Photo Obscura: The Photographic in Post-Photography discusses the profound transformation of post-photography. It argues post-photography is not merely a trend but a significant movement that redefines photography by integrating it with emerging technologies and creative practices, resulting in works that may not even resemble photographs but still retain a photographic influence.



It is is structured around various themes, including AI-generated images, the intersection of digital and physical art forms, and the changing relationship between visual representation and perception. Drawing on photo history, media studies, visual studies, art history, and the digital humanities and through discussions of specific artworks and artists, it provides insights into how post-photography continues to evolve, offering new ways to understand, define, and engage with the photographic image in the digital age. It highlights the influence of digital culture, where the abundance of images and information has led to novel approaches in art that question the very nature of photography, truth, and reality. Still, it maintains that despite this radical shift, photography's influence remains central, even when hidden or abstracted in the final work.

Ken Gonzales-Day’s work confronts the role of the visual in conveying history or in history’s absences, including those bodies and spaces deliberately erased, forgotten, or never acknowledged. As illustrated and discussed in Ken Gonzales-Day: History’s “Nevermade,” his photography, films, drawings, and paintings interrogate race and power, questioning how bodies are seen, rendered, or made invisible. His art moves between presence and absence, compelling viewers to confront their own position in relation to systems of oppression and representation.

This volume, accompanying the exhibition of the same name, offers the first comprehensive study of Gonzales-Day’s practice. Organized around his major series, sections of the book—including Rethinking History, Collecting Race, Forging Community, and Redrawing Boundaries— explore how his work engages with archives, bodies, museums, and public space to challenge institutional narratives. Through critical analysis and illustrated throughout, Ken Gonzales-Day: History’s “Nevermade” illuminates the profound political and theoretical stakes of his art.

Essential reading for students, scholars, and practitioners in art history, photography, museum studies, American history, and decolonial and queer studies, this book is a testament to the power of art to reckon with the past and imagine new futures.

Traits is timely and needed. It provides a pathway to cultivate an entrepreneurial mindset in nonprofit arts management students and in those in the nonprofit field. Traits is not another academic, hypothetical, imagining text. Rather, Traits is a tactical, centred on entrepreneurial leadership, offering a concrete case example, Imagination Stage.

2020 brought significant changes to the world’s business and social fabric. The nonprofit arts has been greatly impacted with the highest unemployment rate during the peak of the pandemic response to the slow and inconsistent return of patrons. Internally, organizations had to address often long-over-due adaptations to the inclusive and accessible practices demanded by their communities, including equitable pay scales, diversity, inclusion and access on stage, staffs, and boards.

Consequently, many nonprofit arts organizations are now less viable; many have gone out of business; and most are struggling to adopt new post-pandemic practices that promote a new culture in their organization. The authors contend that those organizations that have survived are led by social entrepreneurs who were always ahead of the curve and able to adapt.

The authors’ underlying assumption is that while entrepreneurship may be innate in some, in most it is not - even in those who lead organizations. But it can also be taught – just like any form of leadership. And this is what Traits does.

This book introduces the concept of activist music research, emphasising action and social responsibility and suggests that music research can be used to promote social and ecological justice. This is discussed in a series of position papers by music researchers who engage in public debate in their various roles - educator, critic, journalist, DJ, producer, promoter - and work with other actors in civil society and culture. 



The book suggests that we are experiencing an activist turn in music research, evidenced by the growing number of projects and publications discussing inequalities in musical practices and the impact music research can have on these inequalities. This idea is explored in a series of position papers and contemplative texts, where music researchers, music educators, and artistic researchers reflect on how their work and the position they occupy as professionals in society serves eco-social justice and equity. What is the point of studying and teaching music in an age of ecocide, neo(liberal)-colonialism, rampant racial inequities, persistent gender identity and sexual orientation discrimination? What does social and ecological responsibility and sustainability mean in music research?

The idea for the book was conceived within the context of Suoni, a non-profit independent research association in Finland founded as a self-organizing and independent network for scholars interested in exploring methods, pedagogics, practices and action for eco-social equity in relation to music and music research. 

El Vez performances present a powerful message of social justice and inclusion in changing US and social contexts. Make the Dream Real interrogates how this message is activated through world-building: the use of a variety of theoretical, theatrical, and musical tactics that bring into being a progressive social space that refutes the current economic, political, social, and cultural configurations of the United States.



World-building in an El Vez show “makes the dream real” by imagining a society in which equal rights are guaranteed, inclusivity is fostered, difference is valued, and the violence of economic inequality is mitigated. But, world-building through performance is not content to reside exclusively in the individual imagination or the social imaginary; it temporarily creates this new social space in actual time and space for the audience to experience. Using a dramaturgical methodology, which marries theoretical inquiry to theatrical practice based on dramaturgical thinking, critical proximity, and intellectual flexibility, the book delves into the theoretical foundations that inform artist Robert Lopez’s work, and each chapter analyzes a different performative component he uses.



Make the Dream Real interrogates how El Vez’s playful engagements hold the United States to its egalitarian promises, voicing and enacting - however fleetingly - a just and richly inclusive social space through performance.

A collection of performance texts ranging from orthodox plays to group-devised texts. The book traces from most recent to earliest Schechner's work as a "writer" and a "wrighter" -- the author of plays and the conceptualizer and leader of teams of artists. The book includes several never before published early texts as well as updated versions of well-known productions such as "Dionysus in 69," "YokastaS," "Makbeth," and "Imagining O." The earliest texts are from the 1950s the most recent from 2014.

This book brings together for the first time Richard’s original plays and adaptations: YokastaS Redux, Dionysus 69, Commune, Oresteia, Prometheus Project, Makbeth, Richard’s Leer, Imagining O, Faust/gastronome, Blessing of the Fleet, Briseis and the Sergeant, Lot's Daughters, and The Last Day of FK. The scripts engage with perennial canonic themes, such as Oedipus and Faust, and topical issues of our times. They embody Richard’s world-famous performance approach. The introduction sets the scripts in intellectual and production context. The book complements Schechner’s other works, Performance Studies (now in its 3rd ed.), Performance Theory, The Grotowski Sourcebook, The Future of Ritual, and his new A New Third World of Performance.

Leigh Bowery: Performative Costuming and Live Art is a critical exploration of the creative practice, social-historical context, and cultural impact of the late London-based artist Leigh Bowery. The diversity of Bowery’s work and his marginality as an artist who emerged during the 1980s from a subcultural milieu complicated and thwarted his cultural value, hindering his incorporation into art institutions and performance art narratives for some time. Drawing on a variety of disciplines and challenging research contexts, Sofia Vranou seeks to historicize Bowery’s multifaceted body of work and critically situate it within the expanded fields of visual culture and performance studies.

Through close analysis of Bowery’s key looks and non-theatrical performances, the book investigates the implications of his work in dominant histories of performance art and urgent discourses surrounding normativity, representations of illness, and identity politics. Thought-provoking and engaging, it focuses on Bowery’s costuming as a performative strategy that effectively blurs the boundaries between art and life; delves into his aesthetics of freakishness and narcissistic desire, reflects on his involvement with BDSM practices and the performance of extremity, and unpacks the posttranssexual ethos behind his hybrid embodiments and trans-queer visual language.

What political power do videos on social media have? In what ways do they exert influence, shape publics and change political life? And how can committed civil society actors in this field assert themselves against hegemonic discourses, commercial interests, anti-democratic agitation, and authoritarian propaganda? These questions are being debated intensely as social media increasingly dominate global information flows, and videos increasingly dominate social media.



Understanding video activism seems particularly relevant at a time when the internet is undergoing fundamental disruptions. The forms, practices, and opportunities of activism depend on its media environment, which now is changing rapidly and profoundly in terms of its technological basis, ownership, legal regulations, and governmental control.

The Handbook of Documentary is an important go-to resource for practitioners, scholars and students in this burgeoning field. It tackles key topics and debates – from the role of documentary in post-truth culture to the rise of streaming giants (and the implications for national documentary cultures) and the shifting (increasingly hybrid) practices of documentary activism and the professionalization of impact. Featuring work by key figures in international documentary scholarship and talented emerging scholars, the Handbook is a landmark publication for documentary studies in the twenty-first century.

The Handbook is broad in its scope, incorporating historical, theoretical, empirical, and practical scholarship. It is organized around ten key themes/debates: What and where is documentary (studies)?; Documentary in an Age of epistemic uncertainty; Documentary histories; Documentary and the Archive; Audio/Visualities; Documentary Relationalities; Beyond the Anthropocene?; Digital/documentary practices; Documentary and (new) politics?; A golden age? Documentary distribution and funding. Importantly, the Handbook challenges the dominance of Western voices in documentary scholarship, incorporating the voices and practices of practitioners from the Global South.

BODIES IN FLIGHT make performance where flesh utters and words move, challenging and re-energizing the relationship between audiences and performers, and audiences and place.



Emerging from rigorous interdisciplinary and collaborative methods, often with new technologies in cutting-edge venues, we insist on the buzz of ideas, on philosophy and poetry, using words and images, movement and stillness, voices and bodies, through which they aim to move audiences emotionally and spiritually. Organized in a highly visual design, this volume is both a history and a workbook with selections of scripts and archival material from 30 years of making devised theatre and performance in the UK and internationally, plus texts by collaborators, arts professionals and scholars exploring the company’s collaborative working method, contextualizing it in the wider performance ecology and culture.



Intended as an inspiration to emerging artists, the volume covers key questions for any maker of contemporary performance: the relationship of choreography and spoken word, the use of new technologies and multi-media, the role of original music and soundscapes, the differences between work presented in a theatre or gallery or sited in non-theatrical places, the persistence of theatre as an art-form in an increasingly digital culture.