Today these principles have become superfluous because science has replaced them. By the word science, Mr Berthelot evidently means, like all who believe in science, a science that embraces every aspect of human knowledge, harmoniously united, assessed according to its degree of importance and in command of such methods that the data obtained is indisputably true. But since there is really no such science, and what is referred to as science is a collection of incidental, totally disconnected items of knowledge which are often completely useless, and not only fail to present the indisputable truth but very often present the most crude delusions, displayed as the truth today and refuted tomorrow, it is obvious that the thing which Mr Berthelot claims must replace religion does not exist.
Therefore when Mr Berthelot and those in agreement with him say that science will replace religion, their assertion is entirely arbitrary and based on a completely unjustified belief in the infallibility of science, a belief quite similar to faith in the infallibility of the Church. Moreover, those considered and referred to as learned are quite convinced that a science already exists which should and can replace religion and which has already obviated the need for it.
Religious communities are targets, as well as consumers, of surveillance. This may occur as the securitization of religious identity. Cultures of surveillance develop with societies where religion remains a significant player and/or where religious themes continue to influence as part of the broader heritage. Political rhetoric may draw upon concepts of the eye of God, popular culture may appeal to fears and/or reassurances of a divine and omnipresent gaze. Religious traditions also have the potential to contribute to discussions of the ethics of surveillance, whether in the realm of national security, human rights, trust, privacy or human flourishing in general.
July’s first full-length performance work. The first act revolves around a girl and her mother. The girl is either sick or pretending to be; the mother is either human or pretending to be. The second act tells the story of a woman on an airplane who is circling an entity called “The Titan” – a planet, a monster, a hopelessly sad man who is following her. A chorus of audience members perforate the second act with tales of the illusive, perfect “Love Diamond.” The performance combines slide and video imagery, all controlled by July while she performs. This was July’s first collaboration with composer Zac Love.