Sentences with phrase «of social utopias»

Mamou's travels have allowed her to not only examine the implications of social utopias but also the struggle to create community through a dystopian future.

This hope, however, it not content with passive or quietistic complacency anymore than it is impatient with the absence of immediate achievement of social utopias.

Not exact matches

Leaving aside the damage inflicted on the countries subjected to «democratization» — a large number of direct and indirect victims, the replacement of traditional social structures by chaos — we can see the problems the globalist utopia creates in the West.

There it wasn't so much about deconstructing theological concepts for reconstructing a theoretical utopia, but in working side - by - side as partners in social transformation enterprises that fit the context of the communities the Spirit planted us in.

«Kingdom of God» does not mean an earthly utopia or a just social order; it is God's sovereignty or rule, breaking in now, and shortly to be fully revealed.

From Plato's Republic to the several visions of H. G. Wells, the Utopias have served as the vehicles for the expression of wisdom about life, social preachment, and sheer imaginative delight.

A strong case has been made by F. J. E. Woodbridge that Plato not only does not seriously regard his «perfect state» as realizable, but that he means to make us see the error of imposing perfection too rigorously on human fallibility.3 Edward Bellamy's Looking Backward illustrates the utopia which becomes a persuasive call to radical social reforms.4 It also illustrates one of the functions of utopian thought as a medium of realistic criticism of the present.

Refusing to accept the ethical postulate conjoining self - realization and the social good which was at the heart of Dewey's ethics throughout his career, Rorty has argued for a «liberal utopia» in which there prevails a rigid division between a rich, autonomous private sphere that will enable elite «ironists» like himself to create freely the self they wish — even if that bares a cruel, antidemocratic self — and a lean, egalitiarian, «democratic» public life confined to the task of preventing cruelty (including that of elite ironists).

(2) The «utopia» of peace and justice (i.e., the expectation of «a new age») is not an ideal construction from which certain consequences are derived for specific situations but, on the contrary, it is the coming together in a vision of the specific struggle of the community to solve the conflicts, contradictions and difficulties that they find in everyday life — political, social, religious, economic.

The sect advocated total economic liberalism with no reserves or borders, in other words a reactionary utopia of complete submission of societies to the exclusive unilateral logic of capital, their «adjustment» — in all its dimensions, political and social — to the sole rationale of the project.

As a form of a «social protest» and utopia, the Pentecostal movement recalls movements such as the Taki Onqoy of 16th century Peru (Huamanga 1560 - 1570).

The data - driven utopia of Silicon Valley treats free markets as a background structure beyond contestation and sees the solution to social ills in terms of the optimal distribution of relevant information and incentives («nudges»).

What can we do as educational and cultural workers, at this crucial moment in history, when corporate revenue expands as the job market shrinks, when there is such a callous disregard for human suffering and human life, when the indomitable human spirit gasps for air in an atmosphere of intellectual paralysis, social amnesia, and political quiescence, when the translucent hues of hope seem ever more ethereal, when thinking about the future seems anachronistic, when the concept of utopia has become irretrievably Disneyfied, when our social roles as citizens have become increasingly corporatized and instrumentalized in a world which hides necessity in the name of consumer desire, when media analyses of military invasions is just another infomercial for the US military industrial complex with its huge global arms industry, and when teachers and students alike wallow in absurdity, waiting for the junkyard of consumer life to vomit up yet another panacea for despair?

His playful work addresses complex social topics, such as the yearning for utopia, the lure of spectacle in mass media, and the impact of Modernism on contemporary values and belief systems.

In the day - to - day world, this utopia is in fact also an indicator of social class, and a status object.

Neto's work is not suggestive of an illusory attachment to some invented past utopia, but is rather concerned with the contemporary negotiation of space, place, social relations and the role of the local in the global.

The participating artists address themes such as memory and self - reflection, social and political issues such as discrimination, racism, the failure of the modern utopia, urban violence and exploitation of the Amazon rain forest.

► Acknowledging the distance between utopias and social realities, Not Here, Not Anywhere presents twenty works by the visual artist Domènec that reflect upon the political strategies of historical memory and social empowerment.

In these vivid utopias and dystopias, the viewer is invited to play with social possibilities that are otherwise deemed impossible by the culture of fear that has reigned in the past.

While blurring the traditional distinction between fiction and reality — and revealing the experience of fiction to be as palpable as anything in daily life — Huyghe's playful work often addresses complex social topics, such as the yearning for utopia, the lure of spectacle in mass media, and the impact of Modernism on contemporary values and belief systems.

Domènec's work is articulated around issues such as the distance between utopias and social reality; speculation about the public dimension of architecture and the ideological precepts that determine it; socio - historical mechanisms and how they are interfered with; and about what conditions memory and oblivion.

From its beginnings in the early 20th century the legacy of abstraction is rooted in social and political utopias.

Inspired by the Utopia Neighborhood Club, a Harlem - based women's social service organization that directly supported Jacob Lawrence, Promise Machine comprises a reading group and performance inspired by the notion of utopia.

Evoking notions of utopia and dystopia, Jules de Balincourt paints public and private spaces exploring the natural, economic and social landscape of the United States.

Each artist in this exhibition manifests the intangible qualities of social constructs such as borders, belonging, race, and utopia to ignite dialogue, contemplation, intervention, and questioning.

Oiticica's works form a bridge between painting and sculpture; furthermore, they connect the Modernist utopia of the 1950s with the more fractured period of social and political tensions of the 1960s and»70s.

Among those who worked in geometric abstraction at this time, a certain balance and visual tension was perpetuated between spiritual (mystic) expression and social utopia as evidenced by the containment of form within these artists» works.

With ideological utopias often referred to as islands of idealism, Mamou is creating forced utopias through material explorations; thereby highlighting the arbitrary nature of boundaries, and social constructs that exist within them.

Hemali Bhuta: Artists thrive on the idea of uncertainty, give it environmental, political, social, economic in the hope of this utopia but what if we reach the state of certainty, then would we look back and find ways of addressing the uncertainties of the past or we shall start painting beautiful landscapes?

The motifs of feminist space utopia and of journeying through strange galaxies also contain concrete references to the economic, social and political present and to the history of space travel.

The objects on the tables are a combination of prototypes, potential signage and models, and they have been developed around Gillick's ongoing engagement with writing on social utopias; in particular he has been working on a series of texts, exhibitions and lectures with the overall title Construcción de Uno for a number of years.

In the works included in the exhibition, twenty - eight artists express a varied fascination with city planning, failing modernity and its utopias, social and economic pressure, and the anonymity of everyday life and its worn - out routine.

«Coming up with a programme of social change and calling it a «utopia» means announcing in advance that it can not be implemented, and that you never even wanted that in the first place.

The main theme of her work lies in overlapping social and political issues and exploring the notion of utopia where public space and subliminal messages are brought together to break boundaries.

«A utopia is not a portrait of the real world, of the actual political or social order.

This represents another challenge for Hippie Modernism: disentangling utopia from connotations of idealism that stem from privilege and social homogeneity.

Recent solo projects and exhibitions include: Almost Midnight, Frankfurt am Main, Berlin, 2017; Assemble, performance night, Bundeskunsthalle, Bonn, 2017; I, Mole Antonelliana, Turin, in collaboration with National Cinema Museum of Turin, 2016; Functions and Fictions, Boghossian Foundation, Brussels, 2016; Dead Men Tell no Tales, Kölnischer Kunstverein, Cologne, 2016; More than Real, Bundeskunsthalle, Bonn, 2015; The Ghost and the Host, Pavillon Social Kunstverein, Lucca, 2014; Utopias are for Birds, Chert, Berlin, 2012.

Solo Exhibitions 2018 Hibernation, with Linda Kuhn, Curated by Julia Heunemann and Nadia Pilchowski, Bärenzwinger, Berlin 2017 AltBau, ChertLüdde, Berlin Almost Midnight, Frankfurt am Main, Berlin Solo presentation, ART - O-RAMA, Marseilles Assemble, Performance on the 25th Anniversary of the Bundeskunsthalle, Bonn 2016 I, curated by Treti Galaxie, Mole Antonelliana, National Cinema Museum of Turin Functions and Fictions & Be my Muse, Boghossian Foundation, Brussels (Performance Night) Dead Men Tell No Tales, Kölnischer Kunstverein, Cologne (Performance Night) 2015 Deep Down, Porcino Gallery, Berlin More than Real, Bundeskunsthalle, Bonn (Performance Night) 2014 The Ghost and the Host, Pavillon Social Kunstverein, Lucca 2012 Utopias are for Birds, Outdoor exhibition, Chert, Berlin 2011 Expanding Univereses (An Ongoing Map), Kunstverein Arnsberg

But that is probably because as a Kiwi I am so confused with our so called «social state» being some kind of socialist utopia that I don't realise it is the embodiment of communism.

It's all as it was in those happy carefree days of 2009 and before, BC (yes, Before Cli **** ga **) as we call it now, when the MSM would happily «highlight the most alarmist aspects and downplay any mention of uncertainty» (Zorita), when no doubts were allowed, or should I say expressed, about the holy trilogy of WG1, 2, and 3 — how certain it was that the well - accepted theory of ghg effect, and the impacts thereof, would lead to a Copenhagen / Kyoto utopia of global cooperation, and that the IPCC was cool (whoops, «the request for more research about the social dynamics of the IPCC, of positive feedbacks as described by Judith, is meaningful for me» (von Storch).)