Word: progressiveness
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Dates: during 1990-1999
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...last June, Robert Stansky has been the most watched man in mutual funds. Magellan, with $54.7 billion in assets, is the biggest fund in the U.S. Stansky is trying to revive not only Magellan but also with it Fidelity's tarnished reputation as a money manager. He is making progress. Magellan's year-to-date return of 13% is better than that of 56% of its rivals but still trails major stock indexes. He talked recently with TIME'S Sam Allis...
Recently, however, progress has slowed. In 1987, chess computers may have been twice as skilled as computers in 1977, but computers in 1997 are not twice as good as they were a decade ago. The reason is that chess is an enormously complicated game. Even if computers continue to get faster at a faster rate, they will be better players than their predecessors by smaller and smaller amounts. This is because looking one move further is exponentially more time consuming the more moves a computer looks ahead...
...Cole (1801-48), a transplanted Englishman from the "dark Satanic mills" of the industrial Midlands. Cole's clients were mainly from the rich Federalist "aristocracy," whose members, offended by Jacksonian populism, wanted pastoral images of a pure American scene unsullied by the marks of getting and spending. Skeptical of progress, Cole painted the landscape as Arcadia, which served to spiritualize the past in a land without antique monuments. He loved the freshness of primal mountains and valleys--unpainted, unstereotyped, the traces of God's hand in forming the world. America's columns were trees, its forums were groves...
...possibility, they had not felt before. It was nostalgia, a sense of irretrievable loss. Some writers and painters, at least, began to sense a fault line in American history--the way in which America's eager anticipation of the future might turn into a more doubt-ridden view of progress, after the fratricidal horrors of the Civil War. To Henry Adams, writing in the early 1900s, the assassination seemed to have thrown Americans into a state of mind without connection to the past; it was a secular analogy to the death...
Nineteenth century Americans reveled in the twin myths of "discovery" and "progress," which had been so vastly strengthened by the physical conquest of North America and the expansion of technology. Americans could make anything, solve any problem, produce a cataract of inventions. This applied everywhere but the visual arts, where taste was generally conservative. In art, people wanted visible links to the past, to established traditions that would redress the ebullient rawness of their culture. Hence the fierce objections they raised against their own more inventive artists, like Thomas Eakins. Eakins advised his students to "peer deeper into the heart...