Intellect 2022 Collection

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

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

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

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

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

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

In the theatre world, ‘off book’ signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script – the ‘book’ – on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, ‘off book’ captures the tension between ephemeral, live performance and durable, author-ized literature: in one sense, the book – the written play – is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an ‘on book’ performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it.   

Devised performance might be described as ‘theatre without the book.’ Yet devisors also often use books – books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done ‘by the book,’ devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments.

The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, Devising Pedagogy: Teaching Transferable Tools, examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, Devising Friction: Ensembles, Individuals, and the Institution, shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, Devising (by) Degrees, Practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in Devising Bridges: University-Community Engagement explore how devising connects higher education institutions with the public they are intended to serve — particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities.

A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.

An extradisciplinary investigation into the radical potentials of design by the global Memefest network.

This book is an investigation of the key aspects of capitalist domination and resistance to it through design; its five sections explore dialogue, power, land, interventions, and radical praxis. Vodeb’s curated chapters engage radical intimacies with design and connects it with media, communication, and art. Radical intimacies imply a closeness to the world created through our relations, which work towards the decolonization of knowledge and the public sphere. The closeness is political as it involves qualities that constitute and enable an alternative and opposition to extractive relationalities imposed by capitalism.

Radical Intimacies connects frameworks on (de)colonization with the work of Memefest, a global network of people interested in social change through radical design. Bringing together original written and visual contributions from around the world, the collection connects universities, practitioners, and social movements. This book explores design as a central domain of thought and action concerned with the meaning and production of sociocultural life. Contributors are interested in design that operates outside the dominant social orders, narrow disciplines and extractive paradigms and imagines and builds new worlds and social relations.

An inter/ extradisciplinary collection of original works, the audience will be academics, artists, designers and activists and adventurous professionals who are interested in the crossovers between design, arts, and social change. Students of design, art, media, and communication interested in social change. Higher level undergraduate and graduate students.

Content warning: Aboriginal & Torres Strait Islanders are advised that the following publication contains the words & images of deceased persons.

The Performing Observer is a collection of short, critical writings on contemporary art, performance, and photography written over the course of the past two decades. These texts were originally published in a variety of settings, including art magazines and exhibition catalogues, online journals and websites.

A wide range of global practitioners are analysed, from emerging to established artists. As the title suggests, Patrick feels that he is simultaneously performing a role while observing and writing about the field. The intention is to present a well-informed but jargon free survey of many significant developments in contemporary art and culture. Among the artists discussed are: Francis Alÿs, Laurie Anderson, Chris Burden, William Eggleston, Cindy Sherman, and Andy Warhol.

The book examines an important series of interconnected contemporary art practices. Layering writings on performance-based work, material forms and photography, it positions performance within a larger context. The artists selected are genuinely international with a strong focus on the southern hemisphere, and are grouped together in sections Patrick calls Performance, Photography, Publicness, Video, Books and Exhibitions.

It aims to make sense of a specific modality of art making with an interesting - and to a degree unspoken - interest in art writing itself. Both elements are compelling separately but especially so together.

Accessibly written and especially approachable for a range of interested readers. It offers scholarly and critical depth while retaining a writing style that will appeal beyond a strictly scholarly audience. It will appeal to readers closely involved in contemporary art theory and practice, whether students, artists, academics or simply curious to know more.

The main aim of this book is to present the theory and purpose underpinning the approaches to dance literacy as explored by the Language of Dance® community in the USA and UK. Through their teacher training programs, they are changing the face of dance-based dance literacy using motif notation.

Through their teacher training programs, they are changing the face of dance-based dance literacy using motif notation. This book reveals how dance notation literacy has changed due to practices being focused on constructivist and constructionist pedagogy. Based on work by dance educator Ann Hutchinson Guest and expanded upon by her protégés, this is the first book of its kind to bring together theory, praxis, original research outcomes, taxonomies, model lesson plans, learning domain taxonomies of dance, and voices of dance teachers who have explored using dance notation literacy. We are in a new era for educating with dance notation, focusing on learners’ engagement by making connections between the learning domains using constructivist and constructionist learning approaches.



Arts-literate dancers can deepen their dance craft and transfer their arts knowledge, capacities, and skills to lifelong learning. Dance-based dance literacy practices using notation enhance learners’ flexibility, adaptability, self-direction, initiative, productivity, responsibility, leadership, and cross-cultural skills. 

The book will appeal to dance educators focusing on cognitive and metacognitive learning in dance using communication, problem-solving, and critical thinking.

Useful for preschool and primary teachers aiming to integrate dance into classroom experiences and for secondary teachers teaching dance and looking to upgrade their approach to dance literacy so students are able to achieve higher level cognitive learning, problem solving, and social skills in dance classrooms.

Choreographers and dance teachers will find new approaches to dance making and to expressing their craft using a system that is well codified and now augmented with examples to guide them with making their own projects and processes.

Anyone with an interest in the idea of dance literacy will find concrete examples of how to put their knowledge into practice to advance their teaching and dance making.

Fan Phenomena: Disney collects essays on Disney fans, spanning a variety of media (such as film, television, novels, stage productions and theme parks) and different fannish approaches (cosplay, fan art), as well as the company's reactions to them.

It is a timely intervention that deals with crucial issues such as race and racism within the Disney fandom and in Disney texts, the role of queerness, the impact of the Covid-19 pandemic and the advent of the streaming service Disney+.

The authors come from variety of disciplines, such as cultural and media studies, marketing and communications, cultural history or theatre and performance studies, and include both leading experts in fan and Disney studies, as well as emerging voices in these fields, plus interviews with fan practitioners.

It will be popular with scholars of cultural studies, cultural history, media studies, fan studies; Disney fans, and students at any level

This book provides a manuscript-megaphone for a variety of perspectives on popular music education, including those we do not usually hear from, but who are doing far and away the coolest, most relevant and most interesting things.

It includes rants, manifestos, and pieces that are pithy and punchy and poignant, which have resulted in a wide tonal variety among chapters, from more traditionally scholarly pieces replete with citations and references, through descriptions of practice, to straight-up polemics. It is more about beliefs, experiences and motivation, about frustrations, aspirations and celebrations. The chapters are intended to whet appetites, prime pumps, open eyes, and keep cogs turning. This book is organized into four parts:  Beyond the Classroom, Identity and Purpose, Higher Education and Politics and Ideology. This book is intended for academics of all ages and stages, but the writing is often deliberately non-academic in tone.

The book will appeal to those working in popular music studies, communication studies, education research, and should be of interest to those involved in policy decisions at national and regional levels. It is also directly relevant to researchers looking music industry and music ecosystems nationally, regionally and internationally, as education and popular music industry, DIY and community sectors continue to enmesh in complex and evolving ways.

Performance generating systems are systematic and task-based dramaturgies that generate performance for or with an audience. In dance, such systems differ in ways that matter from more closed choreographed scores and more open forms of structured improvisation. Dancers performing within these systems draw on predefined and limited sources while working on specific tasks within constraining rules. The generating components of the systems provide boundaries that enable the performance to self-organize into iteratively shifting patterns instead of becoming repetitive or chaotic.

This book identifies the generating components and dynamics of these works and the kinds of dramaturgical agency they enable. It explains how the systems of these creations affect the perception, cognition and learning of dancers and why that is a central part of how they work. It also examines how the combined dramaturgical and psychological effects of the systems performatively address individual and social conditions of trauma that otherwise tend to remain unchangeable and negatively impact the human capacity to learn, relate and adapt. The book provides analytical frameworks and practical insights for those who wish to study or apply performance generating systems in dance within the fields of choreography and dance dramaturgy, dance education, community dance or dance psychology.

Featured cases offer unique insight into systems created by Deborah Hay and Christopher House, William Forsythe, Ame Henderson, Karen Kaeja and Lee Su-Feh.

Additional Prefaces from Hazel Henderson, Randeep Sudan, and new additional original material has been added in each chapter.

New material has a particular focus on the impact of Covid-19 and its influence, which has gone beyond the fields of health and hygiene, deeply impacting the economic, social and even geopolitical affairs worldwide, subverting many aspects of the traditional market economy and disrupting social norms. This unexpected disaster is forcing human beings to rethink the axioms of what has long called “civilization.” find ways to coexist with other creatures who share the earth, and change many of our long-established behaviour patterns, including lifestyle, working practices and diet.

The world ushered in explosive technology development, giving human beings unlimited opportunities and reverie. At the same time, mankind faces a deeper crisis - beyond the climate change, ecological environment, the gap between rich and poor, regional conflicts and terrorist threats that people already recognize. That is the human evolution crisis, science and technology crisis and human civilization crisis brought by the development and application of technology, which makes us stand at the crossroads in the history of human civilization. This book calls on human beings to prepare for the future - to actively promote the transformation of Industrial Civilization, to promote the progress of human civilization, to meet Global Civilization and even Great Civilization.

Zhouying Jin contends that if human beings who share an earth cannot correctly grasp the direction of human evolution; if they cannot alter their destructive relationship with nature, and abandon “people-centred” and ‘’self-centred” thinking everywhere; if they cannot alleviate the threat of war and terrorism “as soon as possible” through the sublimation and perfection of human nature, and create a more advanced civilization; if they cannot deal with the planet’s common crises - climate change, species extinction, land and food shortages, water pollution, etc.; in short, if they cannot correctly learn the lessons of the current global catastrophe caused by the COVID-19; if they cannot promote the real awakening of all mankind; and cooperate to establish a new world order and accelerate the pace of civilizational transformation, then indeed the human race is doomed to move toward self-destruction long before the dangers posed by gene-enhanced Super-beings or robots endowed with artificial intelligence robots ever emerge.

Primary audience will be at university level across a broad range of subjects and disciplines, wherever students are studying topics connected to the future of mankind and the world.

This collection was written by educators who are engaging in multi- and interdisciplinary education and are led by curiosities encompassing the collaborative nature of cognitive and kinesthetic engagement and awareness.

The chapters are designed as sources for inspiration, replication, and adaptation. They are a place to start or continue. Each chapter, in varying modalities, addresses interdisciplinary course development and implementation in institutions of higher education. The common themes that emerge in the collection include navigating administrative systems and solving the challenges encountered when crossing departments or colleges, whether it be regarding listing of courses or the intricacies of course load on each professor.

Many chapters also provide detailed information on the nuts and bolts of the specific course or courses taught, including syllabi, lesson examples, and both formal and informal assessments implemented. Multiple case studies are included in this collection, with many chapters providing specific examples of students’ work.

Contributors candidly offer discussions of failures and successes of their interdisciplinary collaborations, be it in course design, lesson planning or complications brought in by unforeseen pandemics. Most chapters end with a section entitled ‘Lessons learned’, where experiences from the field provide opportunities for growth and continued exploration.

Readers can follow the book from cover to cover or dip in, finding the chapters that serve a particular project or teaching endeavour. The varying writing styles and topics are in direct relationship with the exact nature of the inspiration for this text. The over-arching themes of collaboration (diverse backgrounds, ideas, and skill sets, multidisciplinarity, and interdisciplinarity) are the consistent touchstones that create a thematic self-guided journey of exploration through the book.

The chapters offer readers guidance and encouragement to implement some of the approaches described, and inspiration to forge their own paths in the world of multi- and interdisciplinary teaching and research. The depth and breadth of collaborative possibilities are exciting, and the editors’ goal is to spark further experimentation.    

An excellent and practical resource for any educator hoping to teach his or her subject matter through an interdisciplinary approach and for all courses revolving around topics of pedagogy. The key audience will be graduate students, and teachers in all stages of education from primary to higher education.