This book takes a new approach to studying the contemporary Middle East, focusing on popular culture, including film, music, and television. Innovative essays by a group of smart young scholars in anthropology, history, and ethnomusicology.

Doing style -- Brand and brandedness -- Brandedness and the production of surfeit -- Style and the threshold of English -- Bringing the distant voice close -- College heroes and film stars -- Status through the screen -- Media's entanglements.

Explores even the fundamental assumptions underlying mediation analysis

Provides mediators and other professionals who use mediationsuch as lawyers, therapists, and personnel managerswith comprehensive, step-by-step instruction in effective dispute resolution strategies.

This workbook is designed for basic mediation training. Authors Scott Hughes, Mark Bennett, and Michele Hermann take NITA's performance-based training for trial lawyers and adapt it to training for mediators. The authors have used these materials extensively in their mediation training classes at law schools and in programs open to the public. The Art of Mediation, Second Edition, sets the mediation process in context, provides basic definitions, contrasts mediation with other forms of dispute resolution, describes varieties of mediation, and lays out roles and functions of the mediators. The book contains forms that illustrate sample agreements to mediate and final mediation agreements, plus a section containing hypothetical situations for performance training. Reviews "I have used the first edition of The Art of Mediation in my classes for almost a decade and I definitely intend to use the Second Edition in the future. Students like the book because it is so practical and easy to read. I like it because it presents a variety of perspectives so that students learn that there is no one right or easy way to mediate." — John Lande, Associate Professor and Director, LL.M. Program in Dispute Resolution, University of Missouri-Columbia School of Law Columbia

Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves—Earth’s history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern-day life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski’s widely discussed notion of deep time—but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. He shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices. A Geology of Media demonstrates that the environment does not just surround our media cultural world—it runs through it, enables it, and hosts it in an era of unprecedented climate change. While looking backward to Earth’s distant past, it also looks forward to a more expansive media theory—and, implicitly, media activism—to come.

Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication – in particular, pedagogy and dissemination through the media. Each of the book’s four parts deal with different aspects of the mediation process. The contributing authors outline the problematic moments in Adorno’s reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno’s Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields.

Drawing on the experience of more than 175 mediators from across the spectrum of mediation practice and among different geographic regions, such as the U.S., Australia, Europe, Israel, and Canada, this book presents the best practices for mediators to emulate.

"This second edition of [this title] encompasses stories from around the world. The writers (24 top international mediators) were asked to write about moving, successful, unsuccessful, happy, sad and funny mediations...From these...stories, mediators will learn how to help clients find positive outcomes to conflict resolution."--

The preoccupation with “depth” and its relevance to cinema and media studies For decades the concept of depth has been central to critical thinking in numerous humanities-based disciplines, legitimizing certain modes of inquiry over others. Deep Mediations examines why and how this is, as scholars today navigate the legacy of depth models of thought and vision, particularly in light of the “surface turn” and as these models impinge on the realms of cinema and media studies. The collection’s eighteen essays seek to understand the decisive but evolving fixation on depth by considering the term’s use across a range of conversations as well as its status in relation to critical methodologies and the current mediascape. Engaging contemporary debates about new computing technologies, the environment, history, identity, affect, audio/visual culture, and the limits and politics of human perception, Deep Mediations is a timely interrogation of depth’s ongoing importance within the humanities. Contributors: Laurel Ahnert; Taylor Arnold, U of Richmond; Erika Balsom, King’s College London; Brooke Belisle, Stony Brook University; Jinhee Choi, King’s College London; Jennifer Fay, Vanderbilt U; Lisa Han, UC Santa Barbara; Jean Ma, Stanford U; Shaka McGlotten, Purchase College-SUNY; Susanna Paasonen, U of Turku, Finland; Jussi Parikka, U of Southampton; Alessandra Raengo, Georgia State U; Pooja Rangan, Amherst College; Katherine Rochester, VIA Art Fund in Boston; Karl Schoonover, University of Warwick (UK); Jordan Schonig, Michigan State U; John Paul Stadler, North Carolina State U; Nicole Starosielski, New York U; Lauren Tilton, U of Richmond.