Word: visualizing
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Dates: during 1970-1979
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U.C.L.A. Professor of Computer Science Gerald Estrin, who helped to develop the computer at the Institute for Advanced Study in Princeton in the 1940s, says: "The computers provide an intensely visual, multisensory learning experience that can take a youngster in a matter of a few months to a level he might never reach without it, and certainly would not reach in less than many, many years of study by conventional methods." Notes from the classroom...
Again, then, Cunningham's principle of elimination turns out to be affirmative and liberating: a respect for dance, and for music, and for visual art sufficient to trust the integrity of each as an independent entity, without the need to impose an artificial ordering. Perhaps this explains the paradoxical association between a choreographer who views neither music nor decor as a determining element of dance, and a succession of major composers (Cage, Christian Wolff, Earle Brown, Gordon Mumma, David Tudor, Pauline Oliveros) and artists (Robert Rauschenberg, Frank Stella, Andy Warhol, Jasper Johns...
...that one record had aroused expectations of unrelenting hilarity from these foreign jesters, and any sensation short of these unrealistic demands was bound to come off as a letdown. Looking back now, this onetime Monty Python groupie realizes what was wrong with that TV re-run; adding the visual dimension to the already warped dialogue of the troupe did not add much to the humor, but it did effectively shatter the mystique surrounding Monty Python stemming from my ignorance of the group's background and appearance. Had they but remained unseen, the Monty Python figures would have preserved their demigods...
...little too self-conscious to be much fun, and Robert Moore directs smoothly but without invention, serving the play rather than creating any visual stylishness. Deathtrap may have enough laughs to last a short time on Broadway, but as thrillers go, this one should be called Deathrattle...
...Occidental styles. His spiny wooden and metal sculptures have been exhibited in New York, Milan and Paris. He is considered by some to be among his country's finest calligraphers. The ikebana that the Grass Moon master teaches and practices appeals to modern Japanese-and Westerners-for whom visual impact is more important than spiritual complexities...