Sleep is quite a popular activity, indeed most humans spend around a third of their lives asleep. However, cultural, political, or aesthetic thought tends to remain concerned with the interpretation and actions of those who are awake. How to Sleep argues instead that sleep is a complex vital phenomena with a dynamic aesthetic and biological consistency. Arguing through examples drawn from contemporary, modern and renaissance art; from literature; film and computational media, and bringing these into relation with the history and findings of sleep science, this book argues for a new interplay between biology and culture. Meditations on sex, exhaustion, drugs, hormones and scientific instruments all play their part in this wide-ranging exposition of sleep as an ecology of interacting processes. How to Sleep builds on the interlocking of theory, experience and experiment so that the text itself is a lively articulation of bodies, organs and the aesthetic systems that interact with them. This book won't enhance your sleeping skills, but will give you something surprising to think about whilst being ostensibly awake.

WINNER: Business Book Awards 2018 - 'Selling The Dream' category (1st edition) In an increasingly competitive professional services sector, it is vital that firms have an effective tendering strategy. The advantages gained from winning and retaining clients can be transformative, and the cost of losing key tenders can be catastrophic. Strategic Tendering for Professional Services provides end-to-end best practice guidance, from the crucial decision of which request-for-proposals to respond to, right through to the all important face-to-face presentation and post-pitch follow-up. Now in its second edition, this practical book captures insights from both sides of the market through interviews with both proposal professionals and decision makers from the client side. Focusing on key considerations, including the need for diversity and inclusion, providing evidence of global citizenship and how public sector pitching differs from the private sector, this book is packed with features and tools to help professionals turn guidance into practice. Strategic Tendering for Professional Services is the essential guide to improving your pitches, honing your tendering skills and boosting your win rate.

WINNER: Business Book Awards 2018 - 'Selling The Dream' category (1st edition) In an increasingly competitive professional services sector, it is vital that firms have an effective tendering strategy. The advantages gained from winning and retaining clients can be transformative, and the cost of losing key tenders can be catastrophic. Strategic Tendering for Professional Services provides end-to-end best practice guidance, from the crucial decision of which request-for-proposals to respond to, right through to the all important face-to-face presentation and post-pitch follow-up. Now in its second edition, this practical book captures insights from both sides of the market through interviews with both proposal professionals and decision makers from the client side. Focusing on key considerations, including the need for diversity and inclusion, providing evidence of global citizenship and how public sector pitching differs from the private sector, this book is packed with features and tools to help professionals turn guidance into practice. Strategic Tendering for Professional Services is the essential guide to improving your pitches, honing your tendering skills and boosting your win rate.

Today, artists are engaged in investigation. They probe corruption, state violence, environmental destruction and repressive technologies. At the same time, fields not usually associated with aesthetics make powerful use of it. Journalists and legal professionals pore over open source videos and satellite imagery to undertake visual investigations. This combination of diverse fields is what the authors call "investigative aesthetics": mobilising sensibilities often associated with art, architecture and other such practices to find new ways of speaking truth to power. This book draws on theories of knowledge, ecology and technology, evaluates the methods of citizen counter-forensics, micro-history and art, and examines radical practices such as those of Wikileaks, Bellingcat, and Forensic Architecture. Investigative Aesthetics takes place in the studio and the laboratory, the courtroom and the gallery, online and in the streets, as it strives towards the construction of a new 'common sensing'. The book is an inspiring introduction to a new field that brings together investigation and aesthetics to change how we understand and confront power today. To Nour Abuzaid for your brilliance, perseverance, and unshaken belief in the liberation of Palestine.

A philosophical and cultural distillation of the bleak joys in today's ambivalent ecologies and patterns of life Bleak Joys develops an understanding of complex entities and processes-from plant roots to forests to ecological damage and its calculation-as aesthetic. It is also a book about "bad" things, such as anguish and devastation, which relate to the ecological and technical but are also constitutive of politics, the ethical, and the formation of subjects. Avidly interdisciplinary, Bleak Joys draws on scientific work in plant sciences, computing, and cybernetics, as well as mathematics, literature, and art in ways that are not merely illustrative of but foundational to our understanding of ecological aesthetics and the condition in which the posthumanities are being forged. It places the sensory world of plants next to the generalized and nonlinear infrastructure of irresolvability-the economics of indifference up against the question of how to make a home on Planet Earth in a condition of damaged ecologies. Crosscutting chapters on devastation, anguish, irresolvability, luck, plant, and home create a vivid and multifaceted approach that is as remarkable for its humor as for its scholarly complexity. Engaging with Deleuze, Guattari, and Bakhtin, among others, Bleak Joys captures the modes of crises that constitute our present ecological and political condition, and reckons with the means by which they are not simply aesthetically known but aesthetically manifest.

Deuteronomy is probably not the first book any preacher would choose to preach, and yet Jesus quoted it regularly. It is the climax of the Pentateuch. It explains the fundamental categories of blessings and curse which explain the rest of Israel's history up until exile and return. It offers up a choice for God's people - life or death, blessing or curse. Moses exhorts the people to choose to love the Lord and obey him in response to his grace today. In his helpful guide Matt Fuller suggests ways preachers might want to tackle Deuteronomy and shows the important of preaching the book to Christians. He urges them to preach Deuteronomy as an urgent and passionate call to love the Lord wholeheartedly, to choose to love him each and every day. This series is designed to help the pastor/preacher, a small group leader or a youth worker teach their way through a Biblical book. It will help you in planning and executing a lesson advising on background, structure, key points and application.

The Elephant & Castle is a concrete monster, the last area of central London to withstand "regeneration." When the world is rebuilt, what could possibly go wrong? Everything! Elephant & Castle is by turns obscene, criminal, poetic and hilarious. Deliriously bleak humor, told in the language of folk tales, computer viruses, and an administrative jargon gone -- finally and definitively -- mad.

A "dirty materialist" ride through the media cultures of pirate radio, photography, the Internet, media art, cultural evolution, and surveillance. In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems-understood here as processes, or elements in a composition as much as "things"-have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multiplicitous materiality-how it can be sensed, made use of, and how it makes other possibilities tangible. He investigates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, "to produce patterns, dangers, and potentials." Fuller draws on texts by Felix Guattari and Gilles Deleuze as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of "media ecology." Arguing that the only way to find out about what happens when media systems interact is to carry out such interactions, Fuller traces a series of media ecologies-"taking every path in a labyrinth simultaneously," as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech media systems; the "medial will to power" illustrated by "the camera that ate itself"; how, as seen in a range of compelling interpretations of new media works, the capacities and behaviors of media objects are affected when they are in "abnormal" relationships with other objects; and each step in a sequence of Web pages, Cctv-world wide watch, that encourages viewers to report crimes seen via webcams. Contributing to debates around standardization, cultural evolution, cybernetic culture, and surveillance, and inventing a politically challenging aesthetic that links them, Media Ecologies, with its various narrative speeds, scales, frames of references, and voices, does not offer the academically traditional unifying framework; rather, Fuller says, it proposes to capture "an explosion of activity and ideas to which it hopes to add an echo."

A philosophical and cultural distillation of the bleak joys in today’s ambivalent ecologies and patterns of life Bleak Joys develops an understanding of complex entities and processes—from plant roots to forests to ecological damage and its calculation—as aesthetic. It is also a book about “bad” things, such as anguish and devastation, which relate to the ecological and technical but are also constitutive of politics, the ethical, and the formation of subjects. Avidly interdisciplinary, Bleak Joys draws on scientific work in plant sciences, computing, and cybernetics, as well as mathematics, literature, and art in ways that are not merely illustrative of but foundational to our understanding of ecological aesthetics and the condition in which the posthumanities are being forged. It places the sensory world of plants next to the generalized and nonlinear infrastructure of irresolvability—the economics of indifference up against the question of how to make a home on Planet Earth in a condition of damaged ecologies. Crosscutting chapters on devastation, anguish, irresolvability, luck, plant, and home create a vivid and multifaceted approach that is as remarkable for its humor as for its scholarly complexity. Engaging with Deleuze, Guattari, and Bakhtin, among others, Bleak Joys captures the modes of crises that constitute our present ecological and political condition, and reckons with the means by which they are not simply aesthetically known but aesthetically manifest.