Newly appointed Chief Inspector Charlie Marlow is in charge of Torreston Police Station while Harriet Love is away. He is secretly relieved that nothing drastic happens as the days go by but the calm is shattered when a lorry driver is found dead in a lay-by with a skewer through his neck. Charlie has a murder on his hands and the team begins the investigation with Charlie doing his best to do things as he thinks his boss would do. Harriet, now the superintendent of the station, returns and Charlie hands over secretly happy that she is back. Complications set in when a young woman is found murdered in the same lay-by as the lorry driver and this is soon connected to a similar murder in the same place ten years go. When a second woman is murdered and again found in a lay-by it is a race against time to find the killer before he strikes again.

Ella and Ava spend their spare time and holidays on the farm helping to look after the animals, riding their pony and playing in the fields. Ava is rather scared of Doodle the cockerel who sometimes chases her and she is always keeping a lookout for him. Doodle is a clever bird and when following the sisters he tries to keep out of sight and Ava often doesn't know he is watching her.

When a young female jogger goes missing in Pembleton Woods Torreston Police pull out all the stops to find her. The only clue they have is the name Gil written in Lucy Hancock's diary, but who is this mystery male that nobody appears to know and nobody has seen? Tension rises when a second woman goes missing and like Lucy, she works at an estate agents. Time is running out for the women but DCI Love and her team working long and arduous days are not about to give up the hunt.

When Charlee looks at his books in school he is worried because the pictures are blurry. He is scared that he might have to wear glasses and his friends might tease him. He tells his teacher about this and she tells his mother who immediately takes him to the opticians. Charlee has great fun trying on lots of different glasses and when he tell his classmates he might have to wear glasses none of them laugh. He arrives at school in his new glasses and finds that he is something of a celebrity as no one else in his class wears them. Charlee can now see the pictures in his books clearly and feels very special in his new glasses.

Things are running smoothly at Torreston Police Station, especially for DCI Harriet Love, who is beginning to enjoy the company of DI Ed Harrington. But their relationship goes on hold when a woman is found dead in the park and a second murder is deemed to be connected. The Team set about finding the link between the two dead women and turn their investigation to the local comprehensive school, where one was a student and the other a teacher. When a third body is found, no link can be discovered to the first murders and Harry, Ed and DS Charlie Marlow once again find themselves involved in a hunt for a killer.

All was calm at Torreston Police Station and then came the call announcing the first death - a death that no one considered sinister; that is until the post-mortem report turned up a gruesome discovery putting CID on full alert. DCI Harriet Love, head of crime and her team of detectives become embroiled in a frightening and worrying investigation which becomes even more alarming when a second body is found. Charlie Marlow, the new DI has to face his first murder case as second in command and with DCI Ed Harrington from Central the two stations work together to track down the killer.

This book explores new developments in the dialogues between science and theatre and offers an introduction to a fast-expanding area of research and practice.The cognitive revolution in the humanities is creating new insights into the audience experience, performance processes and training. Scientists are collaborating with artists to investigate how our brains and bodies engage with performance to create new understanding of perception, emotion, imagination and empathy. Divided into four parts, each introduced by an expert editorial from leading researchers in the field, this edited volume offers readers an understanding of some of the main areas of collaboration and research: 1. Dances with Science 2. Touching Texts and Embodied Performance 3. The Multimodal Actor 4. Affecting Audiences Throughout its history theatre has provided exciting and accessible stagings of science, while contemporary practitioners are increasingly working with scientific and medical material. As Honour Bayes reported in the Guardian in 2011, the relationships between theatre, science and performance are 'exciting, explosive and unexpected'. Affective Performance and Cognitive Science charts new directions in the relations between disciplines, exploring how science and theatre can impact upon each other with reference to training, drama texts, performance and spectatorship. The book assesses the current state of play in this interdisciplinary field, facilitating cross disciplinary exchange and preparing the way for future studies.

This book investigates the implications of technology on identity in embodied performance; the discussion within it forms a forum of debate exploring the interrelationship of and between identities in performance practices, informed by new technologies. This collection considers how identity is formed, de-formed, constructed, deconstructed, blurred and celebrated within diverse approaches to technological performance practices.Digital practices as experimental artworks and performances both serve as critique and have an indirect affect on the social and political. The discussions included in this collection highlight how a redefinition of the latter term comes about in as much as they question the very nature of our accepted ideas and belief systems regarding new technologies. These essays demonstrate how embodied technological practice, as with all avant-garde art, presents itself and any analysis applied to it as an experimental extension of the socio-political and cultural experience of an epoch.

Coaching as a field has mushroomed in recent years. Thousands of new coaches enter the field after only completing short and superficial training programmes. The problem with this is that coaching is not i) something you can simply learn in a short programme ii) a superficial practice.

The books available on coaching tend to just reinforce this by going over coaching methodology, without delving into what it really means to be a coach. "The Coaching Secret "remedies this by going beneath the surface, looking at what it "really" means to be a coach and showing how you can go from simply understanding the basic coaching process to truly connecting and relating to the client - and becoming a master coach.

The author brings over 20 years of coaching practice in big corporations to help you move beyond the novice/superficial coach to becoming an expert/master coach. He brings together experience, theory, case studies and lots of interactive work to essentially coach the coach and help them achieve a superior coaching level.

Key reader outcomes

• Practical assistance to become a better coach - moving from novice to expert to master.
• Increased confidence in your personal coaching competence.
• Greater clarity to the value of the coaching relationship and how we coach.
• New perspectives on coaching methods.
• To answer for yourself some of the crucial questions of the coach including: Who is the coach? How do you coach? And why do you coach?
• To deepen your understanding of coaching and to demystify the inner process through which we develop our competency and practice.
• To awaken the coach to discover new ways of seeing, thinking, sensing, resolving and relating.
• To progress the profession - in offering a new vision of coaching that recognises and evolves the role of the coach.

A timely book that identifies the practice of (syn)aesthetics in artistic style and audience response, which helps to articulate the power of experiential practice in the arts. This exciting new approach includes interviews with leading practitioners in of theatre, dance, site-specific work, live art and technological performance practice.

This innovative collection features essays by a range of internationally renowned scholars and reconsiders textual practices in contemporary performance, specifically focusing on the exciting exchange between text, body and technology.

Future-proof yourself and your organization against known threats to privacy and online safety The subject of data ethics has never been more urgent. This is no longer an academic or niche geek issue as it has been since the inception of the internet and the world wide web. Data ethics is an issue that affects all of us now as our personal and professional lives increasingly take place online. Who controls access to the hardware, who runs the software, who can spy on us, hack us, data farm us? What are the threats that we need to mitigate against democratically, societally, and personally? How can corporations protect us and how can that help their bottom line? The Privacy Mission aims to answer these questions and summarise both the overarching concepts and principles about why data ethics is important. It offers practical solutions for companies, policy makers and individuals to push back against known threats and future proof themselves going forward.

This comprehensive text is the first survey to explore the theory, history and practice of immersive theatre. Charting the rise of the immersive theatre phenomenon, Josephine Machon shares her wealth of expertise in the field of contemporary performance, inviting the reader to immerse themselves within this abundantly illustrated text. The first section of the book introduces concepts of immersion, situating them within a historical context and establishing a clear critical vocabulary for discussion. The second section then presents contributions from a wealth of immersive artists. Assuming no prior knowledge with its critical commentary, this is a rich resource for lecturers and students at all levels and internationally, including undergraduates and post-graduates, as well as practitioners and researchers of contemporary performance. This would also be an ideal text for general enthusiasts and readers with an interest in immersive theatre.

This original and timely collection features writings from international contributors who specialize in digital art and performance practices (including Johannes Birringer, Robert Weschler and Philip Auslander). There are few writings per se that attempt to interrogate the interaction between new technologies and performance practice. Furthermore, none have so far linked the sensuous contact that must exist between the physical and virtual, together with the resultant corporeal transformation. In certain technological practices, physicality is both transcended and ludically inscribed - the play ("jouer") being all. Consequently, digital practices potentiate creative and aesthetic possibilities and demand new perceptive strategies.

All secondary schools are now obliged to teach 'citizenship', and geography has been pinpointed as one of the key subjects through which citizenship can be taught. This is the first book of its kind to lead teachers of geography through this new and challenging development in the curriculum.
Citizenship Through Secondary Geography reveals the potential of geography to engage with citizenship. It provides:
· theoretical signposts in the form of short, digestible explanations for key ideas such as racism, values, identity, community and social exclusion
· a number of inset activities 'For Further Thinking'
· a critique of the discipline and the pitfalls to avoid in teaching citizenship through geography
· practical teaching suggestions
All the contributions to this valuable book point to the capacity of geography to engage with citizenship, values education and people--environment decision-making, on scales that range from the local to the global. It offers positive and direct ways to become involved in the thinking that must underpin any worthwhile citizenship education, for all experienced teachers, student teachers, heads of department, curriculum managers, principals and policy-makers.

eBook available with sample pages: 0203165810

This book reveals the potential of geography to engage with citizenship. It provides: theoretical signposts in the form of short, digestible explanations for key ideas such as racism, values, identity, community and social exclusion a number of inset activities 'for further thinking' a critique of the discipline and the pitfalls to avoid in teaching citizenship through geography practical teaching suggestions. All the contributions to this valuable book point to the capacity of geography to engage with citizenship, values, education and people - environment decision-making, on scales that range from the local to the global. It offers positive and direct ways to become involved in the thinking that must underpin any worthwhile citizenship education, for all experienced teachers, student teachers, heads of department, curriculum managers, principals and policy-makers.

The Punchdrunk Encyclopaedia is the definitive book on the company's work to date, marking eighteen years of Punchdrunk's existence. It provides the first full-scale, historical account of one of the world's foremost immersive theatre companies, drawn from unrivalled access to the collective memory and archives of their core creative team. The playful encyclopaedic format, much like a Punchdrunk masked show, invites readers to create their own journey through the ideas, aesthetics, contexts, and practices that underpin Punchdrunk's work. Interjections from Felix Barrett, Stephen Dobbie, Maxine Doyle, Peter Higgin, Beatrice Minns, Colin Nightingale and Livi Vaughan, among others, fill out the picture with in-depth reflections. Charting Punchdrunk's rise from the fringe to the mainstream, this encyclopaedia records the founding principles and mission of the company, documenting its evolving creative process and operational structures. It has been compiled to be useful to scholars and students from a variety of backgrounds and disciplines, from secondary level through to doctoral research, and is intended for those with a fascination for theatre in general and immersive work in particular. Ultimately it is written for those who have dared to come play with Punchdrunk across the years. It is also offered to the curious; those adventurers ready and waiting to be immersed in Punchdrunk worlds.

This innovative collection features essays by a range of internationally renowned scholars and reconsiders textual practices in contemporary performance, specifically focusing on the exciting exchange between text, body and technology.

Machon was a writer of Comedies who lived and worked in Alexandria in the middle of the third century B.C. All of his work that survives is preserved in the Deipnosophistae of Athenaeus who, besides two fragments of Comedies of no great importance, quotes also 462 verses from a collection of anecdotes which Machon called Xpeiai. These anecdotes are written in the iambic verse of Comedy. They are concerned with the doings and sayings of courtesans, parasites, and musicians, sometimes in relation to persons of historical importance. They are often scabrous but also not infrequently amusing; and they are of considerable interest both as documents of social history and as a type of literature which, though popular in antiquity, has hardly survived. The Xpeiai, which present many problems of reading and interpretation, have never before been separately edited. Recent editors of Athenaeus have improved the text; but to find commentaries it is necessary to go back to Casaubon's edition of Athenaeus, published in 1600, and to Schweighauser's, published in 1801-7.

"(Syn)aesthetics: Redefining Visceral Performance," now in paperback, offers a new, original theory that describes a range of performance work whilst simultaneously providing a critical discourse for appreciating and analyzing such work. encompassing bodies, space, the written and spoken word and new technologies in performance. Featuring a new Preface which helps to orient readers through the theoretical work in the first part of the book and the original interviews in the second part, the book offers a new way of thinking and talking about experiential practice in the interdisciplinary arts.
This exciting approach incorporates original interviews with leading practitioners in the field of theatre, dance, immersive practice and site-sympathetic work, live art and technological performance practice including Punchdrunk, Shunt, Graeae, Bodies In Flight, Curious, Akram Khan, Naomi Wallace, Kwame-Kwei-Armah, Marisa Carnesky, Linda Bassett and Jo McInnes. These discussions explore the links between theory and practice by clarifying how (syn)aesthetics works across diverse artistic events.
Machon engages a unique and sensual approach to thinking/producing/writing/receiving, which celebrates the continuum of experience that underpins (syn)aesthetic practice and appreciation. (Syn)aesthetics is an empowering new tool for students and practitioners of performance, especially those wary of or inhibited by traditional academic discourse, and provides a critical vocabulary which can be used to describe cutting-edge, visceral and experimental performance practice.

Now in paperback and with a new Preface, this collection of writings from international contributors who specialize in a diverse range of digital art and performance practices, surveys various aspects of performance and technology. The discussions interrogate the interaction between new technologies and performance practice. Furthermore, in an innovative way they link the sensuous contact that must exist between the physical and virtual, together with the resultant corporeal transformation. Not only do bodies morph and (de)morph but their identities consequently become destabilized. In certain technological practices, physicality is both transcended and ludically inscribed - the play (jouer) being all. Consequently, digital practices potentiate creative and aesthetic possibilities and demand new perceptive strategies that not only affirm sensate presence but also 'deceive'. The work identifies a new performance practice at the cutting edge of experimentation, and at the same time explores the evolution of new art practices. Especially, practices that are pivotal in alternative and also mainstream performance and popular culture.

This project investigates the implications of technology on identity in embodied performance, opening up a forum of debate exploring the interrelationship of and between identities in performance practices and considering how identity is formed, de-formed, blurred and celebrated within diverse approaches to technological performance practice.

This innovative collection features essays by a range of internationally renowned scholars and reconsiders textual practices in contemporary performance, specifically focusing on the exciting exchange between text, body and technology.

The Punchdrunk Encyclopaedia is the definitive book on the company's work to date, marking eighteen years of Punchdrunk's existence. It provides the first full-scale, historical account of one of the world's foremost immersive theatre companies, drawn from unrivalled access to the collective memory and archives of their core creative team. The playful encyclopaedic format, much like a Punchdrunk masked show, invites readers to create their own journey through the ideas, aesthetics, contexts, and practices that underpin Punchdrunk's work. Interjections from Felix Barrett, Stephen Dobbie, Maxine Doyle, Peter Higgin, Beatrice Minns, Colin Nightingale and Livi Vaughan, among others, fill out the picture with in-depth reflections. Charting Punchdrunk's rise from the fringe to the mainstream, this encyclopaedia records the founding principles and mission of the company, documenting its evolving creative process and operational structures. It has been compiled to be useful to scholars and students from a variety of backgrounds and disciplines, from secondary level through to doctoral research, and is intended for those with a fascination for theatre in general and immersive work in particular. Ultimately it is written for those who have dared to come play with Punchdrunk across the years. It is also offered to the curious; those adventurers ready and waiting to be immersed in Punchdrunk worlds.