Word: visualizations
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...write down what he saw he developed a brilliant, surfacy prose, an ability to strike off a scene or a portrait in a dozen visual words whose cadence is a part of the mood; the power to evoke lyrically (with occasional lapses into tremolo) a moonlight night at Princeton, a summer dawn, reaches of land and water; a vest-pocket Proust's preoccupation with houses, furniture, streets. He had a masculine power to recreate the sensuous opulence of young women; a curiously feminine habit of seeing at a glance not only the color of people's hair...
About Fantasia: Probably no single occasion has demonstrated more compellingly the visual possibilities in great music. When you or I listen to the Nutcracker Suite, we have a vague picture of toy flutes, Chinamen, Arabians, sugarplum fairies--anything the program tells us to hear. When Walt Disney hears it, there are created whole new imaginative worlds of dewdrops, mushrooms, tadpoles, thistles, and autumn leaves. The more visual-minded you are, probably the more you will enjoy Fantasia; plenty of people on the other hand are going to find the patterns on the screen nothing but a distraction. Particularly...
...they may leave callous critics whispering incredulously to themselves. Others (Mickey's Sorcerer's Apprentice, the hilarious ostrich and hippopotamus ballets) set a new high in Disney animal muggery. Others (the wave and cloud sequences of Bach's Fugue, and a queer series of explosive music visualizations performed by a worried and disembodied sound track, posing diffidently on the screen like a reluctant wire) recall the abstract cinemovies made about five years ago by New Zealand-born Len Lye, show how musical sensation may be transferred to visual images...
...canali do not show up clearly in photographs, because the photographic image of the planet is so small that a time exposure is necessary, and the turbulence of the earth's atmosphere then blurs the detail. The streaks show up better to visual observation, but observers disagree on what they...
...these three aerial barriers. Below on the action grid, intelligence officers in earphones sat like croupiers raking little planes back & forth across squares ruled on the map, following the progress of air battles. This efficient control system was the centre of a complicated network of telephones, teletypewriters and visual signals which with extraordinary speed coordinated airfields all over Britain. In from observer posts on the coasts to various control centres, then to this GHQ grid, from there to fighter stations' operating rooms, and finally to planes in the air flowed a steady stream of instructions...