Play art' or interactive art is becoming a central concept in the contemporary art world, disrupting the traditional role of passive observance usually assumed by audiences, allowing them active participation. The work of 'play' artists - from Carsten Holler's 'Test Site' at the Tate Modern to Gabriel Orozco's 'Ping Pond Table' - must be touched, influenced and experienced; the gallery-goer is no longer a spectator but a co-creator. Time to Play explores the role of play as a central but neglected concept in aesthetics and a model for ground-breaking modern and postmodern experiments that have intended to blur the boundary between art and life. Moving freely between disciplines, Katarzyna Zimna links the theory and history of 20th and 21st century art with ideas developed within play, game and leisure studies, and the philosophical theories of Kant, Gadamer and Derrida, to critically engage with current discussion on the role of the artist, viewers, curators and their spaces of encounter. She combines a consideration of the philosophical implications of play with the examination of how it is actually used in modern and postmodern art - looking at Dada, Surrealism, Fluxus and Relational Aesthetics. Focusing mainly on process-based art, this bold book proposes a fresh approach - reaching beyond classical cultural theories of play.

Julie and Samantha are known to the world. Powerful women, they are the envy of the business world for their success and their growth. They are the epitome for all women to follow. Julie and Samantha are the true soul mate sisters, now married to the love of their lives and together, building a beautiful family under one roof. They live in contentment of what they achieved. Never to allow happiness to leave their beautiful world now created. Each had vanished from their heart, the painful past, and vowing to never look back again. However, a storm is nearing. The fluffy clouds are turning gray. The air around them is feeling cold, as the past is creeping back with rain droplets that will soon be terrestrial in its power to hit upon their home once again. Blair didn't die as the tabloids announced to the world. Where had she disappeared for the past eighteen months? And now, Blair rides upon the storm to break the shelter of love and happiness that covers Julie and Samantha. Blair has her own vendetta ready as she's nearing her targets. No one takes Blair down. No one! Julie and Samantha are left to find cover from its advancing winds. Blair has weathered the brewing for a storm both women may not have power to handle, as they watch her ride the gray clouds closing in. Can Julie and Samantha survive the deadly storm? In the end, who will survive the wrath of Blair....

Computer and video games are leaving the PC and conquering the arena of everyday life in the form of mobile applications—the result is new types of cities and architecture. How do these games alter our perception of real and virtual space? What can the designers of physical and digital worlds learn from one another?

Richard Louv, author of Last Child in the Woods, lamented that children suffer from a nature-deficit. Children need to play creatively outdoors exploring, discovering, experimenting, learning to enjoy themselves in nature. I know we are supposed to turn off the cartoons but it can be hard some days. Additionally, corporate America has sent a call to parents. Young professionals are showing scars left from a childhood raised by helicopter parents. Loving parents are pushing their way into grown childrens salary negotiations. Johnny shows up late at the office because Moms phone was out therefore he didnt get his wake up call. This book offers 101 fresh ways for a care-taker of young children to take five minutes of set up time initiating creative, independent play outdoors using everyday objects found in the house or yard. These activities should not replace time spent with parents. The value of love and attention from a parent is undisputable. Rather, these creative play ideas are meant to become one part of your childs day when she can explore and experience nature independently. No need to purchase more toys, batteries or DVDs. Its all within your child and the yard. Its time to play outside!

This book is packed with fun and exciting activities that enable the child to make sense of the world that they live in and relate it to their own experiences in order to enhance their personal and social development.

Imagining Time in the English Chronicle Play: Historical Futures, 1590-1660 argues that dramatic narratives about monarchy and succession codified speculative futures in the early modern English cultural imaginary. This book considers chronicle plays—plays written for the public stage and play pamphlets composed when the playhouses were closed during the civil wars—in order to examine the formal and material ways that playwrights imagined futures in dramatic works that were purportedly about the past. Through close readings of William Shakespeare's 1&2 Henry IV, Richard III, Shakespeare's and John Fletcher's All is True, Samuel Rowley's When You See Me, You Know Me, John Ford's Perkin Warbeck, and the anonymous play pamphlets The Leveller's Levelled, 1 & 2 Craftie Cromwell, Charles I, and Cromwell's Conspiracy, the volume shows that imaginative treatments of history in plays that are usually associated with the past also had purchase on the future. While plays about the nation's past retell history, these plays are not restricted by their subject matter to merely document what happened: Playwrights projected possible futures in their accounts of verifiable historical events.

While 50 year-old Jack Phillips, a jazz trumpet player, is driving to his gig at the Famous Door in New Orleans, fantasizing about his favorite scenario, If I had known then what I know now, he has an accident, and wakes up in the hospital, 23 years in the past; January, 1968. He remembers what happened 1968, one of the most turbulent years in modern American history. It was a terrible year; the Korean capture of the Pueblo, the Tet Offensive in Vietnam, the assassinations of Martin Luther King and Robert Kennedy, the Klan killings, civil rights and anti-war riots in the streets, the Chicago riots at the Democratic convention. What should he do? Could he actually change history for the better? Should he even try? What about the unintended consequences of his actions? How could he find someone in the government high enough to have access to the President? Jack writes two of his predictions to his U.S. Senator, John Stennis. When Jacks second prediction comes true, Senator Stennis begins to believe his story, and relays his information to the Attorney General, because he doesnt trust J. Edgar Hoover. Hoover, livid that a senator has information before the FBI does, assigns two of his sociopathic special operatives to discover Stennis source. Jack has a physical confrontation with one of them, and makes the now-crippled operative a lifelong enemy, bent on revenge. Did he actually change any of the tragic events of 1968? Were there unintended consequences of his actions? This historical fiction is full of political intrigue, FBI corruption, the societal tumult in the streets, organized crime, and a true picture of the jazz music scene of New Orleans at the time.