It may be that those churches which market their message by emphasising authority, personal success, health and prosperity through faith may have intuited the proper response of the Christian faith to
the new cultural situation in which we find ourselves.
There are other Christian thinkers who believe that
the new cultural situation must be taken a lot more seriously.
Elements of democratic ethics, such as doctrines of human rights and religious freedom, are gradually finding their way into Catholic thought.7 Since the Church is a living organism it can respond to
every new cultural situation while maintaining steadfastly its own absolute authority.
They are necessary implications which theological controversy and
new cultural situations have brought to light.
Not exact matches
But what critics who point to these reasons for the loss of certainty seem too often to forget is that the Church is never only a function of a culture nor ever only a supercultural community; that the problem of its ministers is always how to remain faithful servants of the Church in the midst of
cultural change and yet to change culturally so as to be true to the Church's purpose in
new situations.
To understand why and how we must collaborate for a
new cultural and world era, it is important to contrast our contemporary
situation with both the classical and modern periods.
When this passage is applied to the religious and
cultural situation today, we can perhaps hear a call to endurance and hope as we travel the holy way to the
New Jerusalem, to the heavenly Mount Zion.
Like Moses, let's look briefly at the
cultural situation in the United States from 1960 - 1998, the era that formed, institutionally, the spiritual life of most of us prior to the
new millennium theologies.
We might look first at the actual
situation of our civil polities on the ground, at diagnoses of our global political
situation coming from different
cultural standpoints, and at the
new social and political movements springing up to meet our social ills.
But the crucial question for evangelistic mission today is how in a changed post-colonial
situation the forms of the church and its evangelistic proclamation and the call to conversion and the invitation to join the fellowship of the church may take place within the context of the recognition of religious and
cultural plurality and common participation in building a
new just society and state.
The foreign debt continues to be an issue and
new voices have began to sound the need to look for ways to face it; (ii) At the national level two questions are concentrating increasing attention: one is the reassessment of the necessary role of the state to correct the distortions of a runaway market (currently discussed in Europe and in the discussions about the role the initiatives of «an active state has played in the economic development of Asian countries); the other is the need for a «participative democracy over against a purely representative formal democracy: in this sense the need to strengthen civil society with its intermediate organizations becomes an important concern; (iii) the struggle for collective and personal identity in a society in which forced immigration, dehumanizing conditions in urban marginal
situations, and foreign
cultural aggression and massification in many forms produce a degrading type of poverty where communal, family and personal identity are eroded and even destroyed.
Precisely with regard to these transitional
situations which, in view of the present deficits in ecological and social - technological theory, particularly become the center of
cultural attention, Whitehead has set
new tasks.
The poor and oppressed are stereotyped as lazy or violent; outcast people are dirty and ignorant; the ethnic, national, racial, religious and
cultural minorities are subject to old and
new stereotypes in their own
situations as political or social separatists.
The historian of religions finds himself in an analogous
situation when he deals with archaic symbols that have been modified by
cultural influences and events, for example, the World Tree, which in Central Asia and in Siberia received a
new value by assimilating the Mesopotamian idea of the seven planetary heavens.
To avoid a
situation in which only undocumented immigrants apply for the card, which could create a stigma and make some unwary about the I.D.s, Mr. de Blasio's administration has rolled out many perks for all
New Yorkers who sign up — including yearlong memberships to
cultural institutions like the Bronx Zoo and access to all three of the city's public library systems.
You figure these things out as you go, and as you encounter
new situations and
cultural facets you're able to engage, process and react to them without influence from others.
1988
Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong,
New York A Drawing Show, Cable Gallery,
New York Hover Culture, Metro Pictures,
New York Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of
New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes
Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue)
New Works, Daniel Weinberg Gallery, Los Angeles A Debate on Abstraction: Systems and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College,
New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum,
New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)
Ultimately, Smith came to see the colour field endeavour as a failure, because all it did in Australia was manufacture an «avant - garde
situation», or «adopting an attitude» as Greenberg put it, whilst the only true avant - garde developments were happening in the
cultural centre,
New York.
I will try to build an exhibition that measures up to our historical
situation,» he said; and the Joan Mitchell Foundation in
New York has named Kay Takeda as its new senior director of artist programmes — she joins the foundation next month, leaving her current post as vice president of grants and services at the Lower Manhattan Cultural Counc
New York has named Kay Takeda as its
new senior director of artist programmes — she joins the foundation next month, leaving her current post as vice president of grants and services at the Lower Manhattan Cultural Counc
new senior director of artist programmes — she joins the foundation next month, leaving her current post as vice president of grants and services at the Lower Manhattan
Cultural Council.
Expanding the involvement of CAPACETE with the
cultural production in Brazil, the exhibition at Portikus presents
new works that reflect on this unique history while creating a multilayered comment on the current
situation in Brazil.
Drawing correlations to Relational Aesthetics, her first solo exhibition titled Golden Age Rising at Whatiftheworld Gallery in Cape Town encouraged, «us to consider the natural environment not only with
new eyes, but from an integrated, immersed and active positioning of ourselves,» a notion more pertinent today considering South Africa's current
cultural and economic
situations.
Allowing a variety of
cultural flotsam to surface, he reconfigures disparate elements to collectively become something
new, and explore a sense of how we look to that which is beyond our immediate
situation or understanding.
The prospective scenarios proposed by this report are based on a number of hypothetical social, economical and
cultural situations, among others an ageing population, a changing socio -
cultural reality due to immigration, a deepening divide between the rich and the poor, the omnipresence of IT in all sectors of society, the inability of the «welfare state» to maintain its offer of public services and goods, the feminization of the legal practice, a growing focus on quality of life,
new business models, a transnational practice of law and a shift in influence from the West to the East.
Rather,
cultural competence is a way of approaching any
new and different
cultural situation.
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