By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.

By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.

A college text with discussion questions and readings that analyzes all the foundational problems of Christian ethics as aspects of the human effort to love others.

This book, and course, is designed to enable Christians to lead confidently based on their identity in Christ. Leadership is tough. Many leaders come to leadership from competence in a different field, without training, and fear that they cannot really lead and will be 'found out' one day. Many leaders are insecure, constantly assessing how they are coming across, and where challenges may arise. Being grounded in Christ is the foundation for all true Christian leadership. This identity-based leadership makes us less driven, reduces the risk of burnout, and enables us to survive personal attacks, use conflict positively and overcome other barriers to effective leadership. Once we operate from this secure base, centred and grounded in Christ, we become less vulnerable to threats to our status, we cease to have anything to hide (because we can afford to be vulnerable) and we are less likely to be blown off course by strong-willed people wanting to push their own agenda.

Full of information about living without a permanent residence, this collection contains helpful and informative tips for biking, tents, showering, and cooking. These zines from 2000 to 2008 show how to live the lifestyle far outside of cities and bereft of technology.