Word: shapes
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Dates: during 1960-1969
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...quasars-the red shift of light from those bodies-is reasonably accurate. And by that measure, the most distant quasar so far observed by astronomers is about 8 billion light-years away. Furthermore, in the complex Einsteinian geometry of space, diameter is a naive measurement; normal concepts of shape are meaningless. Astronomers were also nettled by the way that NASA released its information. Ignoring the scientific community, the space agency has to date published its conclusions only in a press release that was issued on the first anniversary of OAO-II's launch. "Remember," said Caltech's Jess...
...turmoil of the '60s, especially the rebellion of the young. Assassinations can rob a nation of its leaders, unexpected wars can desiccate the vitality of a race, the unaccountable gift of leadership can create hope where despair existed. Many of the major trends, visible and subterranean, that will shape man's life in the future are present today. On these two pages, TIME offers an analysis of the decade just past. Beginning on page 22, TIME attempts a glimpse...
Wooden hat blocks are old hat to the millinery industry. A designer fashions a new shape, a whittler carves it in wood, and then it is mechanically mass-produced. Felt is draped over it, steamed and pressed into its contours, and voil...
Director Yates knows how to shape even the sketchiest scenario, and if John and Mary is no deeper than an eggshell, it is every bit as functionally designed. Mia Farrow adds an otherworldliness to her character by reciting her lines as if they were cabala. Hoffman, one of the shrewdest young actors in the business, manages to be at once predator and victim. But when the film tries to make the audience care for the characters, it proves bankrupt. For beneath the Manhattan chatter and the glossy confrontations, John and Mary is as empty as a singles bar on Monday...
...structuring color into definite geometric shapes, Minimal Artists give color the permanent stability it lacks in the impressionistic canvases of Olitsky. The smooth unmodulated hue of their minimal works pulls the canvas to an unprecedented flatness. The extensive steady tones glare outwards without suggesting any space for the eye to travel. Though it is difficult to conceive of a flatter picture, it is almost impossible not to see a special relationship between any two colors placed on the same surface. In their simplicity, the chevrons of Noland, thrust across the canvas, are impossible to forget. As the painted surfaces become...