Translation of "Empirical reality" in German

Both are opposed to the sensory world of empirical reality.

We are continuously surrounded by the elusive beauty of empirical reality.

Whether it is raining or snowing, whether we are in a crisis or a boom - it is always the same ideology, but it has nothing whatsoever to do with empirical economic reality.

This means that we turn our attention to problems with general relevance, which we structure in respect to their economical and behavioural science theories and verify the reality empirical.

But, from the fact that the idea is not allowed to bring anything new to the object, it follows that the object itself, in its own essential being, is something ideal and that empirical reality must have two sides: one, by which it is particular, individual, and the other by which it is ideal-general.

This stimulated Goethe to think about the relationship of what he called "typus " to empirical reality.

The relevant context is the assumption of the particular urgency of socio-political conflicts and concerns which provoke an orientation towards 'empirical reality'.

However, the artistic discourse, which is part of lived experience, is a different way to observe and realize this relationship with empirical reality, since it frames the work differently (in galleries or other spaces of exposition) and gives it another temporality, a kind of distance.

Your description of an empirical reality presumed to be very different from dominant norms brings us closer to a Marxist or neo-Marxist understanding, where there's ideology and then there is reality.

A picture is not a more or less objective reflection of empirical reality, but what the Russian philosopher Pavel Florensky called "magic machine".

The strike expresses the empirical reality of situation: recontainment by the male-dominated power formation of the domestic.

But this would also conversely mean that more and more devout Muslims explore, in an attitude of critical openness, the normative teachings as well as the empirical reality of the Christian faith tradition.

Adorno—whose Aesthetic Theory the Left found too bourgeois, and too culturalist for its concern with aesthetic autonomy—believed that attempts to deliver a political message by means of artistic content alone is futile, and that artistic activism cannot be very efficient at negating or criticizing a repressive empirical reality.

For Adorno both autonomous and committed art are aporetic: the former because, despite of its claims to stand apart from life it is still deeply grounded in empirical reality, and the latter because despite its bombastic declarations about changing life it remains, nevertheless, a work of art.

Maybe this is where we escape reality, if our souls are immortal and immortality is a painfully boring prospect, then a life where we have no idea of anything beyond Empirical reality would be the perfect illusion.

The model itself is an abstraction from the actual multiplicity of empirical reality and implicitly becomes a norm of development.

But at the time of Wilber's writing, Klaus Eder, whose work Habermas relies upon, had already abandoned Habermas's assertion of an automatic link between learning processes and social evolution in order to focus on the empirical reality of historical individuals and groups.

Perhaps the most powerful illustration of this empirical reality comes from the simple observation made by Lawrence Cohen and Marcus Felson several decades ago in introducing their "routine activities theory" of crime.

One can observe that contemporary artistic practices are in large part characterized by a relationship, whether direct or implicit, with empirical reality.

Ryan’s reading of Catholic Social Teaching is somewhat provocative as it is clear that the “Social Assistance State” to which Blessed Pope John Paul II refers in the encyclical is not in fact an empirical reality but is a distortion of the social model that destroys all initiative.

Obama is arguing that, because people have different religious backgrounds, we must make rational arguments based on an empirical understanding of reality that appeal to our common experience in that reality.

In the first segment of the project, the image of the artist is present in the photographs of the most famed soccer teams in Europe, but not as a digitally manipulation, or classical photo montage, it is a material trace of a performance that has integrated him for a limited time into each team, and at the same time a phantasm has been realized, staged in empirical reality and turned into a piece of work.