This is the first full-length study about the British artist Roy Ascott, one of the first cybernetic artists, with a career spanning seven decades to date. The book focuses on his early career, exploring the evolution of his early interests in communication in the context of the rich overlaps between art, science and engineering in Britain during the 1950s and 1960s. The first part of the book looks at Ascott's training and early work. The second park looks solely at Groundcourse, Ascott's extraordinary pedagogical model for visual arts and cybernetics which used an integrative and systems-based model, drawing in behaviourism, analogue machines, performance and games. Using hitherto unpublished photographs and documents, this book will establish a more prominent place for cybernetics in post-war British art.

An accessible and fun guide to kinky practices for everyone Everything you wanted to know about kinky practices is covered in this highly entertaining and readable book. Known for her bold, witty prose on all matters related to the bedroom, Kate Sloan makes this an accessible subject for anyone curious about new ways to spice up their sex lives. Whether you are looking for ideas, clarification, or just an enjoyable read, there is plenty here to keep you intrigued. The text is accompanied by helpful tips and illustrations.

If you have ever felt at a disadvantage when joining in a conversation on a subject that you aren't confident about, this new series is for you. Each book features definitions of two hundred words frequently used to describe and discuss a smart subject. Gender and Sexuality can seem like a big subject to decode. Let Kate Sloan guide you through it.

This is the first full-length study about the British artist Roy Ascott, one of the first cybernetic artists, with a career spanning seven decades to date. The book focuses on his early career, exploring the evolution of his early interests in communication in the context of the rich overlaps between art, science and engineering in Britain during the 1950s and 1960s. The first part of the book looks at Ascott's training and early work. The second park looks solely at Groundcourse, Ascott's extraordinary pedagogical model for visual arts and cybernetics which used an integrative and systems-based model, drawing in behaviourism, analogue machines, performance and games. Using hitherto unpublished photographs and documents, this book will establish a more prominent place for cybernetics in post-war British art.