Sacred Space offers an introduction to the five major religions of the world: Judaism, Christianity, Islam, Hinduism and Vedantaism, and Buddhism. Beginning with a description of the places of worship, the authors explore what takes place in this space, what it means and what happens in the lives of the people beyond the Sacred Space. This book offers a model for religious groups and communities to explore the sacred space of the other. It aims to promote dialogue, mutual understanding and cooperation in solving the major problems of the world. The authors explain in simple language the faith and the practice of the various religions. This book is unique in that the authors also servwe as guides in visiting the Sacred Spaces of the other faiths. The approach is clear; the language is simple; and the effect is clear. Those who will benefit from this text include individuals who want a brief overview of these five religions, searching lay persons, students in reigious studies and teachers.

An influential scholar in science studies argues that innovation tames the insatiable and limitless curiosity driving science, and that society's acute ambivalence about this is an inevitable legacy of modernity. Curiosity is the main driving force behind scientific activity. Scientific curiosity, insatiable in its explorations, does not know what it will find, or where it will lead. Science needs autonomy to cultivate this kind of untrammeled curiosity; innovation, however, responds to the needs and desires of society. Innovation, argues influential European science studies scholar Helga Nowotny, tames the passion of science, harnessing it to produce "deliverables." Science brings uncertainties; innovation successfully copes with them. Society calls for both the passion for knowledge and its taming. This ambivalence, Nowotny contends, is an inevitable result of modernity. In Insatiable Curiosity, Nowotny explores the strands of the often unexpected intertwining of science and technology and society. Uncertainty arises, she writes, from an oversupply of knowledge. The quest for innovation is society's response to the uncertainties that come with scientific and technological achievement. Our dilemma is how to balance the immense but unpredictable potential of science and technology with our acknowledgement that not everything that can be done should be done. We can escape the old polarities of utopias and dystopias, writes Nowotny, by accepting our ambivalence-as a legacy of modernism and a positive cultural resource.

""Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all,"
So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful volume, "The End of the History of Art?," "Known for his striking and original theories about the nature of art," according to the "Economist," Belting here examines how art is made, viewed, and interpreted today. Arguing that contemporary art has burst out of the frame that art history had built for it, Belting calls for an entirely new approach to thinking and writing about art. He moves effortlessly between contemporary issues--the rise of global and minority art and its consequences for Western art history, installation and video art, and the troubled institution of the art museum--and questions central to art history's definition of itself, such as the distinction between high and low culture, art criticism versus art history, and the invention of modernism in art history. Forty-eight black and white images illustrate the text, perfectly reflecting the state of contemporary art.
With "Art History after Modernism," Belting retains his place as one of the most original thinkers working in the visual arts today.

""Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all."
So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful volume, "The End of the History of Art?." "Known for his striking and original theories about the nature of art," according to the "Economist," Belting here examines how art is made, viewed, and interpreted today. Arguing that contemporary art has burst out of the frame that art history had built for it, Belting calls for an entirely new approach to thinking and writing about art. He moves effortlessly between contemporary issues--the rise of global and minority art and its consequences for Western art history, installation and video art, and the troubled institution of the art museum--and questions central to art history's definition of itself, such as the distinction between high and low culture, art criticism versus art history, and the invention of modernism in art history. Forty-eight black and white images illustrate the text, perfectly reflecting the state of contemporary art.
With "Art History after Modernism," Belting retains his place as one of the most original thinkers working in the visual arts today.