The discrepancy between image and actual product casts doubt on the ideals of technologized clothing companies.
|
|
Gay marriage, in this account, is a stepping-stone to a profoundly technologized society in which "the rejection of nature" is complete.
|
|
You might, in those moments of recognizing phone-fueled negative thoughts for what they are—the silly derangements of technologized relations—even giggle.
|
|
He points out that even though Bloomberg launched his company during a recession, it was also a moment when trading was becoming technologized.
|
|
But our wars are so professionalized and technologized that even unpopular ones can be sustained a long time without pushing domestic politics to a breaking point.
|
|
They're a supposed sign of progress in a blindly technologized future, where not only can an individual's race be augmented away; one's entire physical being can be.
|
|
As of 2014 there were over 18,000 agents assigned along the Southern border, which is one of, if not the most highly technologized border in the world.
|
|
Haid sees nomadism as a solution to our technologized, globalized lives, but it seems less like a fix than like an extension or intensification of the same condition.
|
|
The physicist Lucianne Walkowicz explains how a solar flare could bring the whole network — and with it our super-technologized way of life — crashing down in a matter of days.
|
|
It seems so simplistic, but no matter how technologized we become — and that's also good — it will always be important to have an audience member and a performer in a room together: live.
|
|
Nazis, Klansmen, ISIS — all fundamentalists resent the mutability of human life and the fact that, in a technologized world, no manner of racial or ethnic or religious or cultural purity can ever be guaranteed, as if an "inalienable" right.
|
|
This reflected AEBN's vision for the future of technologized sex, articulated most pointedly by EJ in HBO's 2014 Sex/Now feature: EJ expresses a variation on a familiar techno-utopian theme: networked digital technology will destroy the gap between bodies separated by geography, nationality, gender, class, and age.
|
|
Disorientalism (2005–present) is a long-term multimedia performance art collaboration between Behar and artist and professor Marianne M. Kim. The duo studies the disorienting effects of technologized labour, junk culture, and consumerism. Through performance, video, and photographic projects, they explore how these mediate race, gender, and bodies.
|
|
Technologized Desire: Selfhood & the Body in Postcapitalist Science Fiction (2009) is a book of literary and cultural criticism by American author D. Harlan Wilson. The book analyzes the evolution of technology, the self, subjectivity, culture, commodity fetishism and capitalism as it has been represented by postmodern science fiction novels and films. Ultimately Wilson points to a postcapitalist subjectivity that is an extension of technocapitalism.
|
|
Katherine Behar is an American new media and performance artist and writer based in Brooklyn, New York. Her work uses materialism and feminism to explore contemporary digital culture and is unified by an approach she calls "object- oriented feminism." Behar's art practice encompasses interactive installation, performance art, public art, and video art. In addition to her acclaimed artwork, Behar writes on various topics including feminist media theory, technologized labor, and objecthood.
|
|
Bill Gibron of DVD Verdict looked unfavorably on the episode, writing that it "has a premise—Bart builds a soapbox racer—that frankly has very limited modern day appeal. We can't really get into the whole Martin/Nelson/Bart race dynamic and today, soapbox derby has been technologized all out of proportion to the point where very few, if any, practice it. With such a narrow target, many of the jokes just don't work." Gibron preferred the subplot of Homer's attempts to become a better father.
|
|
The Arts and Crafts traditions of honesty to materials and construction, and respect for the dignity of the craftsperson working with his or her hands suffuse the work of Luke Hughes & Company, but in a modernized and technologized version. At scale, the precision achievable by a craftsperson at a ‘one-off’ level needs the most sophisticated digitally driven machinery. Hughes himself has lectured and written widely on this subject and the relevance of craft to modern industrial production; he calls the British furniture industry ‘neither an industry nor a craft but a machine-assisted craft’.
|
|
Tajai is a deity who wields the power of Creation. Swirling within the doldrums of his ponderous age, the deity has become bored and seeks to satiate his loneliness by mindlessly toying with the fates of his human "playthings." But after many millennia of evolution, the humans have become advanced lifeforms, and they have progressed so mightily in their civilized, organically-technologized culture. As a Prophecy is foretold by the stars and comes to pass, Chaos ensues, threatening the very grip the deity needs to maintain control of a universe that has outgrown him.
|
|
The Mission School was composed of five artists all born in the late 1960s and living and working in the 1990s in San Francisco's Mission District when it was still a low-rent neighborhood. The artists bonded over punk music, skateboarding, graffiti, queer politics and zine publishing, and they shared an appreciation for funky cartooning, offbeat social satire, quirky abstraction, folk art and old- fashioned graphic styles. Combining craft/folk art and urban street and graffiti culture, Alicia McCarthy and this Mission School group of artists cultivated an art style that prized the handmade in an increasingly technologized society. McCarthy's art featured punk messages transformed into poetic and geometric forms.
|
|
Enhanced physical access to books, greater verbal interactions around literacy, and more time spent engaged in book-related activities resulted in significant gains in print-related concepts and school readiness of children involved with the Books Aloud program. A second project involved a major renovation of libraries in the Philadelphia library system to establish technologized urban libraries that offered neighborhoods across the city with state-of-the-art books, media and facilities, as well as staff training. While increased access to print and media made a significant difference in the literate lives of children and families in those Philadelphia communities, Neuman observed that increased resources alone were not enough to "level the playing field", and close the knowledge and media divide for low-income students. A follow-up study conducted by Neuman and Celano five-years later revealed continued, significant differences in how children from different communities utilized the enriched facilities and accessed media and technology.
|
|