Convicted murderer Dr. David Savage is rescued from death row by a man claiming to be a lawyer and is sent surreptitiously to work on a futuristic project called the window, which is an electric device capable of reaching and transmitting objects and people to other worlds throughout the galaxy and to different dimensions. Having met and fallen in love with a beautiful woman named Diana, he is reluctant to go to the new world, but as a professional geologist, he cant pass up the opportunity. A mysterious figure known only as Mr. Damarjiane, director of the Palomar Foundation, which is controlling the window project, his true identity revealed at the time of Savages trip through the window, lends to the mystery of the story. On the new world, Dr. Savage discovers an almost earthlike planet where he is faced with the problem of Mr. Damarjiane selling trips to the new world to the highest bidder and thus populating the planet with earthmen who will eventually destroy it as they are doing with earth. The only person able to make the decision of allowing or not allowing people to come through the window to the new world is David Savage. Remain there in that uninhabited world for the rest of his life, alone with no companionship, or let the world rush in. Decision.

These essays bring together disciplinary understandings of what it is to be the bodies we are. In its own way, each essay calls into question certain culturally-embedded ways of valuing the body which deride or ignore its role in making us human. These ways have remained virtually unchanged since Descartes in the seventeenth century first sharply divided mind—a thinking substance, from the body—an extended substance. The legacy of this Cartesian metaphysics has been to reduce the body by turns to a static assemblage of parts and to a dumb show of movement. It has both divided the fundamental integrity of creaturely life and depreciated the role of the living body in knowing and making sense of the world, in learning, in the creative arts, and in self- and interpersonal understandings. The living sense of the body and its capacity for sense-making have indeed been blotted out by top-heavy concerns with brains, minds, and language, as if these existed without a body. It is this conception of the body as mere handmaiden to the privileged that the contributors to this book challenge. By the evidence they bring forward, they help restore what is properly due the body since Descartes convinced us that mind and body are separate, and that mind is the primary value. Moreover, they help to elucidate what is properly due the body since the more recent twentieth-century western emphasis upon vision effectively reduced the richness of the affective and tactile-kinesthetic body—the body of felt experience—to a simple sum of sensations. Dominant themes that run throughout the essays and that call our attention to the living sense of the body and its capacity for sense-making are: wholeness, the capacity for self-healing, cultural histories of the body, pan-cultural bodily invariants, thinking, emotions, and the body's wisdom. In the end, these themes show that giving the body its due means forging a metaphysics that upholds the truths of experience.

Radio and television news are expanding everywhere, often at the expense of print media. Developments in global communications, in theory at least, have made the world smaller. An event anywhere can theoretically be reported anywhere else on radio within minutes; on television within hours. But theory and practice are often far apart. Broadcast News has become a global business, almost like the music industry, with its own 'Top 10' and an inevitable streamlining of taste. A few major organisations control the newsflow. Syndicators guarantee that more and more of us get to see or hear the same stories. This is typified by the growth of independent or local news stations, and cable suppliers, competing mercilessly with the traditional giants of the news airwaves (the US Networks, the BBC and other Public Service Broadcasters, etc.). But does this development satisfy the democratic demands of enlightened society and of informed citizens? This book presents a catalogue of worries, but also some rays of hope. It looks in detail at news broadcasters on both sides of the Atlantic. It also covers the international broadcasting scene as well as third world countries and recent developments in Glasnost's USSR. A major empirical study of what we get from broadcast news (taking the case of the USA, Britain and Sweden) is also presented. Models useful for understanding both the present and the future are suggested.

First Published in 1991, Action Research for Change and Development presents a collection of papers evolved from an international symposium on Action Research in Higher Education, Government and Industry held in Brisbane in 1989. The book is structured in three parts. Part one consists of reflections on the meaning and theoretical foundation of action research. Part two discusses various aspects of action research methodology; and Part three presents case studies of action research. The aim of the book is to bring together international experts in action research in higher education in order to present and discuss a variety of models of action research which have been developed in parallel in many parts of the world. This book will be an essential read for scholars and researchers of education, higher education, business, industry, and community development.

An examination of the media and how it operates in Australia. The history of human communication is outlined and an exploration of contemporary media ownership and media criticism is presented. The author, a communications lecturer at Charles Sturt University, has worked for various media organisations including the ABC, SBS TV,'The Australian' and 60 Minutes.

New Nonfiction Film: Art, Poetics and Documentary Theory is the first book to offer a lengthy examination of the relationship between fiction and documentary from the perspective of art and poetics. The premise of the book is to propose a new category of nonfiction film that is distinguished from – as opposed to being conflated with – the documentary film in its multiple historical guises; a premise explored in case-studies of films by distinguished artists and filmmakers (Abbas Kiarostami, Ben Rivers, Chantal Akerman, Ben Russell Pat Collins and Gideon Koppel). The book builds a case for this new category of film, calling it the 'new nonfiction film,' and argues, in the process, that this kind of film works to dismantle the old distinctions between fiction and documentary film and therefore the axioms of Film and Cinema Studies as a discipline of study.

This book focuses on the most powerful agency of value formation in our time -- the video image as purveyed through television and mass media. Special attention is given to the impact of television on education and the challenges of instructing a generation of children who have never know a time BT, that is, "before television." Both the negative and the positive implications and consequences of video technology are discussed in the book by a range of experts in the humanities and social sciences. Among the prominent issues and questions: How does television function as an agent of value formation? What is the impact of conventional, commercial format on values and critical judgment? What is a video text and how is it different from a convention text? How do we develop the instructional tools to teach people to be critical viewers? What is television's place in the arts and what is a video artist? What happens to consciousness after viewing 30,000 or more hours of television by the time an individual graduates from high school? Is the growing problem of aliteracy directly attributable to television? The social and moral implications of television during its "second 50 years" will be profound and far-reaching. The authors of Video Icons and Values provide valuable clues as to what these implications are, will be, and what can be done about them.

If you are a digital artist, illustrator, cartoonist, graphic artist, designer or serious hobbyist looking for new and interesting ways to use Photoshop, this is the book for you. Challenge yourself and discover the more artistic aspects of the program with one of the world's best teachers.

Provides background content and teaching ideas to support the integration of culture in a wide range of psychology courses.