A Quote by Maya Lin

The definition of a modern approach to war is the acknowledgement of individual lives lost. — © Maya Lin
The definition of a modern approach to war is the acknowledgement of individual lives lost.
There's this romantic idea that's built up around war. But the pragmatic view is there are tons of people of my generation who have lost their lives, lost their marriages, or lost their health as a consequence of being sent to wars which could have been avoided.
The trouble in modern democracy is that men do not approach to leadership until they have lost the desire to lead anyone.
Documentary is, therefore, an approach, which makes use of the artistic faculties to give vivification to fact - to use Walt Whitman's definition of the place of poetry in the modern world.
Too many Americans have lost faith in our approach to the war on drugs.
The tragedy is that, as modern viewers, we've completely lost touch with what it physically takes to wage a war.
No one can change the definition of what behavior is presidential because that definition fundamentally depends on what our form of government requires, not on what one individual prefers.
We're all born listeners. And as a result of our modern lives, and living in a world that has less meaning than the natural world that we evolved to hear, we learn to think of listening not as taking in all the information with equal value, which is the definition of true listening. In our modern world, we tend to think of listening as focusing our attention on what is important and filtering out everything else.
Karachi captures all of those rifts between ancient and modern, communal and individual. You see them playing out in people's lives.
After a great deal of discussion in Soviet literature about the correct definition of a combination, it was decided that from the point of view of a methodical approach it was best to settle on this definition - A combination is a forced variation with a sacrifice.
There is an old and a new consciousness of the age. The old one is directed towards the individual. The new one is directed towards the universal. The struggle of the individual against the universal may be seen both in the world war and in modern art.
I covered the Vietnam War. I remember the lies that were told, the lives that were lost - and the shock when, twenty years after the war ended, former Defense Secretary Robert S. McNamara admitted he knew it was a mistake all along.
In those rare individual cases where women approach genius they also approach masculinity.
The inclusion of consequences in the conception of what we have done is an acknowledgement that we are parts of the world, but the paradoxical character of moral luck which emerges from this acknowledgement shows that we are unable to operate with such a view, for it leaves us with no one to be.
I was lost, and that war [in Vietnam] was very alienating - not that I was against it or for it, but I was just lost after that war. As were many Americans.
Where some may see flat, static narratives, I see a spectrum of tonal gradations and realities. What I am creating is literally black portraiture with ballpoint pen ink. I'm looking for that in-between state in an individual where the overarching definition is lost. Skin as geography is the terrain I expand by emphasizing the specificity of blackness, where an individual’s subjectivity, various realities and experiences can be drawn onto the diverse topography of the epidermis. From there, the possibilities of portraying a fully-fledged person are endless.
Of course, the outcome of the war would not have been changed. The war was lost perhaps, when it was started. At least it was lost in the winter of '42, in Russia.
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