Sentences with phrase «modern nihilism»

At the heart of modern nihilism, for Nietzsche, is the problem presented by the ascendancy of the modern scientific project - the mathematization of matter or the arbitrary formalization of material structure conceals the real chaos of Being.

Not exact matches

The word «nihilism» has a complex history in modern philosophy, but I use it in a sense largely determined by Nietzsche and Heidegger, both of whom not only diagnosed modernity as nihilism, but saw Christianity as complicit in its genesis; both it seems to me were penetratingly correct in some respects, if disastrously wrong in most, and both raised questions that we Christians ignore at our peril.

He saw modern intellectual history as a long, losing war against the nihilism implicit in modernism's rejection of the unevaluated evaluator who is the only conceivable source for ultimate premises.

Whereas Walsh began twenty years ago with the view that modern philosophy was complicit in «ideological madness» and nihilism, his intensive studies of the moderns has convinced him that «the death of metaphysics in thought has meant the return of metaphysics in life.»

Cobb believes that Whitehead's philosophy is modern in its acceptance of relativism and post-modern in its avoidance of nihilism.121 In addition he is convinced of its internal coherence and its faithfulness to experience.

When he looks at the literary situation of sixty years ago, I think Gioia is observing the fading light of the modern tradition, which, even in its nihilism and atheism, remained deeply religious — where faith is a necessity not only for prayer but also for painting.

That world can be understood as a new apocalyptic world, one which becomes manifestly apocalyptic in the French Revolution and German Idealism, and then one realizing truly universal expressions in Marxism and in that uniquely modern or postmodern nihilism which was so decisively inaugurated by Nietzsche's proclamation of the death of God.

I vividly remember that on one occasion in the late 1970s when I was walking with Malcolm in the East Sussex countryside, he started talking about the emergence of aesthetic nihilism in modern life and literature, a phenomenon that he identified with the Bloomsbury writers, whom (except for Leonard Woolf) he particularly loathed.

For example, Martin Heidegger argues that the whole modern view of the person as an active subject engaged in the process of knowing leads to the «nihilism» of Nietzsche, to the idea of knowing as the pure exercise of the will to power which has its fullest expression in contemporary science and technology (see, e.g., QT): In one sense my response can only be that I believe knowing is most truly understood as an active process, and that I think that the idea of a purely receptive knowing is a myth, albeit perhaps an appealing one.

A clear assessment of the facts of modern warfare makes it evident that armed conflict is no longer defensible on any view except that of nihilism.

I dare to believe that what I take to be the more fundamental analyses of the modern will prevail, and that the energies of the twenty - first century will go into reconstruction on new lines, rather than pressing toward the nihilism that is the final outcome of the modern.

The voice of its outrage is married to the nihilism of the modern age.

The question of the title of the film therefore takes on a deeper resonance as one considers the tantalizing mélange produced by a marriage of noir, the western, and a jazz movement founded on unrest and violence, sold through a uniquely Japanese medium (animé, natch) that has been the vehicle for some of the most profound examinations of nihilism, violence, and romanticism (thinking especially of masterworks like Grave of the Fireflies and last year's Spirited Away) in the modern cinematic vocabulary.

But, in a world / industry where nihilism / post modern sensibilities rule, THE LONGEST RIDE is an anxiety free film that's a nice departure from reality.

Acquired by the Museum of Modern Art in 1940, this foggy and uncanny painting transfers the similar subliminal nihilism and transcendence evident in the works of James Ensor or Edvard Munch.

2012 «Light Darkness and Shadow: Art and the Meaning of Life», Huffpost Culture, 11 December «Review: Tim Noble & Sue Webster Nihilistic Optimistic, Blain Southern», Kentish Towner, 6 November Mark Sinclair, «Nihilism, optimism and bedtime tales», Creative Review, 1 November Martin Coomer, «Tim Noble and Sue Webster: Nihilistic Optimistic», TimeOut: London, 29 October «Where to buy... Tim Noble and Sue Webster», The Week, 27 October Amy Dawson, «Art Review», The Metro, 24 October Rachel Campbell - Johnston, «Exhibitions: Critic» s Choice», The Times, 20 October Lia Chavez, «A Glimpse at Splitting, Multiplying Universes: Frieze London 2012 Highlights», Huffpost Arts & Culture, 17 October «Arts Agenda: The cultural highlights you have to see», I Newspaper, 16 October «Tim Noble and Sue Webster exhibition: We and Our Shadows», Evening Standard, 16 October Rob Alderson, «Amazing Silhouette Sculptures by Tim Noble and Sue Webster on show in London», It» s Nice That, 16 October Waldemar Januszczak, «Magic Lurks in the Shadows», The Sunday Times, 14 October Emma O'Kelly, «Nihilistic Optimistic by Tim Noble and Sue Webster, Blain Southern Gallery», Wallpaper, 10 October Colin Gleadell, «The best anti-Frieze in London», The Daily Telegraph, 9 October Jon Savage, «Frieze Week: Tim Noble & Sue Webster», Dazed Digital, 8 October Kate Kellaway, «Interview with Tim Noble & Sue Webster», The Observer, 7 October Rachel Campbell - Johnston, «Critics Choice», The Times, 6 October Lynn Barber, «The Dark Arts», The Sunday Times, 30 September Charlotte Cripps, «Bringing art to the Charts», The Independent, 29 September «Modern Life is Rubbish», The Art Newspaper, October John B. Henderson, «Chess», The Scotsman, 18 September Tim Walker, «Observations: Chess is the name of the game in a new London show», The Independent, 4 September Liz Stinson, «Artists Turn Junk Into Amazing Silhouettes», Wired, 6 July «Tim and Sue», Hunger, Summer «Tim Noble, Sue Webster and David Adjaye in Coversation with Louisa Buck», Garage Mag Online, 25 May