David Burrows – författare

Drachar is a ruthless and ambitious sorcerer who will stop at nothing to wreak revenge against those who betrayed him. From a lowly, although arrogant Eldric lord to commander of the most deadly army the land has ever seen, he pitches relentless hordes of powerful soul devouring demons against his own people, the Eldric. Fierce battle is to commence and all in its path must fight or risk their soul being sent screaming from their twitching corpses. Madness tears at Drachar, a constant reminder of what should happen if he fails in his bloody pact; delivering one hundred thousand souls to the demons in exchange for the greatest of power. The Eldric must learn to summon demons of their own to stand any chance against Drachar s deadly arsenal of fantasy creatures, including krell, imps, demons and grakyn. Magic and swords clash in a war of such catastrophic proportions that the world will be forever stricken. Join Drachar the outcast as he rises to omnipotence. The die are cast and events are set in motion that look set to destroy the world.

Kaplyn yearns to escape the tedium of court. Most people would envy him, seeing him as pampered and spoilt, but this is not Kaplyn. He finds contentment in a simple life, hunting with his friend Hanneth, the Royal Gamekeeper, who is more of a father than the King he rarely sees.However, something is driving him to leave and perhaps fate has taken a hand, for a crisis is fast approaching. The people have largely forgotten their history and the horror of Krell Wars is but a distant memory. The prophecy predicting the rise of evil has become but a game for children.As Kaplyn leaves the palace in the dead of night, convinced that a few weeks away will see his brothers sick with envy, events are unfolding which will drive him to the very brink of despair. His father, the King, is suppressing recent news about growing numbers of krell raids and the uncertainty that demons may once again be crossing the Great Divide, separating the worlds.A short adventure will bind Kaplyn to a self-confessed sorcerer, Vastra, perhaps the last of his kind. Vastra lusts for power and harbours a secret for which he will kill to protect. Kaplyn must soon choose between his family and the safety of the land. Fate determines that he must follow the path of an ancient race, saviours of the Krell Wars. But, what will be waiting for him at journey's end?Prophecy of the Kings, of which this is book 1, won a Gold Award on one website in 2010

Lothanol is arrogant and bored, which is a very dangerous combination. His people are sorcerers and they use elementals to summon magic, but their power is very limited. Imps are the next in the hierarchy and they can be used as a conduit to summon their more powerful brethrens, demons, but summoning imps or demons is forbidden.Lothanol despises rules and he spies on the demon world, seeking knowledge and caught in the act of making a pact with the demons he is banished by his own people, the Eldric. In a pique of temper he takes the name Drachar, unhomed, and swears a terrible vengeance on his people. His powers are stripped from him and he is cast out from his home with no possessions nor food with frost on the ground. His survival is in doubt as he curls beneath a bush with only his anger keeping him alive.He forges an unholy alliance with the demons by offering them ten thousand souls, but the demons demand one hundred thousand and without quibbling Drachar accepts. Only all out war will deliver so many souls and the old enemy Trosgarth is his only potential ally, but he must cross the land to confront their king and persuade him to his cause. Meanwhile his people, the Eldric, must find a way of countering the growing demon threat. How does one defeat creatures with scaled armour and the power to destroy armies? Only the bravest sorcerer dare summon a demon, for failure results in their soul sent screaming to Hell for eternal damnation.The quest is on to defeat demons and first they must be summoned and then their weaknesses explored, whilst Drachar summons his own allies and prepares for a war that will pit sorcerer against sorcerer and armies against the might and power of demons. Caught in the middle are the other races of the land. Lacking sorcery they are easy prey to Drachar and his demon allies. Fear and terror stalk the land and a great darkness descends, threatening to consume friend and foe alike.

Armies are gathering but Astalus, the Thracian court wizard, is in a quandary as to who to trust. Shocking news has arrived from an unlikely source. A spy, arrested brazenly entering the city, claims to be a prince from an extinct royal household, a household that was overthrown, the family members murdered over sixty years ago. Intriguingly, the spy's claim to be from Allund is more than a coincidence, for the army marching against Thrace is also from Allund.Who indeed to trust? The stranger brings with him news of an army from Trosgarth, which can only mean one thing. Drachar's shade has been summoned and the Prophecy is coming to pass. Old alliances are broken and many monarchs slain. No sign yet exists of the king predicted by the Prophecy, who will save them all. Astalus, normally so certain and confident, is suddenly plummeted into his worst nightmare, for soon Thrace could be threatened by demons and, against them, there is no salvation. In a land fraught with betrayal, fear and death, the shadows are deepening.

Events are coming to a head. The battle for CarCamel has ended and Kaplyn is seen as its saviour. Catriona, the Thracian Queen, wants him to lead the army in its fight against Trosgarth, with a dragon at his command.Kaplyn, however, has other ideas. He fears dragons, but does not know why. His dreams remain plagued by the great serpents and yet one helped them to defeat the enemy. It is a conundrum that cannot be solved and instead Kaplyn decides to pursue an image shown to him by Astalus, the Thracian wizard. The image was that of Vastra, now an old man, held captive in Aldrace.Kaplyn harbours a terrible fear. Vastra recovered a crystal from the Tree of Life and, with it he can open a gateway to the demon world. A permanent one! Should that happen then nothing can prevent Drachar's Shade from crossing the Great Divide at the head of a demon horde. Fear drives Kaplyn on and he worries that he has made a crucial mistake in abandoning his people.The secret that is Shastlan is about to be played out and Kaplyn will be driven to the very brink of despair. Not only are lives at stake, but so too are the souls of the damned. The army is about to be betrayed and the Prophecy is set to fail. A great Doom is about to fall upon the land and yet the army will march. Proud banners set against the might of the demon hordes.

By exploring diagrams, diagramming and the diagrammatic across a range of disciplines and arts-led practices, this open access book addresses the gap between diagrams as a widely valued mode of visual representation and their under-examined status within arts and art educationInformed by Charles Sanders Peirce’s understanding of a diagram as an analogy of relations, Drawing Analogies draws on its authors’ creative use of diagrams as artists, educators and arts researchers, and on fields of inquiry that bring the arts into alignment with other disciplines – most notably anthropology, critical theory, pedagogy, philosophy, psychology, semiotics and the physical and life sciences. This range of disciplines is evident in the artists and writers discussed, such as Gregory Bateson, Black Quantum Futurism, Salvador Dali, Phillipe Descola, Aristotle, Hilma af Klint, Rosalind E. Krauss, Yayoi Kusama, Louis Hjelmslev, Susanne Leeb, Jacques Lacan, Pauline Oliveros, and George Widener.While the authors approach diagramming as both a technical and poetic activity, their emphasis is on creative, embodied and exploratory modes of diagramming practices, which are capable of engendering new forms, thoughts and experiences. By taking an artistic approach to diagrams and diagramming, by incorporating diagramming as a method of enquiry within chapters, and by exploring their interdisciplinary and multi-perspectival potentials, Drawing Analogies proposes giving new life to the art of diagramming and widening the arena of artistic practice and creative research.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University College London.

By exploring diagrams, diagramming and the diagrammatic across a range of disciplines and arts-led practices, this open access book addresses the gap between diagrams as a widely valued mode of visual representation and their under-examined status within arts and art educationInformed by Charles Sanders Peirce’s understanding of a diagram as an analogy of relations, Drawing Analogies draws on its authors’ creative use of diagrams as artists, educators and arts researchers, and on fields of inquiry that bring the arts into alignment with other disciplines – most notably anthropology, critical theory, pedagogy, philosophy, psychology, semiotics and the physical and life sciences. This range of disciplines is evident in the artists and writers discussed, such as Gregory Bateson, Black Quantum Futurism, Salvador Dali, Phillipe Descola, Aristotle, Hilma af Klint, Rosalind E. Krauss, Yayoi Kusama, Louis Hjelmslev, Susanne Leeb, Jacques Lacan, Pauline Oliveros, and George Widener.While the authors approach diagramming as both a technical and poetic activity, their emphasis is on creative, embodied and exploratory modes of diagramming practices, which are capable of engendering new forms, thoughts and experiences. By taking an artistic approach to diagrams and diagramming, by incorporating diagramming as a method of enquiry within chapters, and by exploring their interdisciplinary and multi-perspectival potentials, Drawing Analogies proposes giving new life to the art of diagramming and widening the arena of artistic practice and creative research.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University College London.

The Cosmopolitical Functions of Art and Theory proposes that contemporary art has developed new aesthetic and pedagogical functions by presenting metaphysical perspectives that generate alternatives to the narratives and social and political legacies of the Enlightenment, modernism, globalisation and colonialism.This volume introduces the concept of onto-fictioning, practices presenting ontological and cosmological perspectives, addressing developments in contemporary art influenced by discourses that include the ontological turn in anthropology, and a concern for environmentalism as well as blackness and postcolonialism in the Arts and Humanities. Two concepts in particular run throughout the book: cosmopolitics (concerning the ways in which defining reality is political) and cosmotechnics (concerning the relation of moral or social orders and the cosmos, articulated through technical activities or approaches to technology). Artworks that present fiction to generate encounters with multiple ontological and cosmological perspectives present narratives that differ, diverge or deviate from modern and globalising narratives, troubling the narrative of one-world shared by one-people and other similar narratives. The book engages with diverse artists and thinkers including John Akomfrah, Yuk Hui, Lawrence Lek, Fred Moten, Tai Shani, Susan Stengers, Eduardo Viverios de Castro and Sylvia Wynter.

Fictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O'Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of `post-truth' and `perception management'. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come.

Can you hear the child’s voice?The Court of Appeal have commented that the family courts are ‘still feeling their way forward in order to determine how best to ‘hear the voice of a child’.In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law.It concentrates on:Children in court proceedings, particularly in family proceedingsContrasting the way courts hear children’s views with the way their evidence is heardAny rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child’s ‘understanding’ in court proceedings, and the way that term varies according to a child’s age and the issue before the court.Legislation and case law covered and analysed includes:Children Act 1989 and applicable Family Procedure Rules 2010Human Rights Act 1998 and European Convention 1950Civil Procedure Rules 1998LASPO Act 2012Youth Justice and Criminal Evidence Act 1999Re D (A Child) (International Recognition) – child’s right to be heardRe W (A Child)– rules for child representation in hearingsP v A Local Authority (Fam) – legal aid and statutory damagesRe W (Children) (Abuse: Oral Evidence) – child’s evidenceR (D (a minor)) v Camberwell Green Youth Court – safeguards in criminal law for childrenProtocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings – October 2013Achieving Best Evidence: Guidance on interviewing children March 2011This title is included in Bloomsbury Professional's Family Law online service.

Can you hear the child''s voice?The Court of Appeal have commented that the family courts are ''still feeling their way forward in order to determine how best to ''hear the voice of a child''.In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law.It concentrates on:Children in court proceedings, particularly in family proceedingsContrasting the way courts hear children''s views with the way their evidence is heardAny rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child''s ''understanding'' in court proceedings, and the way that term varies according to a child''s age and the issue before the court.Legislation and case law covered and analysed includes:Children Act 1989 and applicable Family Procedure Rules 2010Human Rights Act 1998 and European Convention 1950Civil Procedure Rules 1998LASPO Act 2012Youth Justice and Criminal Evidence Act 1999Re D (A Child) (International Recognition) – child''s right to be heardRe W (A Child)– rules for child representation in hearingsP v A Local Authority (Fam) – legal aid and statutory damagesRe W (Children) (Abuse: Oral Evidence) – child''s evidenceR (D (a minor)) v Camberwell Green Youth Court – safeguards in criminal law for childrenProtocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings – October 2013Achieving Best Evidence: Guidance on interviewing children March 2011This title is included in Bloomsbury Professional''s Family Law online service.

Can you hear the child''s voice?The Court of Appeal have commented that the family courts are ''still feeling their way forward in order to determine how best to ''hear the voice of a child''.In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law.It concentrates on:Children in court proceedings, particularly in family proceedingsContrasting the way courts hear children''s views with the way their evidence is heardAny rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child''s ''understanding'' in court proceedings, and the way that term varies according to a child''s age and the issue before the court.Legislation and case law covered and analysed includes:Children Act 1989 and applicable Family Procedure Rules 2010Human Rights Act 1998 and European Convention 1950Civil Procedure Rules 1998LASPO Act 2012Youth Justice and Criminal Evidence Act 1999Re D (A Child) (International Recognition) – child''s right to be heardRe W (A Child)– rules for child representation in hearingsP v A Local Authority (Fam) – legal aid and statutory damagesRe W (Children) (Abuse: Oral Evidence) – child''s evidenceR (D (a minor)) v Camberwell Green Youth Court – safeguards in criminal law for childrenProtocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings – October 2013Achieving Best Evidence: Guidance on interviewing children March 2011This title is included in Bloomsbury Professional''s Family Law online service.

How far does a client’s or a child’s confidentiality extend on family breakdown?Understand the fundamental importance of legal privilege, privacy and confidentiality in family breakdown and in family court proceedings.Looking at the duties of confidentiality of all practitioners involved in family proceedings, this title puts privilege, privacy and confidentiality in its common law context. It considers and contrasts that family proceedings are almost always heard ‘in private’; and explains how this rule sits with common law principles. It singles out the particular issues in care proceedings where there are parallel criminal proceedings and explains the differences in law and on statutory guidance between the duties of confidentiality between lawyers, doctors and social workers.This new title helps you tackle questions such as:Is a child entitled to confidentiality; or is it correct, as Working Together guidance says, that the mature child’s confidences should be ‘shared’?When can privilege be overridden; and when does it not apply?Does without prejudice immunity cover a mediator?When are closed materials procedures appropriate in children proceedings?This title is included in Bloomsbury Professional's Family Law online service.

How far does a client''s or a child''s confidentiality extend on family breakdown?Understand the fundamental importance of legal privilege, privacy and confidentiality in family breakdown and in family court proceedings.Looking at the duties of confidentiality of all practitioners involved in family proceedings, this title puts privilege, privacy and confidentiality in its common law context. It considers and contrasts that family proceedings are almost always heard ''in private''; and explains how this rule sits with common law principles. It singles out the particular issues in care proceedings where there are parallel criminal proceedings and explains the differences in law and on statutory guidance between the duties of confidentiality between lawyers, doctors and social workers.This new title helps you tackle questions such as: Is a child entitled to confidentiality; or is it correct, as Working Together guidance says, that the mature child''s confidences should be ''shared''? When can privilege be overridden; and when does it not apply? Does without prejudice immunity cover a mediator? When are closed materials procedures appropriate in children proceedings?This title is included in Bloomsbury Professional''s Family Law online service.

How far does a client''s or a child''s confidentiality extend on family breakdown?Understand the fundamental importance of legal privilege, privacy and confidentiality in family breakdown and in family court proceedings.Looking at the duties of confidentiality of all practitioners involved in family proceedings, this title puts privilege, privacy and confidentiality in its common law context. It considers and contrasts that family proceedings are almost always heard ''in private''; and explains how this rule sits with common law principles. It singles out the particular issues in care proceedings where there are parallel criminal proceedings and explains the differences in law and on statutory guidance between the duties of confidentiality between lawyers, doctors and social workers.This new title helps you tackle questions such as: Is a child entitled to confidentiality; or is it correct, as Working Together guidance says, that the mature child''s confidences should be ''shared''? When can privilege be overridden; and when does it not apply? Does without prejudice immunity cover a mediator? When are closed materials procedures appropriate in children proceedings?This title is included in Bloomsbury Professional''s Family Law online service.

This study deals with time and with music, and the link between the two is the suggestion that music is a modeling of the way we construct time. Time—the now, duration, succession and order of succession; the past, the future—is seen as a resource for managing systemic disequilibrium and as the evolutionary elaboration of the now. As organic dynamical systems humans maintain themselves by means of self-regulatory actions, nows, and these nows are proposed as feeding off a pre-temporal, interindividually accessed energy in nature, an ongoing cosmic proto-present. Speech is a way out of sensory immediacy and a way into a complex shared world where coordination and planning take place away from the distractions of the present as given by the senses. Music is presented as one of a group of behaviors comprising the arts and games that evolved in parallel with language to compensate for its abstractness. Language tends to the complexly abstract and music favors the complex, sensorially concrete: like speech, music operates on a synthetic plane, but provides synthetic occasions for sensory immediacy at a level of complexity to match that of language.