Refiguring Life begins with the history of genetics and embryology, showing how discipline-based metaphors have directed scientists' search for evidence. Keller continues with an exploration of the border traffic between biology and physics, focusing on the question of life and the law of increasing entropy. In a final section she traces the impact of new metaphors, born of the computer revolution, on the course of biological research. Keller shows how these metaphors began as objects of contestation between competing visions of the life sciences, how they came to be recast and appropriated by already established research agendas, and how in the process they ultimately came to subvert those same agendas. Refiguring Life explains how the metaphors and machinery of research are not merely the products of scientific discovery but actually work together to map out the territory along which new metaphors and machines can be constructed. Through their dynamic interaction, Keller points out, they define the realm of the possible in science. Drawing on a remarkable spectrum of theoretical work ranging from Schroedinger to French psychoanalyst Jacques Lacan, Refiguring Life fuses issues already prominent in the humanities and social sciences with those in the physical and natural sciences, transgressing disciplinary boundaries to offer a broad view of the natural sciences as a whole. Moving gracefully from genetics to embryology, from physics to biology, from cyberscience to molecular biology, Evelyn Fox Keller demonstrates that scientific inquiry cannot pretend to stand apart from the issues and concerns of the larger society in which it exists.

Mark C. Taylor provocatively claims that contemporary art has lost its way. With the art market now mirroring the art of finance, many artists create works solely for the purpose of luring investors and inspiring trade among hedge funds and private equity firms. When art is commodified, corporatized, and financialized, it loses its critical edge and is transformed into a financial instrument calculated to maximize profitable returns. Joseph Beuys, Matthew Barney, James Turrell, and Andy Goldsworthy are artists who differ in style, yet they all defy the trends that have diminished art's potential in recent decades. They understand that art is a transformative practice drawing inspiration directly and indirectly from ancient and modern, Eastern and Western forms of spirituality. For Beuys, anthroposophy, alchemy, and shamanism drive his multimedia presentations; for Barney and Goldsworthy, Celtic mythology informs their art; and for Turrell, Quakerism and Hopi myth and ritual shape his vision. Eluding traditional genres and classifications, these artists combine spiritually inspired styles and techniques with material reality, creating works that resist merging space into cyberspace in a way that overwhelms local contexts with global networks. Their art reminds us of life's irreducible materiality and humanity's inescapability of place. For them, art is more than just an object or process—it is a vehicle transforming human awareness through actions echoing religious ritual. By lingering over the extraordinary work of Beuys, Barney, Turrell, and Goldsworthy, Taylor not only creates a novel and personal encounter with their art but also opens a new understanding of overlooked spiritual dimensions in our era.