Word: mankind
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...primary aesthetic division of the 20th century. He outlines a hypothetical, prescriptive bookshelf spanning the range of 20th century art. The "No" shelf includes Kafka, T.S. Eliot, George Grosz and the pantheon of Pop art, which emphasize chaos and mass hysteria in the modern age and the mob of mankind. This is the "No" that is countered by the affirmative "Yes" of Matisse, Lachaise, Brancusi and Delaunay, Joyce, Nabokov and Chagall, along with "Yes" shelfmates W. B. Yeats, Wallace Stevens, William Carlos Williams, Marianne Moore, Richard Wilbur, Hemingway, Faulkner, Eudora Welty, Mondrian, Brancusi and Alexander Calder...
...that we do so before the works in question have grown even dimmer or have disappeared entirely behind the newest academic fog banks." And his point is well taken. After all, Bauhaus vests trust in our aesthetic judgement and hopes for the future. It is a positive statement of mankind's ability to engineer his environment and there's something to be said for that, even if it is responsible for those monstrosities on Memorial Drive...
...most important thing for man's survival is technology. And the most important issue facing mankind is related to the decline of the educated population. To allow humankind to coexist happily, we have to provide more opportunities for education. Currently television is misused, utilized mostly for entertainment. But I think TV entertainment can be a means for education, as Sesame Street has been. There should be a global project to launch a satellite for this purpose. And perhaps we could operate TVs with solar energy...
...must earnestly seek moral and spiritual revival so that mankind will live + in peace in accord with God's law. The world's ethical standards must keep pace with its technological advances. We should also try to establish a Society of Democratic Nations to guarantee the rule of law and order, free trade, proper stewardship of the environment and the sanctity of human rights...
...MANKIND'S RECORD OF INVENtion and discovery is an unfinished epic of awe and wonder. In his widely (and justly) praised The Discoverers (1983), historian Daniel J. Boorstin narrated with scholarly elan the saga of man's quest for knowledge of the world and himself. Now he has essayed what his book's subtitle calls "a history of heroes of the imagination." The Creators' range is impressive, from the Vedic hymns of ancient India to the modern cinema. The end result, alas, is considerably less exciting than its predecessor...