary literature, important histories, and essential arguments. The Handbook is designed as a reference work and resource for emerging scholars and educators teaching undergraduate courses on film, media, gender, sexuality, or porn studies.



This handbook fills an important gap within cinema and media studies by examining sexually explicit media content and the context for its circulation, production, consumption, and broader reception. Through these essays and the extensive body of literature they engage with, it aims to support the continued growth of adult film and media studies.

DJing in New York depicts the initial learning processes of a group of underground Electronic Dance Music club DJs in New York and follows them throughout a portion of their career to gain insights as to what and how these popular musicians learn, develop careers, and thrive.  



What unfolds is a story of a social process of musical learning in which DJs develop strong networks of friendship to initially learn their craft and later on to navigate the perils of nightlife and build careers. This type of situated learning is dependent upon friendships and is intrinsically linked to the dynamic context of an underground clubbing scene in New York. Enculturation in this nightlife scene, access to professional performers, and strong friendships distinguish these musical learners among popular musicians.



Because these features add a new dimension of understanding to the learning practices of popular musicians, this book is of primary interest to music educators, particularly those interested in popular music education and community music. It is also relevant to individuals interested in popular music studies, especially scholars of electronic dance music culture.

How can arts-based learning shape the future of education in Ireland? 

Arts Education in Ireland dissects this question using a rich collection of research and case studies spanning early childhood, primary, secondary, and higher education. Through an examination of the evolving role of the arts in the Irish curriculum, this volume showcases how visual arts and interdisciplinary collaborations between educational and cultural institutions are transforming teaching and learning. With contributions from educators, researchers, and artists, this collection focuses on key themes such as teacher identity formation, student engagement, and the impact of creative pedagogies in developing twenty-first-century skills. It also highlights innovative programs like the Writers in Schools scheme, offering insights into how the arts foster critical thinking and deeper learning experiences.

Accessible yet deeply researched, this book is an urgent reference for arts educators, students, and researchers worldwide. Whether you are new to arts-based learning or seeking unique perspectives on interdisciplinary education, Arts Education in Ireland provides both theoretical and practical insights into the power of the arts in shaping meaningful learning experiences.

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.

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.

Describes the transformations we have witnessed due to the development of nuclear science and technology, accelerating policies interdependent on energy, and military procedures that have led us to make a provocative claim that, in many respects, planet Earth is getting closer to the embodiment of the project we call Nuclear Gaia.

The book examines media archives and online platforms that recover data and memory and shape community knowledge of nuclear events from the distant and nearer past. These are the pieces of evidence that we are on the eve of creating new forms of social justice, carried out by open-source investigations (OSINT) groups, independent researchers, artists, media makers, activists, local communities, and civic groups.



Thus, analysing nuclear processes and their social and environmental consequences is no longer the exclusive domain of experts, scientists, politicians, and the military. The authors hope that such communities’ practices and decolonial discourses, combined with the critiques within our methodology as post-nuclear media studies, can also change the fate of nuclear industry victims by creating media space to discuss and regain justice as socially sanctioned and shared rules for understanding and using nuclear energy both in past and the future.

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.

The book gives prominence to the way the concept of communication has been deployed within philosophical debates. It shows how philosophers have adopted this concept in their discussions on the issues of intersubjectivity, community and the ethics of dialogue.

Although mainstream philosophers do not, as yet, consider the philosophy of communication as a branch in its own right, instead subsuming it within the philosophy of language as pragmatics, the concept of communication is broader than that of language. This book aims to develop the relationship between communication and philosophy further.



Mangion hopes to encourage others to conduct further research by aligning communication with questions that are of a philosophical nature.

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.