Word: screens
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Maybe you shouldn’t. Cinema is a representational art anyway—what is on screen has only a causal, chemical parallel to corporeal reality, and film itself is nothing but miles of celluloid, or zeroes and ones. Its fascination for a century of viewers and scholars lies primarily in its powerfully subjective unmasking of human conscience, memory, and history...
...Screenings of the films took place at the Brattle Theatre and Kendall Square Cinema on Tuesday and Wednesday night. While at times the production values veered dangerously close to high school Spanish class videos, these lapses were more than accounted for by the crackling energy and spirit that poured off the screen. The end results often turned out as quite successful spoofs of the assigned genres, with the details of the quickly hatched plots being represented in as simple a way as possible...
...Trying to find your stuff is one of the major headaches of modern computing, especially if you're looking for something buried in the text, rather than the title, of a long-lost file. Spotlight, a small window that pops up at the top of your screen, takes care of that. Not only is it super fast (you're already getting results when you type in the first few letters of your search term), but it looks through absolutely everything: email messages, contacts, the information attached to digital photos, even a page you scanned in or a map you downloaded...
That plan, designed by Jody Pinto, who was the Cogan Visiting Artist at Harvard’s Office for the Arts last year, calls for one side of the bridge to be used as a screen to display movies and for the other side of the screen to light up depending on where pedestrians walk on the street...
When the lights first dimmed, the aptly-titled dance “Emergency” (choreographed by Jetta G. Martin ’05) hit the stage. Against a screen backdrop that urgently reflected a stark red light, maroon-sleeved dancers crowded the stage in movements that were alternately well-coordinate and disjointed. Whether or not the assumption and loss of uniformity was deliberate, the entire play proceeded and matched seamlessly the oblong and stacatta-driven notes of the soundtrack composition (written impressively by Patrick J. Bradley ’05). Although the dancers’ lack of coordination...