A feast of colour and texture, Chila Burman's first major monograph celebrates one of Britain's most exciting contemporary artists and her extraordinary body of work from across four decades. Chila Burman is a British Asian artist known for her radical feminist practice, her joyful neon light installations and her use of kaleidoscopic colours. Since the mid 1980s her work has explored the experiences and aesthetics of Asian femininity and female empowerment, and the impact of imperialism, colonialism, race and class. Informed by popular culture, Indian mythology and Bollywood, fashion and found objects, her work has consistently strived to challenge stereotypes and to champion equality. This book, the first major monograph on the artist, will bring together Burman’s extraordinary body of work from across four decades. Featuring paintings and installations, photography and prints, video and film works, and a range of diverse voices, it explores the ideas central to Burman’s practice, as well as her unique style.

Discovery of one-dimensional material carbon nanotubes in 1991 by the Japanese physicist Dr. Sumio Iijima has resulted in voluminous research in the field of carbon nanotubes for numerous applications, including possible replacement of silicon used in the fabrication of CMOS chips. One interesting feature of carbon nanotubes is that these can be metallic or semiconducting with a bandgap depending on their diameter. In search of non-classical devices and related technologies, both carbon nanotube-based field-effect transistors and metallic carbon nanotube interconnects are being explored extensively for emerging logic devices and very large-scale integration. Although various models for carbon nanotube-based transistors and interconnects have been proposed in the literature, an integrated approach to make them compatible with the present simulators is yet to be achieved. This book makes an attempt in this direction for the carbon-based electronics through fundamentals of solid-state physics and devices.

Blurring the boundaries between academic and cultural production, this book produces a new understanding of the world significance of South Asian culture in multi-racist societies. One of the first sustained attempts to situate such production within the study of race and identity, it uncovers the crucial role that contemporary South Asian dance music has played in the formation of a new urban cultural politics. The book opens by positing new theoretical understandings of South Asian cultural representation that move beyond essentialist ethnicity in the cultural studies literature. Contributors narrate the formation of South Asian expressive culture coming emerging from the highly charged context of UK Black politics. Part three assumes the task of historical recovery, looking at the antecedents of political South Asian musical performance, autonomous anti-racist organising and problems of alliance with the white Left. Part four engages with the movements and translations of cultural productions across the world - not just in Britain or South Asia, but also Canada, North America, Fiji, Malaysia, Australia, West Africa, Europe, but particularly in the fractured spaces of a postcolonial Britain in decline.