The description for this book, A Theory of Cross-Spaces. (AM-26), Volume 26, will be forthcoming.

In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers—trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill—is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins’s performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today.

As Mahmood approached them, Jimmy saw what was in Mahmood's good hand. He knew what it was. Mahmood used such devices frequently on his captives and had used such a device on Jimmy before. Jimmy screamed louder in rage and frustration. "I do not want that on my head." He tried to move away from Mahmood but made little progress because of the handcuffs. Mahmood reached over to try to put the device on. Jimmy bent his head away from Mahmood in order to avoid the device. Jimmy was unsuccessful and the device went on. When the sphere touched the top of his head, it flowed out in all directions, assuming a more flattened shape. It stuck to his head despite the fact that he used his free hand to try to pull it off. He started sobbing. All his movements gradually started getting slower and slower. He appeared to get weaker and weaker, which he was. The violent emotions shown on his face became more subdued. He began to get lethargic. He slowly sank to the floor.

In the highly influential mental-spaces framework developed by Gilles Fauconnier in the mid-1980s, the mind creates multiple cognitive "spaces" to mediate its understanding of relations and activities in the world, and to engage in creative thought. These twelve original papers extend the mental-spaces framework and demonstrate its utility in solving deep problems in linguistics and discourse theory. Investigating the ties between mental constructs, they analyze a wide range of phenomena, including analogical counterfactuals; the metaphor system for conceptualizing the self; abstract change expressions in Japanese; mood in Spanish; deictic expressions; copular sentences in Japanese; conditional constructions; and reference in American Sign Language. The ground-breaking research presented in this volume will be of interest to linguists and cognitive scientists. The contributors are Claudia Brugman, Gilles Fauconnier, George Lakoff, Yo Matsumoto, Errapel Mejias-Bikandi, Laura A. Michaelis, Gisela Redeker, Jo Rubba, Shigeru Sakahara, Jose Sanders, Eve Sweetser, and Karen van Hoek.

Spencerian penmanship is considered the pinnacle of classic handwriting and cursive--now a lost art. Offering a bind up of 6 books in 1, this hands-on guide is the only all-in-one edition of L.P. Spencer's theory and practice workbooks for learning and practicing perfect lettering.

What is a threshold space? A prelude, an intermediate space, a barrier? Inside or outside? The threshold space is all of these, usually even at the same time. He lives on the spatial ambivalence between opening and closing and at the same time creates the expectation of what is to come. Till Boettger has dealt in teaching and research projects closely with the architectural staging of arrival and reception. His book is a collection of exemplary phenomenological analyzes of spatial transitions in historical and modern cultural buildings by renowned architects. It also develops a methodology to optimize threshold rooms in all construction projects. In addition to a balance that can generate an exciting space, there is also primarily the temporal sequence of experiencing determining. Threshold spaces are shown here in their role as a spatial agent: they receive and bid farewell.