Word: snow
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Dates: during 1980-1989
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...stream of electrons that creates images on the picture tube as paint. Presto, video art, which means scrambling, bending, rearranging or just generally messing around with the picture on TV sets. As practiced by Paik and his followers, this tinkering can lead to anything from vivid static and colorful snow to whimsical sculptures of the video age. When New York's Whitney Museum gave Paik's work a full-scale retrospective in 1982, viewers encountered strange things. There was a battery of television monitors, showing preprogrammed tapes, set behind a bank of aquariums, in which fish swam randomly. There...
...pharmaceutical company, came to visit her every day at the nursing home in Morris Plains, N.J. "It's a habit, a routine," he said to the New York Times. "I couldn't break it for the life of me. I still have to stop there every day, even in snow, just to be sure that she's not lacking for anything." Her mother Julia came two or three times a week. "There's a radio in her room that is always on," she said, "and once in a while we bring down a tape and play some songs...
...experts say, is a tough one, even with some of the best forensic minds in the world applying their talents. There is no doubt that certain facts about the skeleton will be established. The question is, will a complete identity emerge? Even in the most difficult cases, says Clyde Snow, an American consultant on the Mengele case, "it's amazing what a little piece of bone...
Teeth provide important clues. Their alignment, the shapes of the roots, the patterns of wear and dental work are different in each individual. "It may be one tooth that puts the whole story together," says Snow, a forensic anthropologist from Norman, Okla. The rest of the skeleton can also yield information. Gunshot wounds, fractures and other major injuries often leave lifelong traces. So can diseases such as syphilis and tuberculosis and bone disorders like osteomyelitis, an infection from which Mengele is said to have suffered...
...such pictures, Kertesz recognized photography's affinity for the haphazard and the fragmentary, but he never lost his classicizing impulse. Through the good government of composition, the most frivolous bits of life -- scraps of poster advertising, a hodgepodge of footprints in the snow -- were redeemed by him and made coherent. With his camera, he once said, "I give a reason to everything around...