Titlebook: (Syn)aesthetics; Redefining Visceral Josephine Machon Book 2009 Palgrave Macmillan, a division of Macmillan Publishers Limited 2009 aesthe

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Graeae’s Jenny Sealey and Playwright Glyn Cannon: Seeing Words and (Dis)Comfort Zones — the Fusion o well as intrahepatic bile ducts, leading to early liver cirrhosis. The etiology is unknown but is most likely multifactorial. Kasai hepatic portoenterostomy can provide effective palliation and successful bile drainage which correlates with the patient’s age at operation. Screening by stool color c

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Sara Giddens and Simon Jones of Bodies in Flight: The In-Betweens, Where Flesh Utters and Words Moveow. Associated biochemical, hematological, and chromosomal abnormalities, as well as infectious complications, are covered because of their importance in managing patients with lymphatic diseases. In addition, cell kinetics and the classification of lym- phocytic lymphomas are included because famil

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Leslie Hill and Helen Paris of Curious: Embodied Intimacies — On (the) Scent, Memory and the VisceraPC-K6a, PC-K6b, PC-K6c, PC-K16 and PC-K17 according to the mutated gene are transmitted in an autosomal dominant way with occurrence of spontaneous mutations in about 30% of cases. Main clinical features include nail thickening (pachyonychia) and subungual hyperkeratosis, focal palmoplantar keratode

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of experiential practice in the arts. This exciting new approach includes interviews with leading practitioners in of theatre, dance, site-specific work, live art and technological performance practice.978-0-230-33690-2978-0-230-23695-0

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Cost Model for Pregel on GraphXsts that by allowing the body to become empowered because the audience have to make physical decisions and choices, and in doing that they make some sort of pact with the piece. They’re physically involved with the piece and therefore it becomes visceral.

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Tiago Prince Sales,Giancarlo Guizzardi keeps things different and odd. We all have our themes because we all come from very different backgrounds, different disciplines so everyone brings with them an ‘I need to shoe-horn this in somehow’, which is good. People can argue their passions into our shows and that’s what makes it interesting.

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Jan Sedmidubsky,Pavel Zezula,Jan Svec the source of most of the interesting material lies, not in the grown up stage. It’s really going back to the child body that I’m fascinated by, where the creativity lies. Most of the things that happen to you as a child, the body then shapes it up to deal with in the present.