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This book is available as an open access ebook under a CC-BY-NC-ND licence. Nonhuman voices in Anglo-Saxon literature and material culture uncovers the voice and agency possessed by nonhuman things across Anglo-Saxon literature and material culture. It makes a new contribution to ‘thing theory’ and rethinks conventional divisions between animate human subjects and inanimate nonhuman objects in the early Middle Ages.Anglo-Saxon writers and craftsmen describe artefacts and animals through riddling forms or enigmatic language, balancing an attempt to speak and listen to things with an understanding that these nonhumans often elude, defy and withdraw from us. But the active role that things have in the early medieval world is also linked to the Germanic origins of the word, where a þing is a kind of assembly, with the ability to draw together other elements, creating assemblages in which human and nonhuman forces combine.

Edited by Richard Grusin of the Center for 21st Century Studies, this is the first book to name and characterize—and therefore consolidate—a wide array of current critical, theoretical, and philosophical approaches to the humanities and social sciences under the concept of the nonhuman turn. Each of these approaches is engaged in decentering the human in favor of a concern for the nonhuman, understood by contributors in a variety of ways—in terms of animals, affectivity, bodies, materiality, technologies, and organic and geophysical systems.The nonhuman turn in twenty-first-century studies can be traced to multiple intellectual and theoretical developments from the last decades of the twentieth century: actor-network theory, affect theory, animal studies, assemblage theory, cognitive sciences, new materialism, new media theory, speculative realism, and systems theory. Such varied analytical and theoretical formations obviously diverge and disagree in many of their assumptions, objects, and methodologies. However, they all take up aspects of the nonhuman as critical to the future of twenty-first-century studies in the arts, humanities, and social sciences.Unlike the posthuman turn, the nonhuman turn does not make a claim about teleology or progress in which we begin with the human and see a transformation from the human to the posthuman. Rather, the nonhuman turn insists (paraphrasing Bruno Latour) that “we have never been human,” that the human has always coevolved, coexisted, or collaborated with the nonhuman—and that the human is identified precisely by this indistinction from the nonhuman. Contributors: Jane Bennett, Johns Hopkins U; Ian Bogost, Georgia Institute of Technology; Wendy Hui Kyong Chun, Brown U; Mark B. N. Hansen, Duke U; Erin Manning, Concordia U, Montreal; Brian Massumi, U of Montreal; Timothy Morton, Rice U; Steven Shaviro, Wayne State U; Rebekah Sheldon, Indiana U.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.98

Edited by Richard Grusin of the Center for 21st Century Studies, this is the first book to name and characterize—and therefore consolidate—a wide array of current critical, theoretical, and philosophical approaches to the humanities and social sciences under the concept of the nonhuman turn. Each of these approaches is engaged in decentering the human in favor of a concern for the nonhuman, understood by contributors in a variety of ways—in terms of animals, affectivity, bodies, materiality, technologies, and organic and geophysical systems.The nonhuman turn in twenty-first-century studies can be traced to multiple intellectual and theoretical developments from the last decades of the twentieth century: actor-network theory, affect theory, animal studies, assemblage theory, cognitive sciences, new materialism, new media theory, speculative realism, and systems theory. Such varied analytical and theoretical formations obviously diverge and disagree in many of their assumptions, objects, and methodologies. However, they all take up aspects of the nonhuman as critical to the future of twenty-first-century studies in the arts, humanities, and social sciences.Unlike the posthuman turn, the nonhuman turn does not make a claim about teleology or progress in which we begin with the human and see a transformation from the human to the posthuman. Rather, the nonhuman turn insists (paraphrasing Bruno Latour) that “we have never been human,” that the human has always coevolved, coexisted, or collaborated with the nonhuman—and that the human is identified precisely by this indistinction from the nonhuman. Contributors: Jane Bennett, Johns Hopkins U; Ian Bogost, Georgia Institute of Technology; Wendy Hui Kyong Chun, Brown U; Mark B. N. Hansen, Duke U; Erin Manning, Concordia U, Montreal; Brian Massumi, U of Montreal; Timothy Morton, Rice U; Steven Shaviro, Wayne State U; Rebekah Sheldon, Indiana U.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.03

Used book that is in clean, average condition without any missing pages.

Book is in NEW condition. 1.03

This book is available as an open access ebook under a CC-BY-NC-ND licence. Nonhuman voices in Anglo-Saxon literature and material culture uncovers the voice and agency possessed by nonhuman things across Anglo-Saxon literature and material culture. It makes a new contribution to ‘thing theory’ and rethinks conventional divisions between animate human subjects and inanimate nonhuman objects in the early Middle Ages.Anglo-Saxon writers and craftsmen describe artefacts and animals through riddling forms or enigmatic language, balancing an attempt to speak and listen to things with an understanding that these nonhumans often elude, defy and withdraw from us. But the active role that things have in the early medieval world is also linked to the Germanic origins of the word, where a þing is a kind of assembly, with the ability to draw together other elements, creating assemblages in which human and nonhuman forces combine.

A new philosophy of photography that goes beyond humanist concepts to consider imaging practices from which the human is absent, as both subject and agent.Today, in the age of CCTV, drones, medical body scans, and satellite images, photography is increasingly decoupled from human agency and human vision. In Nonhuman Photography, Joanna Zylinska offers a new philosophy of photography, going beyond the human-centric view to consider imaging practices from which the human is absent. Zylinska argues further that even those images produced by humans, whether artists or amateurs, entail a nonhuman, mechanical element―that is, they involve the execution of technical and cultural algorithms that shape our image-making devices as well as our viewing practices. At the same time, she notes, photography is increasingly mobilized to document the precariousness of the human habitat and tasked with helping us imagine a better tomorrow. With its conjoined human-nonhuman agency and vision, Zylinska claims, photography functions as both a form of control and a life-shaping force.Zylinska explores the potential of photography for developing new modes of seeing and imagining, and presents images from her own photographic project, Active Perceptual Systems. She also examines the challenges posed by digitization to established notions of art, culture, and the media. In connecting biological extinction and technical obsolescence, and discussing the parallels between photography and fossilization, she proposes to understand photography as a light-induced process of fossilization across media and across time scales.

A new philosophy of photography that goes beyond humanist concepts to consider imaging practices from which the human is absent, as both subject and agent.Today, in the age of CCTV, drones, medical body scans, and satellite images, photography is increasingly decoupled from human agency and human vision. In Nonhuman Photography, Joanna Zylinska offers a new philosophy of photography, going beyond the human-centric view to consider imaging practices from which the human is absent. Zylinska argues further that even those images produced by humans, whether artists or amateurs, entail a nonhuman, mechanical element―that is, they involve the execution of technical and cultural algorithms that shape our image-making devices as well as our viewing practices. At the same time, she notes, photography is increasingly mobilized to document the precariousness of the human habitat and tasked with helping us imagine a better tomorrow. With its conjoined human-nonhuman agency and vision, Zylinska claims, photography functions as both a form of control and a life-shaping force.Zylinska explores the potential of photography for developing new modes of seeing and imagining, and presents images from her own photographic project, Active Perceptual Systems. She also examines the challenges posed by digitization to established notions of art, culture, and the media. In connecting biological extinction and technical obsolescence, and discussing the parallels between photography and fossilization, she proposes to understand photography as a light-induced process of fossilization across media and across time scales.

In Human and Nonhuman Bone Identification: A Color Atlas,Diane L. France, one of the most respected forensic anthropologists in the world, offered a comprehensive handbook of photographs and other information essential for examining skeletal remains and determining species and body parts. Conveniently designed for field use, this compact version of the book presents the major skeletal elements from the same species as the bestselling Atlas. Focusing on the bones most often discovered in field scenarios, the book is divided into two major sections: General Osteology includes major features of bone growth and development and highlights general comparisons of quadrupedal mammals to human bones. This section includes an introduction to bird skeletal anatomy and some suggestions on how to clean and preserve bones. Major Bones of the Bodies of Different Animals includes most bones from the cranium to the metatarsal. Filled with more than 1200 annotated, crisp photographs, this handy guide enables law enforcement, medicolegal death investigators, forensic anthropologists, and others in the field and in the lab ready access to the information needed to help solve the mystery of discovered bones.

When a bone of unknown origin is found at a location, forensic implications arise immediately. Is this bone human, and if so, is it evidence of a murder? Human and Non-Human Bone Identification: A Color Atlas presents a comprehensive handbook of photographs and other information essential for law enforcement and forensic anthropologists when examining skeletal remains and determining species and body parts. Presenting over 3000 color photographs, this atlas is a practical comparative guide to the differences among species for nearly all bones in the body. Useful in either the laboratory or the field, it features images of the types of bones that are most commonly discovered, and provides annotations pointing out salient features. The book begins with a section on general osteology and explains the major anatomical differences between humans and other animals. It compares human and non-human bones, categorized by type of bone, and includes most of the major bones in humans and non-humans. The third section discusses non-human skeletal elements, categorized by species, and explores numerous skeletal elements within those species. This book is also available on a fully searchable DVD: Catalog no. 62964 Includes Bones from the Following Species! Moose Elk Deer Bison Cow Antelope Mountain Sheep Domestic Sheep Llama Horse Bear Wolf Coyote Domestic dog Mountain lion Bobcat Raccoon Badger Skunk River Otter Beaver Porcupine Marmot Prairie dog Rabbit Norway rat Squirrel Armadillo Opossum Vampire bat Seal Written by Diane L. France, one of the most respected forensic anthropologists in the world, this supremely organized atlas helps those tasked with bone identification to quickly and efficiently determine the origin of discovered remains and plan the appropriate course of action.  

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When a bone of unknown origin is found at a location, forensic implications arise immediately. Is this bone human, and if so, is it evidence of a murder? Human and Non-Human Bone Identification: A Color Atlas presents a comprehensive handbook of photographs and other information essential for law enforcement and forensic anthropologists when examining skeletal remains and determining species and body parts. Presenting over 3000 color photographs, this atlas is a practical comparative guide to the differences among species for nearly all bones in the body. Useful in either the laboratory or the field, it features images of the types of bones that are most commonly discovered, and provides annotations pointing out salient features. The book begins with a section on general osteology and explains the major anatomical differences between humans and other animals. It compares human and non-human bones, categorized by type of bone, and includes most of the major bones in humans and non-humans. The third section discusses non-human skeletal elements, categorized by species, and explores numerous skeletal elements within those species. This book is also available on a fully searchable DVD: Catalog no. 62964 Includes Bones from the Following Species! Moose Elk Deer Bison Cow Antelope Mountain Sheep Domestic Sheep Llama Horse Bear Wolf Coyote Domestic dog Mountain lion Bobcat Raccoon Badger Skunk River Otter Beaver Porcupine Marmot Prairie dog Rabbit Norway rat Squirrel Armadillo Opossum Vampire bat Seal Written by Diane L. France, one of the most respected forensic anthropologists in the world, this supremely organized atlas helps those tasked with bone identification to quickly and efficiently determine the origin of discovered remains and plan the appropriate course of action.  

In Human and Nonhuman Bone Identification: A Color Atlas,Diane L. France, one of the most respected forensic anthropologists in the world, offered a comprehensive handbook of photographs and other information essential for examining skeletal remains and determining species and body parts. Conveniently designed for field use, this compact version of the book presents the major skeletal elements from the same species as the bestselling Atlas. Focusing on the bones most often discovered in field scenarios, the book is divided into two major sections: General Osteology includes major features of bone growth and development and highlights general comparisons of quadrupedal mammals to human bones. This section includes an introduction to bird skeletal anatomy and some suggestions on how to clean and preserve bones. Major Bones of the Bodies of Different Animals includes most bones from the cranium to the metatarsal. Filled with more than 1200 annotated, crisp photographs, this handy guide enables law enforcement, medicolegal death investigators, forensic anthropologists, and others in the field and in the lab ready access to the information needed to help solve the mystery of discovered bones.

This remarkable work continues the progress report started six years ago with Man and Dolphin. In his earlier book. Dr. Lilly documented a dramatic first: the idea and basic first steps of epochal scientific experiments to find ways to communicate with another species. In his newest work, he details the discoveries about the dolphin's abilities, current ideas about his intellect, and the paradoxes of inter-species communication, developed since 1961. That the bottlenose dolphin (or Tursiops truncatus) has a brain larger than man's, that it has a sophisticated form of vocal communication,that it, to a certain extent, "understands" man has become generally known. What has been virtually unexplored is the astonishing intricacy and nonhuman nature of the dolphin's intelligence and yet the profound relevance of that intelligence to man's place in Nature. The dolphin, for example, is a systematic communicator - a trait long considered unique to human beings. The dolphin is a startling "moral" creature ( who acts along lines similar to our own Golden Rule) - again, something always thought of as a "human" characteristic. Dr. Lilly demonstrates that dolphins can clearly distinguish between dictated words and vocal instructions when responding to man with airborne "words." When dolphins are displeased with human behavior - which they frequently are - they will "train" willing men to act correctly. In short, The Mind of the Dolphin may upset man's implicit preconceptions about his own intellectual, ethical, and social superiority. Dr. Lilly's fascinating documented book stands at the frontier of a new field of scientific inquiry.

An archive-based, in-depth analysis of the surreal nature and science movies of the pioneering French filmmaker Jean PainlevéBefore Jacques-Yves Cousteau, there was Jean Painlevé, a pioneering French scientific and nature filmmaker with a Surrealist’s eye. Creator of more than two hundred films, his studies of strange animal worlds doubled as critical reimaginations of humanity. With an unerring eye for the uncanny and unexpected, Painlevé and his assistant Geneviève Hamon captured oneiric octopuses, metamorphic crustaceans, erotic seahorses, mythic vampire bats, and insatiable predatory insects. Zoological Surrealism draws from Painlevé’s early oeuvre to rethink the entangled histories of cinema, Surrealism, and scientific research in interwar France. Delving deeply into Painlevé’s archive, James Leo Cahill develops an account of “cinema’s Copernican vocation”—how it was used to forge new scientific discoveries while also displacing and critiquing anthropocentric viewpoints. From Painlevé’s engagements with Sergei Eisenstein, Georges Franju, and competing Surrealists to the historiographical dimensions of Jean Vigo’s concept of social cinema, Zoological Surrealism taps never-before-examined sources to offer a completely original perspective on a cutting-edge filmmaker. The first extensive English-language study of Painlevé’s early films and their contexts, it adds important new insight to our understanding of film while also contributing to contemporary investigations of the increasingly surreal landscapes of climate change and ecological emergency.

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First edition, autographed by Steve Jackson.