James Hoff – författare

The question “Why did God create viruses, bacteria, pathogens, venomous creatures and poisonous chemicals is usually asked by irreligious skeptics to challenge God’s authority, design, and goodness. It is also asked by those of faith, either out of innocent ignorance or curiosity. Life per se is a balance of life-forms co-existing because they were created by God by means of obvious intelligent design. The authors show the vast majority of bacteria, viruses, and insects are beneficial. The reason some pathogens are harmful is discussed in some detail. Furthermore, the role of toxic chemicals, which are beneficial and even essential to human and animal life at low to moderate concentrations is also covered. The authors’ conclusions are well-documented by several hundred peer-reviewed scholarly articles and books. if you have ever wondered about why in God’s creation there are “parasites and pathogens,” “ticks and toxins,” “maladies and mosquitoes,” then you owe it to yourself to consider the scholarly explanations that set the record straight—the professional perspective of Bergman and Hoff. If you are looking for sound scientific answers to the question “Why did God create life-forms that have harmful side-effects to other organisms?,” this is the book to read.

A collection of by turns polemical and personal writings and interviews from conceptual artist and commentator Glenn Ligon in an accessible paperback volume. This long-awaited and essential publication collects three decades of writings and interviews by Glenn Ligon, whose work has been delivering an incisive examination of race, history, sexuality, and culture in America since his emergence as an artist in the late 1980s. No stranger to text, Ligon has routinely used writings from James Baldwin, Zora Neale Hurston, Gertrude Stein, Richard Pryor, and others to construct work that centers Blackness within the historically white backdrop of the artworld and culture writ large. He began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili, and Lorna Simpson, as well as artists that came before him, among them Philip Guston, David Hammons, and Andy Warhol. Throughout the publication’s sixteen essays, Ligon combines razor-sharp insight with anecdotal and biographical details, providing the fullest picture yet of the artist and his ongoing evaluation of the art and politics of our time. Complementing these texts are illuminating interviews with Helga Davis, Thelma Golden, Byron Kim, Hamza Walker, and others, as well as a foreword by Thomas (T.) Jean Lax and an afterword by the artist.