Word: sorting
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Dates: during 1970-1979
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...need for guidelines arises, Carter's advisers believe, because the U.S. is now experiencing a peculiar sort of inflation by momentum. Prices, in their view, are not being pulled up by excess demand (the nation's factories are at present operating at only 74% of capacity). Rather, the inflationary spiral keeps spinning because everyone expects it to. As Okun wryly puts it, "Wages and prices are going up because they have been going up." So some type of Government action is needed to break the momentum, and Carter is opposed to outright controls. Though he once talked...
...American art in the '60s see movements and orthodoxies?Pop art, minimal art, conceptual art, Op art, color-field painting, doctrines about flatness and framing edge, proscriptions, mandates. The categories rattle briskly like punch cards in their slots. Art in the '70s is more polymorphous, less ambitious, harder to sort out. The present creed proclaims belief in the Either, the Or and the Holy Both...
...enormous grainy effigy of John Kennedy (then dead), with its repeated pointing hand, into a type of vengeful deity. Rauschenberg has had great moments of social irony. "The day will come," Edmond de Goncourt wrote in his journal in 1861, "when all the modern nations will adore a sort of American god, about whom much will have been written in the popular press; and images of this god will be set up in the churches, not as the imagination of each individual painter may fancy him, but established, fixed once and for all by photography. On that day civilization will...
...someone - the FCC, those concerned ladies up in Boston - would raise a hue and cry about the odd programming coming out of the tube? That in real life, network executives tend to err on the side of timidity rather than on the side of even innovation, let alone the sort of madcap invention Chayefsky has them endorse here? That realism is fatal to the kind of social-science fiction he has written...
...sort of mini-festival that Karajan could take pride in. In the currents of sound at Carnegie could be found not only a forceful musical personality but a remarkably complete one: a man's genius, his scholarship, his temper, his power to charm and the wide range of comparative musical judgments he has formed over a lifetime. He discounts the role of inspiration. "I don't believe in it," he says. "You have to work first. No decisions had to be made when we were pressed for time. After all, I wanted to enjoy...