The Saturn Expedition left a massive rift and moon dust in its wake. The Voth Moon rings are named after the valiant Captain of the UEV (Unified Earth Vessel) Petra Gowanofski. Captain Courtney Viola Voth kept her spacecraft from slamming into the moon as her crew fought off unknown assailants trying to take over the ship. The U.E.V. Petra Gowanofski scraped by the moon's surface with barely a few meters to spare! With every available thruster at full blast, the ship gouged out a rift kilometers long. The gouge made by the spacecraft across the moon’s face can be seen clearly from Earth. After the Saturn Expedition ended, it was officially named Petra's Rift. They, say this is how it happened.

This volume documents one of the treasures of Big Dance Theater's original performances, supplemented by a series of interviews.

Can drugs be used intelligently and responsibly to expand human consciousness and heighten spirituality? This two-volume work presents objective scientific information and personal stories aiming to answer the question. The first of its kind, this intriguing two-volume set objectively reports on and assesses this modern psycho-social movement in world culture: the constructive medical use of entheogens and related mind-altering substances. Covering the use of substances such as ayahuasca, cannabis, LSD, peyote, and psilocybin, the work seeks to illuminate the topic in a scholarly and scientific fashion so as to lift the typical division between those who are supporters of research and exploration of entheogens and those who are strongly opposed to any such experimentation altogether. The volumes address the history and use of mind-altering drugs in medical research and religious practice in the endeavor to expand and heighten spirituality and the sense of the divine, providing unbiased coverage of the relevant arguments and controversies regarding the subject matter. Chapters include examinations of how psychoactive agents are used to achieve altered states in Judaism, Christianity, Islam, and Buddhism as well as in the rituals of shamanism and other less widely known faiths. This highly readable work will appeal to everyone from high school students to seasoned professors, in both the secular world and in devoted church groups and religious colleges.

Soloing on the page, choreographer Annie-B Parson rethinks choreography as dance on paper. Parson draws her dances into new graphic structures calling attention to the visual facts of the materiality of each dance work she has made. These drawings serve as both maps of her pieces in the aftermath of performance, and a consideration of the elements of dance itself. Divided into three chapters, the book opens with diagrams of the objects in each of her pieces grouped into chart-structures. These charts reconsider her dances both from the perspective of the resonance of things, and for their abstract compositional properties. In chapter two, Parson delves into the choreographic mind, charting such ideas as an equality in the perception of objects and movement, and the poetics of a kinetic grammar. Charts of erasure, layering and language serve as dynamic and prismatic tools for dance making. Lastly, nodding to the history of chance operations in dance, Parson creates a generative card game of 52 compositional elements for artists of any medium to cut out and play as a method for creating new material. Within the duality of form and content, this book explores the meanings that form itself holds, and Parson's visual maps of choreographic ideas inspire new thinking around the shared elements underneath all art making.

The Invention of Telepathy explores one of the enduring concepts to emerge from the late nineteenth century. Telepathy was coined by Frederic Myers in 1882. He defined it as 'the communication of any kind from one mind to another, independently of the recognised channels of sense'. By 1901 it had become a disputed phenomenon amongst physical scientists yet was the 'royal road' to the unconscious mind. Telepathy was discussed by eminent men and women of the day, including Sigmund Freud, Thomas Huxley, Henry and William James, Mary Kingsley, Andrew Lang, Vernon Lee, W.T. Stead, and Oscar Wilde. Did telepathy signal evolutionary advance or possible decline? Could it be a means of binding the Empire closer together, or was it used by natives to subvert imperial communications? Were women more sensitive than men, and if so why? Roger Luckhurst investigates these questions in a study that mixes history of science with cultural history and literary analysis.

Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work. This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience.

Eight years have passed since Lila Raspreno and Anderson Olm raided Banbury's compound to rescue Lila's adopted son, Nate. Eight years since they discovered Arlo, another one of Banbury's genetic experiments amid the chaos. Eight years since Lila and Andy became bound to one another. So many questions were answered, while others were left to fester. Including the future of SAPP; the School of the Advancement of Practical Psionics and Lila herself. Arlo Anderson Olm, the genetic and adopted son of Lila and Andy who has just turned 8, is experiencing violent dreams from those first few tumultuous months of his life as his powers intensify and can't be controlled. A new-comer, Billy, a young Psion of Korean descent, moves in with the already stressed Olm clan when Lila decides he needs specialized attention. Then there is Nate and his partner, Jonah, who is already disabled and suffers a devastating mental snap. It seems like everything is happening at once and Lila isn't sure how much more she can take