Word: mediums
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Dates: during 1960-1969
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...called it "the triumph of the illiterate." But radio is stronger than the kicks and the curses; not even television can kill it. TV, in fact, now rules the bog, while radio has resurged; thanks to the big beat and the news beat it has become a thriving, throbbing medium. Today there are over eight times more radio than TV stations (5,817 to 704), and more radio receivers in the U.S. (242 million) than people...
Last Yar at Marienbad, made in 1961, corrected many of the technical faults of Hiroshima and allowed Resnais to push further into the realm of abstraction. By 1963, when he made Muriel, Resnais was in unquestionable control of his medium, rendering the slightest impressions subject to his intent. At this juncture, Resnais seems far closer to the Italian director Michaelangelo Antonioni than to his New Wave counterparts; but then, anything is permissible in the New Wave...
...form, top art stands somewhere between collage, in which objects are pasted onto the canvas, and sculpture, in which the work exists to be viewed in the round. But however hybrid the medium, it has won astonishing acceptance. Hinman, for instance, has had only two one-man shows in as many years, and already his works are owned by seven major museums. Nor are collectors holding back. Governor Nelson Rockefeller already owns one, and would-be purchasers are forming a long queue to buy whatever Hinman may choose to produce next...
...contrast between Dick Summer and Bruce Bradley seem to make the two--who together make up almost half of WBZ's total programming--perfect complements. It is not an accident. Rock 'n' roll stations can choose a philosophy and maintain it just as consistently as can any other medium, an almost self-evident observation to anyone who has seriously compared, for example, WBZ and WMEX. "A station can't operate without objectives," Perry B. Bascom, WBZ's general manager, has said. Other rock 'n' roll stations have been known to choose a name for a disc jockey to keep...
...NICOLAS SCHÖFFER, 53, a Hungarian-born Parisian, builds Erector set-like perforated grids, convex mirrors and metal latticework. He views these not as art works but rather as the medium to express his vision of "spatiodynamics." His largest work to date is his 170-ft.-tall computerized Cybernetic Tower in Belgium, which emits sounds of street noises mixed with electronic music. Other works blink, twinkle, and swathe the space around them with elusive illuminations, sometimes changing 300 times a second like whirling dervishes of light...