Word: conscious
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Dates: during 1960-1969
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...best foundations are acutely conscious of their public image and obligations, and sensitive to the need for periodic introspection if they are to preserve their function as the implement of vital change. Philanthropic institutions can degenerate into bureaucracies, stiff with habit and overloaded with deadwood; it is difficult, for instance, to fire a philanthropist for backing a poor horse. Soon after taking over the presidency of the Ford Foundation in 1966, McGeorge Bundy declared his conviction that periodic personnel turnover at the disbursement level was probably a good foundation practice...
Bentinck-Smith also argued that television is an exceptional medium, relying too much on entertainment content. "It tends to over-dramatize events and take them out of the realm of quiet discussion," he stated. "Participants get in front of the camera and become camera conscious." These generalizations not only underestimate the potentials of television, they insult the production staff at WGBH and the many distinguished members of last Thursday's panel...
...convinced that there is no realistic hope of peace negotiations until after the 1968 elections-if then-were admitting last week that they may have been too pessimistic. Their hopes, admittedly, were pinned on a nuance, but nuances are the language of diplomacy. The nuance in this case was conscious and coordinated: it was a simple change of grammatical mood in a statement from Hanoi. No longer does the Red regime in Hanoi say talks "could" start if the U.S. stops bombing North Viet Nam; now it says talks "will" start...
...Even Senator Norris Cotton concedes that his constituents' verdict is unreliable. "The average voter in New Hampshire," he said in an Atlantic interview,"feels ten feet high. He is thinking how his vote will have this terrific meaning for the whole country. He gets too thoughtful and self-conscious...
...finished film (Dirk Bogarde's liaison with ex-girlfriend Delphine Seyrig), and Accident falls flattest when Losey injects familiar notes of high Baroque into Pinter's version of the groves of academe. In fact, Losey is more comfortable with high baroque; Eva and Modesty Blaise, though self-conscious and dramatically weak, come close to Losey at his strongest and most asured in his choice of camera angel, subject, and movement. Accident is Losey at his most disciplined. Still, one suspects come fear behind the self-control, a lack of instinct as to how to treat the material, Due largely...