Sentences with phrase «on cultural reality»

Abraham's position on cultural reality is illogical.

Not exact matches

This is a shared cultural event at a time when the notion of everyone watching the same program on the same network at the same time is a distant memory, totally disconnected from our new reality of Netflix (nflx), Hulu, Amazon Video (amzn), HBO Go or Apple TV (aapl) delivering our favorite shows, which increasingly aren't even produced by the major networks.

If your business depends on the engagement, creativity and free thinking of your teams, you must do your part to move the creation of a culture of conversation from abstract ideal to cultural reality.

Are we going to have to have a cultural moment, where we're coming to grips with what it means to interface with imaginary worlds layered on top of reality?

Simon Brault, director and CEO of the Canada Council for the Arts, says the #MeToo movement shed an important light on «unacceptable realities» within cultural sector.

Whether we point to «secularization» or «modernization» or merely mobility and rising levels of education, the cultural and social base on which the once - dominant denominations built their fiefdoms has all but disappeared — the lingering reality of racial division being the glaring exception.

The new Gender Architecture - a giant with clay feet standing on sand, not on the firm ground of reality and what is good for the human person, will sooner or later collapse, even if now, it seems virtually impossible to escape the cultural, political and anthropological tsunami it will inevitably provoke.

Beginning with Genesis 1:1, I plan on taking you verse by verse through the Bible to explain it from a historical - cultural perspective, and in a way that exposes how religion has forced Scripture to become its errand boy, when in reality, Scripture should be leading us away from religion and into a deeper and more intimate relationship with God.

The book itself was little read, but Time magazine featured «the death of God» on its cover and the church was not able to conceal from its members that the dominant cultural community no longer affirmed the reality and activity of God.

While it may very well be true that Heidegger sounds as if he is arguing for a pre-modern, pre-mechanized society, perhaps leaning toward a Luddite perspective, and while it also may appear that McLuhan is arguing for the continued evolution of technology that will enhance society, perhaps smacking of a full - blown techophilism, both theorists come together on the primary assertion that they make - technology has a profound and invisible shaping force on our epistemic values, perceptions of reality and truth, and cultural values and norms.

History turns on the conflict of heterogeneous conceptions of reality and social norms that express diverse cultural, ethnic, and gender identities.

We should instead anticipate that if all reality is somehow ingredient in our experience at the pole of primary perception, no particular expression could fully retrieve it, and different peoples will represent their primary perception in radically different ways, depending on cultural and historical conditions.

The cultural - linguistic model tended to make everything turn on the coherence of a community's way of signifying reality, while deferring questions about the reality signified.

This patience, which is complemented by a gritty determination to see real legal and economic reforms take hold, is all the more striking in that Ukraine must confront daily the cultural and social deterioration created by the sad reality of Homo Sovieticus: men and women who grew up under a brutal political system that was built on falsehoods, that maintained itself through terror, and that taught everyone that trust in another human being can be very costly.

This may seem like an unremarkable turn of events, but according to Grant Castleberry of the Council on Biblical Manhood and Womanhood (flagship organization for the complementarianism movement, which advocates hierarchal gender roles in the home, church, and society), it represents a severe «cultural capitulation» which, «instead of helping guide children towards embracing who they actually are, blurs reality,» «confuses them,» and «drags them through the dark labyrinths» of their parents» gender - based delusions.

Derek Webb, a musician who is familiar with this new cultural reality, began NoiseTrade in 2007 to distribute music on a pay - as - you - go model.

Learn basic techniques such as shampooing, conditioning and hair styling for different types hair, consider the impact hair care has on self - esteem and cultural identity, understand the myths versus realities of caring for natural hair.

He also served on several university committees that dealt not only with the usual problems of a startup, but also with the fundamental tensions between the king's vision and the political and cultural realities in the kingdom.

He initially brought her on as a cultural consultant, someone who could «bring the trans reality into some parts of the script,» Vega says.

That, I think, will do for plot summary, since to watch ATHF is to give up entirely on linear narrative and just sort of groove on the sudden shifts of pop - cultural reality.

In the search for reality (either subjective or documented), the film is also curious about the process of the actor — a thematic piece that blends seamlessly to the film's themes of being watched if not so much with its ideas on our cultural media climate.

The success of the financial - literacy program at the Ariel Community Academy depends on three major elements: a financial - literacy curriculum that begins early on and is developmentally appropriate, community partnerships that provide connections to reality and parent involvement in financial - literacy learning, and a cultural sensitivity in the methods of instruction that encourage student choice and the development of decision - making skills.

The forecasts of widespread innovation brought on by competition and of cultural balkanization by privatization will have to accommodate an empirical reality that is considerably more nuanced than vouchers» most ardent advocates and critics are currently willing to admit.

Read more about Orwellian doctrine becoming a reality and my visual responses to national and cultural Fear Mongering on my artist's blog at http://dregstudiosart.blogspot.com/2011/09/living-in-society-of-fear-ten-years.html

«Reality pedagogy» is focused on understanding how each student, as an individual, is influenced by their cultural heritage.

He has served on nearly two dozen not - for - profit boards including the Children's Defense Fund, the Black Children's Community Crusade and the Italian American Foundation and has received numerous awards for his cultural and charitable efforts, including the Ellis Island Medal of Honor, the Frederick Douglass Medallion, and the Americanism Award, the highest honor bestowed by the Anti-Defamation League, which acknowledged Riggio's work «to celebrate diversity and make the dream of freedom and equality a reality for so many Americans.»

In some ways, the always - on - the - go businessperson who practically lives in the air or on the road has become a cultural cliche — but that doesn't make it any less a reality for many people.

In some ways, the always - on - the - go businessperson who practically lives in the air or on the road has become a cultural cliche — but that doesn't make it any less a reality for many people.

Since 1975, you have taken existing materials and presented them on a different plane, encouraging viewers to look at the material or remnant not only as a poetic image, but as a doubling of reality in a physical and cultural sense, as Germano Celant described it in «Object and Display» (2015).

Curated by Abdellah Karroum, the exhibition will feature Neshat's existing and newly produced works, including the major photographic series, The Book of Kings (2012) as well as a selection of video installations commenting on the historical, cultural and political realities that she has focused on for over 30 years.

Neptune addresses the ideologies around white supremacy by focusing on an artistic invention called «The Colorline,» a metal stand and green velvet curtain, «designed to block out the reality of systematic racism, cultural and racial difference, white supremacy, and aggravated stress caused by interactions with non-white persons.»

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

This volume presents new essays and commissioned visual projects that elaborate on the crucial ideas raised in the forum — the new kinds of cultural identifications facilitated by the Internet; the relationship between art and activism; the poetics of online communication; the relevance of the museum in a digital world; and the complex relationships between bodies, information systems, and urban realities.

In multimedia works that mix documentary techniques with fantasy (virtual reality, anime, avatars), she explores the impact that China's rapid transformation has had on the generation born after the Cultural Revolution.

It, like Tomic's other projects, reflects on geographic and cultural disparity, and suggests that through nationality and language the reality of both individuals and societies take shape.

The artists» varied backgrounds contribute to an inclusive point of view on the larger cultural reality of the contemporary world.

Following last year's steady parade of centenaries and commemorations, Maggi Hambling's exhibition «War Requiem & Aftermath», opening on 4 March at the Cultural Institute, King's College London, will grapple with war as a living and ceaseless reality (my book of the same title appears in conjunction with the show).

Existing somewhere between constructed reality, fantasy, memory and imagination, these penciland - ink drawings on paper embellished with glitter and fluorescent pen invent a space where ethnic and cultural borders seemed to be abolished.

Since the beginning of her career, Gillian Wearing has drawn from techniques of theatre, reality television, and fly - on - the - wall documentary - making to construct narratives that explore personal fantasies and confessions, individual traumas, cultural histories, and the role of the media.

Political and cultural realities are thus broken, reflected and made topical on many different levels against a paradisiacal setting.

She worked alongside the Picture Generation and the activities of CalArts in the late 1970s, creating moving - image works that critically anticipated the prevalence of video gaming, virtual reality, and the impact of online networks on self - representation, social life and cultural practices.

Although it may first appear to have little in common with Rauschenberg's work at the time, Flag shares that same focus on cultural fragments, putting reality back into art and thrusting the relationship between viewer and artwork into the limelight.

By distorting and ridiculing this conventionalised, stereotyped imagery, the artist reflects on the things that affect us psychologically in our social - cultural reality and consequently by communicating more authentically, creates a catalyst by which to remedy the toxicity found in humanity.

By addressing local context the artist touches upon the themes related to the constructedness of history and cultural legacy, the persistence of ethnic and national clichés in the global world, the reflection on and re-evaluation of the past which clashes with today's realities.

While cultural and political realities are central elements of the work on view, the artists in Look up here, I'm in heaven create imagery that aims to transcend the here and now to establish a more transcendent sense of self.

The video, featuring the science writer Joe Hanson, explores a vital body of empirical studies on human risk misperception, showing how a rational view of long - term or diffuse threats is obscured by «status quo bias,» our «finite pool of worry,» our tendency to value tribal connections over reality through what researchers call «cultural cognition,» and other characteristics of what I call our «inconvenient mind.»

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.

Ultimately, this is a referendum not just on the ongoing chronic economic catastrophe that has been the Greek reality for the past 5 years, but a referendum on Europe as a cultural and historical institution and Europe as a political entity, the EU, and Greece's place within both.

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.

I think you're right that most people will always try to hold a certain line on privacy, although I'm frankly not optimistic about technology's ability to protect those lines in future — I suspect our cultural definition of what is deemed acceptably accessible to public view will change, as the reality of a truly flat world emerges.