It was a kiss, but they had smudged out the face of the guy and made it like the texture of the wall, like the wall became him or something. So it looked like she was kissing empty wall space, and the snipped-off part was where his nose had originally covered hers, but now he was the brick wall and it was hanging on a white wall and ... I know, I'd like to be kissing you too ... What? ... Yes, you ... look, all I did was go to a party with my husband ... It's not like ... I think I don't want to talk about art anymore ... No I wasn't walking around naked there ... It was the Museum of Modern Art ... well not technically, but, I mean, all those directors and curators ... anyway, it's just a hypothesis.

Bill Beckley, Sticky Sublime

Oh ... hi ... No. It's Ok ... Around Fourteenth Street, near the Green Market ... Last night. Yeah ... It was alright ... Actually. it wasn't at the museum ... No ... It was up on Sixtieth Street, yeah ... someone's home ... no, the west side. Hillary was in town, there was a lot of traffic. It took a half an hour to go two blocks. and then we couldn't ... That tall black thing at the bottom of the park ... Up on the fiftieth floor or something. They opened the entire apartment ... all windows ... every exposure north, south, east, and west ... It was very clean. Yeah ... I'm sorry. You know ... No, you know, it wouldn't have worked ... You know that ... One of the directors ...
On the walls ... mostly photographs. This girl, with a face ... staring ... blank. I don't think it was Cindy. I think it was someone making a comment on Cindy, no she just seemed dead ... expressionless.
Look, could we discuss this ... Look if I had that kind of money I would have had a couple of Courbets around. No, I'm not a conservative. You're the one who voted for ... Look, why do you want to talk about this now? ... Yes, the place was incredible, all windows, like there was no there there ... I said to William, what do you do if you want to walk around naked? ... Look, I'm allowed to walk around naked in front of him. He is my husband. 		David Marr was born on January 19, 1945 in Essex, England. In 1973, he joined the Artificial Intelligence Laboratory at the Massachusetts Institute of Technology in 1977, where he was made a tenured full professor in 1980. His highly influential book,
Vision: A Computational Investigation into the Human Representation and Processing of Visual Information
which has redefined and revitalized the study of human and machine vision, has been published posthumously, in 1982.

The Laplacian of Gaussian — the Primal Sketch as Marr called it.


What ... sorry. I can't hear ... Actually, I'm on an escalator. What? ... We hardly knew anyone. There were a couple people, Alice. Yeah, you know ... and Chuck. 		I write software to manipulate images. I write in a somewhat old language called C. Not C++, just C.

It is a puzzling thing how Photoshop has become a somewhat pejorative term.

Windsor & Newton doesn't have the same effect...

What? I can't hear you ... OK ... Better? It was this kind of glass you can see out, but they can't see in. Anyway, there was this huge photo, this girl with a snipped-off nose. I kind of liked it. It occupied one whole wall like that big red painting ... No, it was a photograph. William didn't get it. He took one look and said "Photoshop." He just thought it was a weird snipped-off nose. I saw it immediately.
Drawings are little more than the Primal Sketch. They are a delight because they contain just what our brains need to comprehend an image.