(1 of 4) The large-screen HELIX system, here deployed in Henry Leitner's Computer Science 1 class, makes it possible for an instructor to teach students who are physically present and see students attending class online, without being confined to a small computer screen at a fixed lectern location; the camera follows the professor and assures that he can be seen effectively by “roomies” and “Zoomies” in a hybrid course.
Courtesy Faculty of Arts and Sciences/ Office of Undergraduate Education
Harvard recently acquired one of Nam June Paik's most famous works, TV Buddha (Bronze Seated Buddha). “I think he is interested in the confrontation between this ancient figure and modern technology, or religion and the secular," says Marina Isgro, who helped curate the exhibit. "But I think he's also really interested in the idea of time and the infinite, or an eternal loop.”
Courtesy of Harvard Art Museums/Fogg Museum, Gift of the Hakuta Family
Recent acquisitions at the Harvard Art Museums train a fresh lens on photography and video art.
Robert Humphreville, a frequent Harvard Film Archive accompanist, says he’s mostly asked to play comedies, especially from “the big three”: Charlie Chaplin, Harold Lloyd, and Buster Keaton. (A scene from Keaton’s Sherlock Jr. appears over his shoulder.)
Wim Wenders delivers the final installment in the 2018 Norton Lectures on Cinema.
A deputy sheriff confronts civil-rights marchers in front of the county courthouse in Greenwood, Mississippi, in 1966. Greenwood, nicknamed “the Cotton Capital of the World,” depended heavily on slave labor in the nineteenth century and became a flashpoint for racial strife throughout the twentieth.