Sentence examples for other cultural forms from inspiring English sources

In this prescriptive sense, theory frequently suggests a best understanding of architecture, as it may be related to other cultural forms or general cultural contexts (Pallasmaa 2012) or to objectives of other domains, such as ecological sustainability (Yeang 2006).

EvenTelevisionre actually of great significance seemed so far away and so irrelevant.  .

The younger Pei, drawn more to music and other cultural forms than to his father's domain of banking, explored art on his own.

Paul was pleased to see the photo re-emerge, telling TIME: "When my work gets picked by other cultural forms and used to explore the edges of what social politics are about, it's quite interesting".

The "architectural perception" the group is trying to create is one that will beckon architecture to come down from its ivory tower and greet the masses, allowing it to be shared and explored, discussed and dissected the way we do other cultural forms, like films, fashion, music, and art.

It mutates faster than any other cultural form, going through a generation within months; it has sent tendrils into film, fashion, television and advertising while transforming the English language.

They are also intrinsically about death in a way that no other cultural form is. Games toy with death, they systemise it so that it often becomes nothing but a momentary inconvenience.

"Our relationship with objects goes back longer than any other cultural form and in a lot of the work I make, both collages and objects, I'm interested in the role artefacts play in informing the narratives we construct about ourselves.

Here, being tolerant does not just mean respecting members of other cultural life-forms or religions as moral and political equals, it also means having some kind of ethical esteem for their beliefs, that is, taking them to be ethically valuable conceptions that even though different from one's own are in some way ethically attractive and held with good reasons.

In the central essay of "At Memory's Edge," titled "Memory, Countermemory and the End of the Monument," the author notes that much like "other cultural and aesthetic forms in Europe and North America, the monument -- in both idea and practice -- has undergone a radical transformation over the course of the 20th century".

Because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition".