Among the objects, a 1974 poster for her always overenrolled Messages and Means course at the VLW stood out.
First she broadcast the video stills through the VLW via a slow-scan television system (a technology used in the 1960s to transmit images from the moon as audio tones).
Nestled in the gallery's small alcove, a video of Cooper speaking at a 1994 ted conference featured some of the VLW's best work: the Information Landscapes.
Her collaborator in starting the VLW was Ron MacNeil, who came from a photography and printing background, and who also became a strong proponent of the AI approach to design.
My first official VLW event in the early 1980s was when I was invited by Muriel to participate in a panel on computer art, along with Russell Kirsch, who constructed AI simulations of famous artists' styles .
Continuing my contact with Muriel and Ron through the incorporation of the VLW of the Media Lab, I started to teach in the introductory VLW course, and participate in thesis committees for VLW students.
AI techniques played a central role in many areas of the VLW's research.
Applying concepts from AI programming to visual design problems such as layout was not the only concern of the VLW. Equally important was going in the other direction: applying visual design ideas to the process of constructing AI programs.
So the VLW also pursued some work in visual programming and visual representation of knowledge in AI.
Visualization of rules, constraints and graphic relationships continue to play an important role in several VLW projects.
For three conferences, during both the VLW
and various other meetings, I jotted down a running list of notes I wanted to remember for use in my chapter activities, in my workplace, and for nephrology nursing journal articles I was considering writing (I got "hooked" after the "Writer's Workshop" at the ANNA National Symposium in San Antonio!).