The way in which the photograph records experience is also different from the way of language. Language makes sense only when it is presented as a sequence of propositions. Meaning is distorted when a word or sentence is, as we say, taken out of context; when a reader or listener is deprived of what was said before, and after. But there is no such thing as a photograph taken out of context, for a photograph does not require one. In fact, the point of photography is to isolate images from context, so as to make them visible in a different way.
You can publish a poem you think is a very important poem, and you don't hear a word from anyone. You can publish a book of poetry by dropping it off a cliff and waiting to hear an echo. Quite often, you'll never hear a thing. So doing that, using older work, puts it in a context, and that sort of forces the reader to realize what its importance is-if it has any. Everything needs a context. You're not going to recognize a poet unless you have a context.
God's Word is not presented in Scripture in the form of a theological system, but it admits of being stated in that form, and, indeed, requires to be so stated before we can properly grasp it - grasp it, that is, as a whole. Every text has its immediate context in the passage from which it comes, its broader context in the book to which it belongs, and its ultimate context in the Bible as a whole; and it needs to be rightly related to each of these contexts if its character, scope and significance is to be adequately understood.
J. I. Packer
Parents are led to believe that they must be consistent, that is, always respond to the same issue the same way. Consistency is good up to a point but your child also needs to understand context and subtlety . . . much of adult life is governed by context: what is appropriate in one setting is not appropriate in another; the way something is said may be more important than what is said. . . .
The philosopher of science is not much interested in the thought processes which lead to scientific discoveries; he looks for a logical analysis of the completed theory, including the establishing its validity. That is, he is not interested in the context of discovery, but in the context of justification.
Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.
J. J. Abrams
I think you can talk about anything if the context is correctly arranged. If you set up the context and you bring the audience along carefully enough with you, you can get them to cross the line with you. What I try to do is talk about things that bother me, and I hope that in doing so I bother other people.
I got to get the right people in the right job. Because a lot of costs can be taken out in the context of your administration without the legislature.For example, using technology to do more with less. Using technology to fight fraud. Reorganizing and streamlining can be done within the context of the administration.
I got to get the right people in the right job. Because a lot of costs can be taken out in the context of your administration without the legislature. For example, using technology to do more with less. Using technology to fight fraud. Reorganizing and streamlining can be done within the context of the administration.
There isn't any one material that's mine. It all depends on the context. For example, I did a house that had the most exquisite marble applications. That sounds ostentatious, but it wasn't, given the context. The color white I subscribe to extensively. I love thinking about color, but I often go with white.
I painted the words "GREAT ADVENTURE" in Beijing, Dallas, San Francisco, Copenhagen, and Japan. What it means to me is completely different to everybody else. And that's what I love about random words and phrases taken out of context: everyone applies their own context. If you want to apply something political or meaningful to a word I wrote on the side of the wall, then it's up to you.
When I came to New York, to Brooklyn, I met Alvin Ailey and Stanley Crouch and August Wilson. They were always putting things in a philosophical context. All the great jazz musicians did, too. There was always a sub-context to what they were saying about music even though they would be very down home and earthy. So I started to develop, in addition to my power and ability to simply hear, a way to place myself in a time.
When a young pianist hits a wrong note, we don't say he is not worthy to keep practicing. We don't expect him to be flawless. We just expect him to keep trying. Perfection may be his ultimate goal, but for now we can be content with progress in the right direction. Why is this perspective so easy to see in the context of learning piano but so hard to see in the context of learning heaven?
What we are engaged in creating is the opportunity for people to participate in the transformation of peoples' lives and of life itself. This context of transformation is a context of freedom and opportunity, of empowerment and human joy, of contribution and of participation. Participation in this transformation is, for me, the fullest expression of being.
I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.
Wikipedia lacks the habit or tradition of respect for expertise. As a community, far from being elitist (which would, in this context, mean excluding the unwashed masses), it is anti-elitist (which, in this context, means that expertise is not accorded any special respect, and snubs and disrespect of expertise is tolerated).
Memory is like fiction; or else it's fiction that's like memory. This really came home to me once I started writing fiction, that memory seemd a kind of fiction, or vice versa. Either way, no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn't even there anymore... Warm with life, hopeless unstable.
Argumentation is a human enterprise that is embedded in a larger social and psychological context. This context includes (1) the total psyches of the two persons engaged in dialogue, (2) the relationship between the two persons, (3) the immediate situation in which they find themselves and (4) the larger social, cultural and historical situation surrounding them.
The Bible is not absurd for the people who wrote it; it becomes absurd when people in our day insist on taking it literally. The Bible does not present us with material that is ridiculous in the context from which it came. The Bible springs from the context in which people then were thinking, searching, and trying to find answers.
Evangelism cant be our focus! We must not stop sharing the good news, but here's the deal, here's the wonderful thing, it gets done along the way as you do discipleship. Great commission is just about going to disciple the nations and you know what happens... as you disciple them evangelism takes place, because it's done in the context of discipleship. Here's the issue: We have to reframe evangelism within the context of discipleship
Freedom isn't an illusion; it's perfectly real in the context of sequential consciousness. Within the context of simultaneous consciousness, freedom is not meaningful, but neither is coercion; it's simply a different context, no more or less valid than the other. It's like that famous optical illusion, the drawing of either an elegant young woman, face turned away from the viewer, or a wart-nosed crone, chin tucked down on her chest. There's no 'correct' interpretation; both are equally valid. But you can't see both at the same time. 'Similarly, knowledge of the future was incompatible with free will. What made it possible for me to exercise freedom of choice also made it impossible for me to know the future. Conversely, now that I know the future, I would never act contrary to that future, including telling others what I know: those who know the future don't talk about it. Those who've read the Book of Ages never admit to it.
This, then, is the foundation of sanctification in Reformed theology. It is rooted, not in humanity and their achievement of holiness or sanctification, but in what God has done in Christ, and for us in union with him. Rather than view Christians first and foremost in the microcosmic context of their own progress, the Reformed doctrine first of all sets them in the macrocosm of God's activity in redemptive history. It is seeing oneself in this context that enables the individual Christian to grow in true holiness.
Sinclair B. Ferguson
Our main source of psychic energy in the future will depend on our ability to understand this symbol of evolution in an acceptable context of interpretation. Only in the context of an emergent universe will the human project come to an integral understanding of itself. We must, however, come to experience the universe in its psychic as well as in its physical aspect. We need to experience the sequence of evolutionary transformations as moments of grace, and also as celebration moments in our new experience of the sacred.
Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context - which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.
There is not a moral to every story in animal behavior. Sometimes a snake is just a snake, and sometimes snake sex is only about sex in snakes, or sex in egg-laying reptiles. Although a biologist's job in part is to interpret what organisms do in a broader context, that context does not, and should not, need to include a lesson for human beings. This is true regardless of whether the lesson is something we would like to teach, which means that using animals as vehicles for nonsexist thinking is just as out of bounds as using them to keep women barefoot and pregnant.
When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.
Since the point of erotica is to offer the consumer sexual experiences without having to compromise with the demands of the other sex, it is a window into each sex's unalloyed desires. Pornography for men is visual, anatomical, impulsive, floridly promiscuous and devoid of context and character. Erotica for women is far more likely to be verbal, psychological, reflective, serially monogamous and rich in context and character. Men fantasise about copulating with bodies; women fantasise about making love to people.
A recognized fact which goes back to the earliest times is that every living organism is not the sum of a multitude of unitary processes, but is, by virtue of interrelationships and of higher and lower levels of control, an unbroken unity. When research, in the efforts of bringing understanding, as a rule examines isolated processes and studies them, these must of necessity be removed from their context. In general, viewed biologically, this experimental separation involves a sacrifice. In fact, quantitative findings of any material and energy changes preserve their full context only through their being seen and understood as parts of a natural order.
Walter Rudolf Hess
The intellectual context in which Eliot began work on the "long poem" that was to become The Waste Land has much to tell us about formal aspects of his poem. Certainly it reveals something of the problem any artist would have had in finding a perspective on the twentieth century. Emphasis on context, however, should not be taken as an assertion of specific influence. It should not be assumed that Eliot was consciously trying to adjust his presentation of reality to conform with the presentations in science or in the visual arts or even that he was greatly influenced by any specific scientific theory or any aesthetic manifesto. Without a doubt, he was aware of what was happening in science, in philosophy, and in the other arts. And without a doubt, he created structures in art which show his sensitivity to his age and which are formally analogous to structures created by other artists. He arrived, however, not by following anyone but by trying to find his own way. He spent most of the decade before writing The Waste Land as a close student of philosophy, comparative religion, and Buddhism, and his understanding of these subjects is part of the basic context of his art.
Jewel Spears Brooker
Every sign, linguistic or nonlinguistic, spoken or written (in the usual sense of this opposition), as a small or large unity, can be cited, put between quotation marks; thereby it can break with every given context, and engender infinitely new contexts in an absolutely nonsaturable fashion. This does not suppose that the mark is valid outside its context, but on the contrary that there are only contexts without any center of absolute anchoring. This citationality, duplication, or duplicity, this iterability of the mark is not an accident or anomaly, but is that (normal/abnormal) without which a mark could no longer even have a so-called 'normal' functioning. What would a mark be that one could not cite? And whose origin could not be lost on the way?