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.
Not exact matches
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.
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.
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
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
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.
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.
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.
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.
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.
She has worked
as Project Director and Curator for the FIGMENT Sculpture Garden on Governors Island and her original annual exhibition series, Brooklyn
Utopias, engaging local
social and environmental issues.
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).)