Intellect – förlag

It was a scene that had many names: some original members referred to themselves as punks, others, new romantics, new wavers, the bats or the morbids. 'Goth' did not gain lexical currency until the late 1980s. But no matter what term was used, 'postpunk' encompasses all the incarnations of the 1980s alternative movement. Some Wear Leather, Some Wear Lace is a visual and oral history of the first decade of the scene. Featuring interviews with both the performers and the audience to capture the community on and off stage, the book places personal snapshots alongside professional photography to reveal a unique range of fashions, bands and scenes.A book about the music, the individual and the creativity of a worldwide community rather than theoretical definitions of a subculture, Some Wear Leather, Some Wear Lace considers a subject not often covered by academic books. Whether you were part of the scene or are just fascinated by different modes of expression, this book will transport you to another time and place.

Being a patient is part of being alive. Sooner or later most of us go through it. Disease and serious illness often strike quite randomly, and when they do, we quickly become subject to the impersonal forces of biochemistry and pharmacology. We rarely think about this beforehand and are often totally unprepared for it when it happens. Suddenly there we are, subject to a standard treatment protocol.Darrel Moellendorf learned this by experience during a month confined to a solitary and sterile hospital room where I received a life-saving stem cell transplant. His room was somebody’s workspace, his schedule was somebody’s work routine, his immune system was systematically crushed, and his prognosis was out of his hands. There was no assurance that it would all work out for the best.Having spent 30 years teaching philosophy to college students, He was facing the biggest test of all, perhaps the final exam. These are his reflections before, during and after treatment, written in real-time. In his words, 'my brain was sometimes addled by the chemotherapy that sapped my energy and destroyed my immune system, but I wrote out of the conviction that living well includes living well with disease, and eventually living well facing death.'This memoir expresses those convictions along with those that the virtues of patience, courage, trust, and hope serve us well. A measure of good humor also can’t hurt.

Digital Art History has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers, information specialists, curators, and conservators. This emphasis on practicalities and implementation, while undeniably important, has often meant that there is little room for critical examination of the broader implications of digital technology and computational methodologies in art history. This anthology seeks to address the dearth of critical reflection by approaching the use of digital technology in art history from a theoretical perspective and critically assessing specific case study examples. This book also considers the political dimensions associated with the large-scale digitization and the application of digital tools within museums and collection management. A long-standing concern of the field – and also a major focal point of this book – is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field, there are some important shifts and changes too. One of the key changes is the widespread uptake of artificial intelligence tools and an increased attention to both the broader historical and societal aspects of the use of digitaltools within museums and collection management.

This book presents different perspectives of childhood. With contributors from across the globe there are examples of local childhoods from different national contexts including America, Australia, Finland, Hong-Kong, Indonesia, Japan, Norway and Sweden. Each chapter presents a different focus on early childhood showing the diversity and complexity across multiple countries. Issues emerge around multi-language development, nationalism and multiculturalism. Across the chapters, concepts around cultural theories of every-day life also show the ways in which practices of and in relation to children function to produce childhood as an artefact, fiction and instrument.It helps readers to develop an understanding of how changing perspectives on children and childhood and identity are expressed among children, families and educators in and outside educational environments. It brings together active researchers in the field of global childhoods to sustain and develop our community of research and scholarship, promoting internationalization through global childhoods as a way of cultural diversity and acceptance.The book reflects on early childhood before and leading up to Covid-19. The editors were able to create a historical snapshot of early childhood pre-Covid from several countries. The pandemic has demanded major changes around learning, agency, voice and lived experience for children around the world. In some countries there are children in lockdown, without access to learning and who have ceased to be recognised as a child. In other countries life has continued with social distancing and masks in educational spaces.It will be a useful resource for students and academics in early childhood education and education studies more generally, as well as practitioners and educators.

Industrial music appeared in the mid-1970s, and far from being a simple sound experimentation phenomenon, it quickly spawned a coherent visual culture operating at the intersection of a multitude of media (collage, mail art, installation, film, performance, sound, video) and initiated a close inspection of the legacy of modernity and the growing, pervasive influence of technology. Originally British, the movement soon outgrew Europe, extending into the United States and Japan during the 1980s. The sound experiments conducted by industrial bands – designing synthesizers, manipulating and transforming recorded sounds from audio tapes, either recycled or laid down by the artists – were backed up by a rich array of radical visual productions, deriving their sources from the modernist utopias of the first part of the twentieth century. Such saturated sounds were translated into abrasive images, manipulated through the détournement of reprographic techniques (Xerox art), that investigated polemical themes: mind control, criminality, occultism, pornography, psychiatry and totalitarianism, among others. This book introduces the visual and aesthetic elements of 1970s and 1980s industrial culture to a general history of contemporary art by analysing the different approaches taken and topics addressed by the primary protagonists of the movement, who perceptively anticipated the current discourse concerning the media and their collective coercive power.

Dance and Ethics: Moving Towards a More Humane Culture is an introductory study of ethical issues as applied to the history and field of Western theatrical dance. It is the first sustained work of its kind, inspired by the belief that there are serious issues to be illuminated by examining dance in relation to ethics and to the changing values in the dance world itself, especially as faced by young dancers entering the profession.Since the 1960s and gathering momentum with the #metoo movement, scholars and practitioners, especially from the fields of dance education, somatics and the realms of postmodern dance and ballet, have increasingly believed that attitudes and practices involving psychological, physical and sexual mistreatment of students and dancers must be challenged. Dance and Ethics examines key ethical issues related to the dance field, primarily within the United States, and how those directly impact different aspects of the lives of dance artists over the span of their careers. The issues discussed include the basic ethical choices facing a dance artist in terms of whether to care about ethics or separate art from morality; ethical issues involved in student–teacher and dancer–choreographer relationships; how ethical concerns relate to the creation and reception of choreographic work; ethical aspects of the critical assessment of dance and dancers; and ethical issues related to presenting systems and institutional infrastructures within the dance field.While there is a clear bias towards greater humanism within the dance field, Naomi Jackson is sensitive to the variety of moral stances available in any given situation. Readers are invited to consider that ethical options exist other than those that are usually promoted, that while sometimes there are no clear right and wrong answers, there are better and worse positions to be explored and defended and that it is important for the dance field and broader culture to consciously address ethical issues in relation to dance in a sustained, thoughtful and creative manner.The book focuses on theatrical dance forms of ballet, modern/postmodern dance and theatrical jazz, but also extends to commercial dance, dance for the camera/internet and social/vernacular/folk dance when relevant to the main argument. Dance and Ethics will appeal primarily to educators and students as well as young professional dancers.  It is designed for undergraduate and graduate students in dance studies, American studies, performance studies and cultural studies. It will be useful for undergraduate and graduate dance courses focused on pedagogy, choreography, criticism, community engagement, politics and aesthetics.

How does whiteness sediment worlds? How does it format individuality in the name of a neurotypicality that polices how one bodies and how one comes to know? And how does a poetics of relation shift the very logic of this sedimentation?Edouard Glissant’s poetics of relation are bold in their call to ‘consent not to be a single being’. This transindividual consent, born in the process of worlds crafting themselves in what he would call an ‘aesthetics of the earth’, are felt in Fernand Deligny’s errant lines. These errant lines, traced to move with the complex gestures of autistics over a period of several years in Monoblet, France (1965-1970), offer an alternative to pathology and individual psychological assessment. The Being of Relation brings these two projects into encounter, exploring what else blackness can be at this non-pathological juncture where what is foregrounded is the very being of relation. On the way, trails of whiteness are excavated and interrogated. The aim: to move toward parapedagogies of resistance, in a logic of a poetics of relation, a logic of neurodiversity, minor sociality and the kind of difference without separability that refuses the binary that holds neurotypicality – as whiteness – in place.

Entering Transmasculinity is a holistic study of the intersecting and overlapping discourses that shape transgender identities. In the book, matthew heinz offers an examination of mediated and experienced transmasculine subjectivities and aims to capture the apparent contradictions that structure transmasculine experience, perception and identification. From the relationship between transmasculinity’s emancipatory potential and its simultaneously homogenizing implications, to issues of gender-queerness, sexual minorities, normativity and fatherhood, Entering Transmasculinity is the first book to synthesise the disparate areas of academic study into a theory of the transmasculine self and its formation.

This book presents a close look at the golden age of Swedish pornography in the 1970s, with a specific focus on pornographic films screened in Malmö between 1971 and 1976. How, Mariah Larsson asks, was that one small city’s embrace of the era’s sexual liberation both representative and unique in relation to the rest of Sweden?Combining historical case studies with comprehensive analyses of advertisements, critical responses and censorship records, Larsson deconstructs the complexities and paradoxes of the Swedish porn scene. Looking as closely at the exhibition spaces where porn was seen as at the productions themselves and their audiences, Larsson reveals the conditions and social changes that allowed pornography in Sweden to flourish in the period.

Education, mental health and the arts all share a concern for human beings and for how they live their lives. Living one’s life, and living it well, has always been a challenge – life never simply happens. But what the particular challenges are, differs from time to time, from location to location, and even from individual to individual.In both education and mental health there is a strong pressure to think of being human as a technical problem that in some way can be ‘fixed’ by powerful, research-based interventions. Also arts are quickly turned into an instrument for fixing problems. While such fixing may be possible, and may appear to be quite successful from one perspective, it clearly runs the risk of turning students and clients into objects – things to be acted upon, rather than human beings to encounter and act with.This book stages conversations between art, education, and mental health around the question of what it means to be human today. Moving beyond the suggestion that this requires ‘strong’ educational or therapeutic interventions or can be resolved by means of individual expression, the chapters explore new possibilities for 'the arrival of I’.

This book will be released as Open Access.Based on a research project funded by the Swedish Research Council, this book examines 40 years of post-war independent immigrant filmmaking in Sweden. John Sundholm and Lars Gustaf Andersson consider the creativity that lies in the state of exile, offering analyses of over 50 rarely seen immigrant films that would otherwise remain invisible and unarchived. They shed light on the complex web of personal, economic, and cultural circumstances that surround migrant filmmaking, discuss associations that became important sites of self-organization for exiled filmmakers, and explore the cultural practice of minor immigrant cinema archiving. The Cultural Practice of Immigrant Filmmaking applies film theory to immigrant filmmaking in a transnational context, exploring how immigrant filmmakers use film to find a place in a new cultural situation.

This collection of new work by international scholars on media imaginaries explores the concept as a tool for reflection. Media imaginaries are shape shifters, taking multiple forms as make believe, as thinking outside the box and as social practices. The term media imaginaries refers to the cultural and infrastructural work of texts and artefacts, audience engagement and experiences and commercial and civic organisations. Authors in the collection empirically and conceptually examine media imaginaries as multiform, providing space for dialogue on themes of political-social imaginaries, cultural-technological imaginaries and reflecting imaginaries.Media Imaginaries explores how media shapes both real and imagined experiences, examining the interplay of media practice, culture, and imagination across past, present, and future contexts. It highlights the impact of AI-enabled content and media ecologies on everyday life globally, offering fresh insights for media studies. The collection bridges multiple academic traditions, making it an important and widely relevant contribution to the field.

Devising Theatre and Performance is a hands-on guide for artists, students and teachers of performance at any stage of their practice. It offers a wide range of creative prompts and pathways enriched with critical thinking tools and questions, a hybrid approach Hill and Paris call ‘Curious Methods’.This is a welcome addition to the field, created and curated by two experienced artists who have operated at the international interface of academia and professional practice for over three decades.The collection is packed with fun, creative, thoughtful exercises distilled from over twenty years of running interdisciplinary artist workshops and teaching both devising and performance making. As well providing numerous exercises and suggestions for devising, composing and editing original works, this book offers tools for giving and receiving feedback, critical reflection and framing artistic work within academic research contexts.Readers can choose to dip in and out, to follow the book as a course or to work section by section, focusing on organizing principles such as working from the body, working with site, working with objects or performance activism. The book includes a detailed production workbook and a practice-based research workbook you can tailor to your own projects. The 'Curious Methods' approach encourages users to take the time and space their practice deserves while offering tools, nourishment and encouragement and inviting them to take risks beyond their comfort zones. The exercises are carefully described so that they can easily be tested out by readers, and are well contextualized in relation to vivid examples from contemporary performance practice and relevant political contexts. This compelling approach goes beyond many other books on theatre devising, which merely provide performance recipes; they do so by repeatedly highlighting the vital cultural relevance and potential personal impact of the experiments that they invite us to undertake.The primary audience for this important new book will be academics, instructors and students in courses on devised theatre, improvisation, performance art, experimental performance and practice-based research. It will be essential for classroom use, for students of theatre and performance and live art – undergraduate, postgraduate and Ph.D., teachers and all those needing strategies for getting started.It will also appeal to readers from the broader arts, humanities and social sciences who are seeking resources for integrating creative methods into their research.

Known for his work as a performer and songwriter with the Birthday Party, the Bad Seeds and Grinderman, Australian artist Nick Cave has also pursued a variety of other projects, including writing and acting. Covering the full range of Cave's creative endeavours, this collection of critical essays provides a comprehensive overview of his multifaceted career. The contributors, who hail from an array of disciplines, consider Cave's work from many different angles, drawing on historical, psychological, pedagogical, and generic perspectives. Illuminating the remarkable scope of Cave's achievements, they explore his career as a composer of film scores, scriptwriter, and performer, most strikingly in Ghosts of the Civil Dead; his work in theatre; and his literary output, which includes the novels And the Ass Saw the Angel and The Death of Bunny Munro, as well as two collections of prose. Together, the resulting essays provide a lucid overview of Nick Cave's work that will orient students and fans while offering fresh insights sure to deepen even expert perspectives.

Released in 1965, Sergei Paradjanov’s Shadows of Forgotten Ancestors is a landmark of Soviet-era cinema – yet, because its emphasis on folklore and mysticism in traditional Carpathian Hutsul culture broke with Soviet realism, it caused Paradjanov to be blacklisted soon after its release. This book is the first full-length companion to the film. In addition to a synopsis of the plot and a close analysis of the many levels of symbolism in the film, it offers a history of the film’s legendarily troubled production process (which included Paradjanov challenging a cinematographer to a duel). The book closes with an account of the film’s reception by critics, ordinary viewers and Soviet officials, and the numerous controversies that have kept it a subject of heated debate for decades. An essential companion to a fascinating, complicated work of cinema art, this book will be invaluable to students, scholars and regular film buffs alike. A list of all books in the series is here on the series page KinoSputnik

Some 22 years after its creation, The Legend of Zelda: Ocarina of Time is still held in high critical regard as one of the finest examples of the video game medium. The same is true of the game’s music, whose superlative reception continues to be evident, whether in the context of the game or in orchestral concerts and recordings of the game’s music.Given music’s well-established significance for the video game form, it is no coincidence that music is placed at the forefront of this most lauded and loved of games. In Ocarina of Time, music connects and unifies all aspects of the game, from the narrative conceit to the interactive mechanics, from the characters to the virtual worlds, and even into the activity of legions of fans and gamers, who play, replay and reconfigure the music in an enduring cultural site that has Ocarina of Time at its centre. As video game music studies begins to mature into a coherent field, it is now possible to take the theoretical apparatus and critical approaches that have been developed in antecedent scholarship and put these into practice in the context of an extended concrete game example.The most extensive investigation into the music of a single game yet undertaken, this book serves three important primary purposes: first, it provides a historical-critical account of the music of an important video game text; second, it uses this investigation to explore wider issues in music and media studies (including interactivity, fan cultures, and music and technology); and third, it serves as a model for future in-depth studies of video game music.

This book explores for the first time the rise of one of Britain's least-recognised but most significant television genres. Working within the frame of public intellectual theory, it tells the story and analyses the means by which 'unusual kinds of star' became Britain's TV intellectuals and have developed as a genre for over 65 years.Names included here are AJP Taylor, Kenneth Clark, Jacob Bronowski,, Jonathan Miller, Simon Schama, Marcus du Sautoy, Niall Ferguson, Mary Beard, Alice Roberts, Pam Cox, Brian Cox, David Olusoga, Janina Ramirez and Alastair Sooke, all of whom have starred in their different ways, combining within their productions an outstanding combination of television creativity and intellect for a huge international audience. Built deeply into the assumptions of these television intellectuals have been understandings about civilisation itself, veering from Kenneth Clark's fear for its survival in his 1969 BBC series Civilisation, to the fear of it (in the form of colonialism) in the reworking of Clark's concept, now called Civilisations (2018) by the BBC and Civilizations by PBS in the USA. Finally, in its Coda the book explores in the era of climate change continuing BBC/PBS assumptions about 'civilisation' by way of First Nations 'deep-history'.

In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years.Drawing on works such as Andy Bennett’s When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged with punk in late 1976, seemingly grappled with it through 1977, and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances, as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time, both ‘mainstream’ and fringe (subcultural, avant-garde art, counter-culture, taboo subjects, extremes) such that Throbbing Gristle events had an impact and affect, and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

Few contemporary television shows have been subjected to the critical scrutiny that has been brought to bear on David Lynch and Mark Frost's Twin Peaks since its debut in 1990. Yet the series, and the subsequent film, Fire Walk With Me, are sufficiently rich that it's always possible for a close analysis to offer something new – and that's what Franck Boulègue has done with Twin Peaks: Unwrapping the Plastic. Through Boulègue's eyes, we see for the first time the world of Twin Peaks as a coherent whole, one that draws on a wide range of cultural source material, including surrealism, transcendental meditation, Jungian psychoanalysis, mythology, fairy tales, and much, much more. The work of a scholar who is also a fan, the book should appeal to any hardcore Twin Peaks viewer.

Medical knowledge manifests in materials, and materials are integral to the reproduction of medical knowledge. From the novice student to the expert practitioner, those who study and work in and around medicine rely on material guidance in their everyday practice and as they seek to further their craft.Students, just as experts, pore over textbooks, photographs and films. They put up and copy down chalkboard illustrations, manipulate plastic models and inspect organic specimens fixed in formalin. They pass through grand university libraries and try not to contaminate anything in cramped surgical theatres. Students, just as experts, learn within an expansive material culture of medicine, they learn from explicitly educative materials, from the workaday tools used for diagnosis and in treatment, they learn in everyday spaces and as part of sprawling infrastructures. While the specific constellation of material varies across time and space, many materials have remained constant, key actors in the spread of medical practices and in the steady, global expansion of biomedical frameworks of health and disease. This collection focuses on the materials, objects, tools and technologies which facilitate the reproduction of medical knowledge and often reify understandings of medical science.The training of doctors is changing rapidly in response to technological development as well to the evolving needs and expectations of patients. Medical schools are beginning to respond to these challenges through curricula redesign and the purchase or endorsement of new teaching aids, simulations and pedagogies. Often, this means that medical schools are embracing the digital at the expense of older teaching materials. Medical education is at a critical juncture and there is momentum to radically rethink its approaches.This collection offers a reflection on these challenges by presenting an innovative and expansive overview of the role of materiality in the training of doctors and in the social reproduction of medicine in general. Experimental in form, and with ethnographic, museological and historical cases, and traces from around the world, this edited volume is the first to fully explore the matter of medical education in the modern world. Supported by the European Research Council under the European Union’s Horizon 2020 research and innovation programme.An academic text, it will be most relevant to academics and graduate students in the fields of health and material culture, but will also have a wider readership with those working on medical education and knowledge and medical history

The media and creative industries thrive on passion, but that passion often comes at a cost. Behind the glamour of journalism, filmmaking, games, music, advertising and online content creation lies a growing crisis – one of burnout, anxiety, substance abuse and exhaustion. Why do so many creative professionals report feeling both deeply fulfilled and profoundly unwell?Mark Deuze investigates the systemic issues that make creative work both exhilarating and unsustainable. Drawing on extensive research and in-depth interviews with media professionals, he notes the hidden downsides of doing what you love and offers a candid analysis of how workplace structures, high workloads and perceived injustices contribute to mental and physical distress.But this book is not just about what's broken; it's about what can be done. Deuze provides a roadmap for rethinking the culture of creative industries and offers strategies for balancing passion with sustainability. A practical resource for media scholars and those navigating the highs and lows of a creative career, this work challenges us to imagine a healthier future for our labour of love.

Zombies in the Academy taps into the current popular fascination with zombies and brings together scholars from a range of fields, including cultural and communications studies, sociology, film studies and education, to give a critical account of the political, cultural and pedagogical state of the university through the metaphor of zombiedom. The contributions to this volume argue that the increasing corporatization of the academy – an environment emphasizing publication, narrow research, and a vulnerable tenure system – is creating a crisis in higher education best understood through the language of zombie culture: the undead, contagion and plague, among others. Zombies in the Academy presents essays from a variety of scholars and creative writers who present an engaging and entertaining appeal for serious recognition of the conditions of contemporary humanities teaching, culture and labour practices.

Adapted by James Ivory from André Aciman’s novel and directed by Luca Guadagnino, the film Call Me by Your Name has been passionately received among audiences and critics ever since its 2017 release. A love story between seventeen-year-old Elio (Timothée Chalamet) and graduate student Oliver (Armie Hammer) and set in 1983 ‘Somewhere in northern Italy’, Call Me by Your Name presents a gay relationship in a romantic idyll seemingly untroubled by outside pressures, prejudices or tragedy. While this means it offers audiences welcome opportunities to swoon in front of an LGBTQ+ romance that equals classic heterosexual romances onscreen, its relevance or political significance today may not be immediately apparent. And yet the film is abundantly infused with narrative, thematic and stylistic elements that can be interpreted as speaking powerfully to contemporary audiences on questions of sexual identity.This edited collection addresses how the film helps inform our understanding of contemporary sexual identity and romance. How does this love story explore wider tensions that exist between the specific and the general, between the open and the hidden, and between the past and the present? The contributors to the collection explore these questions in stimulating and contemplative manners.

Music and Levels of Narration in Film is the first book-length study to synthesize scholarly contributions toward a narrative theory of film music. Moving beyond the distinction between diegetic and nondiegetic music – or music that is not understood as part of a film’s 'story world' – Guido Heldt systematically discusses music at different levels of narration, from the extrafictional to 'focalizations' of subjectivity. Heldt then applies this conceptual toolkit to study the narrative strategies of music in individual films, as well as genres, including musicals and horror films. The resulting volume will be an indispensable resource for anyone researching or studying film music or film narratology.A PDF version of this book is available for free in open access via the OAPEN Library platform. It has been made available under a Creative Commons Attribution 4.0 International Public Licence and is part of Knowledge Unlatched.

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.

Being a patient is part of being alive. Sooner or later most of us go through it. Disease and serious illness often strike quite randomly, and when they do, we quickly become subject to the impersonal forces of biochemistry and pharmacology. We rarely think about this beforehand and are often totally unprepared for it when it happens. Suddenly there we are, subject to a standard treatment protocol.Darrel Moellendorf learned this by experience during a month confined to a solitary and sterile hospital room where I received a life-saving stem cell transplant. His room was somebody’s workspace, his schedule was somebody’s work routine, his immune system was systematically crushed, and his prognosis was out of his hands. There was no assurance that it would all work out for the best.Having spent 30 years teaching philosophy to college students, He was facing the biggest test of all, perhaps the final exam. These are his reflections before, during and after treatment, written in real-time. In his words, 'my brain was sometimes addled by the chemotherapy that sapped my energy and destroyed my immune system, but I wrote out of the conviction that living well includes living well with disease, and eventually living well facing death.'This memoir expresses those convictions along with those that the virtues of patience, courage, trust, and hope serve us well. A measure of good humor also can’t hurt.

Adventures in Kate Bush and Theory presents Kate Bush as you have never seen her before. Encounter the polymorphously perverse Kate, the witchy Kate, the queer Kate; the Kate who moves beyond the mime.Through in-depth readings of the often critically neglected works of Bush’s career (The Kick Inside, Lionheart, The Dreaming, The Red Shoes and her film The Line, the Cross and the Curve), Withers guides the reader through the complexity of Bush’s art and how it transformed popular culture. Not just another book about Kate Bush.

The Exciting Life of Being a Woman is the feminist survival manual you wish you had read as a teenager. It is written by Feminist Webs, a cross-generational youth project for girls and young women based in Manchester, UK. Drawing on the history, practices and activities of Feminist Webbers, The Exciting Life of Being a Woman provides inspiration for women of all ages to live their life in creative and empowered ways. It includes illustrations, comics, youth work activities, personal writing and much more.

Epstein explores why sex, sexuality and gender non-conformity is something that many writers and publishers of children's and young adult lit appear to shy away from. She demonstrates that the information children get from literature matters, and that so called 'difficult' topics can be communicated in entertaining and informative ways.Uses ideas from queer theory and other research to interrogate the ways LGBTQ characters are portrayed in books for children and young people, and to analyse what messages readers of such books might receive.Includes detailed analysis of over 60 picture books, middle-grade books and young adult novels by authors such as Nancy Garden, Julie Ann Peters, Alex Sanchez, David Levithan, Lesléa Newman, Marcus Ewart, Cris Beam and many others.This book brings together literary studies, sociology, queer studies and other academic fields in an accessible manner, where the research supports the detailed analyses of over 50 books for children and young adults. Epstein looks at a range of topics, such as the lack of diversity in many of these works, how same-sex marriage is portrayed, the relative absence of bisexual and transgender characters, the way that many of these books are marketed and intended as 'issue books', and more.A practical and informative book to inspire writers and publishers to produce better LGBTQ literature for young readers.