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The ''D├╝sseldorf School'' has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida H├╢fer, Axel H├╝tte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ΓÇÿD├╝sseldorf SchoolΓÇÖ initially was used as a handy term for a group of artists with the same universityΓÇÖs background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ΓÇÿSchoolΓÇÖ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren PolteΓÇÖs pioneering study.

`European Muslims and New Mediä offers perspectives on the various ways in which Muslims use new media to form and reform Muslim consciousness, identities, and national and transnational belongings, and contest and negotiate tensions and hegemonic narratives in Western European societies. The authors explore how online discussion groups, social media communities, and other online sites act as a `new public sphere¿ for Muslim youth to voice their opinions, seek new sources of knowledge, establish social relationships, and ultimately decentre established discourses that are projected on them as Muslims in Europe. The possibilities and challenges of new media transform existing debates on Islamic knowledge, authority, citizenship, communities, and networks. European Muslims and New Media critically explores the multifaceted transformations that result from Muslims using online spaces to present, represent, and negotiate their identities, ideologies, and aspirations. Contributors: Anna Berbers (KU Leuven), Claudia Carvalho (Tilburg University), Laurens de Rooij (Durham University), Leen d¿Haenens (KU Leuven), Merve Kay¿kc¿ (KU Leuven), Sahar Khamis (University of Maryland, College Park), Joyce Koeman (KU Leuven), Jana Jevtic (Central European University), Viviana Premazzi (FIERI), Roberta Riccuci (University of Torino), Charlotte van der Ploeg (Leiden University)

Human genetics is not the playground of science alone. Genetics concerns all of us, for we all have DNA, genes, genomes, and chromosomes. Our genes determine partly our appearance and our behaviour, our talents and our health risks. The authors of 'The Human Recipe' use humour to explain what we understand about human genetics. With anecdotes and topical examples, they demonstrate how genetics affects our everyday lives. What if a DNA analysis were to reveal that your biological father must be someone other than the person yoüve been calling ¿Dad¿ for years? Does genetics explain why Africans excel in athletics, Asians in gymnastics, and Europeans mainly in sports testing physical strengths? What is the difference between a genetic disease and a contagious illness? The newest developments in human genetics also raise ethical questions and issues which are currently being debated within the genetics community, and the authors do not avoid looking at these either. Should we use genetics to ensure the conception of healthy children or even ¿designer babies¿? Should we identify genetic risks before pregnancy? Should we edit genes in embryos? Can we identify our risk for cancers and can we prevent them? What about privacy in DNA research and forensic databases? Can DNA be stolen, and if so, would this be considered a serious crime? 'The Human Recipe' provides a clever insight into all you might want to know about human genetics in our current society.