`Creative Solutions to a World in Crisis' is a manual for change, a wakeup call for us to take back control over our lives before they become irreversibly controlled. The book examines where we lost our way: historically, socially, environmentally, agriculturally, economically, technologically, and in law, education and spirit. It demonstrates how to now resolve the key dilemmas brought about via `wrong doing' in each of these spheres -and beyond. The book focuses on pragmatic human scale resolutions to conflicting socio-economic problems, proposing realisable `local' solutions as an antidote to rapidly developing global crises. Through the channelling of reawakened human energies into a process of root and branch societal reform, the author foresees a `new renaissance' of hope, creative endeavour that can reshape our perilous planetary existence and lead to a deeper and more subtle relationship between man and nature as well as between fellow human beings. Quite simply: it is an uncompromising call for us to rise to meet the challenge of our time.

Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible "synthesis of the arts," their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, "Sculpture in the Expanded Field," that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of "Sculpture in the Expanded Field." Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler

Between the covers of Overcoming the Robotic Mind - Why Humanity Must Come Through is a cornucopia of vital information which will combine to dispel the illusions of the unaware and put in place a lucid vision of another way forward for mankind. Drawing upon his highly diverse experiences as an actor, organic farming pioneer, political activist, broadcaster, social entrepreneur, holistic educator and international campaigner, Julian Rose presents a compelling view of the way to break through the destructive patterns of our consumption obsessed society, challenging his audience to recognize life's bigger picture and to think and act `outside the box'. Using an essay style to explore and expose a wide range of contemporary planetary concerns, he calls for a rise in consciousness, so that individuals can fully participate in building a better future together. The book's title Overcoming the Robotic Mind, concerns the author's expose of the anti-life position of the Transhumanist agenda. An agenda that promotes the notion that computer power will soon take over control of the human mind. Through the channelling of reawakened energies into a process of root and branch socio-economic reform and spiritual uplift, Julian Rose foresees a renaissance of `bottom-up' creative endeavour which can directly challenge the failed status quo; reshape our planetary existence and lead to a deeper and more subtle relationship being formed between man and nature, as well as between fellow human beings. Quite simply: you are invited to jump-in at the deep end and start swimming with energies that reinvigorate your very soul and shine a beacon of light on the road ahead.

This two-volume publication commemorates a trio of exhibitions by the celebrated American artist Richard Serra. Shown simultaneously in 2019 at Gagosian in New York, the three exhibitions presented five new sculptures and more than twenty drawings by the artist, offering a rare opportunity to view these two aspects of Serra s practice together. Here, new photographs of all works, including expansive installation views of the artist s large-scale sculptures, are accompanied by an extensive essay by art historian Julian Rose that provides insight into Serra s work in the context of architecture and its history. Works featured in the publication include a series of new diptych and triptych drawings; four new works from Serra s Rounds series of forged-steel sculptures, each composed of multiple 50-ton elements of differing diameters and heights; and Reverse Curve, a sculpture measuring 99 feet long and 13 feet high that was originally conceived in 2005 and finally realized for the first time as part of Serra s 2019 exhibitions. The publication s two hardcover volumes, amply illustrated with beautiful tritone and color reproductions, are gathered in a fabric slipcase.