The reason for this is again that the event of salvation and the new reality of faith are thought of as connected with the Lord Jesus Christ in the closest way. The Kyrios forms the center of all expressions of faith. In this way the authority of the Kyrios can encompass both Pauline argumentation as well as already circulating traditions taken up by Paul and traditions that go back to the earthy Jesus himself. Therefore, all the admonition of the apostle ultimately takes place in the sphere of validity of faith in Christ, which forms the framework for his own remarks on the Christian self-understanding.
The sphere of interpretation in which Paul places topoi, motifs, and contents of tradition, levels out their respectively specific backgrounds. Quotation 3 page From a reception-oriented perspective 1 Cor 7.
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For although in 1 Cor 7. For the Kyrios as foundation of faith possesses for Paul more weight than the Kyrios as originator of tradition.
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With this the Pauline perspective on the action of God toward and through Christ becomes apparent, which alongside various other spheres of tradition integrates also the words of the Lord traditions into a common paradigm. Quotation 4 page Aus einer rezeptionsorientiertenten Perspektive lassen sich insbesondere 1 Kor 7,10f.
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However, this installation works in most socially diverse places. The installation consists of a box with a triangular opening in front, attached to the wall on about 1m 40cm height.
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However, diving into this single channeled VR experience the observers eye is projected in big on top of the box noticeable by everyone prensent. Similarities with the phallic and macho driven "eye on top of a pyramid" iluminati-symbol are intentional and invite the watcher to critically play with ones social position, the position of others and general reflection of the self and society. Only children, being smaller in size, can see the content of the ray cathode tube.
In fact, any content or movement on a TV screen attracts and even magnetize viewers. Considering the difficulty in watching the content of this work and the physical effort it requires, a few subliminal messages interweaved into the video feed i.
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Or, as a Mexican jargon states: The harm is in what you are not doing, while watching TV. The dependency shows how water from a little pond flows down on a wooden channel to a huge wheel of a mill that impulses a mechanism of a saw that is cutting a tree. The 3 dimensional, gravity obeying setup has a very casual appearence. Six sockets, each with a LCD-Screen and a camera on top and arranged in a hexagon, facing inwards.
The spectator, upon entering the circle can see himself — from behind.
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And you may try as much as you want, if you look into one of the screens, you will already have turned away. Because you only see yourself from behind, you literally see yourself already walking away. What happens in any given moment? How do we perceive what has happened? And to what extent can we take influence on our past?
This piece confronts us with two basic uncertainties of daily life: Two, we cannot change the past nor can we look into the past. And nevertheless, every moment that we experience in the present is past already.