It is fundamentally tied to how games mean, to why we play them, and to why they matter to us as individual players and as participants in
the human cultural landscape.
Not exact matches
At several points he touches upon the paradoxes of modern urbanism and the tragic ironies of our
cultural attitude toward cities: although we now have more individual freedom, technical ability, and, arguably, social equity, we do not live in places as hospitable to
human beings as were our cities of the past; we are pragmatists who build shoddily; our current obsession with historic preservation is the flip side of our utter lack of confidence in our ability to build well; while cultures with shared ascetic ideals and transcendent orientation built great cities and produced great
landscapes, modern culture's expressive ideals, dogmatic public secularism, and privatized religiosity produce for us, even with our vast wealth, only private luxury, a spoiled countryside, and a public realm that is both venal and incoherent; above all, we simultaneously idolize nature and ruin it.
South Asian genetic
landscape, bearing in mind its geographic, linguistic, socio -
cultural and skin color diversity, offers an excellent model system to decipher the genetic underpinnings of
human skin color variation and for a better understanding of it's evolutionary history.
This is a steeply - sloping area with exceptional natural and
cultural treasures, which has
landscapes of great harmony and beauty, the fruit of the coexistence of the
human being and nature in a rugged territory.
Mirroring the vision of the Ballroom itself, a non-profit
cultural space founded on the belief that art can impact the
human spirit positively, OPTIMO brings together nine artists whose work celebrates life, incorporating visual pleasure, humor, interactivity, color, technology, industrial design, politics,
landscape, spirituality, and popular culture.
A pioneer in color photography, Sternfeld's thirteen bodies of work, all of which were also published as books, have explored
cultural identity through ordinary people and places, with topics ranging from experimental communities to the effect of
human intervention on the natural
landscape.
Since the 1970s, Muntadas has given attention to «media
landscapes» (mass media, symbols, images and slogans) that allow him to investigate contemporary phenomena associated with political,
cultural and educational dynamics, revealing and denouncing its instrinsic mechanisms and opening up a broader scrutiny of the
human condition in an age of advanced capitalism.
The
human figure composed through the perspective of the African artist rooted on the continent, can be perceived as an embodiment of the environment an extension of the
landscape; its
cultural dynamics, laden and contentious history, present yet ephemeral state of being, and envisioned future, for society and self.
2014 Study from the
Human Body, Stephen Friedman Gallery, London, England INSERT 2014: a
cultural exploration of Delhi as a
landscape for creativity and transformation, Indira Gandhi National Centre for the Arts, India Ruffneck Constructivists, ICA, Philadelphia, Pennsylvania, USA The Drawing Room, Magasin 3, Stockholm, Sweden Surfacing, Goodman Gallery, Cape Town, South Africa Slow Future, Centrum Sztuki Współczesnej Zamek, Poland Michelangelo e il Novecento, Galleria Civica di Modena, Italy The Disappearance of Fireflies, Prison Sainte Anne, Avignon, France And the Trees Set Forth to Seek for a King, Museum of the Seam, Jerusalem, Israel Pace Gems: Selections from the Linda Pace Foundation Permanent Collection, San Antonio, Texas, USA As I Run and Run, Happiness Comes Closer, Hotel Beauburn, Paris, France Paradigm Store, Howick Place, London, England What Marcel Duchamp Taught Me, The Fine Art Society Contemporary, London, England Odd Volumes, Book Art from the Allan Chasanoff Collection, Yale University Art Gallery, New Haven, USA Der Leone Have Sept Cabeças, CRAC, Switzerland One Shot!
With a critical eye to the ways in which images are used within mass media and the photographic medium is viewed in the
cultural landscape as a whole, the artist employed early methods of appropriation, and in one series, «Stills» shows the way the potential of
human life literally hangs in the balance in a collection of press images of people falling from buildings.
Not born of nature but made by
human hands, the works, themselves contorted by the surrounding
landscape, represent a society uprooted by industrialisation and modernisation, illustrating how progress can often come at the expense of
cultural and societal well - being.
He is also interested to ask questions «about the artistic image and its capacity to observe socio -
cultural landscapes and
human geographies.»
Inspired by natural
landscape of New Orleans, the exhibition's title also alludes to the city's
cultural landscape as a creative force — saxophonist Archie Shepp described jazz as a triumph of the
human spirit, a lily that grows «in spite of the swamp.»
Beyond Climate Change: Wildland Fires and
Human Security in
Cultural Landscapes in Transition — Examples from Temporate - Boreal Eurasia.
Cultural Landscapes are «landscapes that have been affected, influenced, or shaped by human involveme
Landscapes are «
landscapes that have been affected, influenced, or shaped by human involveme
landscapes that have been affected, influenced, or shaped by
human involvement.»
All I'm saying is fire scars in a
human - mediated
cultural landscape are not climate proxies!!!!!!!!!
This contribution is a reflection on the reality of tolerance and intolerance in contemporary British society and how recent events in the UK fit into the wider European legal and
cultural landscape of
human mobility across frontiers.