This book advances organic public engagement methods based on ecological thinking. The authors draw on rich multi-disciplinary literature in ecological thinking as well as research from public engagement with science events held over the past several years across the United States. Through this combination of ecology theory and case studies, this book provides both the conceptual foundations and the proven practical applications of public engagement grounded in ecological thinking. It offers engagement scholars an effective and efficient means of carrying out their missions, while simultaneously building a more ecologically valid method for studying actually existing publics.

US President Donald Trump's foreign policy doctrine is the subject of vast debate. Analysts and practitioners routinely disagree as to what ideology and thinking informed his foreign policy approach - and even whether Trump was politically capable of formulating a doctrine at all. This book explores one specific line of analysis, which deals with the concept of what has been termed the 'doctrine of unpredictability'. Trump has repeatedly declared that being unpredictable comprises the ideal approach to foreign policy for a state leader. Never be predictable; never let others know what you will do next. The contributors to this volume consider whether a conception of unpredictability did inform Trump's foreign policy as a coherent doctrine. Yet this book also takes the issue further to problematize what the very concept of unpredictability means in respect to International Relations. What is unpredictability - and how does the concept apply in respect to Trump especially? What impact does unpredictability have on international relationships? How far does unpredictability deviate from previous approaches to foreign policy, not least Madman Theory? And is it even possible to understand the idea of unpredictability fully within a discipline that is more typically committed to comprehending certainty in respect to international politics? The chapters in this book were originally published as a special issue of Cambridge Review of International Affairs.

Advanced skin cancer is one that has already metastasized beyond its primary origin, or one that has invaded underlying tissues such that surgical resection either is technically impossible or would lead to an unacceptable functional or cosmetic outcome. These skin cancers present a complex problem that requires the input of multiple specialties to delineate the best management plan. National guidelines utilize the best available data to guide management decisions. However, there is considerable leeway within the guidelines, enabling the ultimate care decision to be molded to best fit each individual patient. This book aims to provide instructional examples of patient cases where the input of the multidisciplinary team is critical in providing the most suitable care plan for the patient. CONTENTS: Melanoma * Squamous Cell Carcinoma * Basal Cell Carcinoma * Cutaneous Lymphoma * Kaposi's Sarcoma * Dermatofibrosarcoma Protuberans * Merkel Cell Carcinoma * Rare Cancer Presentations

In the heady and hallucinogenic days of the 1960s and '70s, a diverse range of artists and creative individuals based in the American West--from the Pacific coast to the Rocky Mountains and the Southwest--broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement. Often created through radically collaborative artistic practices, such works as Paolo Soleri's earth homes, the hand-built architecture of the Drop City and Libre communes, Yolanda Lopez's political posters, the multisensory movement workshops of Anna and Lawrence Halprin, and the immersive light shows and video-based work by the Ant Farm and Optic Nerve collectives were intended to generate new life patterns that pointed toward social and political emancipation.

In "West of Center," Elissa Auther and Adam Lerner bring together a prominent group of scholars to elaborate the historical and artistic significance of these counterculture projects within the broader narrative of postwar American art, which skews heavily toward New York's avant-garde art scene. This west of center countercultural movement has typically been associated with psychedelic art, but the contributors to this book understand this as only one dimension of the larger, artistically oriented, socially based phenomenon. At the same time, they reveal the disciplinary, geographic, and theoretical biases and assumptions that have led to the dismissal of countercultural practices in the history of art and visual culture, and they detail how this form of cultural and political activity found its place in the West.

A companion to an exhibition originating at the Museum of Contemporary Art Denver, this book illuminates how, in the western United States, the counterculture's unique integration of art practices, political action, and collaborative life activities serves as a linchpin connecting postwar and contemporary artistic endeavors.