Word: visualizers
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Dates: during 1970-1970
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...WOULD you write an equation given the variables: Carpenter Center for the Visual Arts, Loeb Drama Center, Charles Eliot Norton Lecture 1970-71, undergraduates in Visual and Environmental Studies, undergraduates in Harvard Dramatic Club, Harvard-Radcliffe undergrads, Director of the Loeb, Director of Carpenter Center, professors of light and communication, professors of history and science...
HARVARD does not have the orange. In 1956, when John N. Brown headed the Committee on the Visual Arts at Harvard, the University conceived the A.N. Whitehead child-"championing of the arts." There were proposals for the "enlarged pattern for the visual arts at Harvard." There were proposals for the "construction of a Design Center." There were proposals for "also a Harvard Theatre." And, there was a specific proposal for the integration of the Harvard Theatre with the other activities of the University. But is it integration when the Charles Eliot Norton lecturer has to plan busing to M.I.T...
...Department of Design into the Theatre and the Theatre into the Department of Design.... In short, the Harvard Theatre should be a magnetic center for attracting varied and combined manifestations of creative effort now existing in numerous undergraduate and graduate activities of the University" -the Brown Report on the Visual Arts at Harvard...
...progression from Mao to East, the latter film is the most violent in the Group's attempts to structure through sound our apprehension of visual meaning. At one point the screen shows us a green field, and the narrator screams, "Red! Red! Red!" Earlier, a four-minute shot of a nineteenth-century couple obscured by tall grass is described in eight different periods, and peopled by eight different historical figures. These are not empty exercises. They are instead statements of Godard's belief that any image can denote virtually anything; and more importantly, that our inability to recognize this fact...
Rohmer achieves a visual purity and a unity of image and material that come close to constituting scientific proof, extending even to the surface flavor of the film: here is an exquisitely controlled work about exquisite control. While Jean-Louis is in the process of formulating his relation to the world, the director places him in a position facing, confronting everything. Point of view shots take on an austere, dialectical frontality, especially in dialogue sequences where Jean-Louis often speaks off-camera to the image on screen. The mere groupings of figures in a landscape have a definite significance...