Word: visualizing
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Dates: during 1970-1979
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...such moments, the commentary frequently blunted the visual poignancy. In fact, except for hard information and fast reports of the results, most of the words heard during the Olympic coverage functioned mainly as stepping-stones in the flow of images. If there was some confusion about what was "live" and what was on tape, it hardly made a difference. The men of the electronic age were desperately trying to tell a story that would not overload our frayed human wiring. The degree to which they succeeded was summed up best by Novelist-Screenwriter Josh Greenfeld: "On Tuesday afternoon I didn...
George Hamlin has directed the Loeb's repertory company with a nice quick wit. Fast pacing coupled with the cast's flawless timing compensates nicely for what usually seems like too long a play. Wellchoreographed movement and extensive use of a back foyer and staircases give the production a visual variety not often found in a one-room...
...Olympics are the exclusive turf-and track, pool and arena-of ABC. The Montreal Games will be ABC's sixth Olympics of the past eight. For the rights to beam the competition into the U.S. and to provide a "visual feed" to Latin America, ABC paid the Olympic organizing committee (COJO) $25 million. To produce a U.S.-oriented version of the Games-through its own staff and technical facilities-will cost ABC another $10 million. But don't fret for ABC's exchequer; at $72,000 a minute, sponsors-the three biggest are Sears, Schlitz and Chevrolet...
Still, the exhibition is rich with detail. One realizes, with fresh interest, how cramped the visual resources of Jefferson's Virginian education must have been; his own remark on local architecture in 1781, that "the first principles of the art are unknown," is borne out in other fields by the stiff, crude society portraits of the young colony. The show traces the neoclassical ideal forming in Jefferson's ideals and tastes-the growing certainty that republicanism was a function of natural law, that a new age of civic virtue was dawning and that an art of reasoned severity...
These distortions matter because they imply that Jefferson's experience of the visual arts was much wider than it really was. He did not have the automatic overview of a modern museumgoer; nor was he a kind of Yankee Kenneth Clark, mellifluously discoursing among the servants and mockingbirds of Monticello. He believed, correctly, that he was an instrument of history; but he did not imagine himself as a character in a cultural saga. Jef ferson's tough, ambitious self-teaching, in all its patchiness, cannot have been the smooth inheritance of masterpieces that his show suggests...