Santa S D J Vu

Andrew Cranston once described himself as a storyteller of sorts, though without a clear story to tell. He draws on a variety of sources including personal recollections – family histories; his circuitous route to art school via an initial, unsuccessful, foray into carpentry; and his 25-year association as both student and lecturer at Gray's School of Art in Aberdeen. Interwoven with passages culled from literature, anecdotes, jokes, and images from cinema these elements combine to make his idiosyncratic, intimate, and often dream-like, paintings. But the dream had no sound is the largest exhibition of Andrew Cranston’s work to date. It is accompanied by a 164pp publication, available for purchase, featuring an interview between the artist and his friend and colleague, painter Peter Doig. The book also includes over 60 illustrations - each with notes written by the artist - revealing the thoughts and associations that emerge in the process of making a painting.--Ingleby Gallery website.

A survey of how engineering techniques from control and systems theory can be used to help biologists understand the behavior of cellular systems.

Cinema and audiovisual media are integral to the culture, economy and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts with which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The contributions examine film and screen cultures in a range of locations spanning five continents: Antibes, Beijing, Buenos Aires, Busan, Cairo, Caracas, Copenhagen, Jakarta, Kolkata, Lagos, Los Angeles, Malmö, Manila, Mumbai, Nairobi, Paris, Seoul, Sète, and Shanghai. The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art. Contributors: Chris Berry, Yomi Braester, Jinhee Choi, Pei-Sze Chow, Thomas Elsaesser, Malini Guha, Jonathan Haynes, Will Higbee, Igor Krstic, Christian B. Long, Joanna Page, Lawrence Webb.

Contributing to the literature on comparative criminal procedure and Latin American law, this book examines the effects of adversarial criminal justice reforms on victim’s rights by specifically analyzing the Colombian criminal justice reform of the early 2000s. This research focuses on the production, interpretation, and implementation of rules and institutions by exploring how different actors have employed the concept of victims and victims’ rights to promote their agendas in the context of criminal justice reforms. It also analyzes how the goals of these agendas have interplayed in practice. By the early 2000s, it seemed that the Colombian criminal justice system was headed towards a process characterized by broader victim participation, primarily because of the doctrine of the Constitutional Court on victims’ rights. But in 2002, the Colombian Attorney General promoted a more adversarial criminal justice reform. This book argues that this reform represented a sudden and unpredicted reversal of the Constitutional Court’s doctrine on victim participation, even though one of the central justifications for the reform was the need to satisfy human rights standards and adhere to the jurisprudence of the Constitutional Court on victims’ rights. In the criminal justice reform of the early 2000s and its subsequent modifications, the promotion of a dichotomous interpretation of the adversarial model—which conceived the criminal process as a competition between prosecution and defense—served to limit victim participation. This study examines how conceptions of victims’ rights emerged out of the struggles between different and at times competing agendas. In the Colombian process of reform, victims’ rights have been invoked both as a justification for criminal sanctions and as an explanation for crime prevention and restorative justice. After assessing quantitative and qualitative data, this book concludes that punitive approaches to victims’ rights have prevailed over restorative justice perspectives. Furthermore, it argues that punitiveness in the criminal justice system has not resulted in more protection for victims. Ultimately, this research reveals that the adversarial criminal justice reform of the early 2000s has not substantially improved the protection of victims’ rights in Colombia.