Sentences with phrase «modern view of reality»

This awareness has sharply challenged the modern view of reality and demands a revolution of previously held scales of values.

Not that I would dream of rehearsing the controversy again; but I will note that, at the time, I took my general point to be not that natural - law theory is inherently futile, but rather that its proponents often fail to grasp just how nihilistic the late modern view of reality has become, or how far our culture has gone toward losing any coherent sense of «nature» at all, let alone of any realm of moral meanings to which nature might afford access.

Not exact matches

Viewing projects as having a fixed end date doesn't reflect the modern reality of rapid development cycles.

Mapping the buyer experience journey contextually to the realities and complexities of B2B offers organizations the insights and views needed to make informed decisions that shape customer and growth strategies in the modern era.

One understanding of human nature common to the modern era sees man as standing both above and outside nature (after Descartes, as a sort disembodied rational being), and nature itself as raw material — sometimes more pliable, sometimes less — for furthering human ambition (an instrumentalist post — Francis Bacon view of nature as a reality not simply to be understood but to be «conquered» and used to satisfy human desires).

According to Hans Jonas, the birth of modern science was bound up with the advent of a radical new view of reality, a «technological ontology» that conflates nature and artifice, knowing and making, truth and utility.

This understanding of art, now of the gallery and simply open to view rather than created with a purpose, seems to symbolise our modern era: at once a loss of God, purpose and meaning, yet at the same time a search for deeper and more lasting realities.

Process thought is usually defined in one of three ways: (1) as any view of reality that is dynamic and relational and based on the findings of modern science, (2) identified with «the Chicago School,» the University of Chicago Divinity School, both in its earlier phase of applying evolutionary theory to historical research, seeing religion as a dynamic movement that reconstitutes itself in response to felt needs, as well as its later philosophical phase, and (3) synonymous with the philosophy of Whitehead and Hartshorne.

In contrast to people in biblical times «modern man acknowledges as reality only such phenomena or events as are comprehensible within the framework of the rational order of the universe... the thinking of modem men is really shaped by the scientific world - view, and.

There are others, however, who consider this move a regression, for the modern world which sees reality as evolving gives a truer picture than the static world - view of the past.

Both have experienced the disdain and rejection of the contemporary sensibility because they hold to assumptions that seem quite incompatible with a modern scientific mode of viewing reality.

The compartmentalization of modern knowledge is a magnified expression of the substantialist view that sees reality as composed of isolated, discrete substances.

Yet these are precisely the beliefs that Ford views on the compositional histories of Science and the Modern World and Process and Reality require us to adopt.

Nevertheless, the layman's common - sense view of reality is baffled by such conundrums as the nature of time and space, the reality of human freedom, quantum jumps in physics, or the claim of modern science that colors are not really present in the objects of perception but only in the mind of the beholder.

THOMISTIC MATTER Dear Father Editor, William Charlton («A Question of Matter», Letters, Jan / Feb issue) supports the view that modern science is in opposition to the account of physical reality given by Thomas Aquinas, or at least by his disciples.

Your film seems to portray a pessimistic view of reality in modern society.

The movie is still riveting and suspenseful after multiple viewings, maybe because it's anchored in reality and so beautifully simple — the horror is played out within the realities of a modern marriage in late -»60s Manhattan and the «God is dead» movement.

It can be seen and felt in New York galleries, on the walls of major art institutions like the Museum of Modern Art and the New Museum, watching a Trisha Brown performance on Chelsea's High Line, and even viewed on TV — take the HBO production Cinema Verite, about the world's first reality show, An American Family.

Among her many group exhibitions currently on view are Reality of My Surroundings: The Contemporary Collection at the Nasher, Durham and Philodendron: From Pan-Latin Exotic to American Modern at the Wolfsonian Museum, Miami Beach.