Sentences with phrase «other cultural media»

These stories also proliferate in film, literature, television and other cultural media, together comprising a national legacy.

Aside from primary IM, sending, and communicating features, such on the sex dating sites are now broadening to offer other cultural media features like profiling, discussion boards, and video giving.

Not exact matches

The mass media both nationally and internationally are rapidly becoming not just an aspect of social cultures, but through their increasing ubiquity across cultures, their functional interrelationship, and their place within the international market and economic system, are becoming the vanguard of a new international culture whose web is touching and influencing almost every other cultural system.

This media force, along with other cultural and social influences, shapes the disposition as well as the substance of theology associated with our view of the world.

We may have underestimated the continuing influence of those traditional institutions which have managed to survive without the benefit of the mass media for many years and which continue to transfer cultural values — the family, home, community, school, church, fraternal organizations, and others.

In an interview with Il Foglio Cardinal Scola, Patriarch of Venice and founder of the Oasis cultural centre for understanding between Catholics and Muslims, said that the Open Letter to the Pope and other Christian leaders by 138 scholars from various Islamic traditions was «not only a media event, because consensus is for Islam a source of theology and law... The fact that the text is rooted in Muslim tradition is very important and makes it more credible than other proclamations expressed in more western language... It is only a prelude to a theological dialogue... in an atmosphere of greater reciprocal esteem.

There is also hope, and considerable evidence, that we may have underestimated the continuing influence of those traditional institutions which have managed to survive without the benefit of the mass media for many years and which continue to transfer cultural values — the family, home, community, school, church, fraternal organizations, and others.

It also could provide a means whereby other influential factors could be investigated and addressed, such as differences in the social and economic purposes of broadcasting, the social sources of violence and how media portrayals interact with those causes, how the restraints and traditions of media production cause the media to pick up particular cultural images while ignoring others, and how particular audiences respond to and use media images.

Because of the complex interaction of religious broadcasting with other social characteristics such as broader religious and cultural movements, changing social uses of mass media, and changing historical circumstances, it is unlikely that a simple cause - effect relationship between the viewing of religious programs on television and individual faith and church interaction could ever be isolated.

The public atmosphere — the cultural tone — created by books, magazines, television, and the other media, is generally even more important than the factual exactness of the information communicated.

But the people are the subjects of speech, language, and all other expressions of their religio - cultural experiences; and they resist the cultural domination that is wrought by the control and monopoly of the media.

«Interestingly, [our] study did not find significant clustering of muscle - enhancing behaviors within schools,» said Eisenberg, which suggests that, «rather than being driven by a particular sports team coach or other features of a school social landscape, muscle - enhancing behaviors are widespread and influenced by factors beyond school, likely encompassing social and cultural variables such as media messages and social norms of behavior more broadly.»

-- Empowerment and development of inclusive national narratives — Global knowledge of cultures and histories — Cultural respect and understanding — Communication, exchange and exposure — Global citizenry through responsible media and political statements — Global values and equality — Avoidance of dehumanization of the other and abuse of knowledge — Other moral truths and vother and abuse of knowledge — Other moral truths and vOther moral truths and views.

We are committed to continuing to provide quality service to the Queens residents who rely upon Queens Library's vast catalog of books and other media and on its many educational, cultural and community programs.»

We must continue to provide quality service to the Queens residents who depend upon having access to its vast catalog of books and other media and to its many educational, cultural and community programs.»

This isn't just a fictional conceit; we live in a world where the rich and powerful use the media to keep the poor and underclass at each others» throats, divided by false racial lines or cultural boundaries.

Yet it's a more subtle, damning film for implicating the media as much as the church, the courts, the legal profession and other Boston institutions in the systematic, wider cultural cover - up it describes.

Some of its cultural seepage across media, some of its unwitting assimilation, (e.g., more and more girls seem to be unwittingly modelling their make - up style on transvestites, whereas it used to be the other way «round!)

Activities conducted under this program include: Development Discourse Pluralism and Peace Building (Formation of ulti - ethnic self - help groups, Pancasila Forum, Cultural Dialogue and Intercultural Dialogue, Development of sermon of various religion with Peace issues, Interactive Dialogue on the Radio, Campaign for Peace and Democracy Development Through Various Media); Cultural revitalization («Mosehe» Culture of Tolaki Ethnic Group, Inter-religion dialogue); Other activities (Working jointly to build a places of worship, building Peace Monument, Performing Arts and Sports, economic activities)

The concepts covered are: * Camera techniques * Audio techniques * Editing techniques * Mise - en - scene codes * Narrative structure * Genre conventions * Representation * Ideologies * Cultural Spheres and Universes * Institutional Techniques * Audiences models and theories * A wide range of media theories broken into contextual areas into sociological and political This is vital tool in the lead up to the exam period, where it can be used as a revision guide for key concept development, and as a compliment to other units you are teaching.

Basic Competencies: Students should have the ability to use all forms of information, especially current media and technology; develop a greater cultural awareness of their country and others; have the ability to work with others of different backgrounds; and develop skills to analyze multiple sources of information that can be used to solve real problems.

The Japanese government's Agency for Cultural Affairs announced Thursday the winners of 2014's Minister of Education, Culture, Sports, Science and Technology Recommendation Awards, and the Rookie of the Year for media / arts went to none other than Masashi Kishimoto, creator of the recently - completed manga Naruto.

Regional media can be great — like cultural, literary, family / parenting, other niche magazines can be a great source of media coverage.

She shares travel tips, destination guides, cultural information, personal experiences, and in - depth historic information about UNESCO World Heritage sites, ancient ruins, historic villages, and various other destinations with her social media audience of 4K +.

Perhaps because horror game designers show a greater cultural awareness and are more willing to incorporate influences from other media into their work.

Adventure games also relate to other types of media, and they may reflect the particular cultural background of their creators.

Presented through all of MUMA's recently designed galleries, the inaugural exhibition sees artists explore performative, media and event cultures, and the post-industrial architecture of the urban fringe, whilst others work with sound, light, sculpture, film, and painting in its diverse and expanded forms, offering a multi-sensory register of art and everyday life, from complex cultural perspectives.

In his 40 year career, Luna gave voice to Native American cultural issues, pursued artmaking with innovative and versatile media, and charted waters for other artists to follow.

We discuss, among other topics, about photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerländer.

Abe has been the recipient of grants and residencies including 2008 South Florida Cultural Consortium for Visual and Media Artists, Vermont Studio Center, full term artist in residence at Art Center South Florida, Everglades Artist in Residence and others.

Thus through its media alone Moshiri's work implicates and interrogates layered socio - cultural themes, principally the impact of the dissemination of Western culture throughout other parts of the world, specifically the Middle East.

The multi-purpose cultural centre Technopolis (which is better known as «Gazi») hosts exhibitions and other events, as does the Xwra cultural space, which sponsored a four - day video and media art festival in August.

Drawing inspiration from the radically confrontational Viennese Actionists and the Happenings of Allan Kaprow and others, McCarthy quickly strayed away from his initial interest in painting and in the 1970s began composing performances with the goal of physically disrupting the sense of material comfort, general apathy, and violent cultural dissolution that he viewed as the results of the United States» consumerist, entertainment - driven mass media and popular culture.

EA - Épreuve d'Artist (same as an AP, but in French) EACC — Espai d'Art Contemporani in Castello EAI - Electronic Arts Intermix (New York) EARN — European Artistic Research Network EAT - Experiments in Art & Technology (trailblazing art & tech organization started by Robert Rauschenberg and Bell Labs's Billy Kluver, among others) ECF — European Cultural Foundation EMPAC — Experimental Media and Performing Arts Center (Upstate New York) EMST — National Museum of Contemporary Art, Athens

The Korean Cultural Center Washington, D.C. presents The Prismatic, a new contemporary art exhibition that explores the universal human tension between self and other, individual and group, and private and public, through innovative mixed media and installation works from seven accomplished artists.

Levine, Sherman, and Barbara Kruger, among others, used photography to expose the significance of images and the media in shaping cultural attitudes.

Interested more generally in pop culture and pop culture nostalgia, Arcangel has taken as his subject other new media forms, including YouTube and blogs, using them to create works that explore their role in our cultural landscape.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

She has been the recipient of grants and residencies including 2008 South Florida Cultural Consortium for Visual and Media Artists, Vermont Studio Center, full term artist in residence at Art Center South Florida, Everglades Artist in Residence and others.

With over 40 years of exhibition and performance experience, Luna has given voice to Native American cultural issues, pursued innovative and versatile media within his disciplines, and charted waters for other artists to follow.

Vancouver's Douglas Coupland explores technology, cultural identity and the power of language in paintings, photographs, prints and other media as part of his first major survey exhibition.

The other artists in this exhibition work in a variety of media, including photography, performance, painting, sculpture, installation and video, and address diverse issues relating to the socio - political and cultural landscape of their respective environments.

«Take It or Leave It,» Ellegood explains, aims to challenge power structures and social - cultural institutions — be it politics, media, racism, sexism or art museums themselves — through artists who borrow and re-contextualize images, text and other elements from pop culture and fine art, among other places, to make a conceptual point.

His style combines his honed technical skills with inventive visual storytelling and a wide array of cultural and media influences, including those he found in comic books, film, and in the work of other artists.

«Danger to The System» focuses on events highlighting artists of color, queer, and other marginalized intersections of artists whose work deals with time, space, histories, new media, cultural diaspora, erasure, patriarchy, white supremacy, the internet, recorded and performed sound works, live performance, and the intersectionality of histories, cultural trauma, healing strategies and the ever changing radical climate in America, 2016, as well as specifically Oakland, CA.

His work mixes media and crosses continents, combining video, photography, and sculpture with text, live music, and even plants to trace the ways that people understand and influence cultural production in other parts of the world.

As social and cultural discourse moves increasingly to the Internet, artists, designers and other cultural producers are turning to digital media to explore and express their ideas.

With an interdisciplinary approach, Melik Ohanian uses film, photography, and other media to explore the various perspectives inherent in scientific, social, and cultural communities.

The student artist's growth is encouraged through experimentation, elective courses and exchange with other media and disciplines such as music, popular culture, science, literature, aesthetics, ecology and diverse cultural perspectives.

Incorporating in - depth research and astute readings of cultural situations, his incisive works have addressed ideas such as the relationship between public and private, the flows of information along the media landscape, and the inherent power of architecture and other social frameworks.