Processes governing the evolution of planetesimals are critical to understanding how rocky planets are formed, how water is delivered to them, the origin of planetary atmospheres, how cores and magnetic dynamos develop, and ultimately, which planets have the potential to be habitable. Theoretical advances and new data from asteroid and meteorite observations, coupled with spacecraft missions such as Rosetta and Dawn, have led to major advances in this field over the last decade. This transdisciplinary volume presents an authoritative overview of the latest in our understanding of the processes of planet formation. Combining meteorite, asteroid and icy body observations with theory and modelling of accretion and orbital dynamics, this text also provides insights into the exoplanetary system and the search for habitable worlds. This is an essential reference for those interested in planetary formation, solar system dynamics, exoplanets and planetary habitability.

A Transdisciplinary Collection Of Essays Discussing The Identity, Nature, And Future Of Visual Studies As A Laboratory For Thinking About Relations Between Fields Including Art History, Cultural Studies, Sociology, Visual Anthropology, Film Studies, Media Studies, Postcolonial Studies, Philosophy Of History, The Science Of Vision, And Science Studies--provided By Publisher. Each Of The Five Volumes In The Stone Art Theory Institutes Series, And The Seminars On Which They Are Based, Brings Together A Range Of Scholars Who Are Not Always Directly Familiar With One Another's Work. The Outcome Of Each Of These Convergences Is An Extensive And Unpredictable Conversation On Knotty And Provocative Issues About Art. This Fifth And Final Volume In The Series Focuses On The Identity, Nature, And Future Of Visual Studies, Discussing Critical Questions About Its History, Objects, And Methods. In The Seminars And Assessments, The Contributors Question The Canon Of Literature Of Visual Studies And The Place Of Visual Studies With Relation To Theories Of Vision, Visuality, Epistemology, Politics, And Art History, Giving Voice To A Variety Of Inter- And Transdisciplinary Perspectives. Rather Than Dismissing Visual Studies, As Its Provocative Title Might Suggest, This Volume Aims To Engage A Critical Discussion Of The State Of Visual Studies Today, How It Might Move Forward, And What It Might Leave Behind To Evolve In Productive Ways. -- Publisher's Description First Introduction : Starting Points / James Elkins -- Second Introduction : Affect, Agency, And Aporia: An Indiscipline With Endemic Ambivalences And A Lack Of Pictures / Gustav Frank -- Third Introduction : Visual Studies, Or, This Is Not A Diagram -- Histories : Visuelle Kultur -- Histories : Anglo-american Visual Studies, 1989-1999 -- Histories : 2000-2010 -- Histories : The Present Decade -- Histories : Bildwissenschaft -- Image, Meaning, And Power -- A General Theory Of Visual Culture -- The Political -- Science Studies -- The Place Of The Image -- Envoi -- Assessments. Edited By James Elkins, Sunil Manghani, And Gustav Frank. The Contributors Are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje Van Der Meulen, Terri Weissman, Lisa Zaher, And Marta Zarzycka. Includes Bibliographical References And Index.

Cover 1 Photography Theory 2 Title Page 4 Copyright Page 5 Table of Contents 6 Series Preface 8 Section 1 Introduction 12 Theories of Photography: A Short History 14 Section 2 Starting Points 62 Conceptual Limitations of Our Reflection on Photography: The Question of “Interdisciplinarity” 64 After Medium Specificity Chez Fried: Jeff Wall as a Painter; Gerhard Richter as a Photographer 86 Following Pieces: On Performative Photography 102 Time Exposure and Snapshot: The Photograph as Paradox 120 Introductory Note 136 Section 3 The Art Seminar 140 Jan Baetens 154 Diarmuid Costello 153 James Elkins 141 Jonathan Friday 145 Margaret Iverson 143 Sabine Kriebel 146 Margaret Olin 143 Graham Smith 144 Joel Snyder 142 Section 4 Assessments 216 Michael Leja 217 Nancy Shawcross 219 Anne Collins Goodyear 222 Peggy Ann Kusnerz 227 Alan Cohen 229 Martin Lefebvre 231 David Green 255 Sharon Sliwinski 259 David Bate 264 Abigail Solomon-Godeau 267 Michel Frizot 280 Geoffrey Batchen 295 Johan Swinnen 297 Hilde Van Gelder 310 David Campany 315 Joanna Lowry 324 Carol Squiers 329 Patrick Maynard 330 Vivan Sundaram 344 Rosalind Krauss 350 Liz Wells 353 Beth E. Wilson 357 Martin Lister 361 Shepherd Steiner 369 Alan Trachtenberg 372 Victor Burgin 374 Joel Snyder 380 Section 5 Afterwords 412 The Trouble with Photography 414 Photographs and Fossils 442 Notes on Contributors 462 Index 474

Art criticism was once passionate, polemical, and judgmental; now critics are more often interested in ambiguity, neutrality, and nuanced description. And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

The “biennale culture” now determines much of the art world. Literature on the worldwide dissemination of art assumes nationalism and ethnic identity, but rarely analyzes it. At the same time there is extensive theorizing about globalization in political theory, cultural studies, postcolonial theory, political economy, sociology, and anthropology. Art and Globalization brings political and cultural theorists together with writers and historians concerned specifically with the visual arts in order to test the limits of the conceptualization of the global in art. Among the major writers on contemporary international art represented in this book are Rasheed Araeen, Joaquín Barriendos, Susan Buck-Morss, John Clark, Iftikhar Dadi, T. J. Demos, Néstor García Canclini, Charles Green, Suman Gupta, Harry Harootunian, Michael Ann Holly, Shigemi Inaga, Fredric Jameson, Caroline Jones, Thomas DaCosta Kaufmann, Anthony D. King, Partha Mitter, Keith Moxey, Saskia Sassen, Ming Tiampo, and C. J. W.-L. Wee. Art and Globalization is the first book in the Stone Art Theory Institutes Series. The five volumes, each on a different theoretical issue in contemporary art, build on conversations held in intensive, weeklong closed meetings. Each volume begins with edited and annotated transcripts of those meetings, followed by assessments written by a wide community of artists, scholars, historians, theorists, and critics. The result is a series of well-informed, contentious, open-ended dialogues about the most difficult theoretical and philosophical problems we face in rethinking the arts today. ** Review “In our era of biennales and international galleries, contemporary art compels both a new, wider analysis as well as a rethinking of basic forms and definitions. Presented in the form of dialogues, even debates, in transcript, followed by individual responses, Art and Globalization ’s distillation of collective seminar discussions intends to open, rather than to close, its topics: considerations of both the recent history of visual culture toward some guiding theory of globalization and its consequences for art production and consumption across space rather than time. Readers should be alerted that this seminar will surely engage them as participants and partisans, sharpening their own personal responses to the contemporary art world, but without offering consistency, closure, or conclusions.” —Larry Silver, Farquhar Professor of Art History, University of Pennsylvania “This multivoiced volume successfully evokes the vastness of artistic production on a global scale. The conversations, assessments, and programmatic introductions and afterword make it crystal clear that if art is to be understood in global terms, the tasks of conceptual clarification, concept development, and methodological innovation must be taken up with intelligence, honesty, and energy, and in a way that takes thinking about art well beyond the usual parochialisms.” —Mette Hjort, Chair Professor and Head, Visual Studies, Lingnan University, Hong Kong “ Art and Globalization makes an important contribution to the diverse critical practices and aesthetic performances that define the global era. The editors have orchestrated a range of perspectives passionately expressed by a roster of talented voices from across the world.” —Homi K. Bhabha, Harvard University About the Author James Elkins is Associate Professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Zhivka Valiavicharska is a PhD candidate in the Rhetoric Department at the University of California, Berkeley. Alice Kim is a PhD candidate in the Rhetoric Department at the University of California, Berkeley. Political Science General Art Globalization

The Arts

Visual Cultures 2 Contents 6 Introduction 8 Slovenia: Visuality and Literarity In Slovene Culture 14 Japan: Lost In Translation, or Nothing To See but Everything 34 Ireland: Words Upon the Windowpane: Image, Text, and Irish Culture 50 Poland: A Visually-Oriented Literary Culture? 64 China: Verbal Above Visual: A Chinese Perspective 78 Russia: To Read, To Look: Teaching Visual Studies In Moscow 90 Critical Response 104 Contributors 118

<p><P>In this bracing engagement with the many versions of art history, James Elkins argues that the story of modernism and postmodernism is almost always told in terms of four narratives. Works of art are either seen as modern or postmodern, or praised for their technical skill or because of the politics they appear to embody. These are master narratives of contemporary criticism, and each leads to a different understanding of what art is and does. <p>Both a cogent overview of the state of thinking about art and a challenge to think outside the art historical box, <EM>Master Narratives and their Discontents</EM> is the first volume in a series of short books on the theories of modernism by leading art historians on twentieth-century art and art criticism.<p></p>

Birinci ve ikinci kitabı her kesimden, ciddi ve ileri bilgi arayışında, yüksek bir anlayışın peşinde olan okurlar tarafından yoğun bir ilgiyle karşılanan RA BİLGİLERİ'nin üçüncü kitabını sunuyoruz. Bu kitapta, gezegenimiz Dördüncü Yoğunluk Derecesi'ne hasat edilmeye hazırlanırken etkili bir kutuplaşmanın nasıl yapılabileceğinin ve bunun için de enerji merkezlerinin nasıl dengeleneceğinin teknikleri derinlemesine incelenmektedir. Çeşitli enerji aktarımları ve tıkanıklıkları, negatif ve pozitif kutuplaşmalar, şifacılık, tekrardoğuş, meditasyon ve Gezginler hakkında yeni bilgiler verilmekte ve piramit şeklinin şifa, inisiyasyon ve enerji sağlamak için nasıl kullanılacağı açıklanmaktadır. Madde aleminin ve madde ötesi alemin özellikleri, psişik kehanetin yapısı, psişik saldırı adı verilen olayların yapısı ve çeşitleri üzerinde durulmakta; büyü ayinleri, özellikle de beyaz büyünün prensipleri hakkında geniş bilgi verilmektedir. Ayrıca Logos'un aklının, yani tekâmül sürecimizin bir çeşit plânı olan ve aynı zamanda her birimizin bireysel aklının temel kavramlarını meydana getiren modelin, Aklın Temel Modeli'nin incelenmesine de bu kitapta başlanmaktadır. RA BİLGİLERİ'ni okudukça, insan, evren, dünyamızın ve insanlığın geçmişi ve geleceği ve Tanrısal gerçeklerle ilgili ne kadar az şey bildiğimizi ibretle görüyoruz. Bu kitap, yaklaşık yirmi yıl süren deneysel bir telepati çalışması vasıtasıyla, bizden milyonlarca yıl ileride bir uzaylı ırkla kurulan temaslar sırasında alınan olağanüstü ve çarpıcı bilgileri sözcüğü sözcüğüne sunmaktadır.

Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, Beyond the Aesthetic and the Anti-Aesthetic , focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or nonaesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory. The contributors are Stéphanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beáta Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach. ** About the Author James Elkins is E. C. Chadbourne Professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. He coedited the first two volumes in the series, Art and Globalization (Penn State, 2010) and What Is an Image? (Penn State, 2011), and edited the third, What Do Artists Know? (Penn State, 2012). Harper Montgomery is the Patricia Phelps de Cisneros Professor of Modern and Contemporary Latin American Art and Distinguished Lecturer at Hunter College. History Art General Philosophy Aesthetics

Birinci kitabı her kesimden gerçek, ciddi ve ileri bilgi arayışında, yüksek bir anlayışın peşinde olan okurlar tarafından yoğun bir ilgiyle karşılanan RA BİLGİLERİ'nin ikinci kitabını sunuyoruz.Bu ikinci kitapta, bu yaratılış oktavının her boyutu (yoğunluk derecesi) ayrıntılı olarak araştırılmakta, ruhsal tekâmülümüzü yöneten metafizik prensipler açıklanmakta, özellikle de bizim üçüncü yoğunluk derecemizden tekâmül ederek nasıl dördüncü yoğunluk derecesine geçileceği üzerinde durulmaktadır. Yaratılışın yoğunluk dereceleriyle bedenin enerji merkezleri arasındaki ilişki de ortaya konmakta, böylece her deneyimin bu enerji merkezlerinin dengelenmesi ve arındırılması için bir katalizör olarak kullanılması olanağı sunulmaktadır. Ayrıca, bizden çok daha yüksek yoğunluk derecelerinden gelip dünyada enkarne olan Gezginler, cinsel ilişki sırasında meydana gelen enerji aktarımları ve tıkanıklıkları, şifacılık, Dewey B. Larson'un fiziği, bilincin kutuplaşması ve Yüksek Benliğin doğası ve işlevi, Bir'in Yasası ile olan bağlantılar açısından incelenmektedir. RA BİLGİLERİ'ni okudukça, insan, evren, dünyamızın ve insanlığın gerçeklerle ilgili ne kadar az şey bildiğimizi ibretle görüyoruz. Bu kitap, yaklaşık yirmiyıl süren deneysel bir telepati çalışması vasıtasıyla, bizden milyonlarca yıl ilerideki bir uzaylı ırkla kurulan temaslar sırasında alınan olağanüstü ve çarpıcı bilgileri sözcüğü sözcüğüne sunmaktadır.

The “biennale culture” now determines much of the art world. Literature on the worldwide dissemination of art assumes nationalism and ethnic identity, but rarely analyzes it. At the same time there is extensive theorizing about globalization in political theory, cultural studies, postcolonial theory, political economy, sociology, and anthropology. Art and Globalization brings political and cultural theorists together with writers and historians concerned specifically with the visual arts in order to test the limits of the conceptualization of the global in art. Among the major writers on contemporary international art represented in this book are Rasheed Araeen, Joaquín Barriendos, Susan Buck-Morss, John Clark, Iftikhar Dadi, T. J. Demos, Néstor García Canclini, Charles Green, Suman Gupta, Harry Harootunian, Michael Ann Holly, Shigemi Inaga, Fredric Jameson, Caroline Jones, Thomas DaCosta Kaufmann, Anthony D. King, Partha Mitter, Keith Moxey, Saskia Sassen, Ming Tiampo, and C. J. W.-L. Wee. Art and Globalization is the first book in the Stone Art Theory Institutes Series. The five volumes, each on a different theoretical issue in contemporary art, build on conversations held in intensive, weeklong closed meetings. Each volume begins with edited and annotated transcripts of those meetings, followed by assessments written by a wide community of artists, scholars, historians, theorists, and critics. The result is a series of well-informed, contentious, open-ended dialogues about the most difficult theoretical and philosophical problems we face in rethinking the arts today. ** Review “In our era of biennales and international galleries, contemporary art compels both a new, wider analysis as well as a rethinking of basic forms and definitions. Presented in the form of dialogues, even debates, in transcript, followed by individual responses, Art and Globalization ’s distillation of collective seminar discussions intends to open, rather than to close, its topics: considerations of both the recent history of visual culture toward some guiding theory of globalization and its consequences for art production and consumption across space rather than time. Readers should be alerted that this seminar will surely engage them as participants and partisans, sharpening their own personal responses to the contemporary art world, but without offering consistency, closure, or conclusions.” —Larry Silver, Farquhar Professor of Art History, University of Pennsylvania “This multivoiced volume successfully evokes the vastness of artistic production on a global scale. The conversations, assessments, and programmatic introductions and afterword make it crystal clear that if art is to be understood in global terms, the tasks of conceptual clarification, concept development, and methodological innovation must be taken up with intelligence, honesty, and energy, and in a way that takes thinking about art well beyond the usual parochialisms.” —Mette Hjort, Chair Professor and Head, Visual Studies, Lingnan University, Hong Kong “ Art and Globalization makes an important contribution to the diverse critical practices and aesthetic performances that define the global era. The editors have orchestrated a range of perspectives passionately expressed by a roster of talented voices from across the world.” —Homi K. Bhabha, Harvard University About the Author James Elkins is Associate Professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Zhivka Valiavicharska is a PhD candidate in the Rhetoric Department at the University of California, Berkeley. Alice Kim is a PhD candidate in the Rhetoric Department at the University of California, Berkeley. Political Science General Art Globalization Front Cover 1 Stone Art Theory Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 Series Preface 8 First Introduction 12 Second Introduction 16 The Seminars 20 1. The National Situation 24 2. Translation 34 3. The Prehistory of Globalization 48 4. Hybridity 62 5. Temporality 74 6. Postcolonial Narratives 84 7. Neoliberalism 96 8. Four Failures of the Seminars 108 9. Universality 120 Assessments 138 Globalism/Globalization by Caroline A. Jones 140 Letter on Globalization by Karl Eric Leitzel 149 Letter on Globalization by Rasheed Araeen 151 Hybridization and the Geopolitics of Art by Nestor Garcia Canclini 153 The Oxymoron of Global Art by Blake Gopnik 157 Circulate, But Without Differences! by Marina Grzinic 159 Academic Difficulties with "Convergence": Globalization and Contemporary Art by Jonathan Harris 163 Art, Globalization, and Imperialism by Anthony D. King 169 Narratives of Belonging: On the Relation of the Art Institution and the Changing Nation-State by Nina Montmann 172 Originality, Universality, and Other Modernist Myths by Ming Tiampo 177 Contemporary Art, "Contemporaneity," and World Art History by Reiko Tomii 182 Speaking of Modern and Contemporary Asian Art by C. J. W. -L. Wee 187 A Distant View by John Clark 192 Globalization and Transnational Modernism by Iftikhar Dadi 194 So What Might Be Solved Here? by Tani Barlow 206 Perspectives on Scale: From the Atomic to the Universal by Esther Gabara 211 A Remark on Globalization in (East) Central Europe by Jan Bakos 216 Globalization and (Contemporary) Art by T.J. Demos 220 Thinking Through Shards of China by Chris Berry 225 In and Out of the Local by Hyungmin Pai 229 What's Wrong with Global Art? by Partha Mitter 233 Global Art History and Transcultural Studies by Carolyn Loeb 237 Looking for Something by Suman Gupta 240 Nomadic Territories and Times by Saskia Sassen 248 Dead Parrot Society by Charles Green 252 Geoaesthetic Hierarchies: Geography, Geopolitics, Global Art, and Coloniality by Joaquin Barriendos 256 Afterword 262 Notes on the Contributors 296 Index 302 Back Cover 306

No estamos solos. Nunca lo ha sido. Nunca será

No estamos solos. Nunca lo ha sido. Nunca será

Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, Beyond the Aesthetic and the Anti-Aesthetic , focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or nonaesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory. The contributors are Stéphanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beáta Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach. ** About the Author James Elkins is E. C. Chadbourne Professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. He coedited the first two volumes in the series, Art and Globalization (Penn State, 2010) and What Is an Image? (Penn State, 2011), and edited the third, What Do Artists Know? (Penn State, 2012). Harper Montgomery is the Patricia Phelps de Cisneros Professor of Modern and Contemporary Latin American Art and Distinguished Lecturer at Hunter College. History Art General Philosophy Aesthetics COVER Front 1 Series Page 3 Copyright Page 5 Table of Contents 8 Series Preface 10 Introduction (James Elkins) 14 THE SEMINARS 30 1. Introductory Seminar 36 2. The Anti-Aesthetic in the 1980s: Craig Owens’s “The Allegorical Impulse” 50 3. The Anti-Aesthetic in the 1990s: The Body 60 4. Theory and Criticism 70 5. Theoretical Positions: Critical Theory 80 6. Theoretical Positions: Rancière, Deleuze, Relational Aesthetics 90 7. Theoretical Positions: Affect Theory in Art History 104 8. Theoretical Positions: Affect Theory at Large 112 9. Things Missing from this Book 122 ASSESSMENTS 128 Preface (Harper Montgomery) 130 The October Revolution (Grant Kester) 135 “This” (Alexander Dumbadze) 138 The Chinese Reception (Geng Youzhuang) 142 A Gaping Hole (Cary Levine) 145 Not Aesthetics or Anti-Aesthetics But Poetics (Boris Groys) 148 Ellipses and Détente (Gregory Sholette) 152 What If We Really Have Bever Been Modern? (Eva Schürmann) 156 Beyond Aesthetic and Anti-Aesthetic: Three Miniatures (Maria Filomena Molder) 158 Get Over It! (Gary Peters) 160 Beyond “Beyondness” (Andrew McNamara) 164 Re: Re: Post (Gordon Hughes) 168 The Elusive “Beyond” of Aesthetic and Anti-Aesthetic (Toni Ross) 172 On Politics, Art, and Mobbing Rancière (Justin McKeown) 177 As If (Timotheus Vermeulen) 181 How Do You Pronounce the Politics of Aesthetics? (Noah Simblist) 184 Remarkable Oversights, or Could We Actually Make Politics Easier to Talk About? (Rebecca Zorach) 188 Adorno and Affect (Carrie Noland) 192 Let’s Not and Say We Did (Robert Storr) 198 Why Is Adorno So Repulsive? (William Mazzarella) 203 Theory Cataracts (Luis Camnitzer) 208 Moving Beyond: Aesthetics and Politics (Jon Simons) 211 The Aesthetic, the Anti-Aesthetic, and Then What?: Why Answering this Question Involves Thinking About Art as Labor (Angela Dimitrakaki) 214 Afterword: The Bathwater and the Baby (Gretchen Bakke) 218 Notes on the Contributors 234 Index 244 COVER Back 247

Front Cover 1 Art History Versus Aesthetics������������������������������������������������������������������������ 4 Copyright Page������������������������������������������ 5 Table of Contents������������������������������������������������ 6 Series Preface: James Elkins���������������������������������������������������������������������� 8 Section 1: Introduction������������������������������������������������������������ 12 The Border of the Aesthetic: Robert Gero���������������������������������������������������������������������������������������������� 13 Section 2: Starting Points������������������������������������������������������������������ 29 Exorcising the Dreariness of Aesthetics: Joseph Margolis������������������������������������������������������������������������������������������������������������������������������ 30 Why Don’t Art Historians Attend Aesthetics Conferences?: James Elkins�������������������������������������������������������������������������������������������������������������������������������������������������������� 48 Section 3: The Art Seminar������������������������������������������������������������������ 59 Participants: Diarmuid Costello, Arthur Danto, Nicholas Davey, Anna Dezeuze, Martin Donougho, Thierry de Duve, James Elkins, Francis Halsall, John Hyman, David Raskin, Dominic Willsdon, Richard Woodfield������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������ 59 Section 4: Assessments���������������������������������������������������������� 98 Diarmuid Costello������������������������������������������������ 99 Anna Dezeuze�������������������������������������� 105 Dominic Willsdon���������������������������������������������� 108 David Raskin�������������������������������������� 109 John Hyman���������������������������������� 110 Francis Halsall�������������������������������������������� 113 Richard Woodfield������������������������������������������������ 117 Ladislav Kesner�������������������������������������������� 121 Joseph Margolis�������������������������������������������� 125 Crispin Sartwell���������������������������������������������� 127 Paul Crowther���������������������������������������� 130 Mary Rawlinson������������������������������������������ 135 Ján Bakoš�������������������������������� 151 Alexander Nehamas������������������������������������������������ 152 Ciarán Benson���������������������������������������� 162 Wendy Steiner���������������������������������������� 165 Mathew Rampley������������������������������������������ 168 Keith Moxey������������������������������������ 173 Christine Wertheim�������������������������������������������������� 179 Eva Schürmann���������������������������������������� 188 Harry Cooper�������������������������������������� 192 Adrian Rifkin���������������������������������������� 193 David J. Getsy������������������������������������������ 201 Michael Kelly���������������������������������������� 203 Margaret Iversen���������������������������������������������� 209 Michael J. Golec���������������������������������������������� 211 Michael Newman������������������������������������������ 214 Gregg M. Horowitz������������������������������������������������ 218 Stephen Melville���������������������������������������������� 227 Section 5: Afterwords�������������������������������������������������������� 246 Modernism as Aesthetics and Art History: J. M. Bernstein������������������������������������������������������������������������������������������������������������������������������ 247 Island Mysteries: Marc Redfield���������������������������������������������������������������������������� 275 Notes on Contributors�������������������������������������������������������� 297 Index������������������������ 306 Front Cover 1 Art History Versus Aesthetics锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 4 Copyright Page锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 5 Table of Contents锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 6 Series Preface: James Elkins锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 8 Section 1: Introduction锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 12 The Border of the Aesthetic: Robert Gero锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 13 Section 2: Starting Points锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 29 Exorcising the Dreariness of Aesthetics: Joseph Margolis锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 30 Why Don鈥檛 Art Historians Attend Aesthetics Conferences?: James Elkins锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 48 Section 3: The Art Seminar锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 59 Participants: Diarmuid Costello, Arthur Danto, Nicholas Davey, Anna Dezeuze, Martin Donougho, Thierry de Duve, James Elkins, Francis Halsall, John Hyman, David Raskin, Dominic Willsdon, Richard Woodfield锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 59 Section 4: Assessments锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 98 Diarmuid Costello锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 99 Anna Dezeuze锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 105 Dominic Willsdon锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 108 David Raskin锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 109 John Hyman锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 110 Francis Halsall锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 113 Richard Woodfield锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 117 Ladislav Kesner锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 121 Joseph Margolis锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 125 Crispin Sartwell锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 127 Paul Crowther锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 130 Mary Rawlinson锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 135 J谩n Bako拧锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 151 Alexander Nehamas锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 152 Ciar谩n Benson锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 162 Wendy Steiner锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 165 Mathew Rampley锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 168 Keith Moxey锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 173 Christine Wertheim锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 179 Eva Sch眉rmann锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 188 Harry Cooper锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 192 Adrian Rifkin锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 193 David J. Getsy锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 201 Michael Kelly锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 203 Margaret Iversen锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 209 Michael J. Golec锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 211 Michael Newman锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 214 Gregg M. Horowitz锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 218 Stephen Melville锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 227 Section 5: Afterwords锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 246 Modernism as Aesthetics and Art History: J. M. Bernstein锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 247 Island Mysteries: Marc Redfield锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 275 Notes on Contributors锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 297 Index锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷 306 (as-gbk-encoding)

Past state injustice has enduring consequences and the harm needs to be addressed as a matter of justice and equity. Time for Reparations offers detailed case studies of state injustices--from slavery to forced sterilization to widespread atrocities--and interdisciplinary perspectives on the potential impact of reparative strategies.

No estamos solos. Nunca lo ha sido. Nunca será

No estamos solos. Nunca lo ha sido. Nunca será. El Gran Despertar. El material de La Ley del Uno es una serie de 106 conversaciones, llamadas sesiones, entre Don Elkins, profesor de física e investigador de ovnis, y Ra, hablando a través de Carla Rueckert. Ra afirma que es un complejo de memoria social de sexta densidad que se formó en Venus hace unos 2.600 millones de años. Ra dice que son “humildes mensajeros de la Ley del Uno” y que previamente intentaron difundir este mensaje en Egipto con resultados mixtos.

RA adlı uzaylı ırk dünyaya ilk kez ne zaman ve niçin geldi? Piramitleri düşünce gücüyle nasıl ve neden inşa ettiler? Geçmişteki ve günümüzdeki uygarlıkların gelişiminde nasıl bir rol oynadılar? Evrenimizi acaba başka hangi varlıklarla paylaşıyoruz? UFOlar dünyamıza neden geliyorlar? Dünyamız kozmik planın hangi noktasında bulunuyor ve nasıl bir geleceğe hazırlanıyor? Evrenimizde kaç boyut var? Dünya ve üzerindeki insanlar şu anda hangi boyuttalar ve önümüzdeki yirmi yıl içinde hangi boyuta geçmeye hazırlanıyorlar? Dünya insanını nasıl bir "hasat" bekliyor? Ruhsal tekamülümüzü belirleyen prensipler nelerdir? Bir'in Yasası ve onun sapmaları nelerdir? Herşeyi başarmamızı mümkün kılan Sonsuz Zeka ile nasıl bağlantı kurabiliriz? Şifa nasıl verilir? Madde alemi sadece bir illüzyondan mı ibarettir? İnsan pozitif ve negatif tekamül yolunu nasıl seçer? Pozitif ve negatif uzaylı varlıklar bu seçimimizi nasıl etkilerler? Onlar dünya insanı ile niçin ilgileniyorlar? Birbirleriyle nasıl savaşıyorlar? Dünyamıza neden karantina uygulanıyor? Bizden çok daha yüksek boyutlardan "Gezginler" neden bu son devrede kitle halinde dünyada enkarne oldular? RA neden geri dönüyor?RA BİLGİLERİ'ni okudukça insan, evren, dünyamızın ve insanlığın geçmişi, geleceği ve Tanrısal gerçeklerle ilgili ne kadar az şey bildiğimizi ibretle görüyoruz. Bu kitap, yaklaşık yirmi yıl süren deneysel bir telepati çalışması vasıtasıyla, bizden milyonlarca yıl ilerdeki bir uzaylı ırkla kurulan temaslar sırasında alınan olağanüstü ve çarpıcı bilgileri sözcüğü sözcüğüne sunuyor.