Not exact matches
1830), Schleiermacher made a similar but quite different move, concentrating
on the human self -
consciousness, which he determined to be characterized by «the
consciousness of being absolutely
dependent, or, which is the same thing, of being in relation to God.»
The human
consciousness is
dependent for its vitality, interest and development
on keeping open at least some of these channels, which are the only means of contact man has with the world around him.
This new
consciousness has begun to shape an emerging yet coherent view of an interconnected world, where humans are inextricably linked to one another, whether we like it or not, and where all are connected to and
dependent on the natural world in which we all live.
Underlying it all is a level of
consciousness of which one is not often aware, of a «feeling of absolute dependence»
on some reality that is not itself in any way
dependent on us.
In the game, developed in collaboration with Eugene Jarvis of Robotron 2048 and Smash TV fame, humans have become deeply
dependent on technology, while around them, machines have reached
consciousness and surpassed human intelligence ten-fold.
No less a figure than the artist Hans Haacke — whose long - standing commitment to rendering transparent economic, social, and aesthetic structures throughout culture has led him to be immanently associated with the paradigm — used the phrase «
consciousness industry» as early as the mid-1980s to describe the sophisticated networks of institutional support necessary to make visible ostensibly adversarial avant - garde artistic gestures.4 Works seeking to emphasize the moral, political, and intellectual forces that determine and enforce culture, he observed, were nevertheless
dependent on a museum or gallery platform designed to privilege aesthetic experience.