Explores the intrinsic relation of life to air, and breathing, through contemporary art In Out of Breath, Caterina Albano examines the cultural significance of breath and air to a wide array of forces in our midst, including economy, politics, infection, and ecological violence. Through a consideration of recent art practices and projects, including the dance project Breath Catalogue, which makes visible the breathing patterns of dancers, and Forensic Architecture's Cloud Studies video, which investigates eight different kinds of clouds from airstrikes to herbicides to tear gas, Albano focuses on breath as both an intuitive process and a conveyer of meanings. Conceived in response to the Covid-19 pandemic and systemic inequalities that it has laid bare, Out of Breath shows the potential of artistic practices to mobilize affect as a form of cultural and political critique. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

Throughout this book we discover what our idea of memory would be without the moving image. This thought provoking analysis examines how the medium has informed modern and contemporary models of memory. The book examines the ways in which cinematic optic procedures inform an understanding of memory processes. Critical to the reciprocity of mind and screen is forgetting and the problematic that it inscribes into memory and its relation to contested histories. Through a consideration of artworks (film/video and sound installation) by artists whose practice has consistently engaged with issues surrounding memory, amnesia and trauma, the book brings to bear neuro-psychological insight and its implication with the moving image (as both image and sound) to a consideration of the global landscape of memory and the politics of memory that inform them. The artists featured include Kerry Tribe, Shona Illingworth, Bill Fontana, Lutz Becker, Yervant Gianikian and Angela Ricci Lucchi, Harun Faorcki, and Eyal Sivan.

Aphra Behn is usually described as England's first professional woman writer, but her contemporary Hannah Woolley (Wooley or Wolley) ran her close, though recipes not bodice-rippers were her speciality (mixed with some judicious teaching, housekeeping and medical marketing). It seems amazing, therefore, that apart from a slight compendium, nothing of hers is available today - when women's studies have so strong a following. Her output is confusing and disputed, even the portrait in this second edition of her book is not of her but one Sarah Gilly, but all is made clearer by the long introduction by Caterina Albano, who has studied women's domestic literature for this period, and who urged us to produce this new, unabridged setting of the book (it is not a facsimile). The Companion is a conduct- as well as cookery-book (the recipes are mainly derived from her earlier works). It also contains an autobiography of the author. In truth it is a rank, but captivating, miscellany, including recipes, medical prescriptions, advice to servants and governesses, hints on upbringing, cosmetics and education, rules of social comportment and conduct, instructions and model letters for correspondence (mainly for young ladies), and 'Pleasant Discourses and Witty Dialogues' between gentlemen and ladies. Great bedtime reading. The editor puts it all in long perspective.