Public Space, Media Space asks how public space is being mediatised in different ways in different cities around the world today. Urban public spaces today are saturated by media, perhaps more than ever before. These range from highly visible large LED screens in cities like Tokyo, through the cassette sermons one hears in the streets of Cairo, to the invisible, inaudible satellite surveillance systems that are everywhere. They include personal media like MP3 players and mobile phones, public information systems, commercial advertising, and more. How do these media shape, interconnect, or constitute physical public space, and how do they connect to virtual public spaces? How should we understand these phenomena? Is this simply a process of ever greater degradation of the public as direct face-to-face communication is replaced by ever more mediated and commercialized forms of communication among strangers? Or are new publics, new public processes, and new public spaces being constituted?

Public Space, Media Space asks how media saturation are transforming public space and our experience of it. From the role of graffiti and Youtube videos of street art in the Cairo revolution, to OOH (Out of Home) advertising, the book is diverse in its approach and global in its coverage.

How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies.

When the common frameworks for studying film - the nation, identity, representation, Hollywood industry - have ceased to yield explanatory power, how do we conceive of film's doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts isomorphically, showing us how the world works. Film here is action, energy, matter, moving across space to forge connections, provide encounters, and create schisms in our knowledge of others. The book brings together key thinkers of the contemporary in an innovative exchange between film and theory. Marc Auge's concept of 'non-place' is brought to bear on, and disrupt, the category of national cinema. Manuel DeLanda's notion of morphogenesis frames an understanding of film as a process of constant evolution, in which the terms of change are immanent to matter itself. And the concept of inertia, from Paul Virilio's work, allows us to comprehend the different energies of film. Arguing that there is no higher position from which to view the present, either in theory or in film, we move blindly and yet with faith, discovering the present frame by frame. The Evolution of Film demonstrates how this is an intangible yet critical medium in the contemporary, mediating relationships to place, technology and thought itself.

The Evolution of Film will be essential reading for students and scholars of film at all levels.

How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies.

When the common frameworks for studying film - the nation, identity, representation, Hollywood industry - have ceased to yield explanatory power, how do we conceive of film's doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts isomorphically, showing us how the world works. Film here is action, energy, matter, moving across space to forge connections, provide encounters, and create schisms in our knowledge of others. The book brings together key thinkers of the contemporary in an innovative exchange between film and theory. Marc Auge's concept of 'non-place' is brought to bear on, and disrupt, the category of national cinema. Manuel DeLanda's notion of morphogenesis frames an understanding of film as a process of constant evolution, in which the terms of change are immanent to matter itself. And the concept of inertia, from Paul Virilio's work, allows us to comprehend the different energies of film. Arguing that there is no higher position from which to view the present, either in theory or in film, we move blindly and yet with faith, discovering the present frame by frame. The Evolution of Film demonstrates how this is an intangible yet critical medium in the contemporary, mediating relationships to place, technology and thought itself.

The Evolution of Film will be essential reading for students and scholars of film at all levels.

Interdisciplinary Thinking for Schools: Ethical Dilemmas MYP 4 & 5 continues on from Interdisciplinary Thinking for Schools: Ethical Dilemmas MYP 1, 2 & 3 and like the first book it is not your average textbook resource. Innovative ethical design projects illustrated with spectacular artwork will connect students to exciting and purposeful learning. Rich primary research includes interviews with the following visionaries: Alberto Alessi, Astronomer Royal Martin Rees, Dr. Jane Goodall, Jared Della Valle and the Stephanie Alexander Kitchen Garden Foundation. The interdisciplinary units have been written with a focus on creativity, critical thinking and exploration of embedded ethical dilemmas. Our strategies support the growth of an innovative and student-centered curriculum to generate real world, sustainable solutions to problems in keeping with the IB MYP philosophy. The authors Dr. Meredith J Harbord and Sara Riaz Khan, are two experienced MYP design teachers whose approach advocates respect for oneself, the community and the world.