Sentences with phrase «between modern forms»

Not exact matches

Only the dualistic form of the modern Western consciousness, which is grounded in an absolute distinction between the subject and the object of consciousness, instills us with the seemingly irrevocable sense that the world or reality stands wholly outside of consciousness itself.

In the years after World War I, Christians felt keenly the difference between both of these modern forms of Christology on the one hand and the historic faith of the church on the other.

Of all the contemporary radical theologians, the one I feel closest to theologically is Rubenstein, and this is because both of us have chosen the project of attempting to effect a synthesis between a radical form of mysticism and a radical form of modern Western atheism.

Much of the discussion of the first directive has concentrated on the issue of non-violence, but it also says that «the lives of animals and plants... deserve protection, preservation and care».18 The church's record on this issue has been subject to criticism, and certainly modern European society has tended to exploit the natural world and to emphasize the gap between human and other forms of life.

During much of the twentieth century, Christians and much of Christian theologies was caught between the two sterile choices of literalism (in harder or softer forms) or reductionism — either defending the factual accuracy and uniqueness of the Bible, or reducing the Bible to what makes sense within the modern world - view.

The difference between Greek pessimism and the oriental and modern variety is that the Greeks had not made the discovery that the pathetic mood may be idealized, and figure as a higher form of sensibility.

In these he proposes a highly convincing readjustment of the old ideas of «matter» and «form», overcoming some of the difficulties inherent in the scholastic theory of a real distinction between the principles of «act» and «potency» as dual constituents of reality, especially in the light of modern scientific knowledge.

This criticism often takes the form of a contrast between virtues and values, with the latter being the modern emasculated equivalent of the former.

In any event, The Mystery of Existence is not about the clash between classical and modern / personal forms of theism («theistic personalism»), a distinction that is anyway not directly on point in explicating Nothing (our limited mission again), since in either case, classical or modern / personal, God can be in some sense necessary.

We historians of the ancient Greeks» democracy need to keep banging on not only about the virtues of their peculiar political form, but also about the key differences — theoretical, ideological, and pragmatic — between any modern versions of «democracy» and theirs.

The affinity between this mode of economic organization and certain modes of moral and cognitive culture that have roots deep in western culture undoubtedly helps explain why those modes, utilitarianism and science, have become such central cultural forms in modern America.

A century ago the Protestant churches in North America were divided between those who sought to defend the confessional integrity of their churches and those who believed that some form of compromise with the modern worldview was inevitable and desirable.

Other indications of evolution are too numerous to actually list in full, but a few might be the clear genetic distinction between Neanderthals and modern man; the overlapping features of hominid and pre-hominid fossil forms; the progressive order of the fossil record (that is, first fish, then amphibians, then reptiles, then mammals, then birds; contradicting the Genesis order and all flood models); the phylogenetic relationships between extant and extinct species (including distributions of parasitic genetic elements like Endogenous Retroviruses); the real time observations of speciation in the lab and in the wild; the real time observations of novel functionality in the lab and wild (both genetic, Lenski's E. coli, and organsimal, the Pod Mrcaru lizards); the observation of convergent evolution defeating arguments of common component creationism (new world v. old world vultures for instance); and... well... I guess you get the picture.

Our modern conviction that human beings and their mentality have evolved through long ages from simpler and still simpler natural forms also suggests that there is some family connection between human experience and the entities of the natural world.

Among them were pantheism and the positions that human reason is the sole arbiter of truth and falsehood and good and evil; that Christian faith contradicts reason; that Christ is a myth; that philosophy must be treated without reference to supernatural revelation; that every man is free to embrace the religion which, guided by the light of reason, he believes to be true; that Protestantism is another form of the Christian religion in which it is possible to be as pleasing to God as in the Catholic Church; that the civil power can determine the limits within which the Catholic Church may exercise authority; that Roman Pontiffs and Ecumenical Councils have erred in defining matters of faith and morals; that the Church does not have direct or indirect temporal power or the right to invoke force; that in a conflict between Church and State the civil law should prevail; that the civil power has the right to appoint and depose bishops; that the entire direction of public schools in which the youth of Christian states are educated must be by the civil power; that the Church should be separated from the State and the State from the Church; that moral laws do not need divine sanction; that it is permissible to rebel against legitimate princes; that a civil contract may among Christians constitute true marriage; that the Catholic religion should no longer be the religion of the State to the exclusion of all other forms of worship; and «that the Roman Pontiff can and should reconcile himself to and agree with progress, liberalism and modern civilization.»

From these traditions, we have inherited not only the specific substantive emphases that distinguish each from the others but a legacy of common themes as well: (1) a theoretically grounded rationale for the importance of studying religion in any serious effort to understand the major dynamics of modern societies, (2) a view of religion that recognizes the significance of its cultural content and form, and (3) a perspective on religion that draws a strong connection between studies of religion and studies of culture more generally — specifically, studies of.

One important difference between historic parenting styles and modern ones is that most modern child rearing experts reject historic parenting styles that use corporal punishment as a form of discipline.

«Thus, both palaeo - anthropological and genetic evidence increasingly points to multiregional origins of anatomically modern humans in Africa, i.e. Homo sapiens did not originate in one place in Africa, but might have evolved from older forms in several places on the continent with gene flow between groups from different places,» says Carina Schlebusch.

In its modern form, this «riverine barrier hypothesis» posits that the Amazon's major rivers functioned as natural barriers to gene flow between populations.

Archaeological and genetic evidence suggests that modern humans (the modern form of Homo sapiens, our species) originated in Africa during the Stone Age, between 30,000 and 280,000 years ago.

Though Ono and colleagues have now constructed a formula to calculate the exact difference between the two types of modular form for roots of 1, Ramanujan could not possibly have known the formula, which arises from a bedrock of modern mathematics built after his death.

Modern corn, the author argues, had not one ancestor but two: it is derived from a cross between a primitive corn and a perennial form of the wild grass teosinte.

To him they resemble spore sacs formed by modern single - celled organisms called mesomycetozoeans, which sit between animals and fungi on the tree of life.

Their conversion to a more vertical brow in modern humans allowed for the display of friendlier emotions which helped form social bonds between individuals.»

The abstract of the paper in Nature reads: «A key event in human evolution is the expansion of modern humans of African origin across Eurasia between 60 and 40 thousand years (kyr) before present (bp), replacing all other forms of hominins1.

Because of the obvious humanness of the Turkana Boy fossil, and the fact that H. erectus brain sizes overlap the extreme lower range of modern human brain sizes, creationists have nowadays almost entirely abandoned the old line (popularized by Duane Gish) that Peking Man and Java Man are apes, and now generally claim that Homo erectus fossils are a variant form of modern humans (ignoring the inconvenient fact that there are many obvious differences between Homo erectus and Homo sapiens).

Vinyasa Yoga — Named and founded by K. Pattabhis Jois is kind of a modern form of classical ashtanaga / hatha yoga practice which lays special emphasis on Breath while performing the postures or journey between the postures (asanas) and drishti (focused Gaze).

Contrasting character archetypes between Stu (a downtrodden, nerdy dentist with a mysteriously missing tooth), Phil (the implacable playboy) and Zach (an unpredictable jester) give the comedy a modern take on a Marx Brothers form where outrageous sequences merely serve to frame the mental gymnastics and tortured physical condition of the comedians.

Suzy, who alternates between immersion in young adult novels about magical orphans and violent outbursts against her parents and her schoolmates, carries the modern world (the movie is set in 1965) with her in the form of a portable record player and a single Françoise Hardy recording.

Landing its sharp social commentary somewhere between Invasion of the Body Snatchers and Society, Get Out takes racism's more traditional forms — slavery, incarceration, exploitation, blackface — for a new, thoroughly modern appropriative spin.

You would expect The Post to find kinship in the other well - known journalism movies of the day, whether it's granddaddy of them all All The President's Men or more modern distillations of the form like Zodiac and Spotlight (also co-written by Singer), but Spielberg is smart enough to know the differences between the story he's crafting and these other newsroom capers.

The interplay between precise, pared - down forms and a sense of space, the driver and passengers alike will find themselves immersed in a modern setting with an truly exclusive feel.The wealth of possibilities offered by personalised, digital connectivity allows the vehicle's interior to be turned, as desired, into a personalised place of either retreat or productivity.

As a result of the interplay between precise, pared - down forms and an open sense of space, the driver and passengers are immersed in a unique, modern setting.

A harmony combination between Balinese architecture and luxury modern design is performed through the form of building and lay out of Golden Tulip Bay View Hotel Bali.

The fallout over the contract and back - pay disputes between Activision and former members of Modern Warfare 2 developer Infinity Ward has lead to the latter losing over a dozen key personnel, and a new competitor studio formed at rival producer Electronic Arts.

Being a bullet hell non-shooter, it demands a polar opposite form of play to the heavy - footed feel of modern military shooters and their perpendicular beelines between cover.

Often referencing organic forms found in nature, Puntar's installation draws relationships between modern and pseudo-organic, decorative and utilitarian.

2008 You in between, Middlesbrough Institute of Modern Art, UK Anders Ruhwald 2004 - 07, Espace Grandjean, Vallauris, France One is never so close to change when life seems unbearable in even the smallest and most everyday things, Rowlandcontenporary, Chicago, IL Form & Function, Sixpm Project Space, London, United Kingdom

These monumental assemblage works — which form a series called The Hood — conjure the connections between the car and the horse and speak to the history of modern and contemporary sculpture.

The application of an analog medium, which is acrylic, to a digitized print, which is ink jet, forms a unique bridge between traditional and modern artistic processes.

Tony Delap, Modern Times III, 1966 Wood, fiberglas and lacquer, 32 x 84 x 38 inches March 7 — April 4, 2009 Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the -LSB-...]

The connection between raw material and its consumption by the immaterial systems of global capitalism is the main theme running through Metal, a group show of five artists at Middlesbrough Institute of Modern Art, which forms part of the AV Festival, a biennial programme of art, film and music in the northeast of England, now in its sixth iteration.

Reminiscent of early forms of abstract modern art — a moment of convergence that did not actually occur in art history between cubism, constructivism and neoplasticism — her paintings emerge through a process of layering and accrual, with the finished work being «a concentrate of the many paintings underneath».

Rather, her dreamy rose and violet digital chromogenic prints and minimalist sculptures both compress and expand time, revealing formal lineages between ancient and modern forms.

Highlighting the multifaceted interrelationships between film and other visual art forms, Moving Pictures offers a groundbreaking reinterpretation of a crucial period in modern American visual culture.

In thinking about him one can not remain within the limited and relatively simple categories of the evolution of visual form: one is forced to consider the spiritual character of the man, the problem of the effect upon talent of certain kinds of experience in the modern world, the problem of the relation between traditional forms of intellect and the creative impulse in this world — and other questions of an equally unmanageable sort.

The bridge between modern art and postmodernism, Pop art employed popular imagery and modern forms of graphic art, to create a lively, high - impact idiom, which could be understood and appreciated by Joe Public.

2008 Selective Knowledge, Institute for Contemporary Art and Thought, Athens, Greece Zones of Conflict, Pratt Gallery, New York, NY Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, organized by Parsons School of Design and the Vera List Center for Art and Politics, New York, NY Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art Museum.

The intention is to breathe new life into the exhibition process with which «When Attitudes Become Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art.

Von Wulffen's installations often exceed the boundaries of the canvas or page, extending into the exhibition space in the form of wall paintings and furniture that conjure images of bourgeois interiors and nod to modern art's longstanding pas de deux between abstraction and decoration.