Presents a collection of puzzles that focus on mathematical concepts.

What is a thing? What is an object? Tristan Garcia decisively overturns 100 years of Heideggerian orthodoxy about the supposedly derivative nature of objects to put forward a new theory of ontology that gives us deep insights into the world and our place

2012 is a literary and metaphysical epic that binds together the cosmological phenomena of our time, ranging from crop circles to quantum theory to the worldwide resurgence of shamanism, supporting the Mayan prophecy that the year 2012 will bring an unprecedented global shift. In tracing the meaning of the prophetic Mayan 'end date' of 2012 to our present society, Daniel Pinchbeck draws together alien abductions, psychedelic visions, the current ecological crisis and other peculiar aspects of 21st century life into a new vision for our time. 2012 heralds the end of one way of existence and the return of another, in which the Mesoamerican God Quetzalcoatl returns, bringing with him an ancient - yet to us, wholly new - way of living. There are many hints, both in quantum theory and elsewhere, that humanity is precariously balanced between greater self-potential and environmental disaster. Pinchbeck's journey, which takes us from the endangered rainforests of the Amazon to Stonehenge in England, tells the story of a man in whose trials we recognise our own hopes and anxieties about modern life.

The Square and the Circle of the Indian Arts is a major contribution in Indian art history. More than a book on the theories of arts, it has far-reaching implications for the way one thinks about the future of indology and art history. It provides a model to be emulated for inter-disciplinary research, not only between the arts but also the sciences and the arts. The book begins by re-examining the imagery of the Vedas and the Upanisads, highlighting some aspects of early speculative thought which influenced the enunciation of aesthetic theories, particularly of Bharata in the Natyasastra. The next chapter introduces a new methodology of analyzing the rituals (yajna) as laid down in the Yajurveda and the Satapatha Brahmana, the best way to focus the relationship between the text and the practice. Four chapters follow – one each on drama (natya), architecture (vastu), sculpture (silpa), and music (sangita). Each presents some fundamental concepts of speculative thought, concerned with each of the arts and purposefully correlates these with actual examples both of the past and the present. The afterward to this second edition remains an event not only because the book benefits from the works published since the first edition, but also because it presents the author’s integral vision and her unique adventure into the boundaries of several disciplines. It demonstrates the efficacy of her earlier approach of investigating the imagery and the metaphors as basic to the discourse of the Indian tradition. She proposes a multi-layered cluster of concepts and metaphors which enable one to uncode the complex multi-dimensional character of the Indian Arts. Also significantly she suggests a deeper comprehension of the relevance of the developments in the field of traditional mathematics and biology for the study of the language of form of the Indian Arts.

Phoebe Wyss, an experienced astrologer, here examines all aspects of astrology in the light of the emerging worldview known as archetypal cosmology.She sets out by exploring the classical roots of astrology in sources of wisdom found in the ancient Egyptian mysteries. She then follows the tradition to modern times through C.G. Jung's ideas on the nature of the psyche. She also discovers that the claims of astrology are entirely compatible with new cosmological thinking as envisioned by post-modern physics and chaos theory.In the second part of the book, she proposes that the mathematical basis of astrology and the components of astrological charts are both archetypal and cosmic in scope. She argues that the twelve astrological archetypes make up a single 'cosmic mind', whose patterns are imprinted on all our individual minds.Finally, she exemplifies this radical approach to astrology through an interpretation of the chart of William Blake.

An in-depth look at the role of number as a bridge between Heaven and Earth • Reveals the numerical code by which the ancients maintained high standards of art and culture • Sets out the alchemical formulas for the fusion of elements and the numerical origins of various sacred names and numbers • Describes the rediscovery of knowledge associated with the Holy Grail, through which the influence of the Heavenly Order is made active on Earth The priests of ancient Egypt preserved a geometrical canon, a numerical code of harmonies and proportions, that they applied to music, art, statecraft, and all the institutions of their civilization. Plato, an initiate in the Egyptian mysteries, said it was the instrument by which the ancients maintained high, principled standards of civilization and culture over thousands of years. In The Dimensions of Paradise, John Michell describes the results of a lifetime’s research, demonstrating how the same numerical code underlies sacred structures from ancient times to the Christian era. In the measurements of Stonehenge, the foundation plan of Glastonbury, Plato’s ideal city, and the Heavenly City of the New Jerusalem described in the vision of Saint John lie the science and cosmology on which the ancient world order was founded. The central revelation of this book is a structure of geometry and number representing the essential order of the heavens and functioning as a map of paradise.

This text defends a special focus on Jesus in theistic faith, whilst denying his divinity. Having limited the genuine choice in Christology to orthodoxy or unitarianism, it argues first for the prior improbability of an incarnation, examining and dismissing possible justifications.

Based on years of research as well as interviews conducted with Circle in the Square's major contributing artists, this book records the entire history of this distinguished theatre from its nightclub origins to its current status as a Tony Award-winning Broadway institution. Over the course of seven decades, Circle in the Square theatre profoundly changed ideas of what American theatre could be. Founded by Theodore Mann and Jose Quintero in an abandoned Off-Broadway nightclub just after WWII, it was a catalyst for the Off-Broadway movement. The building had a unique arena-shaped performance space that became Circle in the Square theatre, New York's first Off-Broadway arena stage and currently Broadway's only arena stage. The theatre was precedent-setting in many other regards, including operating as a non-profit, contracting with trade unions, establishing a school, and serving as a home for blacklisted artists. It sparked a resurgence of interest in playwright Eugene O'Neill's canon, and was famous for landmark revivals and American premieres of his plays. The theatre also fostered the careers of such luminaries as Geraldine Page, Colleen Dewhurst, George C. Scott, Jason Robards, James Earl Jones, Cecily Tyson, Dustin Hoffman, Irene Papas, Alan Arkin, Philip Bosco, Al Pacino, Amy Irving, Pamela Payton-Wright, Vanessa Redgrave, Julie Christie, John Malkovich, Lynn Redgrave, and Annette Bening.