Horror in which a clinical trial at a remote facility goes terribly wrong. Among those who sign up to test ProSyntrex's latest drug Pro9 are Adam (Aneurin Barnard), Joni (Alex Reid), Carmen (Skye Lourie) and Jed (Oliver Coleman). The trial is highly secret, with no-one, including the staff who administer injections, aware of who is receiving the drug and who is in the placebo group. Shortly after the trial begins it becomes clear that something has gone wrong. There are unexplained disappearances, bizarre silhouettes and screaming from behind locked doors. Locked inside the facility, unaware of the true nature of events, the surviving patients and staff must band together to try and find a way out of the nightmare.

The Science of Stretching is a research-based book that brings together the scientific principles of many different modalities of stretching and its application to the general and sporting populations. The book reviews static stretching, dynamic stretching, ballistic stretching, vibration platform, PNF, myofascial release, Pilates and Yoga, as well as post-operative, chronic and acute injury benefits. Appropriate prescription, application and expected outcomes are explained, which will revolutionize the way you choose to stretch.

DESIGN DISCOURSE: COMPOSING AND REVISING PROGRAMS IN PROFESSIONAL AND TECHNICAL WRITING addresses the complexities of developing professional and technical writing programs. The essays in the collection offer reflections on efforts to bridge two cultures-what the editors characterize as the "art and science of writing"-often by addressing explicitly the tensions between them. DESIGN DISCOURSE offers insights into the high-stakes decisions made by program designers as they seek to "function at the intersection of the practical and the abstract, the human and the technical." Contributors include Diana L. Ashe, Brian D. Ballentine, Kelly Belanger, Julianne Couch, Anthony Di Renzo, James M. Dubinsky, Jude Edminster, David Franke, Gary Griswold, Dev Hathaway, Brent Henze, Colin K. Keeney, Michael Knievel, Carla Kungl, Carol Lipson, Andrew Mara, Jim Nugent, Anne Parker, Jonathan Pitts, Alex Reid, Colleen A. Reilly, Wendy B. Sharer, Christine Stebbins, and Janice Tovey. DAVID FRANKE teaches at SUNY Cortland, where he served as director of the professional writing program. He founded and directs the Seven Valleys Writing Project at SUNY Cortland, a site of the National Writing Project. ALEX REID teaches at the University at Buffalo. His book, THE TWO VIRTUALS: NEW MEDIA AND COMPOSITION, received honorable mention for the W. Ross Winterowd Award for Best Book in Composition Theory (2007), and his blog, Digital Digs (alex-reid.net), received the John Lovas Memorial Academic Weblog award for contributions to the field of rhetoric and composition (2008). ANTHONY DI RENZO teaches business and technical writing at Ithaca College, where he developed a Professional Writing concentration for its BA in Writing. His scholarship concentrates on the historical relationship between professional writing and literature.

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Redefining writing and communication in the digital cosmology In Rhetorics of the Digital Nonhumanities, author Alex Reid fashions a potent vocabulary from new materialist theory, media theory, postmodern theory, and digital rhetoric to rethink the connections between humans and digital media. Addressed are the familiar concerns that scholars have with digital culture: how technologies affect attention spans, how digital media are used to compose, and how digital rhetoric is taught. Rhetoric is now regularly defined as including human and nonhuman actors. Each actor influences the thoughts, arguments, and sentiments that journey through systems of processors, algorithms, humans, air, and metal. The author's arguments, even though they are unnerving, orient rhetorical practices to a more open, deliberate, and attentive awareness of what we are truly capable of and how we become capable. This volume moves beyond viewing digital media as an expression of human agency. Humans, formed into new collectives of user populations, must negotiate rather than command their way through digital media ecologies. Chapters centralize the most pressing questions: How do social media algorithms affect our judgment? How do smart phones shape our attention? These questions demand scholarly practice for attending the world around us. They explore attention and deliberation to embrace digital nonhuman composition. Once we see this brave new world, Reid argues, we are compelled to experiment.