This book offers a rational explanation of the anomalies of human behavior. It was inspired by a study of the works of Sade, which cover all aspects of human experience - the inner experience of the individual as well as the experience of the individual relative to other individuals, to groups and to the universe as a whole.

Part I summarizes, with specific references and quotations, all that Sade actually said about these aspects of human experience including his futile attempts, in the light of the religious philosophical, and scientific concepts of his time, to explain the anomalies he observed and described - the misfortunes of virtue and the prosperity of vice; murder; suicide; the connection of crime, cruelty, perversity, and sacrilege with sex; prostitution; adultery; incest; homosexuality; pederasty; despotism; war; anarchy; revolution, etc.

In Part II, Lorna Berman, starting with an assumption about he beginnings of the universe implicit in the work of Sade, and using only logic and simple arithmetic, expounds a theory about he operation of the universe - the formation of entities, the beginnings of life, propagation, the possibility of everlasting life, and the formation of groups - with a view to explaining the human anomalies portrayed by Sade.

In Part III, L. Berman explains the anomalies of human behavior in the light of her own theory (outlined in Part II), which reflects rather 20th century philosophical, religious and scientific sensitivities. The phenomena described in Part I are used as examples, since Sade's work constitutes one of the broadest descriptions of human nature ever written.

One Hundred Permutations is a book about potentiality in art. The author first presents several essays which both enumerate and suggest solutions to some problems facing art practice today. After using these writings to initiate a working premise, he then exhibits the book's namesake works: a series of one hundred abstractions all developed from the same source image. What comes next is unique within the arena of books on art. He suggests that any and all interested readers- who he assumes to be artists or art lovers- collaborate with him to complete new "permutations" based on those seen in the book. It is an epic project that lets practically anyone into the artistic process.

Orchestrating ArtEvents is a comprehensive, in-depth look into the dilemmas and ambiguities that surround the process of interacting with art. Addressed to both newcomers and experts, artists/viewers, researchers/research subjects, teachers/students, critics/readers of-all-sorts are offered a new approach designed to cut through current confusions and enrich the spirit of seeing beyond the surface. Orchestrating ArtEvents unveils the results of decades of insight and practice into the worlds of Art and Art Education. The introduction of the Analogos concept-map, of the term Meta-Modernism, and of the new alternative, iiae (interactive interdisciplinary art events/art education, an alternative approach that stands to enrich current practices), are presented by the author/originator.

The book explores new dimensions in art-event sources, styles, scenarios, and strategies. A postscript includes an overview format to guide readers in the planning/orchestrating of any type of interactive event. Many of the book's ideas appeared first in the monthly iiaeZine (ISSN 1492-9724) of which the author is the editor; to subscribe to the ezine, send an email with the word 'subscribe' as subject to iiae2@hotmail.com.

Some questions addressed:
Where do artworks come from and where do they go?
What are the Life-Styles that drive and are driven by Art-Styles?
How does one Orchestrate and be Orchestrated by an Art-Event?
What are the issues that frame and are framed by human experiences in Life-Art and Art-Life?
How does one make sense of the workings of the Imagination and of Creativity?