Word: visual
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Dates: during 1960-1969
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...earliest pioneers was a former lute player, Danish-born Thomas Wilfred. In 1921 in New York, he built a kind of visual Wurlitzer, which he called the Clavilux. By moving sliding keys, he activated a battery of projectors behind a translucent screen. He became so skillful that he was able to create what he called lumia compositions-slowly evolving, shifting, glowing abstract patterns. At the Weimar Bauhaus, Laszlo Moholy-Nagy between 1922 and 1930 devised a polished metal and clear plastic Light Display Machine. But such items remained isolated curios ities. It took the 1950s and 1960s to attract...
Psychedevotional at Ohm. Op art has conditioned gallerygoers to accept art that visually leaps from the wall to assault the optic jugular. Much luminal art is similarly turned on. The USCO group of Garnerville, N.Y., can induce the hallucinatory traumas that occur in some LSD trips by means of blinding strobe lights-the visual equivalent of the electronic scream at the end of the Beatles' record Penny Lane...
Concerning the validity of the Wood method, the only explanation of the increased speed is the greatly increased area of visual perception during fixation. On this point the traditionalists do not have to invent new tests. They can waive the results of scientific research which have proved the retina can bring only one inch of a printed line into clear focus...
...unsized, white canvas produce a veil-like form whose colors, although rich and sensuous, seem to mystically dematerialize like shifting, almost gaseous, vapors into the texture of the canvas. One wash of color is applied over another, but the transparency allows all the layers to come forward simultaneously. The visual effect is breathtakingly beautiful and bewildering at the same time. As the viewer becomes involved with a specific passage, he feels that he is on the verge of perceiving the relationships of colors as configurations in space. Yet a concrete sense of space always eludes him, and the configurations appear...
...sets the Morris Louis paintings apart from other contemporary paintings. The works of Kline, Rothko, and Newman--to mention only a few--impart their dominant mood at first glance and further investigation only elaborates and refines the sensation. "Optical" art, although it also changes continually and has a sustaining visual fascination, fails to elicit the excitement of the Louis paintings because it is devoid of any mood or emotion...