Sentences with phrase «dominant social world»

Not exact matches

Facebook, the world's largest social network, has become a dominant source of information in many countries around the world.

With Facebook in a dominant position in hosting a huge portion of the world's social conversation, we've been worried about the incredible power the company has accumulated and the risks that poses to privacy and democratic conversation.

Facebook, Inc. (FB - $ 160) Facebook controls the world's most dominant social networking platforms, Facebook and Instagram.

Aren't we playing the game of the dominant power if we accept that political, economic and social representation should be difficult to implement at the world level?

Today, as never before, in this unipolar world communications are an important unifying force in the dominant political and social system.

It seems to follow that, just as a dominant philosophical imaginary governs the quality of understandings of the world, so the myths that inform a self - creating social imaginary must delimit what that society can as well as should make of itself, while leaving certain possibilities open.

The dominant motive which led to it was neither curiosity about the creation of the world nor philosophic interest, as in Greece, about the divine immateriality and interior unity, but faith that the social justice for which Yahweh stood would conquer.

Science and technology as they constitute the central dynamics of modern societies in the world, may be called technocracy, which is the social process in which the scientific and technological elites play dominant roles (Kim Yong - Bock, Messiah and Minjung: CCA, 1992).

This means that middle - class theologians (including black and feminist and Third World theologians) can learn how to uncover and deal with the dominant ideological component of theology, but the strategy for doing so must be a political - social strategy commensurate with the nature of class itself.

Inversion of values: a perception that the modern world has developed to the point of making work the dominant social activity, belittling other modes of self - experience.

With Facebook in a dominant position in hosting a huge portion of the world's social conversation, we've been worried about the incredible power the company has accumulated and the risks that poses to privacy and democratic conversation.

Whatever he is / was, he became a billionaire in his early 20's by proving he could put together the world's dominant social network while having no redeeming social or relationship skills of his own.

... Children from dominant social groups have always found their mirrors in books but they, too, have suffered from the lack of availability of books about others... They need books that will help them understand the multicultural nature of the world they live in, and their place as a member of just one group, as well as their connections to all other humans.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc TSocial Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tsocial and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

This essay will examine the two exhibitions as examples of an «aesthetic of disappearance» that brought artists to invent an alternative «art world» that challenged dominant cultural institutions, social hierarchies, and media power systems.

Among the «tactics» elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and the marketplace, and the recycling of history and memory in a world traumatized by war.

And if the answer is yes, can the Russian avant - garde function as an inspiration and model for contemporary art practices that try to transgress the borders of the art world, to become political, to change the dominant political and economical conditions of human existence, to put themselves in the service of political or social revolution, or at least of political and social change?

Facebook remains the most dominant social network in the world, but according to one analysis firm, there's a limit to what young people will take.

While Samsung is dominant in the chip and Android smartphone game, it's lagged behind in the social networking world.