Word: consciously
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Dates: during 1980-1989
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...CREATION of architecturally significant designs goes beyond logical construction and beyond self-conscious intellectualized aesthetics. One must consult one's intuition to understand "the essential distinction between architecture and mere building," Cobb says. His emphasis on architecture as investigation and exploration perhaps best explains why he came to Harvard. His final message is that there is no prescriptive guide to understanding--or discovering--architecture. "You learn architecture by doing it. The process is long, arduous, difficult, and expensive--and absolutely indispensable...
Women's autonomy and rights are violated not only by the actual occurrence of violence but by the fear of violence as well. This well justified fear fosters dependence and undermines a woman's self-respect. She is told to be conscious of her lack of power; to constantly think "I can't..." Whether this inhibits her from majoring in physics, a "man's major," or from walking to the library, the effect on her self-image is the same. As Adrienne Rich writes...
...hand. Today voting America will decide whether its faith in the likeable personality is not after all stronger than its faith in conscious leadership. For this is how the campaign has shaped up. On the one hand, there has been good old Ike, with beaming countenance and sincere reassurance. On the other hand, there has been Adlai, looking not quite so All-American, but better-informed and offering a few comprehensive plans for a New America and a chaotic world...
...STUNT MAN'S other saving grace, besides the sheer energy of Rush's technical imagination, is Peter O'Toole's madcap caricature of a visionary movie director. Things spring magically to life when he strides into the picture, all self-centered, self-conscious magnificence and deified idiosyncrasy. None of the other caricatures have near his stature and wit; indeed Rush makes them all cower in the shadows of his imperious ego, and even then he's always descending from his helicopter into their privacy or shining spotlights into their midnight trysts. He is a perverse god; he loves making grand...
...People, mutatis mutandis. Redford, though, is not Chekhov. The purpose of art of this sort is to take the ordinary and make it extraordinary--this he has failed to do. He brings little in the way of creativity or technical resources to his film, only a lot of self-conscious artiness which he takes to its furthest extremes, directorial touches which never coalesce. It all starts with the opening credits, white letters on black background, no sound: "Oh, Christ," you think--"not another American Bergman." Throughout, Redford blunders like the typical autodidact, smothering whatever intuitions he might have about film...