The author of "The Gospel of" "Inclusion" continues to rouse organized religion as he raises controversial issues and provides enlightening answers to the deepest questions about God and faith.

What is God? Where is God? Who is the one true God? Questions such as these have driven a thousand human struggles, through war, terrorism, and oppression. Humanity has responded by branching off into multiple religions, including Christianity, Judaism, Islam--each one pitted against the other. But it doesn't have to be that way.
In "God Is Not a Christian, nor a Jew, Muslim, Hindu" . . ., the provocative and acclaimed Bishop Carlton Pearson follows up on his celebrated first book, "The Gospel of Inclusion," to tackle these questions and many more, exploring new ideas about God and faith and putting forth the stunning assertion that God belongs to no particular religion but is an ever-loving presence available to all. For these beliefs, Bishop Pearson lost his thriving Pentecostal ministry but was catapulted instead into a greater pulpit. His readership has grown through appearances on national television and an extensive speaking schedule. With the world in the midst of a holy war, there is no better time for the wisdom of Bishop Pearson to reach a global audience.
Bishop Pearson's many loyal fans, along with new readers, will surely welcome this provocative and eye-opening exploration of a deeper faith, one that goes far beyond any fundamentalist way of thinking, be it Christian, Jewish, Muslim, Hindu, etc. Simply put, Bishop Pearson dares to tell the truth so many others are too afraid to face.

A brilliant collection of personal, meditative and investigative essays on all that we lose in a virtual world; a joyous book about the nature, grace and importance of everyday, face-to-face human interactions.

From Eugene Delacroix's interpretation of the 1830 French revolution to Uli Edel's version of the Baader-Meinhof Gang, artistic representations of historical subjects are appealing and pervasive. Movies often adapt imagery from art history, including paintings of historical events. Films and art shape the past for us and continue to affect our interpretation of history. While historical films are often argued over for their adherence to "the facts," their real problem is realism: how can the past be convincingly depicted? Realism in the historical film genre is often nourished and given credibility by its use of painterly references. This book examines how art-historical images affect historical films by going beyond period detail and surface design to look at how profound ideas about history are communicated through pictures. Art and the Historical Film: Between Realism and the Sublime is based on case studies that explore the links between art and cinema, including American independent Western Meek's Cutoff (Kelly Reichardt, 2010), British heritage film Belle (Amma Asante, 2013), and Dutch national epic Admiral (Roel Reine, 2014). The chapters create immersive worlds that communicate distinct ideas about the past through cinematography, production design, and direction, as the films adapt, reference, and transpose paintings by artists such as Rubens, Albert Bierstadt, and Jacques-Louis David.

In his influential essay "Provisional Painting," Raphael Rubinstein applied the term "provisional" to contemporary painters whose work looked intentionally casual, dashed-off, tentative, unfinished or self-cancelling; who appeared to have deliberately turned away from "strong" painting for something that seemed to constantly risk failure or inconsequence. In this collection of essays, Rubinstein expands the scope of his original article by surveying the historical and philosophical underpinnings of provisionality in recent visual art, as well as examining the works of individual artists in detail. He also engages crucial texts by Samuel Beckett and philosopher Gianni Vattimo. Re-examining several decades of painting practices, Rubinstein argues that provisionality, in all its many forms, has been both a foundational element in the history of modern art and the encapsulation of an attitude that is profoundly contemporary.

From climate change forecasts and pandemic maps to Lego sets and Ancestry algorithms, models encompass our world and our lives. In her thought-provoking new book, Annabel Wharton begins with a definition drawn from the quantitative sciences and the philosophy of science but holds that history and critical cultural theory are essential to a fuller understanding of modeling. Considering changes in the medical body model and the architectural model, from the Middle Ages to the twenty-first century, Wharton demonstrates the ways in which all models are historical and political. Examining how cadavers have been described, exhibited, and visually rendered, she highlights the historical dimension of the modified body and its depictions. Analyzing the varied reworkings of the Holy Sepulchre in Jerusalem-including by monumental commanderies of the Knights Templar, Alberti's Rucellai Tomb in Florence, Franciscans' olive wood replicas, and video game renderings-she foregrounds the political force of architectural representations. And considering black boxes-instruments whose inputs we control and whose outputs we interpret, but whose inner workings are beyond our comprehension-she surveys the threats posed by such opaque computational models, warning of the dangers that models pose when humans lose control of the means by which they are generated and understood. Engaging and wide-ranging, Models and World Making conjures new ways of seeing and critically evaluating how we make and remake the world in which we live.