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To determine the mortality of drug users after release from prison in Denmark, a cohort of drug users was identified from two national registers during 1996‐2001: the drug treatment register (T) and the register of viral hepatitis (H). Incarcerations were extracted from the national penal register, vital status from the civil register, and causes of death from the death certificate register and the police register of drug‐related deaths. We identified 15,885 drug users (T: 15,735, H: 896), 62% of the estimated drug‐using population in Denmark. There were 1000 observed deaths, of which 51% were classified as overdose deaths. Mortality in the treatment cohort was 2.4/100 person years (py) (95% C.I. 2.2‐2.5/100 py) compared to the general population expectation of 0.2/100 py. Within the first 2 weeks after release from prison, 26 deaths were observed among 6019 released drug users corresponding to 13/100 py (95% CI 8‐19/100 py). Overdose deaths accounted for 24/26 deaths (92%) in the first two weeks compared to 121/179 (68%) hereafter (p <0.001). We conclude that drug users released from prison are at high risk of overdose death. We suggest that methadone treatment should be evaluated as a way to decrease mortality after release from prison.

Sudden infant death syndrome (SIDS) causes approximately seven thousand infant deaths in the United States every year. SIDS is the sudden and unexpected death of an apparently healthy infant; it is the most common cause of death in infants after their first week of life. Also known as “crib death” or “cot death,” it typically occurs at night when an infant is sleeping.

The artistic object is born from an initial moment or state that triggers a creative or creation process. This beginning is described by many as a fleeting moment during which a creative idea suddenly arises. I consider here that a creative vision is something that occurs in a very similar way, being able to capture a unified all like the finished artistic object, even if it amounts to a micro instant. This phenomenon uncovers a new form of capturing time and, therefore, a way to face temporality; the past, present and future are united and blend to originate new meanings.

The ‘vision of death’ is a concept that I explored in a musical composition, more specifically in the work Death Vision (On a January Day), in which performance becomes its possibility for representation and materialisation. The composition of the work arises from a personal vision of death, yet, to the performer, it is a construction of his or her own vision through musical interpretation. Be it in ‘vision’ as in ‘death’, some musical aspects connected with time stand out and communicate between themselves in a subtle manner. I will identify these moments through some examples of performances and representations in a cinematographic context, such as Wings of Desire by Wim Wenders (1987), Scena by Tomás Maia and André Maranha (2008) and Vai-e-vem by João César Monteiro (2003), where the visual plan is preponderant.

I will conclude that vision brings with it the possibility to intersect the real and give time back to what it has been missing: its unity. On the other hand, the vision of death in the musical performance finds its moment of fruition in linear time – in the possibility of openness and positivity that time itself gives.

This chapter offers a brief overview of the ways in which death has been addressed in children’s picture books in a playful or light-hearted manner. The books here are a small purposive sample showing the ‘ordinary’ way, in which death can be dealt with in picture books rather than looking at books with a specific therapeutic intent. The concepts of ‘playfulness’ and also ‘carnival’ are explored before four books are analysed.

Much scholarship has looked at how radical politics and its symbolism are framed and distorted by the mass media, while less attention has been devoted to how the symbolic imagery of violence and death is used in activists’ self-representations. This chapter provides one such alternative angle by probing how “visual protest materials” are creatively used in activists’ own videos to pass on stories of communion and contestation.It interrogates how activist video practices mirror the continuum between physical places and mediated spaces in political activism by analyzing a thread of videos circulating on YouTube that commemorate people who have died in connection with three protest events across Europe, putting on display the “spectacles of death” punctuating each of these events. The analysis draws on social semiotics, in particular the work of Barthes (1981) and Zelizer (2010), to examine how death is used as a visual trope to signify the ultimate prize of taking to the streets. This chapter suggests how agency and meaning travel back and forth between offline and online spaces of activism. Engaging with some implications of this interplay, the chapter argues that, in the quest to document truth and induce realism and immediacy, tensions between fact and fiction emerge in the creative appropriation and remixing of images. Finally, it demonstrates how the cityscape is recruited to document and dramatize the spectacle of death as part of a larger struggle for semiotic resources within the protest space and over media representations of social movements more generally.