Not exact matches
Contemporary
cultures had lost a vital understanding of the foundations of
human dignity and were
increasingly marked both by disillusion and by a mechanical and instrumental account of the
human person.
With early Romanticism gradually fading away into the petit - bourgeois aesthetic cocoon known as Biedermeier (c. 1815 — 1848), German
culture increasingly acquiesces to Romanticism's most worrisome features: its strident nationalist undertow; its messianic aspirations, which mutated into delusions of racial superiority; its Rousseauian attempt at recovering authentic, immediate Life (Leben); the variously violent and sexualized mythology in which its major representatives (Friedrich Schlegel, Heinrich von Kleist, Johann Gottlieb Fichte, Novalis) ground their longing for
human - engineered salvation.
The problem in contemporary
culture is that a large proportion of society is
increasingly blind to the fundamental structure of
human nature and to the ethical character of
human sexuality.
According to the coalition's statement, their manifesto comes as «Western
culture has become
increasingly post-Christian... it has embarked upon a massive revision of what it means to be a
human being».
In a global
culture increasingly driven by scientific and technological innovation, research in areas ranging from microbial genomes to the
human brain will become ever more inextricably linked to public health, medicine, and industry.
The
increasingly global nature of
human society, with interdependent economies, international communications networks and intermingling
cultures, has created, according to Gregory Stock, the conditions for the emergence of a new type of being — a social super-organism bound together by technology, which he calls Metaman.
Ken Loach's latest, the winner of this year's Palme d'Or at Cannes, is one of the most important films of 2016; there couldn't be a more timely moment for a film about the value of citizenship, and to issue a protest against the
increasingly powerful dehumanizing forces of what you might call «client
culture,» the corporate logic that reduces
human lives to economic statistics or blips on screens.
As a member of the jury for the Frieze Artist Award, I'm very excited to offer this platform for Pattison to build upon his thought - provoking and
increasingly relevant work, exploring
cultures of «trending» in the digital economy and the implications for
human industry, creativity and control.»
Examining the regimes of control to which the
human body is
increasingly subjected — ranging from governmental and corporate surveillance to the relentless pursuit of youth — Kline addresses the erosion of boundaries between labor and leisure and the incursion of consumer
culture into the most literally intimate aspects of life: blood, DNA, neurochemistry.
The built environment lurks in a number of sculptural installations and videos as emblematic of our recent economic crash and stand - ins for
human culture, as other artists address the natural environment and our
increasingly complex relationship to it.
Featuring established and emerging international artists from around the globe, the 14th edition of the Sharjah Biennial (SB14), Leaving the Echo Chamber, explores the possibilities and purpose of producing art when history is
increasingly fictionalised, when ideas of «society» are invariably displaced, when borders and beliefs are under constant renegotiation and our material
culture is under the constant threat of
human destruction and climate degradation.