Word: spatial
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Dates: during 1960-1969
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Howard T. Fisher, professor of City Planning and associate director of the Laboratory for Computer Graphics and Spatial Analysis, will be offering a course in the Spring term to explore the different possibilities for use of this technique. The course is open to all students in the Graduate School of Design...
...this by way of pointing out that Any collection of sounds, from the most banal to the most complex and abstract, is enhanced by the right environment, spatial and spiritual. Ordinary music can be transformed into transcendental music if the conditions for it are right, if its purpose is felt at any one instant to be compelling, if it takes the listener's thoughts and sense-perceptions and embodies them in sound. Any music can be good music depending on your mood and the objective circumstances you find yourself...
Without any additional thrust, Apollo's own momentum and the weak lunar gravity would combine to carry it around the moon and fling it back toward earth in a spatial version of crack-the-whip. Indeed, if a recheck of systems and equipment convinces ground controllers and the astronauts that serious problems have developed, the crew will merely continue in this new course and travel back to earth. But if everything seems all right, Apollo's powerful SPS (service propulsion system) engine will be fired for 246 sec. to slow the spacecraft and allow it to be pulled...
...space placed around him, and by the way he is moved with relation to the frame. The more space Preminger has to work with, the more complex his films become, and Predictably, Preminger is a master if wide-screen cinematic technique. At best, Preminger creates a network of conflicting spatial relationships from the many people in his best-seller-based sagas, and his films work on a level far transcending the dramatic material. From this specialized, perhaps perverse, point-of-view, Hurry Sundown is close to Preminger's best film.
...seems to have trouble with timing and spatial relationships. The editing is uneven, especially in the boxing and the road-tarring scenes. Rosenberg's camera records too much excitement from too many angles. What could have been classic sequences are reduced to patchworks of confusion. The screenplay, by Donn Pearce and Frank R. Pierson, based on Pearce's novel, is highly successful. There is no failure to communicate here...