The Enchanted Loom Videorecording

An ordinary teen girl stumbles into a fairy ceremony; is arrested and brought to the fairy kingdom, the Land of Everlasting Change, a land caught in the struggle between good and evil, where Queen Tatiana fights to keep the balance of power from tipping. Queen Tatiana spreads the message of the truth of fairyland, that fairies are emissaries of love. This gripping tale in a magical land crosses time and dimensions, bringing readers on a journey of self-discovery. This book series seeks to plant seeds of wellness into every child's hearts and minds who reads or has the books read to them. The seeds planted are unconditional love, inner peace, and emotional self-mastery. Many parents are aware of the upward trend in teen suicide. The Substance Abuse Mental Health Agency (SAMHSA) states, the causes of suicide are complex and determined by multiple combinations of factors, such as mental illness, substance abuse, painful losses, exposure to violence, and social isolation. Social isolation has significantly increased under Covid-19 lockdown. Underneath all of these issues are emotions with which the teens are unable to cope. The Bella Santini Chronicles, a fairytale series aimed at ages 8-12, teaches children the importance of processing their emotions and gives them tools to process their feelings. The book series delves into complex topics, such as child abandonment, bullying, sibling rivalry, and good vs. evil. Readers build emotional muscle and set a path of wellbeing that can help them navigate the difficult teen years without seeing suicide as a solution to their problems.

Ovid is today best known for his grand epic, Metamorphoses, and elegiac works like the Ars Amatoria and Heroides. Yet he also wrote a Medea, now unfortunately lost. This play kindled in him a lifelong interest in the genre of tragedy, which informed his later poetry and enabled him to continue his career as a tragedian – if only on the page instead of the stage. This book surveys tragic characters, motifs and modalities in the Heroides and the Metamorphoses. In writing love letters, Ovid's heroines and heroes display their suffering in an epistolary theater. In telling transformation stories, Ovid offers an exploded view of the traditional theater, although his characters never stray too far from their dramatic origins. Both works constitute an intratextual network of tragic stories that anticipate the theatrical excesses of Seneca and reflect the all-encompassing spirit of Roman imperium.

When first published, Marshall McLuhan's Understanding Media made history with its radical view of the effects of electronic communications upon man and life in the twentieth century.

A compendium of Tlingit oratory recorded in performance, featuring Tlingit texts with facing English translations and detailed annotations; photographs of the orators and the settings in which the speeches were delivered; and biographies of the elders. Most speeches were recorded on Canada's Northwest Coast, primarily in British Columbia, between 1968 and 1988, but two date from 1899. Includes references and glossary.

Historical translations and underground transfers of knowledge and values between cultural domains merit more attention. This book discusses the past, present and future of meaning. It shows how management of meaning in organizations fuels sociocultural evolution in complex societies, changing semantic fields of possible meanings ahead.

Drone warfare has raised profound ethical and constitutional questions both in the halls of Congress and among the U.S. public. Not since debates over nuclear warfare has American military strategy been the subject of discussion in living rooms, classrooms, and houses of worship. Yet as this groundbreaking new work shows, the full implications of drones have barely been addressed in the recent media storm. In a unique take on a subject that has grabbed headlines and is consuming billions of taxpayer dollars each year, philosopher Grégoire Chamayou applies the lens of philosophy to our understanding of how drones are changing our world. For the first time in history, a state has claimed the right to wage war across a mobile battlefield that potentially spans the globe. Remote-control flying weapons, he argues, take us well beyond even George W. Bush's justification for the war on terror. What we are seeing is a fundamental transformation of the laws of war that have defined military conflict as between combatants. As more and more drones are launched into battle, war now has the potential to transform into a realm of secretive, targeted assassinations of individuals—beyond the view and control not only of potential enemies but also of citizens of democracies themselves. Far more than a simple technology, Chamayou shows, drones are profoundly influencing what it means for a democracy to wage war. A Theory of the Drone will be essential reading for all who care about this important question.

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.