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The purpose of this paper is to explore the notion and function of silent landscape in a touristic experience by presenting the findings of a study on silent retreats in a Buddhist meditation retreat center in Northern India.

This study adopted a sensory ethnography approach applied through interviews and participant observation methods conducted during and after nine retreats in a meditation center.

This study suggests that silent landscapes are not only backdrops of touristic experiences but can be considered as inter-subjective performative and resourceful milieu of engagement that intertwine intimate embodied experiences with broader social and cultural values.

Despite landscapes having been thoroughly investigated in tourist studies, this paper underlines the pertinence of mobilizing the lens of other forms of presences such as affects, embodiment, sensoriality and sonority to understand the inter-relation between tourists-selves and the surrounding world encountered during their travels.

This chapter investigates the recent surge of social media (mis)use in horror films including The Cabin in the Woods (2012), Unfriended (2015) and #Horror (2015) and how young women’s relationship to social media in these films often pillories females for existing under, and delighting in, an anonymous, ubiquitous gaze. In these narratives, women are slut shamed both in the plot and through the threat of social media’s panoply of screens, sur- and selfveillance. In my discussion, I will utilize feminist film theory including the writings of Laura Mulvey, Linda Williams and Barbara Creed, while also including contemporary cultural criticism from writers and journalists like Nancy Jo Sales and Leora Tanenbaum to explore the horror genre from a more contemporary, multi-discourse perspective. The technology in these films serve as harbingers, intimating the figurative and literal dangers to come for their female protagonists, ultimately suggesting that the horror in these films is the medium itself and the patriarchal social media culture that these devices cultivate.

The purpose of this concluding paper is to reflect on the theories of ageing well delineated by the papers of the special issue. It sets research themes that social theorists of ageing should reflect upon in creating conceptual tools to understanding the power dynamics of older people and modern society.

The paper is an overview of the key issues that have been found by theories introduced throughout the special edition. It attempts to look ahead to seeing how social theory and ageing will need to be strengthened so that theory and experiences are inter‐locked.

This concluding paper cites how social theory can be analysed in variety of international and national contexts that gives an holistic and not eurocentric approach to social gerontology.

The paper is original in that it points to the future challenges social gerontology in terms of theorising ageing. The great value of social theory is that it provides critical questions about the nature of modern society and the implications this has for older people. This is original in getting researchers to see the creative use of theories of ageing.

This paper aims to examine how social and environmental issues were accounted for and traded off within decision-making for Australia’s largest seawater desalination plant. This is done through an investigation of disclosures contained within key publicly available documents pertaining to the project.

The study deploys content analysis to initially identify relevant disclosures. Themes and subthemes are based on definitions of social and environmental accounting adapted from prior research. Relevant information was used to develop “silent accounts” to identify and analyse accountability issues in the case.

It was found that a number of claims made throughout reporting were unsupported or insufficiently explained. At the same time, it is found that various forms of basic measurements used to describe social and environmental issues conveyed the rationale of decision makers. It is concluded that many of the claims were asserted rather than evidenced; yet, the manner and context of their presentation gave them the appearance of being incontestable truths. Further, it is argued that the portrayal of social and environmental issues through measurable means is emblematic of values associated with contemporary neoliberal and public sector reforms.

The findings and conclusions of this study are contextually bound and therefore limited to this case.

This paper illustrates problems with the reporting of non-financial information and strengthens our understanding of the use of “silent accounting”. It illustrates the value of this approach to research examining accounting and accountability issues.

The findings contribute to the literature on social and environmental accounting by providing unique empirical analysis of non-financial disclosures within publicly available reporting.

With the increasing number of creative cities as well as the reported incidences of deterioration to physical heritage, this paper aims to protect silent identities of heritage from the ruining living identities of modern generations in current and futuristic creative cities.

The research aim is achieved through trait-related mixed methods, since the variances are not method-related, to answer three research questions. The first method was a survey questionnaire distributed to the creative architectural sector because it was the best sector to meet the identified criteria. It aimed to answer if the upperground layer in creative cities considers the underground layer's diversity as a main cause for heritage deterioration and for being a barrier to developing creative solutions. A hypothesis for the first question was tested through a t-test. The second method was to study cases of heritage in present and futuristic creative cities to answer if living identities threaten physical heritage of all ages at the same extent and if the same creativity concepts are applied to all heritage.

The underground layer's diversity identities were found as a major barrier to the creative architectural sector. The R-value indicated a negative relationship between heritage age and its condition. Cases witnessed different creative expressions, but cases within the same period faced similar concepts of expressed creativity. The proposed tree diagram is a framework that gives numerical guidelines for the interrelationship between every heritage age and creativity concept for novel and conscious creative practices at the upperground layer to solve the conflicts in creative cities.

The selection of Egypt does not possess a limitation because methodological considerations required for generalising the findings to a broader area were met. Findings in this paper are applicable to all upperground creative sectors that seek to understand the underground layer's diversity. Results are useful for protecting heritage silent identities in all existing and futuristic creative cities in countries that have heritage, of any age, facing deterioration.

The research work in this paper is novel in thought and resolves a perpetual conflict between silent identities and expressive living identities in current and futuristic creative cities through the proposed numerical framework for the upperground creative layer to develop novel conscious solutions. This framework represents a novel synthesis that adds to the existing body of knowledge, as it resolves a critical problem highlighted in previous research studies.

After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ – went on to pioneer the musical style which came to be known as death/doom. Mid-1990s have seen these bands’ stylistic shift into a more gothic rock-influenced sound. This Paradise Lost-led shift gave birth to the style gothic/doom. Around this deviation, these bands also started to employ a different sense, or rather a sense, of locality in their music: Paradise Lost started calling themselves a Yorkshire band, instead of specifically Bradford; Anathema shot a video for their 1995 song ‘The Silent Enigma’ in Saddleworth Moor (historically part of West Riding of Yorkshire) in Manchester; and later, My Dying Bride became more and more ingrained in the Goth culture of Whitby, including releasing an extended-play titled The Barghest o’ Whitby (2011), a Dracula-inspired trail guide, and frequently appearing in festivals in Whitby. This ethnographic research with both musicians and fans further suggests the involvement of the North in making and perception of gothic/doom. Applying Michel de Certau’s idea stating that ‘every story is a spacial practice’ within the context of northern England landscape, gothic/doom metal style emerges as an act of northernness. The author proposes to discuss how this act is performed within these bands’ oeuvre and how it is perceived from the listener perspective using interviews with people from around the world, and musicological analyses of significant songs from the repertoire of this trio.

While the idea of post‐materialism is more than 20 years old, consumer researchers have given it little attention. This paper engages in an interdisciplinary exploration of this important cultural phenomenon. The Protestant work ethic, with its emphasis on ever‐increasing levels of production, contributed to the rise of the consumption culture and the legitimation of the market society. It appears that the very premise which facilitates the market society – specialization and the production of consumption – also paves the way for a post‐materialist revolution. This paper advocates a macro, more humanistic, and socially relevant perspective of consumer research.