Word: crafting
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Dates: during 1970-1979
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...passengers of heavy luggage before it was put aboard. West German police meticulously inspected each item, Israeli-style, in every passenger's luggage. Major airports located near international waters, including New York's Kennedy and Boston's Logan, were asked to patrol for any suspicious-looking craft capable of firing rockets. In addition, Lufthansa jetcraft followed new flight patterns. In West Germany the planes were often given runway changes at the last minute...
...newly launched vehicle for Heyerdahl's latest voyage is the Tigris, an 18-meter-long (59 ft.) craft constructed from 30 metric tons (33 tons) of reeds gathered from the swamps of southern Iraq; its design is based on drawings found on ancient Sumerian clay tablets. Iraqi workmen first tied the reeds together into two long, tapering rolls. Then the rolls were joined to form the craft's hull. Though on earlier voyages Heyerdahl and his crew drifted across oceans at the whim of winds and currents, the Tigris will be more versatile. It has been fitted with...
...nine-man crew that includes an American, a Russian, an Italian, a Mexican, a Japanese, a German, two Scandinavians and an Iraqi (three Indian dhow skippers, hired to help navigate through some difficult waters on the route, withdrew from the expedition when they got a look at the craft...
...that no one-not even the semi-tough-minded among us-is immune to the absurdities of ideologies that hold out a promise of instant salvation. On a slightly deeper level, the movie is warning us to beware celebrities bearing false prophecies. Because of the absorption in self and craft that their work requires, performers-be they actors or athletes-can be easy converts, and therefore untrustworthy in their wayward enthusiasms for abstract realms. On the more positive side, the picture suggests that if salvation is to be had, it lies in that pragmatic resistance to the con that...
...identical technically and in mood to his turn-of-the-century vista of Evian. In an age when one is accustomed to an artist's regular reappraisal and redirection of his own work, this continuity is rather a surprise. It is almost as if Binet, having once perfected his craft, spent the rest of his life hermetically sealed away from the explorations of his contemporaries. It seems ironic that Impressionism--itself a traditions of mid-19th century art--should be the vehicle for this man's repeating for fifty years the same kind of radical challenge to the etiquette-formal...