Word: visually
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...lecture exposed the two most beloved elements of the “Twilight Saga”: detailed full-body scans of Robert Pattinson and Taylor Lautner, and manifestations of Stephanie Meyer’s quixotic supernatural mysticism. A swoon-worthy cast and a genius visual effects crew are the reasons why “New Moon,” with a budget of only $50 million and less-than stellar critical reviews, has already grossed $704 million worldwide...
...newest exhibition at the Carpenter Center for the Visual Arts, “Frame by Frame: Animated at Harvard”—which runs through February 14—displays an entirely different kind of animation than movie theaters frequently feature. The show explores Harvard’s intriguing and largely untold history with animated film, beginning with the Visual and Environmental Studies Department’s first forays into the field in the mid-1960s and ending with student projects from as recently as last year. This animation timeline showcases a variety of films that have rigorously...
...film easily could have given become tiresome to endure. However, though Green lacks a measure of technical freedom due to the airborne nature of the lift, he still manages to capture the protagonists’ plight from a multitude of angles, which makes the movie constantly engaging on a visual level. Green’s imaginative directing is one of the greatest strengths of the film and is the main reason why it works...
Livingstone is far from alone in her exploration of the science animating works of art. Many of her colleagues, including some at Harvard, pursue similar interests; they channel their curiosity about human visual perception into an artistic study or use scientific findings to explain some of the fundamental principles that underlie works of art. The Vision Sciences Laboratory, located in William James Hall and run by a group of psychology professors, explores this very chiasm in their experiments—though their approach is slightly different than Livingstone?...
Enter Dr. Margaret S. Livingstone, Professor of Neurobiology at Harvard Medical School, whose research focuses on human visual perception. Livingstone realized that while contemporary art historians like Ernst Gombrich are not wrong in their analysis of “Mona Lisa,” there’s a science to da Vinci’s masterpiece that had yet to be fully explained. Analyzing the work in terms of its spatial frequencies, Livingstone revealed that the lower spatial frequencies, best seen by the peripheral vision, make the figure appear to smile, while at higher frequencies the smile almost vanishes...