"I show what I can with words in light and motion in a chosen place, and when I envelop the time needed, the space around, the noise, smells, the people looking at one another and everything before them, I have given what I know." Jenny Holzer's light projections have taken place across four continents, fifteen countries, and more than thirty cities. From Mies van der Rohe's Neue Nationalgalerie and Daniel Libeskind's Jüdisches Museum in Berlin to I.M. Pei's Pyramide du Louvre in Paris, Holzer's light events have worked in significant architectural spaces. Her projections onto waves and mountains in Rio de Janeiro, the Seine and Arno rivers, the mountains and ski jump in Lillehammer, and the Dune du Pyla, engage the natural landscape as quiet and affecting settings for reflection, laughter, and exchange. Through a discerning selection of full page images printed in black and white, many the result of Holzer's longstanding, working relationship with the photographer Attilio Maranzo, this book tours projections over twelve years. While the artworks themselves are transient, each image suspends the tension of the passing moment and locates the beauty of experience within the frame.

"British photographer Edmund Clark and counterterrorism investigator Crofton Black have assembled photographs and documents that confront the nature of contemporary warfare and the invisible mechanisms of state control. From George W. Bush's 2001 declaration of the "war on terror" until 2008, an unknown number of people disappeared into a network of secret prisons organized by the U.S. Central Intelligence Agency -- transfers without legal process known as extraordinary renditions. No public records were kept as detainees were shuttled all over the globe. Some were eventually sent to Guantánamo Bay or released without charge, while others remain unaccounted for"--Publisher's description.

Rhetoric and Redaction in Trito-Isaiah attempts to integrate the insights of rhetorical criticism into a diachronic study of Isaiah 56-66. Whereas previous, redaction-critical approaches to these chapters have tended to be strongly fissive in their treatment of this material, insights from rhetorical and stylistic criticism are used here to emphasize the elements of unity and coherence in longer sections of text, and to provide additional criteria by which to delimit and structure sections of this poetry. On this basis, a number of new proposals will be presented concerning the structure and extent of the poems in Isaiah 56-59 and 65-66. The two concluding chapters, building upon the insights from the preceding section, develop a whole series of new suggestions concerning the old problems of the authorship and historical background of Isaiah 56-66.