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Explores the possiblities of creating color lithography and explains methods of visualization, transfer and simple registry. Shows Patrick Dullantry, an American printmaker who works over progressive proofs of his work to develop a color lithograph. Presents color lithographs by such masters as Toulouse Lautrec, Paul Cezanne, Renoir, and works of modern contemporary young American printmakers.
Discusses research being conducted at the Carnegie Institute of Technology to evolve new theories about mental processes. Shows Dr. Bert Green demonstrating his computer experiments with the perception of motion and depth, Dr. Herbert Simon using the computer to present his theory of how human beings memorize, and Dr. Allan Newall showing how the computer was responsible for creating a new theory about human problem solving.
Indicates that the problem of getting to Mars of Venus, heretofore a concern only to science fiction writers and afficionados, has now become an international obsession. Shows that the strides being made in the space race would not be possible were it not for the work of Copernicus and other scientists of his stature. States that it was Copernicus who realized that the earth is not the center of the universe but merely one of many heavenly bodies, all moving according to a definite system.
Dr. Ray Koppelman, University of Chicago, American Institute of Biological Sciences
Summary:
Diversity of life resulting from evolution: recognition and treatment of diversity –definitions and taxonomic approaches; results of diversity in the plant kingdom; results of diversity in the animal kingdom, with particular emphasis on the evolution of man; diversity in time –divergence, convergence, extinction, the fossil record diversity in space –ecological relations in a habitat.
Ellis Katzman, Elbert C. Weaver, John A. Skarulis, William H. Pasfield, Ross Lowell, Herman J. Engel, Robert Braverman, Peter Robinson, Geraldine Lerner, Max J. Rosenberg, Fisher Scientific Company
Summary:
Demonstrates the differences between saturated, unsaturated, and supersaturated solutions; that solutions are dynamic, not static in character; and also shows suspensions and colloidal dispersions. Presents characteristics of solutions and explains insolubility, solutions without chemical reactions, mixtures, suspensions, and the Tyndall effect in colloidal dispersions.
The first program deals largely with Steichen’s life and his development as a photographer. He comments on the first camera he use (a Kodak), the years before he came to New York City, his “romantic” period in the 1890’s, his work with photography for advertising, his stay in France when he was for a while very active as a painter, his reactions to modern art, and his feelings about the influence of painting on his photography. Steichen’s photographs are used throughout the program to complement his description of life and work, and he often gives detailed analysis of these photographs.
The first part of the program is devoted to Steichen’s memorable and world-famous exhibit, “The Family of Man.” Steichen explains his preoccupation with the forms and development of human life; the exhibit, and many of the photographs shown during the course of the program, emphasize the preoccupation. Steichen and Rene d’Harnoncourt also discuss his association with the fashion magazine Vanity Fair, his ideas on journalistic photography, and his work in Hollywood and in advertising, his photographic experiments, his experiences during World War I, his exhibitions and the ideas governing them, his work now in progress, and his plans for future exhibitions.
The third program consists of a detailed analysis of photographs. Steichen and a young photographer move from picture to picture while Steichen explains the mechanical and technical problems they presented and the ideas or interests that prompted his focusing on one or another subject. They also examine pictures taken by such noted photographers as Lewis Hines and Edward Weston. Of particular interest are Steichen’s comments on symbolist photography and his reasons for abandoning experiments he began in this area. At the program’s end, Steichen speaks generally about the future of photography, and of the things we have to learn about and from our fellow man.
The format of this final program is different from that of the preceding three. On the sound track is a pre-recorded conversation with Steichen, and on the screen is a series of Steichen’s own photographs, and those of other photographers, from the “Family of Man” collection. Steichen’s remarks form a commentary explaining and describing some general principles of photography, and the details of completing this particular exhibit.The basic element, says Steichen, is love: love of life and of mankind.
Considers the question, "Will machines ever run man?" Concludes that although the computer is the machine most like man himself, it is not the machine but man who determines what is to be done.