Word: visualizer
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Dates: during 1950-1959
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...visual recordings show that most birds' songs are not intended for clumsy human ears. A few of them (e.g., the songs of whippoorwills and song sparrows) can be heard complete, but others contain many parts that are too high-pitched. When heard by human ears, the golden crowned kinglet's song, for instance, must be a pale shadow of what it sounds like to another golden crowned kinglet, which can appreciate all of its highest notes...
Birds' ears must also be quicker than human ears. Some of the songs of warblers, for example, are full of musical phrases set so close together that they cannot be heard separately. Even apparently simple songs contain quick musical details that slip past human ears. On studying the visual records, the scientists found that many birds are musical gymnasts, playing on their vocal organs as if they were string quartets. The blue jay, for instance, can sing what amounts to a major chord, holding a low note and a high note simultaneously; then after a hundredth of a second...
...photographed and properly projected, is easier on the eyes than watching a conventional "flat" or 2-D movie . . . Before a meeting of our society . . . Reuel A. Sherman, Bausch & Lomb's occupational vision specialist declared that various forms of 3-D have been used since 1895 for therapeutic and visual training purposes, and he predicted that technically good 3-D movies will have a profoundly beneficial impact on vision...
This Julius Caesar falls considerably short of the grandeur of Sir Laurence Olivier's Henry V and the overpowering sense of tragedy of his Hamlet. Nor does it have the visual imagination of Orson Welles's Macbeth. But it is satisfying moviemaking, and, as an honest Hollywood try at Shakespeare, it deserves three rousing cheers...
...Moviemaker Malaparte, who wrote, directed and composed the music for the film, has clothed his theme in vivid imagery. The picture is one long, visual lament, beginning and ending in the mountains among the crosses of Allied soldiers who died fighting in Italy. The images of death are everywhere: in the head of a butchered calf, in skeletons in glass-walled burial crypts, in the traditional Game of the Cross, with its procession of masked and black-robed figures. Malaparte uses sounds as freshly as sights: dramatically, the funereal, off-screen beating of drums dominates an entire dialogue sequence...