"This study provides some of the first empirical information about the self-reported crimes of adults with genius-level IQ scores. The study combines quantitative data about 72 different offenses with qualitative data from 44 follow-up interviews to describe nine different types of offending: violent crime, property crime, sex crime, drug crime, white-collar crime, professional misconduct, vehicular crime, justice system crime, and miscellaneous crime"--Provided by publisher.

"This study provides some of the first empirical information about the self-reported crimes of adults with genius-level IQ scores. The study combines quantitative data about 72 different offenses with qualitative data from 44 follow-up interviews to describe nine different types of offending: violent crime, property crime, sex crime, drug crime, white-collar crime, professional misconduct, vehicular crime, justice system crime, and miscellaneous crime"--Provided by publisher.

How did creative genius develop in tandem with the criminalization of Blackness in the early United States? In Criminal Genius in African American and US Literature, 1793–1845, Erin Forbes uncovers a model of racialized, collective agency in American literature and culture. Identifying creative genius in the figure of the convict, the zombie, the outlaw, the insurgent, and the fugitive, Forbes deepens our understanding of the historical relationship between criminality and Blackness and reestablishes the importance of the aesthetic in early African American literature.

This book analyses the legal and aesthetic discourses that combine to shape the image of the criminal, and that image's contemporary endurance. The author traces the roots of contemporary ideas about criminality back to legal, philosophical and aesthetic concepts originating in the nineteenth century. Building on the ideas of Foucault and Walter Benjamin, Hutchings argues that the criminal, as constructed in places such as popular crime stories or the law of insanity, became an obsession which haunted nineteenth century thought.

With a foreword by four-time Oscar nominated filmmaker Michael Mann. The story of Paul LeRoux, the twisted-genius entrepreneur and cold-blooded killer who brought revolutionary innovation to international crime, and the exclusive inside story of how the DEA’s elite, secretive 960 Group brought him down. Paul LeRoux was born in Zimbabwe and raised in South Africa. After a first career as a pioneering cybersecurity entrepreneur, he plunged hellbent into the dark side, using his extraordinary talents to develop a disruptive new business model for transnational organized crime. Along the way he created a mercenary force of ex-U.S. and NATO sharpshooters to carry out contract murders for his own pleasure and profit. The criminal empire he built was Cartel 4.0, utilizing the gig economy and the tools of the Digital Age: encrypted mobile devices, cloud sharing and novel money-laundering techniques. LeRoux’s businesses, cyber-linked by his own dark worldwide web, stretched from Southeast Asia across the Middle East and Africa to Brazil; they generated hundreds of millions of dollars in sales of arms, drugs, chemicals, bombs, missile technology and murder. He dealt with rogue nations—Iran and North Korea—as well as the Chinese Triads, Somali pirates, Serb mafia, outlaw bikers, militants, corrupt African and Asian officials and coup-plotters. Initially, LeRoux appeared as a ghost image on law enforcement and intelligence radar, an inexplicable presence in the middle of a variety of criminal endeavors. He was Netflix to Blockbuster, Spotify to Tower Records. A bold disruptor, his methods brought international crime into the age of innovation, making his operations barely detectable and LeRoux nearly invisible. But he gained the attention of a small band of bold, unorthodox DEA agents, whose brief was tracking down drugs-and-arms trafficking kingpins who contributed to war and global instability. The 960 Group, an element of the DEA’s Special Operations Division, had launched some of the most complex, coordinated and dangerous operations in the agency’s history. They used unorthodox methods and undercover informants to penetrate LeRoux’s inner circle and bring him down. For five years Elaine Shannon immersed herself in LeRoux’s shadowy world. She gained exclusive access to the agents and players, including undercover operatives who looked LeRoux in the eye on a daily basis. Shannon takes us on a shocking tour of this dark frontier, going deep into the operations and the mind of a singularly visionary and frightening figure—Escobar and Victor Bout along with the innovative vision of Steve Jobs rolled into one. She puts you in the room with these people and their moment-to-moment encounters, jeopardy, frustration, anger and small victories, creating a narrative with a breath-taking edge, immediacy and a stranger-than-fiction reality. Remarkable, disturbing, and utterly engrossing, Hunting LeRouxintroduces a new breed of criminal spawned by the savage, greed-exalting underside of the Age of Innovation—and a new kind of true crime story. It is a look into the future—a future that is dark.

In a world where being black is linked with all kinds of discriminations, Bernard Clinton Scales, a black American born in Houston, Texas, in 1960, triumphed over these kinds of stereotypes. He is a prodigy who underwent many struggles—from being exploited to becoming a criminal genius to coming out clean. Bernard Clinton Scales was once a poor black slave deprived of his rights because of his skin color, but because he was filled with ambition and persistent to uplift the black community, he maximized all his resources to be able to achieve this destiny. From seeking reparation from the whites to realizing that there is no need for recompense but to fully accept what has transpired, Bernard Clinton Scales emerged a victor for everything that he has learned. Black Male: In America is a memoir and a collection of essays that edifies one’s understanding of life’s struggles and how to triumph over it. A heart-melting and life-changing book, Black Male: In America is a must read indeed!

Philosophers have discussed art – or artistic practices such as poetry – since ancient times. But systems of art and entertainment appeared only in the modern era – in the West, during the 18th and 19th centuries. And philosophers have largely neglected the concept of entertainment. In this book Andy Hamilton explores art and entertainment from a philosophical standpoint. He argues, against modernist theory, that art and entertainment are not opposites, but form a loosely connected conceptual system. Against postmodernism, however, he insists on their vital differences. Hamilton begins by questioning the received modernist view, examining artist-entertainers including Jane Austen, Charles Dickens, Louis Armstrong and Billie Holiday. Entertainment, he argues, is by nature audience-centred – but so is art, in a different way. Thus while art should pass the test of time, entertainment must pass the test of its own time – it has to entertain at the time it is produced. Art and entertainment are inter-dependent concepts, and must be understood together with other aesthetic concepts including criticism, genius, canons and design. These concepts form the subject of later chapters of this book, where Hamilton develops a meritocratic position that is neither elitist nor populist. He also addresses the contemporary charge of cultural appropriation, and qualifies it. An innovative feature of the book is the inclusion of dialogues with artists, critics and academics that help to recast or reformulate the debate. Art and Entertainment: A Philosophical Exploration is essential reading for those working in art and aesthetics, and will also be of interest to those in related disciplines such as cultural studies, music and film studies, with an interest in entertainment.