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Introduces the emerging evidence from the neurosciences and provides an account of how it is causing a learning and development practitioner to re-evaluate understanding of human diversity and therefore diversity management within organizations.

Defines neuroplasticity and identifies four of the key findings before moving on to consider what this suggests about human diversity.

Shows an application of this new knowledge to diversity management as a way of exploring how the concept of collective intelligence could lead to a transformation of this new knowledge into organizational development practices that meet the needs of all people.

Advances the view that if organizations can find a way to connect people, places and ideas in a way that generates a deeper appreciation of the value proposition inherent in human diversity, the business case will make itself.

Recognizes the need for a collective intelligence that has the “potential to liberate us from the social and political hierarchies that have stood in the way of mankind’s advancement”.

Claims that this new science of learning has the potential to create a revelation of personal constructs in a way that leads to a safe revolution in the way we view and appreciate each other.

The purpose of this paper is to present an interview with academic and author, Professor Jeffrey Weeks.

The paper discusses the significance of the Civil Partnership Act 2004 and same‐sex relationships.

Professor Weeks divulges some personal and intimate thoughts, in particular his thoughts about marriage.

The interview comments highlight the pace of change in relation to same‐sex partnership recognition.

As in every state, rapid technological developments have affected the way California libraries deliver their services, and, in turn, have generated new relationships for them with private and public partners. The libraries of California were hit hard by a prolonged and severe recession, yet they could not afford to wait for better economic times before joining the technological revolution.

According to the National Advisory Committee Report on Creativity in Education (N.A.C.C.C.E./DfEE, 1999), creative learning involves thinking and acting in an imaginative and yet purposeful way, guided by an overall objective, and the report also argues that skilled teachers and well designed courses can help anyone to be a creative learner, by assisting them in developing original ideas in a positive way. However, the question is what happens to creative learning in education when the main education objective that guides students is to arrive at pre-set answers within an exchange-based, commodity form of engagement, solely for the purposes of passing a course with a good grade and obtaining an education qualification. These are the conditions of a banking education. The present chapter considers creativity under such conditions in two different classifications of laboratory work in science education, both of which have been identified from ethnographic data from 40 hours of participant observation in school laboratories at one main upper-secondary school site in Sweden in 1999, which was carried out as part of a one-year participant observation on a half-time basis at the school in question. Conversations with students and tutors there and from four other sites in 1999, 2000 and 2003 have been particularly important in the research.

This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol.

Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online.

Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media.

The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output.

Wesley Snipes has had an extensive career on the big screen starting out as part of the New Black Cinema movement in the 1990s working with Spike Lee and Mario Van Peebles. His roles have been incredibly varied covering drama, comedy, action, thriller, horror and Science Fiction: he has played everything from jazz saxophonist to paraplegic and drag queen to vampire, as well as recently appearing as character actor D'Urville Martin in Eddie Murphy's critically acclaimed Dolemite Is My Name. However, despite his versatility as an actor and his popularity in action films such as Demolition Man and the Blade Trilogy, Snipes has been, surprisingly, the subject of minimal analysis unlike, for example Schwarzenegger and Stallone. Unfortunately, he has also fallen foul of the direct to video curse from around 2005 as well as being sentenced to three years in prison for tax evasion. However, this should not negate Snipes' contribution to cinema, especially in the genre of action. Snipes can be a commanding presence given the right script and direction – as an expert martial artist he is lithe and agile; he has strong facial features and a powerful voice, plus the ability to deliver the wisecracking humour which often goes hand-in-hand with action performances. The aim of this chapter, then, is to focus on Snipes as an action star and, more specifically, his significance as a black action star, examining several key films which have helped to develop his onscreen persona and performance style.