The Emo And The Jock

Evan Harris and Cole Morgan couldn't be more different. Evan is a lonely, abused emo who longs for a better life, while Cole is the popular quarterback of his high school's football team. Unbeknownst to Evan, Cole is gay and has had crush on him for years. However, Evan wants nothing more than to graduate and leave his current life behind him. Then, his teacher gives him a second chance in the form of a tutor, who just so happens to be Cole Morgan. Cole and Evan quickly grow close. Little do they know Charlie, Cole's jealous ex-boyfriend, is spending his time scheming to break up the happy couple. Stalking and watching Cole's every move, he wants nothing more than to have the jock as his again, whatever the price.

Th is book is a collection of poems that I wrote over the course of my childhood. There is no theme or focus, but simply an assortment of diff erent thoughts and emotions. Many of the poems refl ect the meaning of nature and life as I viewed them happening around me. Some writings are about me and my inner feelings, while others take up the perspectives of others.

A lively and polemical analysis of photography and today's vernacular photographic culture. In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google "Scan-Ops,"low-paid gallery interns, homeless participant photographers, and the photo-sharing masses.

Identity and Communication offers an innovative take on traditional topics of intercultural communication while promoting new ideas and progressive theories.With essays by emerging voices in identity communication, volume contributors discuss the ways that racial, cultural, and gender identities are perceived and relayed within those communities and the media. The text’s essays are structured into four parts, each highlighting different themes of identity communication, from general approaches to racial perceptions to female and adolescent identities. Originating from the University of Texas at Austin‘s New Agendas in Communication symposium, this volume represents some of the latest and most forward-looking scholarship currently available.

This collection examines how the networked image establishes new social practices for the user and presents new challenges for cultural practitioners engaged in making, curating, teaching, exhibiting, archiving and preserving born-digital objects. The mode of vision and imaging, established through photography over the previous two centuries, has and continues to be radically reconfigured by a hybrid of algorithms, computing, programmed capture and display devices, and an array of online platforms. The image under these new conditions is filtered, fluid, fleeting, permeable, mobile and distributed and is changing our ways of seeing. The chapters in this volume are the outcome of research conducted at the Centre for the Study of the Networked Image (CSNI) and its collaboration with The Photographers’ Gallery over the last ten years. The book's contributors investigate radical changes in the meanings and values of hybridised media in socio-technical networks and speak to the creeping automation of culture through applications of AI, social media platforms and the financialisation of data. This interdisciplinary collection draws upon media and cultural studies, art history, art practice, photographic theory, user design, animation, museology and computer science as a way of making sense of the specific cultural consequences of the rapid succession of changes in image technologies and to bring the story up to date. It will be of particular interest to scholars and students of visual culture, media studies and photography.

Norah has agoraphobia and OCD. When groceries are left on the porch, she can’t step out to get them. Struggling to snag the bags with a stick, she meets Luke. He’s sweet and funny, and he just caught her fishing for groceries. Because of course he did. Norah can’t leave the house, but can she let someone in? As their friendship grows deeper, Norah realizes Luke deserves a normal girl. One who can lie on the front lawn and look up at the stars. One who isn’t so screwed up. Readers themselves will fall in love with Norah in this poignant, humorous, and deeply engaging portrait of a teen struggling to find the strength to face her demons.

A lot of people have made up their minds about Rachel Doležal. But none of them know her real story. In June 2015, the media "outed" Rachel Doležal as a white woman who had knowingly been "passing" as Black. When asked if she were African American during an interview about the hate crimes directed at her and her family, she hesitated before ending the interview and walking away. Some interpreted her reluctance to respond and hasty departure as dishonesty, while others assumed she lacked a reasonable explanation for the almost unprecedented way she identified herself. What determines your race? Is it your DNA? The community in which you were raised? The way others see you or the way you see yourself? With In Full Color, Rachel Doležal describes the path that led her from being a child of white evangelical parents to an NAACP chapter president and respected educator and activist who identifies as Black. Along the way, she recounts the deep emotional bond she formed with her four adopted Black siblings, the sense of belonging she felt while living in Black communities in Jackson, Mississippi, and Washington, DC, and the experiences that have shaped her along the way. Her story is nuanced and complex, and in the process of telling it, she forces us to consider race in an entirely new light—not as a biological imperative, but as a function of the experiences we have, the culture we embrace, and, ultimately, the identity we choose.