This anthology explores the current evolution of interactive storytelling across digital as well as physical spaces by examining how games digital narratives and participatory art can reshape creative expression and learning at fundamental levels.



The contributors propose that interactive fiction is best examined by combining social literary and technical analyses together. Used independently each modality provides an insufficient picture of the deeply merged social technical and artistic media environments we currently inhabit. We focus instead on the nature of the social interactions involved when engaging in digital storytelling emphasizing that an interactive narrative is perpetually constructed and reconstructed each time it is experienced.



The collection provides in depth analysis organized into three distinct sections the first two based on the key modalities of alternate realities and digital interactive fiction. The third section then provides an important political critique of gaming ideologies. Contributors with expertise and experience in each section topic provide diverse and timely analyses on how interactive narratives function in educational contexts community engagement and human-machine collaboration. The authors also investigate both theoretical frameworks and practical applications from live-action role-playing to AI-assisted writing while considering the significant social and political implications of gaming culture in general.



The collection's strength remains on its unique bringing together diverse perspectives from game designers educators artists and theorists to examine how new forms of storytelling emerge at the intersection of analog and digital realms with particular attention to the role of play and interactivity in contemporary learning environments.

Over the past decade Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness tiny house sites are proliferating across the country.



This book takes a look at life inside the ‘Tiny House Nation’ shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents their homes and communities while analysing the broader socio-economic structures shaping their lives. In so doing it paints a compelling and complex picture of a trend at the crossroads of several key social cultural and economic shifts at a pivotal moment for America’s housing future.

Fundamentally this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin Texas as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin as both centring community and shared assets and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.

Despite its unattainability for all but the most privileged the American Dream - the home-owning society the suburban bliss the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows both impacts of tiny housing are equally true and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects it offers an alternative to the prevailing housing status quo. In others it demonstrates what options have already been taken away from us.

from the Introduction



‘In the rest of this book we’ll lead you through our exploration of tiny housing in Texas. We’ll start in the next chapter by introducing some of the places and people we encountered on our travels to set the scene. Then the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there we go into three empirical chapters focusing on economies of tiny living the materiality of tiny housing as domestic spaces and community culture. We then draw the book to a close and speculate about what tiny housing means for the future of domestic life especially in relation to the American Dream.



‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven in large part by the aesthetic cultures surrounding it. Tiny homes are the picturesque boutique upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing as we’ll argue in this book specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages to countless coffee table books to Etsy shops dedicated to crafted tiny house merchandise a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living but you’ll already know if you’ve read this far that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it not to deny its beneficial impacts for a huge number of people but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’

Between 1989 and 2020 Jonathan Petherbridge worked as the Artistic Director of a community-based theatre company - London Bubble. This longer than average tenure allowed him time to forge a close working relationship with the community and develop new ways to involve people of all ages in theatre-making.



Out of a slew of projects emerged a particular methodology to make work that was researched curated and performed by citizens between the ages of 8 and 80. The process that emerged was called Foraging – a methodology carefully divided into five phases which attempts to bring the best out of both voluntary and specialist artists – making time and space for them to create theatre that has a striking beauty and an ingrained aesthetic of care. Vernacular Theatre describes the result – the aesthetic.



The case studies - based on work with citizens of London and Hiroshima - examine how this theatre has valued key moments of communal history contemporary issues and everyday institutions. The book suggests reasons and techniques for others to make similar work. Concluding with a reflection on the pre-classical Chorus of Greek Theatre where original work was produced to celebrate events with and for the community this book proposes a new genre – a social and intergenerational art form that invites people to gather and share their life experience concerns and creativity.

Provides new perspectives on the increasingly complex relationships between media forms and formats materiality and meaning. Drawing on a range of qualitative methodologies our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured transformed and redefined through changing social cultural and technological values.

Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8mm film board games maps videogames cassette tapes transistor radios and Twitter amongst others. These are punctuated with a number of short takes – less formal often personal takes exploring the meanings of media in context.



We seek to consider the materialities which emerge across the broad and variegated range of the term’s use and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media culture and society.

If Colors Could Be Heard: Narratives About Racial Identity in Music Education is a platform of by and for People of Color who are music educators artists activists and students. For this book we asked authors to consider their race and ethnicity as an intimate and essential part of their music learning making and teaching.



The narratives in this collection include tales of being a music student stories of growing up and finding one’s place in musical worlds and accounts of teaching students about race ethnicity culture and identity. The chapters in this book are not research studies unless explicitly stated by the author.



Instead the chapters in tandem represent a stunning mosaic with shades of melanated skin that will serve as a scholarly picture that represents a portion of music education in the United States. Here you will find self-told stories by people from the Global Majority—a term used to describe Black African Asian Brown Latin Dual-heritage and Indigenous people.

The book aims to give prominence to the way the concept of communication has been deployed within philosophical debates. It shows how philosophers have adopted this concept in their discussions on the issues of intersubjectivity community and the ethics of dialogue.

Although mainstream philosophers do not as yet consider the philosophy of communication as a branch in its own right instead subsuming it within the philosophy of language as pragmatics the concept of communication is broader than that of language. This book aims to develop the relationship between communication and philosophy further.



Mangion hopes to encourage others to conduct further research by aligning communication with questions that are of a philosophical nature.

This book tells inspirational stories of women who have worked with and within communities to bring stories to life through screenwriting. As such the book evidences that women’s work is important; that ‘films can change lives’. The collection divides the chapters according to worlds in recognition of the fact that though we live on one planet the conditions of existence are vastly different between first and third worlds; between the wealthiest and the poorest.



Each chapter shows how attitudes have shifted policies have been rewritten and life experiences and horizons have been altered for specific communities through these instances of screenwriting. The themes touched upon include gender race disability culture war colonization labour relations political ideologies to name a few. The parallels found amongst these themes across national religious and cultural divides are also telling. The book is wide in its scope considering screenwriting a skill which can apply to games social media music videos virtual reality … in fact any of the burgeoning formats alive on our devices and through constantly evolving platforms. All are considered screenwriting.



The book is a celebration of the female writers who have told screen stories that educate and heal.



The book suits readers across disciplines including screenwriting filmmaking women’s studies history sociology and many other areas.

Describes the transformations we have witnessed due to the development of nuclear science and technology accelerating policies interdependent on energy and military procedures that have led us to make a provocative claim that in many respects planet Earth is getting closer to the embodiment of the project we call Nuclear Gaia.

The book examines media archives and online platforms that recover data and memory and shape community knowledge of nuclear events from the distant and nearer past. These are the pieces of evidence that we are on the eve of creating new forms of social justice carried out by open-source investigations (OSINT) groups independent researchers artists media makers activists local communities and civic groups.



Thus analysing nuclear processes and their social and environmental consequences is no longer the exclusive domain of experts scientists politicians and the military. The authors hope that such communities’ practices and decolonial discourses combined with the critiques within our methodology as postnuclear media studies can also change the fate of nuclear industry victims by creating media space to discuss and regain justice as socially sanctioned and shared rules for understanding and using nuclear energy both in past and the future.

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.

Irony and the satirical impulse in cinema have gradually lost favor mockery increasingly more selective in its choice of targets. As Linda Hutcheon notes irony is becoming a problematic mode of expression in the 21st century.



The book examines selectively the work of eight film auteurs: Luis Bunuel RW Fassbinder Stanley Kubrick Robert Altman Paul Verhoeven Aki Kaurismaki Aleksei Balabanov and David Lynch much of whose work is not always regarded thus and the films examined are often more ironic than satirical.



The introduction examines the various categories of satire and the chapters then study the filmmakers individually through selected works offering interpretations of films and identifying a consistent approach. Since the work is often ambiguous the book speculates on each film’s purport engaging in textual interpretation of individual works to understand concerns underneath the most obvious. The Afterword tries to find common targets and strategies on the filmmakers’ part.

There is a well-documented mental health crisis among media professionals around the world - in journalism advertising/marketing/PR film and television digital games music (recording and performance) and online content creation.



This book documents what is particular about well-being in creative careers in the media offers an analysis of systemic issues throughout the media industries that explain why so many practitioners get sick on the job and shows what can be done. The health crisis in the media industry consists of mental issues – with extraordinary high instances of anxiety trauma burnout and depression; physical ailments - prevalent substance abuse unhealthy living sleep problems and exhaustion; and spiritual problems – including people experiencing moral injury at work and suffering from a loss of morale.



At the same time most media professionals claim to be happy doing what they do suggesting that what makes people happy can also make them sick. What ends up causing work-related stress disorders is a combination of a lack of reciprocity between what people bring to the job and what the industry offers in return organizational injustice as people perceive policies and decisions at work to be discriminatory and unfair and persistent high workloads.

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

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

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

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

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

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

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

This book which accompanies an exhibition by the same name addresses the life work of Ken Gonzales-Day a Los Angeles based artist scholar teacher and curator who explores race and place in his photographic and filmic works drawings and paintings as well as through his research. He achieves this through a fundamental focus on the body—as intersectionally identified place-making empowered or occluded—which he centralizes while (in some cases) literally erasing it. When we engage with his work we engage his body with our bodies; we experience or own situatedness our intersectionality as we position ourselves and are positioned in social space always in relations of power.



Ken Gonzales-Day: History’s “Nevermade” puts the artist’s major series of art works in context showing the deep political aesthetic and theoretical concerns through which he animates his practice and pointing to larger political issues in relation to which each series can be understood. The book is organized in a roughly chronological and thematic structure according to the major series of his work all of which overlap and interrelate. The sections are: Finding a Path (Early Work) Rethinking History (Family) Rethinking History (Archives) Collecting Race (Museums) Forging Community (Publics) Imaging Bodies (Portraits) Redrawing Boundaries (Land).

This book examines the distinctive nature of Arts Based Learning in Education (ABLE) in the context of a changing curriculum in Ireland. It draws on recent research on the state of the arts in Irish schools from early years primary schools post primary to higher education institutions.



The wide range of perspectives from pedagogy to practice draws on research in the visual arts literature and the arts within teacher education. Teacher identity formation and students’ perceptions of learning within the writers in school’s scheme are some of the themes within the book. It also includes examples of collaborative interdisciplinary practice between educational and cultural institutions. The book is situated within a rapidly changing curriculum policy framework and examines the relevance of arts-based learning against the backdrop of the drive for 21st century skills.

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. 

This book examines film reviewing and screenwriting as key sites of cultural mediation providing new insights on the relationship between criticism and reviewing as well as the way reviewers handle concepts of story dialogue and narrative.



Drawing on the work of Pierre Bourdieu on the cultural field and his theory of taste the book provides an assessment of the place of film reviewing in contemporary screen culture. The book analyses a case study comprised of ten years of television scripts of the Australian film reviewing programme At the Movies (2004–2014). Hosted by two of Australia’s most eminent film critics Margaret Pomeranz and David Stratton for over two decades this study of At the Movies provides a unique window into film reviewing movie consumption and wider cultural attitudes in this period of Australian cultural history. It examines the programme’s cultural significance and the contribution of Margaret and David to screen culture.



This book makes a significant contribution to an under-studied area of media studies (the review) screenwriting research through the analysis of broadcast scripts and cultural studies through the study of an important television programme.

The Intellect Handbook of Popular Music Methodologies attempts a comprehensive overview of methodological approaches within the field of popular music studies. Alongside contributions from key thinkers already established in popular music studies the strength of the collection lies in its inclusion of many new and emerging writers in the field. Therefore the collection incorporates a wide range of practitioners pedagogues and academics from an extensive range of disciplines and thus drawing from a diversity of methodological approaches. These include those that are perhaps more established such as semiotics ethnography and psychology alongside exciting new approaches within popular music including eco-musicology religion intersectionality and archeology. Although previous books have provided an overall of concepts studied within popular music studies this will be the first comprehensive Handbook of popular music methodologies.

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.

An exploration of the life artistic practice social-historical context and cultural impact of Leigh Bowery. Vranou particularly considers Bowery's performative costuming and Live Art in relation to the ways they have influenced the broader spectrum of visual culture and the expanded field of performance studies.

Bowery’s cult status as an outrageously self-styled nightclub personality has obscured his significant contribution to performance studies and visual culture in favour of a justifiable discursive emphasis on his importance to fashion. The diversity of Bowery’s work and his marginality as an artist who emerged from a subcultural milieu complicated and thwarted his cultural value hindering as a consequence his incorporation into art institutions and performance narratives.

Through close analysis of Bowery’s key looks and non-theatrical performances the book examines the implications of his work in dominant histories of performance art and urgent discourses surrounding normativity representations of illness and body politics. It focuses on the performative dimension of Bowery’s costuming as an effective strategy for blurring the boundaries between art and life reflecting his aesthetics of freakishness and narcissistic desire his engagement in BDSM practices and the performance of extremity and the posttranssexual ethos behind his hybrid embodiments and trans-queer visual language.

What happens when precarious urban cultural labourers take data collection laws and policymaking into their own hands? Buskers have been part of our cities for hundreds of years but they remain invisible to governments and in datasets. From nuisance to public art this cultural practice can help us understand the politics of data collection archives regulatory frameworks and urban planning. Busking also responds to underlying questions on the boundaries of the right to the city – and who has a voice in shaping how our cities are planned and governed.



A transnational exploration of street performance Urban Music Governance examines the intricate limits of legality data visibility and resistance from the perspective of those working at the social and regulatory margins of society. Based on a decade of fieldwork in Rio de Janeiro and Montreal this book puts forward a lively account on why such an often-overlooked practice mattes today.



By investigating the role of busking in contemporary society Urban Music Governance presents an original interdisciplinary study that exposes how power dynamics in policymaking decide issues of access – and exclusion – around us above and below ground.

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.

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 20th 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 aims to introduce the visual and aesthetic elements of 1970a 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.

What can a fold be? Virtually anything and everything.

For centuries folds and folding have captured the world’s imagination. Folds readily appear in revivals of the ancient craft of origami amid the simplest acts of pedestrian life within the philosophical turnings of the mind and in art design architecture performing arts and linguistics around the world. What awaits our understanding is how deeply the fold figures into embodiment into our very impulse to create.

This book is about folding as a vibrant stimulus for inter/trans/postdisciplinary artistic research whether for the performative for product realization or simply to enliven body mind and spirit. Destined for artmaking—for making any art—the f/old practice etches into the very fabric of embodiment. As such the f/old reaches outside the constraints of disciplinary silos into nice areas that embrace the unknown with all its underlying tensions and ambiguities. In conceiving of art made differently two seasoned facilitators Susan Sentler and Glenna Batson share the abundance of their decade-long collaboration in developing their approach to practice research in the fold. In addition to their insights they invite eight of their collaborators to contribute each a veteran artist of a diverse genre.

Featuring a wide variety of practice samples and images this book reflects on a current and unique somatic-oriented arts research practice and pedagogy with an intriguing blend of interdisciplinary concern and practice.

The Social Object uses the methods of design history material culture studies and the social construction of technology to analyse the domestic spaces and objects in the homes of the middle class in India. The book describes how people make meaning of the objects they buy own and gift.

This is a book about the biography of projects and objects. The projects in the book serve as book ends to a detailed and affectionate account of the biographies of objects within the homes of the not so rich.



The aim of the author has been to silence the voice of the designer to allow the accounts of objects to emerge as periodic irruptions that reveal a hidden maelstrom of passion ideas and failed projects. The book opens with the biography of a project dealing with waste leading the reader to a very particular kind of object the bads. This object is illicit handled by criminals and in the writing by the author serves to invert the dominant discourse of objects as commodities. This book makes the case that the program of design is better seen as a democratic community where the householders the zietgiest technology and all manner of hidden agents collide to allow unforseen periodic objects to emerge.

Varadarajan argues against a simplistic universal account off the way we think about how objects are designed. As an enterprise the book was a journey to assemble the evidence - of places and objects - and observe the enactment of practices with the objects. It was also a project of speculation upon the possible ways in which objects come to be as local collaborations of action.

Part of the Living and Sustaining a Creative Life series Artists as Writers joins the tradition of writing books designed or intended to inspire would-be writers to write but distinguishes itself by offering succinct first-person narratives by writers of varied genres about the day-to-day life of writing for a living.  

Artists as Writers offers accounts of the journeys that thirty two writers have taken to becoming a real writer what decisions were made which paths were taken rejected charted and why. It answers the question: What magic keeps a writer writing?

Writers from Ethiopia Guatemala Nigeria Palestine Poland and Sweden as well as several who live throughout the United States: California Colorado Georgia Louisiana Pennsylvania Texas and Washington contribute their stories.  They each provide vividly detailed accounts of the circuitous roads that each individual took to earn the title “writer.” These are richly descriptive stories from writers who write consistently relating how they came to the writing life who helped them get there and what sustains them as writers.

This edited collection offers evocative ways into a range of fascinating worlds of popular music from the Ecuadorian indie scene to Chinese rock. In exploring the experiences of musicians fans industry professionals and academics the rich complexity of popular music is brought to life through ethnography as an immersive approach to undertaking and communicating research.



Experimenting with ethnography through the joys and tribulations of musical production fandom and scholarship these collated studies critically consider what it means to be a popular music ethnographer and to take an ethnographic approach to studying popular music.



Alongside these chapters musicians venue owners music writers live music photographers and fans add their voices and experience in the form of shorter vignettes ordering the content into three overlapping themes: practices; places; and identities.

This book draws on over twenty years scholarship from Diane Conrad's academic career in applied theatre research with systemically marginalized youth. It draws on applied theatre research conducted with youth in three specific contexts: in alternative high schools in a youth jail and with street-involved youth.



By drawing on examples from several projects highlighting youths’ voices and youths’ creations the book offers an introduction to the researcher and theoretical considerations for the research suggests practical strategies for engaging with this youth population describes the applied theatre process developed. It addresses specific considerations for working with incarcerated youth and with Indigenous youth and explores the potential demonstrated for youth empowerment through applied theatre some ethical considerations in conducting such work and the role of applied theatre in social change. The book may be of interest to applied theatre researchers instructors practitioners and students and to drama teachers and youth workers.

This cultural history critically examines product design and its development from pre-industrial times to the present day considering major milestones in the mass production of goods and services aiming to incorporate a more inclusive worldview than traditional surveys of the topic.

The breadth and versatility of product design through history has been profound. Products have long supported the integration and interpretation of emerging technologies into our lives. These objects include everything from tools accessories furniture and clothing to types of transportation websites and mobile apps. Products provide singular or multiple functions are tangible and intangible and in many instances have impacted the quality of our lives by saving time or money or by increasing feelings of personal satisfaction. At the same time many products have negatively impacted people and the environment. For nearly every product that makes it into the hands of a consumer there is also a designer who created it and someone who laboured to make it.



Examines the relationship between products consumption sustainability politics and social movements. This "pocket history" surveys product design from the agricultural revolution and the birth of cities through industrialisation and a digital design revolution.

Ernst Gombrich can be considered the most influential art historian of the 20th-century. Until now however the global impact of his work has been under-appreciated. Global Culture after Gombrich: Art Mind World presents essays by historians of art and culture - themselves students of Gombrich or associated with his scholarly home the Warburg Institute - from Asia the USA and Europe.



Subjects range from picture-making’s place in human evolution to the visual marginalia of the Renaissance and from nineteenth-century modernism to the implications of the latest neuroscience for cultural history. Other chapters treat fundamental issues such as the notion of connoisseurship the fate of the idea of ‘culture’ or the cultural specificity of modernism. They range from theoretical broadsides – notably a defence of the ‘intelligence’ of art - to intricate reflections – for example on caricature as a style.



In showing how Gombrich initiated enquiries that have spread in numerous – and global – directions Global Culture after Gombrich: Art Mind World makes a vital contribution to contemporary debates around the languages of art history and showcases the range of approaches and methods by which art history is and has yet to be written.

This edited collection features fourteen newly commissioned articles each of which responds to the theme of plague from different disciplinary perspectives. Contributors focus on the effects of COVID-19 on everyday life drawing also on insights from different historical experiences of plague as a way of exploring human responses to epidemics past and present.

Each chapter opens with a different illustration that serves as a source for subsequent discussion enabling readers to make connections between everyday objects experiences and broader critical debates about plague and its impact on humanity. Thought-provoking commentaries stem from a variety of humanities disciplines including archaeology electronic literature history linguistics media and cultural studies and musicology.



Encountering the Plague explores ways in which humanities research can play a meaningful role in key social and political debates and provides compelling examples of how the past can inform our understanding of the present.

This book and its individual essays examine key emerging and evolving practices theories and methodologies that operate in the blurred boundary between spatial design disciplines such as architecture interior and urban design and film and moving image studies more broadly.

The collection is an exploration of the evolving interdisciplinary rhetoric connecting spatial design disciplines like architecture and urban design with film and moving image studies. It is premised on the argument that the understanding of ‘space’ in these areas continues to draw on each other’s fields of reference and that in recent times this has expanded further to the point in which it blurs with multiple other disciplines including media art cultural studies and art practice to name but three. The result of this evolving interdisciplinary understating of ‘space’ in design disciplines and moving image studies is an expanded field of haptic-visual practice and theory that can be investigated as both a material and an image-based construct.

It engages with this evolving set of ideas and underlines how each of its primary discipline areas now increasingly incorporate tools and methodologies from each other’s fields. For example architects routinely engage with cinematic practice as a means of exploring space cultural theorists inspect filmic space as a two-dimensional surrogate of the real media artists incorporate knowledge of spatial design in video installations and film makers create spaces on screen that are informed by architectural theory. This all follows what can be defined as a discursive turn in our view of spatial relationships across disciplines which by definition is complex eclectic occasionally contradictory and at times characterised by surprising confluences.

Conceived as a form of mapping of these confluences and contradictions this book collects varied essays that in their own unique ways explore the diversity of how we today define understand and engage with notions of the body in architectural-urban space. It does so through a triadic structure that progresses from haptic relationships of the body in architectural space through film readings of represented space in mainstream cinema and concludes with ‘experimental spatial’ projects inspired by film and the moving image. This tripartite structure specifically encourages a look across disciplines broadening architectural urbanist media and cinematic concerns through insightful case studies that engage with their subjects by means of novel techniques i.e. employing graphic software for an analysis of pre-digital films deconstructing cinematography in modernist classics or researching urban edgelands via collaging and montage etc.

Presents new perspectives on queer visual culture in the Southwest Asia North Africa region from queer artists as well as scholars who work on queer themes. With contributions from both scholars and artists this volume demonstrates that queer visual culture in the SWANA region is not only extant but is also entering an era of exciting growth in terms of its versatility and consciousness. The volume focuses on artworks produced in the contemporary era while recognizing historical and contextual connections to Islamic art and culture within

localities and regions from the pre-modern and modern eras.



By framing this volume as unambiguously located within queer studies the editors challenge existing literature that merely includes some examples of queer studies or queer representation but does not necessarily use queer studies as a lens through which to engage with visual culture and/or with the SWANA region. Through four interrelated sections - Gender and Normativity Trans* Articulations Intersectional Sexuality and Queer SWANA - this volume probes several previously unexplored academic areas namely the intersections of queer studies with other fields.



Part of the Critical Studies in Architecture of the Middle East series.

World Film Locations: Los Angeles Volume 2 is an engaging and highly visual city-wide tour of both well known and slightly lesser known films shot on location in one of the birthplaces of cinema and the ‘screen spectacle’. It pairs 50 synopses of carefully chosen film scenes with evocative full-colour film stills.

When the World Film Locations series was launched in 2011 with volumes on Los Angeles New York Paris and Tokyo the world was a different place. Although interest in film locations has grown steadily for years as people seek to walk in the footsteps of their cinematic idols by visiting sites from their favorite movies – the recent global lockdown seems to have only increased an appetite for cinetourism; prompting us to consider a second volume for one of the world’s most evocative and enduring locations. The city of Los Angeles with its meandering sun-baked sweep and beautifully fractured topography continues to lure filmmakers into its clutches – affording an endless panoply of locations to prop up both character and story. Since 2011 thousands of new productions have made the most of what the city has to offer; using reusing and discovering places that will surely become sites of pilgrimage in years to come - and while this volume includes just 50 of them our modest selection is carefully curated to compliment volume 1 and further reveal both the well-known and more hidden parts of a Los Angeles in constant flux. 

The heart of Hollywood’s star-studded film industry for more than a century Los Angeles and its abundant and ever-changing locales – from the Santa Monica Pier to the infamous and now-defunct Ambassador Hotel – have set the scene for a wide variety of cinematic treasures from Chinatown to Forrest Gump Falling Down to the coming-of-age classic Boyz n The Hood.



This second volume marks an engaging citywide tour of the many films shot on location in this birthplace of cinema and the screen spectacle. World Film Locations: Los Angeles Vol 2 pairs fifty incisive synopses of carefully chosen film scenes – both famous and lesser-known – with an accompanying array of evocative full-colour film stills demonstrating how motion pictures have contributed to the multifarious role of the city in our collective consciousness as well as how key cinematic moments reveal aspects of its life and culture that are otherwise largely hidden from view.



Insightful essays and interviews throughout turn the spotlight on the important directors iconic locations thematic elements and historical periods that provide insight into Los Angeles and its vibrant cinematic culture. Rounding out this information are city maps with information on how to locate key features as well as photographs showing featured locations as they appear now.



A guided tour of the City of Angels conducted by the likes of John Cassavetes Robert Altman Nicholas Ray Michael Mann and Roman Polanski World Film Locations: Los Angeles Vol 2 is a concise and user-friendly guide to how Los Angeles has captured the imaginations of both filmmakers and those of us sitting transfixed in theatres worldwide.

 

Dystopian and post-apocalyptic movies from 1968 to 2021 usually conclude with optimism with a window into what is possible in the face of social dysfunction - and worse. The infrastructure that peeks through at the edges of the frame surfaces some of the concrete ways in which dystopian and post-apocalyptic survivors have made do with their damaged and destroyed worlds.



If the happy endings so common to mass-audience films do not provide an all-encompassing vision of a better world the presence of infrastructure whether old or retrofitted or new offers a starting point for the continued work of building toward the future.



Film imaginings energy transportation water waste and their combination in the food system reveal what might be essential infrastructure on which to build the new post-dystopian and post-apocalyptic communities. We can look to dystopian and post-apocalyptic movies for a sense of where we might begin.

Taking as its starting point the first-ever retrospective exhibition (2021) of performance art icon Jess Dobkin the book reflects on the internationally acclaimed artist’s playful and provocative practice as performer activist curator and community leader. At the same time it grapples with a question that is vital for art and performance studies: How do archives perform?



More than a discrete showing of a single artist’s work the exhibition including its new staging in book form is a large-scale research experiment in performance curation investigating what it might mean for art institutions to take seriously the embodied and communal nature of performance art in their practices of archiving and museological display.



In Jess Dobkin’s Wetrospective a cast of renowned international performance theorists and artists dive into this exploration alongside Dobkin curator Emelie Chhangur and performance theorist and dramaturg Laura Levin. These contributions appear alongside a riot of full colour photographs providing access to Dobkin’s celebrated artistic productions from the last 30 years.

What happens to contemporary dance costumes when the show is over and their surrounding legacy slips from view? How might costumes be mobilised towards representational repair post-performance? Located within Lea Anderson’s choreographic archive this book charts a series of hands-on interventions with the fabric remains of her companies The Cholmondeleys and The Featherstonehaughs. Centred on practices of Disintegration Preservation Transaction and Display they offer provocative modes of engaging with the physical leftovers of performance the degrading of memory and legacy around pre-digital theatre work and the temporal material transitions of artefacts enduring outside of traditional museological contexts.



How might we regard these mercurial items? As precious relics to be protected in museum holdings ghostly harbingers of residual performance histories or inconvenient detritus? The book travels from props-makers’ studios to auction houses and galleries incorporating film-making artefact handling and curation along the way in lively dialogue with perspectives from dance history material culture sociology and performance studies. The choreographic archive is envisioned as repository of the awkward scattered remains of legacy blown apart into fragments. Smithereens which can if we allow them demand an alternative after-life that disrupts the vanishing inflicted on these costumes and the companies who danced in them.

Some have called this an age of absurdity and as such Contemporary Absurdities Existential Crises and Visual Art presents the contributions of artists theorists and scholars whose words and works investigate the absurd as a condition of a tactic for and a subject in the contemporary.

The absurd is a lens on the disturbances of our moment and a challenge to the propositions about and solutions for the world. The absurd shakes off the paralysis that what we know must be the only thing we (re)produce. Those willing to recognize that and confront it rather than flee from it are thereby introduced to the political writ large.

This edited collection adopts ideas and practices associated with the absurd to explain how the contemporary moment is absurd and how absurdity is a useful potentially radical tool within the contemporary.

Critical art allows the absurd a space within which audiences can observe their own tendencies and assumptions. The absurd in art reveals our inculcation into hegemonic belief structures and the necessity to question the systems to which we subscribe. Today we see the absurd in memes performative politics and art expressing the

confusion and disorientation wrought by the endless emerging crises of our 24/7 relations.

The Physical and the Digital City is a unique collection of projects where researchers and designers show how the theories of technology underpinning the digital urban environment are applied in practical and spatial terms. The authors are experts in their respective fields who pursue cutting edge solutions for city-making and consider the theoretical premise critically. It is designed to be a self-contained and interdisciplinary reference text to introduce students designers and scholars to the idea of physical/digital and its urban application.



The book will help students and designers to develop a clear understanding of the physical and digital principles underpinning urban assemblages and a solid set of references to start working within this topic with confidence. Of interest to all students and scholars interested in urban studies (geography planning urban design social sciences and humanities) and human-computer interaction (media studies computer science social sciences cognitive sciences anthropology and psychology). The book will clarify the role of digital technologies within the city along with its possible implications for people and communities.

It is oriented to the academic and professional communities interested in architectural urban and digital design from different angles. This includes those interested in computational architecture for example eCAADe Education and Research in Computer Aided Architectural Design in Europe ACADIA Association of Computer Aided Design in Architecture CAADRIA Computer Aided Architectural Design Research in Asia SIGraDi Sociedad Iberoamericana de Grafica Digital CAAD Futures Foundation as well as those interested in the human-computer interaction.

Dedicated to the stories of migrants refugees asylum seekers and exiles this collection asks how these stories are interwoven with art art practices activism reception and (re-)presentation. It explores the complex entanglements of art and aesthetic practices with migration flight and other forms of enforced dislocation and border/border crossings in global contexts - the latter significant phenomena of social transformation in the twentieth and twenty-first centuries.

These entanglements take centre stage when migration shapes forms and aesthetics (and vice versa) when actors employ image politics and visualisation strategies in and about migration at different times and places or when materialities sites and spaces gain importance for decision-making processes.

Giving space to these stories of art and migration and its power of pluriverse knowledge production the book takes an art and cultural studies perspective and questions the significance of spatial changes for artistic practice in migration and elaborates on new or different theory formation. Bringing together its case studies and theoretical approaches the argumentation unfolds over the five sections of the book Visibilities | Invisibilities Sites | Spaces Materiality | Materialisation Racism | Resistance and Practices | Performativity.

A timely examination of the use of emerging technologies in the arts in recent decades from the first wave of Virtual Reality through to the current use of Mixed Augmented and Extended Realities. It highlights the necessity of understanding technological experiences through the assumption that all experience is embodied. An explosion of digital culture and experience has most certainly given artists and creative practitioners new ways of exploring a hybridisation of creative practices with access to technological tools only previously dreamt of. Further there are a number of threads around digital embodiment and its centrality to the digital experience.



The book is divided into 3: Section 1 explores the whole notion of embodied experience through a study of space and virtuality imagination and technology. Section 2 lays the ground for a more explicit understanding of the role the body has in our engagement with the digital technologies focussing on three distinct bodies: the  gravitational body the virtual body and finally the hybrid body. Section 3 is split into three chronological chapters in terms of technological developments that of VR Virtual Worlds and Augmented Mixed and Extended Realities.

While individual aspects and themes covered here can be found in some recent books there is little that places digital embodiment within the arts in the way this book does. A unique synthesis.

Professional practice is increasingly becoming more complex demanding dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities work cultures change and transitions and envisioning new pathways.

Chapters address the components of the self-study model artistic methods and materials and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes.

The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic interpretive rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities work cultures and communities transition and change within professional practice and envisioning new pathways for professional practice.

The self-study model is grounded in contemporary theory practice and compelling research and embraces robust strategies for understanding the complexities of professional practice that can include dual multiple overlapping hybrid and conflicting professional identities tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses.

With visual arts practitioners in mind various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights themes issues and questions from their self-study outcomes how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims.

Throughout the text charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms guidelines and rubrics for writing reflections creating visual responses and using a visual journal in the self-study process.

Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.

This book presents key findings from a 4-year project that sought to understand Ethno Gatherings an organized residential folk world and traditional music programme for young people aged 18-30. In response to three lines of enquiry pedagogy and professional development participant experience and the impact it had upon those who attended the authors examine the complexity of an Ethno music experience. By considering its history and current practices the following themes are explored: non-formal music making personal authenticity holistic praxis musical possible selves intercultural music exchange sustainability social media engagement song sharing and future practices. Constructed through data drawn from participant observations interviews online social media analysis onsite and video observations surveys and questionnaires the authors ask critical questions concerning Ethno’s history ethos pedagogy and philosophical ideals. First held in Sweden in 1990 Ethno Gatherings are now located in over 40 countries worldwide and are part of JM Internationals youth music programmes. As a collection of integrated thought the book’s purpose is to illuminate new understandings of what Ethno does to support its future growth and development.

The first English language scholarly collection of articles on the leading Berlin based German artist and film-maker Ulrike Ottinger. The articles engage with the full range of the works from the early Berlin feature films of the 1970s and .'80s to the ethnographic documentaries also including the art exhibitions photography shows installations and artist books. The book brings together feminist film theorists with art historians and cultural theorists each with a distinctive and detailed perspective on the queer fabulist genres of Ottinger now in her 80s.

Based on over a decade of collective teaching this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Chapters articulate a collective learning based on the experiences of the International Art Collaborations Network (INTAC) Collective Body group and related programs which the authors and contributors have participated in as educators and students.

Illustrated with photographs screenshots and student projects the book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to INTAC providing perspectives on working collaboratively in a global context.

Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnership. Chapters end with suggested points for conversation whether between educators students of art education or students entering collaborations. Although based on experiences in the visual arts the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.

Fully illustrated with examples of collaborative art projects photographs screenshots diagrams and posters.

Using both photographs and written narratives The Bitter Landscapes of Palestine provides a depiction of the lives and struggles faced by Palestinians living in the occupied Palestinian territories on the West Bank in particular the South Hebron Hills and the Jordan Valley. It sheds light on issues including house demolitions conflicts between Palestinian shepherds or farmers and Israeli settlers soldiers and police the daily struggles brought about by the occupation's efforts to displace Palestinians from their land and the resilience and bravery required to endure these conditions. This moving book conveys the beauty of the landscape the essence of the language the value of friendships and the richness of a threatened way of life.

Voices of activists both Palestinian and Jewish are brought into focus. The historical context that generated present realities in Palestine is outlined briefly as well as the history of the authors’ partnership.  Their perspective mirrors extensive years of involvement in peace and human rights activism in Palestine. It also captures the ongoing dialogue between the two authors who have experienced together the continually renewed astonishment that comes with such experiences and encounters.

Reframing Berlin is about how architecture and the built environment can reveal the memory of a city an urban memory through its transformation and consistency over time by means of ‘urban strategies’ which have developed throughout history as cities have adjusted to numerous political religious economic and societal changes. These strategies are organised on a ‘memory spectrum’ which range from demolition to memorialisation.

It reveals the complicated relationship between urban strategies and their influence on memory-making in the context of Berlin since 1895 with the help of film locations. It utilises cinematic representations of locations as an audio-visual archive to provide a deeper analysis of the issues brought up by strategies and case studies in relation to memory-making.

Foreword by Kathleen James-Chakraborty

A new volume in the Mediated Cities series from Intellect

Proposes a methodology for incorporating concepts drawn from ancestor trance in Afrolatinx ritual for actors trained in Western methods. Danowski created four new works of theatrical performance writing the play texts and incorporating acting exercises from Afrolatinx rituals adapted for non–practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character drawing on the ritual knowledge of trance possession in Lukumí and Palo Monte to examine how ontologies might speak to each other.

Constructing a methodology called kanga (from the Bantu for tying and untying) using three methods based on aspects of Afrolatinx ritual and modified for performance contexts: spell charm and trance. This methodology enacts and complicates distinctions between performance and ritual serving as a contribution to respectful and responsible intercultural performance practices.

The methodology is bricoleur drawing from ethnography psychoanalytic theory and phenomenology. Kanga in practice leads to a state of consciousness that Danowski calls hauntological. This borrows from Derrida but is redefined to refer to the study of haunted states of consciousness where reality is co–constituted by the living and the dead where ancestral spirits are invoked to do the work once reserved for characters.

Comics have always embraced a diversity of formats existing in complex relationships to other media and been dynamic in their response to new technologies and means of distribution. This collection explores interactions between comics other media and technologies employing a wide range of theoretical and critical perspectives.

By focusing on key critical concepts within multimodality (transmediality adaptation intertextuality) and addressing multiple platforms and media (digital analogue music prose linguistics graphics) it expands and develops existing comics theory and also addresses multiple other media and disciplines.

Over the last decade Studies in Comics has been at the forefront of international research in comics. This volume showcases some of the best research to appear in the journal. In so doing it demonstrates the evolution of Comics Studies over the last decade and shows how this research field has engaged with various media and technologies in a continuously evolving artistic and production environment. The theme of multimodality is particularly apt since media and technologies have changed significantly during this period. The collection will thus give a view of the ways in which comics scholars have engaged with multimodality during a time when “modes” were continually changing.

This book is for artists teachers and those who prepare teachers. In the field of art and design education there are many theoretical strands that contribute to the practices of teaching and learning in the visual arts. The problem for artist teachers and those who prepare teaching artists is how to frame the diverse methodologies of art and art education in a way that affords divergent practices as well as deep understanding of issues and trends in the field. Teachers need a field guide that provides a contextual background of theory in order to make their own teaching practice relevant to contemporary art practices and important ideas within the field of education. The book in its content and presentation of content is pedagogical; it provides a catalyst and prompt for meaningful and personal artistic inquiry and exploration.



The book describes connections between teaching and artistic practices including the pedagogical turn in contemporary art. As a book for artists and designers it is graphically compelling and visually inspiring. It is designed to be engaging for the practitioner and theoretically robust. A problem with many current texts is that they are written by academics who are often a step removed from the issues of classroom instruction and tend use the language of the scholar which is appropriate for a scholarly journal but can be difficult for other audiences. This book will bridge this divide through its use of design narrative and descriptions of innovative artistic practices. Rather than being a book about “best practice” it is a book about “diverse practices” within art making and teaching.



This field guide to artistic approaches including methods for teaching art frames its arguments around critical questions that artists and art teachers must address such as: What is the role of art and design in secondary education? What will I teach? How do we go about teaching art? How do I know if my teaching is working? What is the role of traditional mediums and methods within contemporary art practices? How can art teachers contribute to the reinvention of schools? How might fluency within a medium be connected to important issues within culture including the culture of adolescents? This book includes examples of approaches that might provoke or inspire artist and pedagogical inquiry. These are approaches that actively engage students in work that disrupts taken for granted conventions about schooling and its purposes. It considers how art and design might transform the school experience for adolescents.

This substantially revised and expanded edition of the The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by uniting drama therapy interventions with diagnostic information individual and group processes psychological distance the drama therapy pie and global outcomes.

This book is a practical guide in four sections not a checklist. Rather than using a standardized protocol that makes the decisions for the therapist drama therapy is based on dynamic embodied creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity preparing them to make good therapeutic decisions in the moment during the session.

The opening section guides readers through the foundational principles leading readers into Section Two The Decision Tree which is a series of questions for early career drama therapists to ask themselves as they prepare treatment plans for clients. Diversity Equity and Ethics are covered in Section Three from the point of view of creative arts therapy practitioners. Section Four looks at Integrating the Five Phases of Treatment with the Drama Therapy Pie following different populations (diagnosis) of clients through the five phases of group therapy in order to illustrate how the Decision Tree supports intervention choice in the different phases of treatment.

The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide early career drama therapists can move forward confidently and ground their work with participants in an integrated system. 



An online searchable database of drama therapy interventions provides descriptions therapeutic outcomes addressed and other useful information provides a wealth of additional supporting material. There is also a separate online resource of deroling activities.



The online resources here can also be an asset for non-drama therapists who are wanting to incorporate a more active and embodied component safely into their work particularly in terms of warm-ups closure and deroling.