COMMERCIALS for Coca-Cola are sometimes so completely shrouded by storytelling that viewers can make a game of brand-spotting.
Right now, dedicated viewers can make a trail from Laura Carton's downloaded domestic pleasure-domes at Real Art Ways in Hartford, to Olu Oguibe's mini-retrospective at the Contemporary Art Galleries at the University of Connecticut in Storrs.
While viewers can make a single recording of an HBO program, for instance to a digital video recorder for watching later, HBO's copy-protection technology is intended to prevent multiple copies of a show from being recorded on DVD or transferred to a DVD from a VCR or DVR.
That way, users in public without headphones can fully understand videos they watch muted, and viewers can make a better assessment in the first silent seconds about whether they want to watch full-screen with sound.
It is the duty of the media to offer the big picture on this (and so many other stories) so viewers can make a reasoned decision, but unless I've missed it, no news organization has tried.
The seated figure delineated, the viewer can make out passing scenery: a glimpse of railing, a flag, some green.
A viewer can make out three birds in "Three and 1/2 Birds on a Rock," but the half bird, whatever that is, remains elusive.
A viewer can make the first judgment with critical analysis, the second with a tape measure.
Finally, there is the "interactive element" – a video in which the viewer can make choices over the eventual outcome, which is available at bearstearnsbravo.com.
The drive here seems to be autonomy on all levels: to make every aspect of the painting a free agent that the viewer can make something of or not on the way to constructing its possible meaning.
