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AbstractThis essay revisits the question of mass destruction through the perspectives offered by postcolonial thinkers.

From the mid-1960s to the late 2000s, the number of people locked in U.S. prisons and jails, and forced onto parole or probation, increased from less than eight hundred thousand to more than seven million. From the beginning, this explosive growth, known commonly as mass incarceration, has been about containing, stigmatizing, and exploiting the poorest sectors of the working class. While an important prison reform movement has been underway for many years, private forces have attempted to co-opt this movement and have implemented and profited from alternative forms of mass coercion proliferating throughout society.

"Gdzie jest wiedza, którą utraciliśmy w wiadomościach?" – pyta abp Józef Michalik, cytując Eliota. I jest to ważne pytanie. Człowiek ma w sobie głębię, którą zaspokoić może tylko Bóg. "Trzeba pracować dla odzyskania głębi – tej głębi, która właściwa jest ludzkiej istocie. Tej głębi, która wzywa jego umysł i serce […]. Jest to właśnie głębia prawdy i wolności, sprawiedliwości i miłości. Głębia pokoju" (Jana Paweł II).

The dichotomy of popular vs elite art is explored. During the eighteenth century, previous concepts of specific arts were replaced by a concept of art as a unity seeking a new integral mythology, a concept shaped by Romanticism. This movement has a central image: the artist in conflict over whether to follow his own inspirations or the demands of the market. Low culture, based on mass production, confronts high culture, & the two mutually deny one another. Rejections of mass culture tend to take the form of movements; rejections of the avant garde generally take the form of affirmations of isolated great works. The recognition that art can become mass culture implies the unexplored possibility that mass culture can become art. In the struggle to emancipate works of art from religious values, art has become an expression of a religious impulse. There is a need to recognize the finiteness of art works & to include the nonelite arts in a concept of art that includes all expressions of the impulse to artistic creation. The ultimate direction of this is reduction of the differences between life & art. W. H. Stoddard.

Mass customization presents a paradox to traditional manufacturing practices. Historically, companies chose to produce either customized, crafted products or mass‐produced, standardized products. Thus, mass customization presents a paradox by combining customization and mass production, offering unique products in a mass‐produced, low cost, high volume production environment. If mass customization is truly a combination of mass production and craft manufacturer, how does a manufacturer become a mass customizer? Are the key principles of mass customization rooted in customized product knowledge or mass production techniques? Does the path to mass customization impact financial performances? This paper begins to answer these questions by exploring the total product mix of mass customizing plants using data gathered from 126 mass customizers. This study shows plants that choose mass customization approaches that match the non‐mass customized product line characteristics have higher financial performance than those firms without a matched product line.