The only Debord film I've seen, The Society of the Spectacle (which was made the same year as Can
Dialectics Break Bricks?
The reappropriating and recontextualizing of a work that already exists is the aspect of Can
Dialectics Break Bricks?
According to Sanborn, the French - dubbed version of Can
Dialectics Break Bricks?
The same ambiguity surrounds the credits of Can
Dialectics Break Bricks?)
Pistoletto, Gilardi, Fabro, Pascali and Paolini, in various ways, confuse the presentation of materials with the representation of images, and in their cases at least, the Pop and Povera
dialectic breaks down.
Not exact matches
Even if we deny that Jesus worked for transformation in the explicit sense of deriving the
dialectic of individual and society from social structures, or beginning the process of transformation with changes in property and social relationships, it can not be overlooked that in an indirect sense, the manner in which Jesus thought and acted de facto
broke open and transformed the social structures of the world in which he lived.7
Any attempt to
break loose from the path set out by Schleiermacher and to find a way in which to make the transcendent God our subject, rather than some aspect of ourselves, could be called an apophantic theology, standing as it does in that tradition of paradox or
dialectic that marked the Cappadocian theologians and has always been a part of the theological tradition.
To
break the
dialectic in either direction is to betray the living truth of revelation.
It is a shot of a priest (Liam Cunningham) and prisoner, in silhouette, engaged in
dialectic that starts off with common bullshit and bravado (the priest swearing up a storm), then turns to the brute beliefs each owns about the British - Irish conflict, the morality of suicide, and the prisoner's leading of an impending hunger strike, then the prisoner's telling of an anecdote of youthful violence he perpetrated — how he euthanized a young foal with a
broken leg when none of his friends would do it.
The fact that the festival happens on a street level — essentially asking all visitors to take on the role of the eternal flaneur (the very concept of which suggests the participant - observer
dialectic)--
breaks down the barriers between gallery and street, art and life.»
In the center is an ancient boulder which could not be moved and formed an «accidental» center, disrupting the
dialectic that Smithson had established between the
broken circle and the hill.