Word: visualizing
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Dates: during 1970-1979
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...Fitzgerald's Gatsby is a masterpiece. I for one expect to see a masterpiece, not because "Ballantine's was there," but because Scott was. If Yablans, Evans, et al., have remained true to Fitzgerald's Gatsby, Paramount will have its blockbuster; if not, no amount of visual beauty can save...
Ultimate Gesture. After Sports Fan Warner Brown, 10, correctly selected from a list that lit up on Leachim's visual panel the word barometer as the one associated with weather forecasting, the robot rewarded him with brief observations about New York basketball and football teams. "You did very well," Leachim added. "I hope you enjoyed working with me. I like Joe Namath. I'm sure you do too." But if pupils take too long to answer, Warner explains, "Leachim says. 'You are not listening. Choose an answer now.' If you still...
...Zone; and the concluding soliloquy of Molly Bloom. Despite the fact that the film switches the novel's setting to Dublin in the mid-sixties, it remains tolerably faithful to the spirit of the original. But it lacks Joyce's intensity; it can go no further than the flat visual presentation of events (particularly inadequate) since Joyce--almost blind--evoked such powerful non-visual imagery. A novel is better suited to internal drama than film, if only because most of our thoughts are verbal, not visual. Prose has more flexibility, too: It can freeze a moment and describe...
...process begins when the various sections of the magazine schedule their stories. Along with queries asking for reports from our correspondents in news bureaus round the world go wires requesting and suggesting pictures. "TIME'S photographers," says Durniak, "are seeking in their subjects glances and gestures-visual facts-that add information-not decoration-to the text." For this week's cover story Pulitzer Prizewinning Photographer David Hume Kennerly shot 14 rolls of film of James St. Clair to produce the photos that appear in the magazine; one became the cover portrait...
...more than ten years we have been swamped in a glutinous flow of propaganda about art as investment. It oozes from every crack in our visual culture and its molds proliferate on every class and kind of object, from medieval ivories to Dogon totems, from a sepia drawing by Rembrandt to a Deruta pot or a Motherwell collage. There is practically no work of art immune to it, and its effects on the perception of art have been, in general, disastrous. The problem is not simply that art costs money; it always has. Peter Wilson, the genial and astute entrepreneur...