Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

For more than thirty years, Jerome John Garcia played guitar and sang in the traveling menagerie and living social experiment called the Grateful Dead. What started as a jug band in Palo Alto evolved into a rock and roll institution, playing to audiences composed of both gray-bearded boomers and tie-dyed baby Deadheads. At the center of this phenomenon was Jerry, whose musical gifts and affable manner made him the symbol of all things magical. In Dark Star, we see Garcia through the eyes of those closest to him, who speak for the first time since his death: the ex-wives and lovers who did their best to make him happy but in the end always seemed to lose him to the road; the close friends who watched in helpless frustration as he battled a long-running heroin habit he tried again and again to kick; the children of fellow members of the Grateful Dead for whom he was the father he could never be to his own daughters; the musicians who looked up to him as a guru and an older brother.

The purpose of this edited volume is to examine the historical and contemporary dynamics of diversity as well as the realities, challenges, and opportunities associated with diversity work at Historically Black Colleges and Universities (HBCUs). This proposed book will include four sections, focusing on the historical developments and socio-political factors impacting diversity work at HBCUs, organizational structure and philosophical approaches, challenges and opportunities facing particular populations, and analysis of best practices. This text is designed to provide an overview and better understanding of diversity and multiculturalism that exists in historically Black colleges and universities. The contents of the text will examine equity and inclusion efforts in these institutions, and will explore various theories and practices utilized within the academy. Also, the text will examine race, class, gender, ethnicity, nationality, religion, age, ability and sexuality. The goal of the book is to assist students, faculty, and staff in the higher educational landscape in developing their own understandings of historical and contemporary issues related to diversity at HBCUs. Critical analysis of the multiple worldviews will be discussed as we explore the origin, nature and scope of multiple ideologies within diversity, equity and inclusion at HBCUs. In addition, this book will be an invaluable teaching resource for faculty in Educational Leadership Programs, Student Affairs Programs, or Sociology Programs, and other fields interested in issues of retaining and supporting diverse college students.

These five short stories are about people and organisations struggling with change. In each tale our hero or heroine experiences one of the major pitfalls that beset people going through change at work and discovers how to turn the situation on its head. In short, they learn to work with the grain of human nature and thereby achieve successful change. Although the stories are easy and enjoyable to read, each one packs a punch, illustrating a key technique for dealing with change; the book makes an excellent training aid, and an inspiring read for anyone grappling with the challenges of change. 5 Tales of Change is a companion volume to the author's first book, The 5 Forces of Change, described by Professional Manager Magazine as " - a masterclass on the competencies required to achieve effective organisational change - This work provides an outstanding guide to managers charged with securing organisational change in today's volatile business environment."

Few institutions have as profound an impact on the American theatrical landscape as the Tony Award-winning Williamstown Theatre Festival, located in Williamstown, Massachusetts. New Plays from Williamstown Theatre Festival 2015-2021 provides a sample of the dozens of plays that have been created and/or premiered at the Festival during the Artistic Directorship of Mandy Greenfield. In addition to stories that shine a light into new or underexplored corners of the human condition, these plays frequently feature complex and boundary-pushing central roles for women actors. These six plays are manifestations of living, American playwrights grappling with and breathing dramatic life into the conflicts and questions at the heart of who we were, who we are, and who we will become. These plays imagine and interrogate pieces of the human experience we are still in the midst of unpacking and understanding. Complete with introductions by each of the authors reflecting on their work, these historic, award-winning, and groundbreaking plays now live in conversation with one another in this unique collection.

Emotions, creativity, aesthetics, artistic behavior, divergent thoughts, and curiosity are both fundamental to the human experience and instrumental in the development of human-centered artificial intelligence systems that can relate, communicate, and understand human motivations, desires, and needs. In this book the editors put forward two core propositions: creative artistic behavior is one of the key challenges of artificial intelligence research, and computer-assisted creativity and human-centered artificial intelligence systems are the driving forces for research in this area. The invited chapters examine computational creativity and more specifically systems that exhibit artistic behavior or can improve humans' creative and artistic abilities. The authors synthesize and reflect on current trends, identify core challenges and opportunities, and present novel contributions and applications in domains such as the visual arts, music, 3D environments, and games. The book will be valuable for researchers, creatives, and others engaged with the relationship between artificial intelligence and the arts.