"Featuring line-drawings by Stackhouse & poems-as-essays by Keene--handed back and forth and back again, written and rewritten, drawn and redrawn--Seismosis penetrates the common ground between writing/literature and drawing/visual art, creating a revisioned landscape where much of the work is abstract, or abstracted, or both. The multiform agreements the texts & the drawings make, from a brilliant & decisive center, are revolutionary, antilinear, and highly responsive. The result is a sophisticated call-and-response affair. A pioneering event between two African-American artists, Seismosis is a formal experience. How drawing ultimately is coming into forms, how looking (for) recreates deforms."--Publisher's website.

After Kenneth W. Warren's What Was African American Literature?, Margo N. Crawford delivers What is African American Literature? The idea of African American literature may be much more than literature written by authors who identify as "Black". What is African American Literature? focuses on feeling as form in order to show that African American literature is an archive of feelings, a tradition of the tension between uncontainable black affect and rigid historical structure. Margo N. Crawford argues that textual production of affect (such as blush, vibration, shiver, twitch, and wink) reveals that African American literature keeps reimagining a black collective nervous system. Crawford foregrounds the "idea" of African American literature and uncovers the "black feeling world" co-created by writers and readers. Rejecting the notion that there are no formal lines separating African American literature and a broader American literary tradition, Crawford contends that the distinguishing feature of African American literature is a "moodscape" that is as stable as electricity. Presenting a fresh perspective on the affective atmosphere of African American literature, this compelling text frames central questions around the "idea" of African American literature, shows the limits of historicism in explaining the mood of African American literature and addresses textual production in the creation of the African American literary tradition. Part of the acclaimed Wiley Blackwell Manifestos series, What is African American Literature? is a significant addition to scholarship in the field. Professors and students of American literature, African American literature, and Black Studies will find this book an invaluable source of fresh perspectives and new insights on America's black literary tradition.

The efficient mining of hard coal in deep coal mines using highly mechanized longwall techniques requires information on the geological structure ahead of the operating face. Even minor tectonic faults with throws of only a few metres mean a loss in productivity, as they present severe working problems for underground mining equipment. Because investment costs to install a mechanized face are high, "insurance" in the form of spare capacity by both machine shifts or spare faces is uneconomic. Thus, to reduce mining costs it is essential to delineate the geology prior to mining. Today, the only effective geophysical tool to detect and to map minor faults in front of the coal cutter is in-seam seismics using channel, or so called seam waves. The techniques are well established and successfully applied for more than two decades. In-Seam Seismics covers the entire range of elementary and advanced topics in mathematics, physics and data processing of dispersive channel waves. The results of analogue and numerical modelling provide a thorough understanding of transmission, reflection, recording and interpretation of seam waves and coal seam disturbances. Fire damp proof instrumentation, target orientated underground layouts, processing and interpretation of real data impart the state-of-the-art of in-seam seismics. Selected and well-rounded case histories complete the presentation of in-seam seismics. They can help the mining engineer to come to a decision to plan and to apply in-seam seismics in case of underground mining problems. A clear text, only formulae which are necessary, many carefully designed figures, an extended list of references and a lucid index make it easy for the reader to get acquainted with seam waves or to promote the technique of in-seam seismics.

This volume contains 73 papers presented at CSI 2014: Emerging ICT for Bridging the Future: Proceedings of the 49th Annual Convention of Computer Society of India. The convention was held during 12-14, December, 2014 at Hyderabad, Telangana, India. This volume contains papers mainly focused on Fuzzy Systems, Image Processing, Software Engineering, Cyber Security and Digital Forensic, E-Commerce, Big Data, Cloud Computing and ICT applications.

A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the "new black" and "post-black." Black Post-Blackness compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of twenty-first century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of twenty-first century black aesthetics. She uncovers the circle of black post-blackness that pivots on the power of anticipation, abstraction, mixed media, the global South, satire, public interiority, and the fantastic.

The surprising story of the relationship between experimental poetry and literary studies. In The Academic Avant-Garde, Kimberly Quiogue Andrews makes a provocative case for the radical poetic possibilities of the work of literary scholarship and lays out a foundational theory of literary production in the context of the university. In her examination of the cross-pollination between the analytic humanities and the craft of poetry writing, Andrews tells a bold story about some of today's most innovative literary works. This pathbreaking intervention into contemporary American literature and higher education demonstrates that experimental poetry not only reflects nuanced concern about creative writing as a discipline but also uses the critical techniques of scholarship as a cornerstone of poetic practice. Structured around the concepts of academic labor (such as teaching) and methodological work (such as theorizing), the book traces these practices in the works of authors ranging from Claudia Rankine to John Ashbery, providing fresh readings of some of our era's most celebrated and difficult poets.