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9781783205899

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A lucid comparison of the U.S. and European patent systems focusing on the politics of patenting life forms and extensively discussing the ways in which political culture and ideology shape different understandings of the public interest. . . . The book makes an insightful contribution in the field of science and technology studies. --Technology and Culture A careful and detailed study of the politics of life form patenting in Europe and the USA. . . . a remarkable piece of scholarship that sheds light on why the systems of agro-biotechnology governance of two initially similar political powers are substantially different. --Tapuya A reading that I highly recommend no matter if you know Adrian Howells' work or not. . . . Not only academics, but also a wider public, such as artists and students, can enjoy this extraordinary collection. . . . The book in itself seems to be an act of caring: toward Adrian (as a memorial), toward the people who met him (as a 'gathering place' to share memories of him) and toward the readers (with its accessible style). Some passages are deeply moving and literally bring tears to the eyes. . . . Even though this book covers almost all aspects of Adrian Howells' work and life (or perhaps because of this), it leaves us with a sense of loss. We regret that we have not had the possibility to be one of his audience-participants, that we have not been at least once in Howells's performances, in his arms, under his care, beyond our comfort zone, in that safe space where It's All Allowed. --Liminalities Adrian's work occurred both with and without words, often dependant on the desire of the audience as much as the structure of the work he created. It's All Allowed takes on the challenge of communicating Adrian to new audiences, and whilst no words can ever sum up any human and their contribution to the world, for now it is enough. --Huffington Post UK

A reading that I highly recommend no matter if you know Adrian Howells' work or not. . . . Not only academics, but also a wider public, such as artists and students, can enjoy this extraordinary collection. . . . The book in itself seems to be an act of caring: toward Adrian (as a memorial), toward the people who met him (as a 'gathering place' to share memories of him) and toward the readers (with its accessible style). Some passages are deeply moving and literally bring tears to the eyes. . . . Even though this book covers almost all aspects of Adrian Howells' work and life (or perhaps because of this), it leaves us with a sense of loss. We regret that we have not had the possibility to be one of his audience-participants, that we have not been at least once in Howells's performances, in his arms, under his care, beyond our comfort zone, in that safe space where It's All Allowed. --Liminalities Adrian's work occurred both with and without words, often dependant on the desire of the audience as much as the structure of the work he created. It's All Allowed takes on the challenge of communicating Adrian to new audiences, and whilst no words can ever sum up any human and their contribution to the world, for now it is enough. --Huffington Post UK

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Deirdre Heddon is professor of contemporary performance practice at the University of Glasgow and the author of numerous books, including Autobiography and Performance. She is also one of the editors of It's All Allowed: The Performances of Adrian Howells, which is part of the Intellect Live series published in collaboration with the Live Arts Development Agency (LADA). Dominic Johnson is a senior lecturer in the Department of Drama at Queen Mary University of London and the editor of Pleading in the Blood: The Art and Performances of Ron Athey and It's All Allowed: The Performances of Adrian Howells. 

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