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Cover -- Half-Title -- Title -- Copyright -- Contents -- List of Figures -- List of Tables -- Preface and Acknowledgements -- 1 The Alien Memories Project -- 2 Remembering a 'Masterpiece' -- 3 Gifting the Alien Experience -- 4 Remembering a First Encounter with Alien -- 5 Considering the Chestburster-Choosers: Realism and Repeat Viewing -- 6 Critical Conclusions -- Appendix: The Questionnaire -- Bibliography -- Index

Humanity's impact on the natural world can have disastrous effects. E-Wasteshines a light on the ever-growing amount of e-waste and the lack of resources to safely recycle it. With abundant charts and diagrams and large-format photos, this title explores the science behind damages to human and environmental health, and considers actions people and governments can take to try to improve the situation. Features include a flow chart showing the disaster's causes and effects, a glossary, references, websites, source notes, and an index. Aligned to Common Core Standards and correlated to state standards. Essential Library is an imprint of Abdo Publishing, a division of ABDO

Lanthimos's The Lobster (2015) invites a way of looking that coincides with work done by scholars of feminist new materialism with an eye toward queering binary and static concepts of species, gender, and the relation between them. A close look at one fleeting, slow-motion image of horses racing on a track reveals a pattern of 'diffraction,' in the critically productive sense that Karen Barad uses the term, such that we see neither camera movement, human movement, nor animal movement proper, but movement that is 'of' all three bodies, but not 'in' any given one. The film perpetually defers the dichotomy between animal and human as it is classically conceived in order to reconfigure it. That diffractive pattern recurs throughout the film, in its use of slow motion, lateral camera movements, and the overlapping of multiple movements and rhythms. Throughout its running time, The Lobster suspends the process of becoming in motion, emphasizing the experiential aspect of this '-ing' that bodies do. The film draws vision sideways, rippling and redoubling itself; in the process, it shifts attention from a human state or an animal state – states that, according to conventional logic, exist on one side or another of a dividing line, and which certain types of movement might transcend – to transitivity, or the movement of movement itself.

Exempting certain classes of people from the possibility of the death penalty is hardly new; Blackstone noted the common law prohibition on executing the insane, stating that "furiosus furore solum punitur"-madness is its own punishment.' Even then, however, "the reasons for the rule [were] less sure and less uniform than the rule itself." 2 In the United States, Eighth Amendment jurisprudence does little to clarify the reasons behind a particular death penalty exemption because it relies, in part, on the practice of the states to decide what is outside the bounds of acceptable punishment. 3 Because exemptions are thus dependent on state actions, the reasoning behind any particular death penalty exemption is a step removed from the states' underlying reasons for their own practices. These states' conclusions, analyzed by the Court independently from their underlying reasons, then become the "objective indicia" the Court uses to determine whether a punishment is valid under the Eighth Amendment. Ironically, these conclusions are considered "the clearest and most reliable objective evidence of contemporary values," even when the reasons behind the legislatures' votes are not considered.