This study deals with time and with music, and the link between the two is the suggestion that music is a modeling of the way we construct time. Time-the now, duration, succession and order of succession; the past, the future-is seen as a resource for managing systemic disequilibrium and as the evolutionary elaboration of the now. As organic dynamical systems humans maintain themselves by means of self-regulatory actions, nows, and these nows are proposed as feeding off a pre-temporal, interindividually accessed energy in nature, an ongoing cosmic proto-present. Speech is a way out of sensory immediacy and a way into a complex shared world where coordination and planning take place away from the distractions of the present as given by the senses. Music is presented as one of a group of behaviors comprising the arts and games that evolved in parallel with language to compensate for its abstractness. Language tends to the complexly abstract and music favors the complex, sensorially concrete: like speech, music operates on a synthetic plane, but provides synthetic occasions for sensory immediacy at a level of complexity to match that of language.

This collection of essays expands the focus of Enlightenment studies to include countries outside the core nations of France, Germany and Britain. Notions of sociability and cosmopolitanism are explored as ways in which people sought to improve society.

This collection of essays expands the focus of Enlightenment studies to include countries outside the core nations of France, Germany and Britain. Notions of sociability and cosmopolitanism are explored as ways in which people sought to improve society.

Fictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O'Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of `post-truth' and `perception management'. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come.

Second Edition: Drachar is a ruthless and ambitious sorcerer who will stop at nothing to wreak revenge against those who betray him. From a lowly although arrogant Eldric lord to commander of the most deadly army the land has ever seen, he pitches relentless hordes of powerful soul devouring demons against his own people, the Eldric. Fierce battle is to commence and all in its path must fight or risk their soul being sent screaming from their twitching corpses. Madness tears at Drachar, a constant reminder of what should happen if he fails in his bloody pact; delivering one hundred thousand souls to the demons in exchange for the greatest of power. The Eldric must learn to summon demons of their own to stand any chance against Drachar's deadly arsenal of krell, demons and grakyn. Magic and swords clash together in a war of such catastrophic proportions that the world will be forever stricken. Join Drachar the outcast as he rises to omnipotence. The die are cast and events are set in motion that look set to destroy the world. The race is on for war threatens; a war like no other for sorcerer will battle sorcerer and demon set against demon.

Omnibus version. All three books in one version. Vastra is a man possessed. He seeks an Eldric talisman, ensnaring two men to aid him. Fate guides his hand and, unwittingly, he chooses Kaplyn, who is seeking to escape his own destiny and Lars, shipwrecked and friendless, an outcast on the Allund shore. An unlikely trio, they form a fragile alliance but, recklessly ambitious, Vastra will betray them in a heartbeat. Their actions have repercussions for future generations, and a collision of powers will allow the shade of a dead emperor to cross the divide between the worlds, bringing with him the threat of dragons. Astalus, the Thracian court wizard is in a quandary. Allund, their ancient ally, is marching against them when shocking news arrives. A spy, arrested brazenly entering the city, claims to be a prince from an extinct royal household, a household that was overthrown, the family members murdered over sixty years ago. Intriguingly, the spy's claim to be from Allund is more than a coincidence, for the army marching against them is also from Allund. Who to trust? The stranger brings with him news of an army from Trosgarth, which can only mean one thing. Drachar's shade has been summoned and the Prophecy is coming to pass. Astalus, normally so certain and confident, is suddenly plummeted into his worst nightmare, for soon Thrace could be threatened by demons and, against them, there is no salvation. In a land fraught with betrayal, fear and death, the shadows are deepening.

Can you hear the child's voice? The Court of Appeal have commented that the family courts are 'still feeling their way forward in order to determine how best to 'hear the voice of a child'. In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law. It concentrates on: Children in court proceedings, particularly in family proceedings Contrasting the way courts hear children's views with the way their evidence is heard Any rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child's 'understanding' in court proceedings, and the way that term varies according to a child's age and the issue before the court. Legislation and case law covered and analysed includes: Children Act 1989 and applicable Family Procedure Rules 2010 Human Rights Act 1998 and European Convention 1950 Civil Procedure Rules 1998 LASPO Act 2012 Youth Justice and Criminal Evidence Act 1999 Re D (A Child) (International Recognition) - child's right to be heard Re W (A Child)- rules for child representation in hearings P v A Local Authority (Fam) - legal aid and statutory damages Re W (Children) (Abuse: Oral Evidence) - child's evidence R (D (a minor)) v Camberwell Green Youth Court - safeguards in criminal law for children Protocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings - October 2013 Achieving Best Evidence: Guidance on interviewing children March 2011