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

Drachar, an Eldric Lord cast out by his own people, swears a terrible vengeance and forges an unholy pact with the demons. In exchange, he promises them 100,000 souls—a debt that can be paid only through all-out war. As he crosses the land in search of allies, the demons haunt his dreams, relentless and ever watchful, pressing him toward ruin.Meanwhile, his people are dragged into a war they never wanted and must learn to summon and fight demons—a perilous art with no room for error. Demons can be called forth only briefly, and their armoured hides are too thick for arrows to pierce. Should a summoning fail, the price is immediate and horrific: the summoner is dragged screaming into Hell. So begins the Krell Wars.Drachar's Demons is the prequel to The Prophecy of the Kings, a dark fantasy trilogy of dragons, demons, and ancient powers stirring beyond the veil. Long after the Krell Wars have faded into legend, the Land lies gripped by superstition and fear. Yet the old dread is waking. A prophecy warns that Drachar's Shade will rise again, leading a demon horde to ravage the world and plunge it into darkness. If you crave dark fantasy filled with dragons, demons, prophecy, and war on the edge of Hell, this series may be exactly what you have been waiting for."e;If you like well written traditional fantasy with plenty of magic and action, you'll enjoy this book very much."e;— RisingShadow.net

Armies mass beyond the borders of Thrace, but Astalus, the court wizard, faces a more immediate and unsettling dilemma: he no longer knows who to trust. His certainty falters when a spy is captured slipping into the city with brazen confidence. Under interrogation, the man claims to be a prince from a royal household wiped out more than sixty years ago—a lineage tied to Allund, the very nation whose army now advances toward Thrace.The timing is too precise to ignore. The Prophecy, long feared and long denied, appears to be stirring.Astalus has spent his life preparing for threats he could see, measure, and counter. But this revelation plunges him into a nightmare he cannot control. If the Prophecy is awakening, Thrace may soon face demons—creatures against which no army, no fortress, and no magic can stand.As rumours spread and loyalties fracture, fear becomes a weapon sharper than any blade. Betrayal festers in quiet corners. Death follows in the wake of whispered lies. And with each passing day, the shadows grow deeper, hinting that the true danger has only just begun."e;Dragon Rider manages to achieve the difficult task of improving on its predecessor with a sweeping tale of high fantasy that will keep you hooked until the very last page."e; — SFBooks.com

Astalus returns from his long search carrying the first good news Thrace has heard in months. Hidden deep within an Eldric vault, he has discovered a spell book—one containing a lost incantation capable of summoning dragons. With this hope rekindled, the allied forces rally and march north to face the rising power of Trosgarth.But the enemy has not been idle. Their warrior priests wield their shaol with terrifying precision, communicating across the battlefield as though sharing a single mind. Death knights, once thought mere legend, have been resurrected to serve in the vanguard. Above them, grakyn circle the skies, now joined by a new abomination: a demon‑dragon hybrid whose presence alone can turn the tide of war.Yet these horrors are only the prelude. The power Kaplyn and Vastra recovered so long ago—once a mystery, now a curse—can open a permanent gateway to the demon world. If that gateway is forced open, Drachar will be unleashed, and no army, spell, or dragon will stand against him.As the allies advance and the shadows lengthen, Astalus realises the truth: this is no longer a war for territory or survival. It is a battle for the very future of the world, and the Prophecy is reaching its final turning point."e;Shadow of the Demon is a triumph of high fantasy, a rich, rewarding end to a phenomenal series and should not be missed."e; — SFBooks.com

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.

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.