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Folklorists and anthropologists have explored children's preoccupation with supernatural entities for decades, and the development of the internet has given rise to online video formats for supernatural practices that are popular among children in Russia and beyond. Drawing on ethnographic research in Russian children's summer camps and online digital ethnography, this talk addresses children's supernatural beliefs, play, and imagination.
A doctoral candidate in anthropology at the European University in Saint Petersburg, Russia, Angelina Kozlovskaia has presented her research at conferences in Russia as well as India, Australia, Finland, Belgium, and Estonia. During Spring 2019 she is a visiting scholar with the Russian and East European Institute and the Russian Studies Workshop.
The current paradigm of political science suggests that authoritarian regimes suppress freedoms of speech and press as significant threats to autocratic survival. However, evidence now suggests that autocratic
governments can exploit such ostensibly democratic institutions in new and surprising ways. Among the most salient examples are Russia and China where media outlets (even the freest ones) figure in the autocratic toolbox, a phenomenon that lends credence to the idea of self-development of non-democratic regimes.
Valerii Nechai is a doctoral candidate in the Department of Applied Political Science at the Higher School of
Economics in Moscow. His research addresses the interaction of media and politics.
Technological, communicative, political, and commercial challenges in the contemporary media sphere are
transforming journalism. This talk addresses the impact of those challenges on perceptions of the journalistic
profession among Russian journalists themselves.
Marina Berezhnaia chairs the Department of TV and Radio Journalism in the School of Journalism and Mass
Communications at Saint Petersburg State University (SPbSU). She has published textbooks in journalism and scholarly articles on journalistic ethics and the treatment of social issues in the media. Prior to joining the
SPbSU, she pursued an active career in publishing and telejournalism.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Lecture giving Dr. Smelser's understanding of the American Revolution, with his interpretation of the events of the revolution and their meaning for today. Smelser tries to give an unbiased view of the revolution.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Finalized verison of a Poynter Center report on how the news is reported in America, including decisions on how newsworthy topics are determined.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Forum on the ethics of teaching in a university setting. The discussion includes prepared statements from several faculty members, and discussion on subjects around the ethics of teaching.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Interview with William Ruckelshaus in his capacity as the first director of the Environmental Protection Agency. The interview discusses the ways in which the presidency does and does not address environmental problems, and how American society may need to change to protect the environment.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Q&A session with Richard Valeriani, a white house press correspondent between the 1960s and 1970s. Discussion concentrates on the Watergate scandal, including media attitudes over the development of the scandal.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Discussion with Robert Bartley about the importance of journalists in shaping public policy. Bartley discusses how journalists can shape public policy in negative ways depending on the way in which they do so.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Interview with Robert Bartley about bias in the public perception of institutions towards their failures.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Interview with Gitta Bauer. Bauer discusses her international perspective on American race relations. This includes how she covers issues of race in America for a German audience.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
A discussion on the ethics of research into genetic modification and engineering. Emphasis is put on genetic research involving fetuses, and government regulation of research using them. The two scientists on the panel are Dr. Walter Konetzka, professor of microbiology at IU, and Dr. David Smith, a professor of Religious studies at IU.
The Poynter Center for the Study of Ethics & American Institutions was an endowed ethics research center established in 1972 at Indiana University Bloomington. Through its programming, the Poynter Center addressed bioethics, religion, political ethics, research ethics, professional and educational ethics, technology, and many other areas. Initiatives over the years included courses such as "The Citizen and the News," supported by the Ford Foundation, which began in the fall of 1975 and studied the institutions that produce news and information about public affairs in America.
Interview with George Reedy, White House press secretary under Lyndon B. Johnson from 1964-1965. The interview focuses on Reedy's recently published book 'Twilight of the Presidency', which advances the idea that the presidency is an institution in decline, and identifies the reasons for this decline.
Edward R. Feil, Edward G. Feil, Ken Feil, Beth Rubin, Naomi Feil
Summary:
Black and white home movie of Beth, Eddie, and Kenny sit at the kitchen table, eating breakfast and watching television. Naomi serves them breakfast and changes Eddie's shirt as he watches TV.
Have you ever wondered what it's like to troubleshoot 100 simultaneous account creation problems in an undergraduate lecture hall? Recently, undergraduate humanities courses at Indiana University Bloomington have shown increased interest in incorporating activities and assignments designed to enrich students' understanding of the course material, foster their creativity, and allow them to learn techniques and technologies associated with digital scholarship. Nick Homenda and Meg Meiman worked with two undergraduate courses in American history and art history, partnering with IUB faculty members interested in retooling course assignments using the open source digital exhibition software Omeka .
This presentation will describe the collaborative process developing these assignments and highlight the ways we engaged with instructors and students to expose them to concepts such as digital exhibition design, web development methodologies, visual literacy, and responsible (fair) use of digital resources. Additionally, we will talk about our failures and successes, and offer recommendations for librarians, faculty, and students interested in working collaboratively on future digital exhibition projects.
0.3JUP0ORP: Animation of the evolution of midplane and meridional densities in logarithmic scale for the 0.3JUP0ORP simulation. The axes have units of AU and the time is given in ORPs in the upper right of each panel. The series starts at t = 0.08 ORPs and proceeds to the end of the simulation at approximately 10 ORPs. The black diamond in each of the panels indicates the location of the planet.
3JUP10ORP: Animation of the evolution of midplane and meridional densities in logarithmic scale for the 3JUP10ORP simulation. The axes have units of AU and the time is given in ORPs in the upper right of each panel. The series starts at t = 10.54 ORPs and proceeds to the end of the simulation at approximately 21 ORPs. The black diamond in each of the panels indicates the location of the planet.
In this commercial inspired by James Bond movies, a spy infiltrates a train carrying his secret weapon of 007 colognes and deodorants. The spy then defeats the evil mastermind and wins the affection of a beautiful woman. The narrator warns the viewer that anyone that uses the product will have a license to kill women.
Institute for Digital Arts and Humanities, John Bodnar
Summary:
This paper will explore the way American soldiers from three different wars wrote about their experiences. It will attempt to unravel the fragile relationship between patriotic accounts of war that tended to uphold noble ideals validating the nation's war effort and thepossibility that war could actually produce laudable traits andmore tragic stories that refused to efface the confusion and pain military conflict imposed upon individuals. As such, it will explore the problem of memory and trauma and the significant tension soldiers faced when they attempted to recreate their experience for a public audience that could not know what it had been like.
The part of the paper devoted to World War II will focus on the fiction of Norman Maile and the autobiography of William Manchester--both combat vets. Mailer's renowned novel, The Naked and the Dead, recast the "Good War" in a highly critical light that exposed the deep strain of violence that he felt marked American society and explained why it spared no expense in bringing ruin to the Japanese. Manchester acknowledged the violence and carnage but sought to extract from it tales of heroic men and who cared deeply for each other. Such narratives contrast sharply with those coming from the experience of Vietnam. Vets like Ron Kovic, Tim O'Brien and others mounted withering attacks on any notion that patriotic service could result in anything positive or nurture admirable character traits. In some ways the World War II stories were actually more conflicted than those formed in Southeast Asia in the 1960s.
The final part of this brief paper will explore the outpouring of literature produced by men who served in Afghanistan and Iraq. Again, significant differences are evident among the fighters themselves. A greater effort is made in this most recent contest to restore some faith in traditional patriotic ideals. This effort has had some success but has been hotly contested by tales that absolutely reject any attempt to use patriotic honor to wipe out the memory of pain and loss.
Institute for Digital Arts and Humanities, Rebecca Wingo
Summary:
The History Harvest is a community-centered, student-driven archival project that empowers community voices through material-based oral histories. Over the course of a semester, History Harvest students partner with a community to run an event in which community members bring artifacts of significance. Students record community members as they tell stories about their objects and digitize the artifacts for a shared online archive. The community members then take their items back home; there is no acquisition. This one-day event is a bit like Antiques Roadshow, except everything is valuable. More than a singular event, however, the History Harvest can be a litmus test for the success of a community partnership.
Institute for Digital Arts and Humanities, David S. Ferriero
Summary:
Ferriero will discuss the planning process for a major exhibit on the Vietnam War within the context of the mission of the National Archives. Particular focus will be on how the principles of Open Government—transparency, collaboration, and participation—impacted that process. Building on the success of the National Archives Citizen Archivist Project, Ferriero will share how the lessons learned have influenced his agency’s approach to exhibit and education planning, with an emphasis on the exhibit commemorating the Vietnam War.
Remembering Vietnam is a media-rich exploration the Vietnam War, featuring interviews with Americans and Vietnamese veterans and civilians with firsthand experience of the war’s events as well as historic analysis. It is a fascinating collection of newly discovered and iconic original documents, images, film footage, and artifacts that illuminate 12 critical episodes in the war that divided the peoples of both the United States and Vietnam, covering the period 1946 to 1975.
The exhibit encourages visitors to answer these questions: Why did the United States become involved in Vietnam? Why was the war so long? Why was it so controversial? The sacrifices made by veterans and their families, the magnitude of death and destruction, and the war’s lasting effects require no less. Remembering Vietnam is a resource for refreshing our collective memory. National Archives records trace the policies and decisions made by the architects of the conflict. Its collection of evidence provides an opportunity for new insight and greater understanding of one of the most consequential wars in American history.
Institute for Digital Arts and Humanities, Kurt Luther
Summary:
Stories of war are complex, varied, powerful, and fundamentally human. Thus, crowdsourcing can be a natural fit for deepening our understanding of war, both by scaling up research efforts and by providing compelling learning experiences. Yet, few crowdsourced history projects help the public to do more than read, collect, or transcribe primary sources. In this talk, I present three examples of augmenting crowdsourcing efforts with computational techniques to enable deeper public engagement and more advanced historical analysis around stories of war. In “Mapping the Fourth of July in the Civil War Era,” funded by the NHPRC, we explore how crowdsourcing and natural language processing (NLP) tools help participants learn historical thinking skills while connecting American Civil War-era documents to scholarly topics of interest. In “Civil War Photo Sleuth,” funded by the NSF, we combine crowdsourcing with face recognition technology to help participants rediscover the lost identities of photographs of American Civil War soldiers and sailors. And in “The American Soldier in World War II,” funded by the NEH, we bring together crowdsourcing, NLP, and visualization to help participants explore the attitudes of American GIs in their own words. Across all three projects, I discuss broader principles for designing tools, interfaces, and online communities to support more meaningful and valuable crowdsourced contributions to scholarship about war and conflict.
Institute for Digital Arts and Humanities, Heather Stur
Summary:
For as much as has been written and produced about the Vietnam War, the voices telling the story have remained much the same. Historians and journalists have privileged American male combat veterans of the war and high-ranking U.S. policymakers, while in Vietnam, the official state story is one of U.S. imperialists versus Vietnamese freedom fighters. Lost in these tellings of the story was South Vietnamese veterans and their families, anticommunist Vietnamese citizens, political activists of all stripes in South Vietnam, American women who served in the war, U.S. support or rear echelon troops, U.S. Embassy employees, and troops of the "free world" forces in Vietnam. These voices are crucial for understanding how the conflict developed and played out, what its consequences were, and what its legacies are.
Institute for Digital Arts and Humanities, Edward Linenthal
Summary:
The mass slaughter of 1864-1865 in the American Civil War eroded traditional belief in martial sacrifice as redemptive, blood shed for the new birth of the nation. Narratives in tension continued through both World Wars and the Korean War and gained intensity with the erosion of popular support for the war in Vietnam. The “dope and dementia,” “quagmire,” and “atrocity producing context” narrative templates clashed with traditional patriotic narratives of America at war.
Institute for Digital Arts and Humanities, Larry Berman
Summary:
I have been writing about Vietnam since 1982 and learned much about the war and peace from participants on both sides of the brutal conflict. In my presentation, I want to share how participants in the war from the so-called “winning side” have helped me to better understand not just the war, but also the sense of loss that is often shared with those on the “losing side”. This despair for “what might have been” or “hope and vanquished reality” unites both sides. I am especially interested in participants’ stories as told in memoirs, oral histories and personal interviews. For this presentation, I will focus on those individuals with whom I have engaged in extensive and multiple interviews/discussions and who, with one exception, have also produced memoirs from their experiences in war. The one exception is Pham Xuan An, whose memories and stories are recorded in my book Perfect Spy. Each of these participants helped me understand the war through the eyes of a Vietnamese and altered my own narrative for how I speak and write about the war.
These films are part of the John and Hilda Jay family papers. They likely date between 1939-1946.
This film has no sound and shows clips of the Jay family and friends boating at a lake shore, working and playing in the yard, at home for Christmas, and taking portraits on the IU campus.
Evelyn Dorsey, Naomi Feil, Mrs. Aiken, Edward R. Feil, Joseph M. Flynn, David Van Tassell, Stanley Alprin, Julius Weil, Helen Weil, Albert F. Paolino, Mrs. Jane Heath, Mrs. Roberta Vann Duzer, Marian Kadish, Ken Feil, Anna V. Brown, Robert Brown
Summary:
Follows a mother and daughter, Mrs. Aiken (100) and Mrs. Dorsey (80), as they transfer from their home to an assisted living facility. Mrs. Aiken adjusts well, while Mrs. Dorsey does not. As this transition is documented, the film explorers attitudes towards aging, care for older people, the emotional effects of the transition from one's home to assisted living, the emotional impact of aging, and relationships between mothers and daughters. Produced through a grant from The Ohio Program in the Humanities.
Institute for Digital Arts and Humanities, Lisa Silvestri
Summary:
With support from the National Endowment for the Humanities, Telling War, a veteran based initiative, explores manifestations of the veteran voice through a variety of story forms such as papermaking, six word war stories, podcasting, and documentary film. Telling War’s mission is to cultivate creative opportunities for veterans to tell their story. This presentation will review some of the project’s initial outcomes. For example, when participating veterans used the ancient art of papermaking to transform their uniforms into paper then bind into book form, they were able to access stories often untold in the public sphere. The books they created held personal imagery and artifacts from their time in the service. The papermaking process allowed them to metabolize and story their experiences. In other cases, veterans wrote six word war stories following in the legacy of Hemmingway’s famous six word short story, “For sale: baby shoes, never worn.” Although brief, these first-person memoirs captured aspects of deployment–from the everyday to the extreme–that shifted the communicative priority from eloquence to essence. By sharing these examples and others, this presentation argues that in order to enrich collective knowledge and memory of war, the stories told and heard about war must be expanded and diversified.
Dr. Stephen Porges is the man who discovered Heart Rate Variability (HRV) in the 1960's and created the Polyvagal Theory - a model to explain how we function and operate.
Thanks to Dr. Porges, this episode of the OPP is full of wisdom to help us understand our neurophysiology, how the Vagus Nerve impacts heart rate, HRV, emotional resiliency and how we can use that knowledge to optimize mental and physical performance. We cover:
- How Dr. Porges discovered Hear Rate Variability (HRV)
- Breathing does change parameters of HRV
- Focus on tasks with metrics of success
- The good scientist knows to learn from others
- The only way the science moves ahead is through the feedback
- What is the best way for us to measure HRV?
- The Pocket Guide to Polyvagal Theory: The Transformative Power of Feeling Safe
- Why the saying "scared shitless" is a real thing
- Neuroception vs. Perception
- Addressing the relevance of Polyvagal Theory in mammals
- The vagus Nerve, trauma and mobilization
- Once we identify the system, the mechanism, then we can intervene in ways to optimize those mechanisms
- Being comfortable with stillness
- Translating theoretical work into practice
- How far can we push the window and when we hit the wall how do we use that information to define or redefine us
- Why Dr. Porges say our nervous system is waiting for Johnny Mathis
- Dr. Porges's Top 3 Tips to Live Optimal
Original recording and texts from here Originally recorded here: https://luminarypodcasts.com/listen/sean-mccormick-603/optimal-performance-podcast/142-dr-stephen-porges-on-hrv-and-polyvagal-theory/238e8ba5-cfb8-4e1f-a065-48e2b7ad3b59
Determines, with proper use and interpretation, the cause of poor sound if it lies in faulty 16mm motion picture projection equipment. Includes the following technical test sections: sound focusing test, the buzz track test, and a frequency response test. Offers, in addition, four sections for testing title music, dialogue, piano music, and orchestral music.
Feil, Ed, George Feil, Mary Feil Hellerstein, Harold S. Feil, Nellie Feil
Summary:
Compilation of home movies taken by Ed Feil during his military service. Begins when he enters the Army in June 1943. Covers his basic training at Fort Riley, experience in the Army Specialized Training Program at the University of Nebraska, and the 66th Infantry Division in action firing mortars. Features many shots of fellow soldiers interacting with the camera and flirting with girls. In Nebraska, the whole family meets (possibly with some extended family - Nellie Feil is originally from Omaha).
1952 Cleveland International highlights. Men's doubles ; Pancho Segura v. Don Budge ; Pancho Segura v. Al Doyle ; John Howard v. Jerry Evert ; Jack March v. Ed Burke ; George Richey v. Jack Rodgers ; Pancho Gonzales v. John Howard ; Pancho Gonzales v. Pancho Segura (final match).
Edward R. Feil, Kathryn Hellerstein, David Hellerstein, Leslie Feil, Mary Feil Hellerstein, Maren Mansberger Feil, Stanley M. Feil, Nellie Feil, George Feil, Betsy Feil, Ann Leslie Jones, Harold S. Feil, Herman Hellerstein
Summary:
Home movie that focuses on Ed Feil's nieces and nephews as infants. Mostly features babies walking, eating, crawling, playing, and in playpens. Also shows birthday parties for Kathy Hellerstein and Leslie Feil. Some footage taken while driving around Cleveland at night and inside Cleveland's Union Terminal.
An advertisement for the 1959 Ford automobile in which an animated dog advocates for the car while he washes it. Submitted for Clio Awards category Autos.
An advertisement for a 1959 Mercury automobile in which a spokesperson demonstrates the quality of the car's enamel by exposing the car to various stimuli, including fire, oil, detergent, water, and gravel. Submitted for Clio Awards category Autos.
An advertisement for a 1960 Mercury automobile in which the car takes a fantasy trip to Jamaica, where it travels around the country and the Jamaican population performs labor and sings a jingle for the Mercury during a celebration. Submitted for Clio Awards category Autos.
An advertisement for a 1960 Plymouth automobile in which a salesperson describes the car's capabilities while offscreen a series of sound effects play to create interest. Submitted for Clio Awards category Autos.
Edward R. Feil, Beth Rubin, Vicki Rubin, Naomi Feil
Summary:
Shows a clip of Beth bouncing a ball down the front walk. This clip is used in "Where Life Still Means Living". This is followed by a brief clip of residents at Montefiore. Ends with Beth napping in the car as Naomi and Vicki stand outside.
Edward R. Feil, George H. Feil, Betsy Feil, Naomi Feil, George Feil, David Hellerstein, Stanley M. Feil, Mary Feil Hellerstein, Edward G. Feil, Daniel Hellerstein, Leslie Feil, Maren Mansberger Feil, Jonathan Hellerstein, Vicki Rubin, Beth Rubin, Beth Hellerstein, Kathryn Hellerstein
Summary:
Home movie of a party celebrating George H. Feil's 2nd birthday at the Harold Feil. Shows George walking with the assistance of his father (also named George). Naomi is holding a newborn Eddie. Leslie opens gifts for baby George while his sisters and cousins look on.
Edward R. Feil, Naomi Feil, Edward G. Feil, Ken Feil, Beth Rubin, Vicki Rubin
Summary:
Home movie of the Feil family visiting a petting zoo. Shows the kids feeding and petting a variety of barnyard animals. Eddie also rides a pony. Shows a log cabin with furs and antlers on the exterior walls and a sign reading "Daniel Boone's cabin". Ends with footage of the boys and a friend playing with wood blocks at the Feil home.
Dark home movie footage of the neon lights of Disneyland’s attractions and shops as seen at nighttime. Many of these views are taken from the vantage point of the park's Skyway. The film also shows the interior of the Pirates of the Caribbean ride, Adventure Thru Inner Space, and the spinning teacup ride. A performance at the Sound Castle shows musicians and people dancing. Ends with brief footage of a demonstration at a medical conference featuring the Feil film “Closed Cuff Method of Gowning and Gloving”.
Edward R. Feil, Edward G. Feil, Ken Feil, Beth Rubin, Naomi Feil
Summary:
Eddie, Kenny, and a group of other children visiting Santa at Halle's department store. The children take turns sitting on Santa's lap. The film also shows the decorations around the store, including a Christmas tree.
Edward R. Feil, Edward G. Feil, Ken Feil, Naomi Feil
Summary:
Home movie of the Feil family's trip to Greenfield Village in Michigan. Shows the boys petting horses hooked up to a carriage, the exterior of the Ford Mack Avenue plant ("first factory of the Ford Motor Company"), and a man spinning pottery which the boys then have as souvenirs.
Edward R. Feil, Edward G. Feil, Naomi Feil, Ken Feil
Summary:
Begins with footage of Kenny riding a horse while wearing a Weehawkin Day Camp shirt. Then shows Eddie’s birthday party at the Feil home. He and his friends eat at the kitchen table. Finally, the film documents Ed and Naomi's trip to the Chautauqua Institution in Chautauqua, New York. Both ride bikes through the town center, Naomi reading in a public park, and a visit to Chautauqua Lake.
Home movie documenting the family visiting the newly constructed CN Tower in Toronto. Shows the surrounding railways and storefronts inside the tower. Back in Cleveland, the film captures a brief shot of Naomi and Kenny in the kitchen followed by Beth at a skating rink. Ends with a kinescope recording of a western TV show.
Three 1979 advertisements for IU South Bend. The first two advertisements feature fast and slow versions of a jingle proclaiming that IUSB offers "lifelong learning" and "evening classes." The third advertisement features a sound collage of quotes extolling the university's merits.
Three 1997 advertisements for IU South Bend. The first shows an animated character with a red box for a torso attempting to cross a busy street. A vehicle runs over the logo, leaving tire marks on the logo's back that are consistent with IUSB's official logo (a red rectangle with four closely spaced diagonal black lines at the center). After recovering from the accident, the animated character walks jauntily to the promised land of IU South Bend. The second advertisement, titled "Chancellor Perrin" on the production slate, shows new Chancellor Kenneth Perrin pledging to improve the university and inviting viewer feedback via phone or email. The third advertisement, titled "Education Opens Doors" on the production slate, is an animated sequence showing a first-person view of an entity approaching a gradually opening door meant to represent the promise of an education at IU South Bend.
1JUP0ORP: Animation of the evolution of midplane and meridional densities in logarithmic scale for the 1JUP0ORP simulation. The axes have units of AU and the time is given in ORPs in the upper right of each panel. The series starts at t = 0.08 ORPs and proceeds to the end of the simulation at approximately 10 ORPs. The black diamond in each of the panels indicates the location of the planet.
1JUP10ORP: Animation of the evolution of midplane and meridional densities in logarithmic scale for the 1JUP10ORP simulation. The axes have units of AU and the time is given in ORPs in the upper right of each panel. The series starts at t = 10.54 ORPs and proceeds to the end of the simulation at approximately 21 ORPs. The black diamond in each of the panels indicates the location of the planet.
Donna Jo Copeland (Master), Jon Kay(Director), Ben Schreiner (Videographer), Paul Schreiner & Rick Watson (Music), Traditional Arts Indiana
Summary:
Donna Jo Copeland has exhibited textiles for forty years at the Indiana State Fair, winning numerous awards and gaining recognition for the distinct style of her creations. At the knee of her great grandmother, she learned the skills of knitting, tatting, flat pattern work, and sewing. After purchasing a loom, she taught herself to spin and weave. Taking inspiration from the materials she produces on her farm, she creates between 20 and 25 entries every year for the fair. With her daughter and granddaughter, she is now part of three generations who continue the traditions of needlework at the State Fair.
Patti Light (Master), Jon Kay (Director), Ben Schreiner (Videographer), Pete Schreiner (Music),
Summary:
As a small girl, Patti Light saw a baton twirler in a local parade, which ignited her lifelong passion for the baton. Having twirled for most of her life, she continues to be active in this sport and art through teaching students and judging at the State Fair.
The Roney Family, Jon Kay (Director), Ben Schreiner (Videographer and Music), Traditional Arts Indiana
Summary:
In 2008, the Tuttle Orchard celebrated their 80th anniversary. Like their grandfather Roy Tuttle and their parents Ray and Virginia Roney, Mike and Tom Roney consider participation at the State Fair an important part of the family’s tradition of excellence in growing apples.
Wayne and Helen Drake (Masters), Jon Kay (Director), Joe Martinez (Videographer), The Woodstove Flapjacks (Music) Thomas G. Richardson (Project Coordinator), Traditional Arts Indiana
Summary:
Starting with only 30 sows, Wayne and Helen Drake built what would become a multi-generational family hog breeding business now involving thousands of pigs. Far from being an isolated practice, Wayne says he learned a lot from other hog farmers. “I learned a lot from the old people, that’s what I called them. You’d sit around the pens, and chew the fat with them, and you pick up a lot of ideas, and exchange ideas. It was really educational for me as a 4-H kid.”
Both Wayne and Helen Drake began showing at the State Fair in the 1940s and have continued nearly every year since. Their children, now running the family business, Drake Purebred Farms, have also been showing hogs their whole lives, and have amassed numerous awards and accolades themselves. For the Drakes, hog breeding and showing has turned into a family tradition with no signs of slowing down.
Mary Schwartz (Master), Jon Kay (Director), William Winchester Claytor (Videographer and Editor), Nathan Vollmar (Sound Recording), Kelly Totten (Production Coordinator), Traditional Arts Indiana
Summary:
2013 marks Mary Schwartz’s 50th consecutive year of exhibiting at the Indiana State Fair. Active in 4-H as a girl, Mary started embroidering as a compromise with her mother: she could continue to show sheep if she participated in an activity her mother believed to be more feminine, such as embroidery. While Mary works in several different styles of needlepoint, her favorite medium is crewel embroidery, a technique that uses wool thread to create depths of color and shading. “I like the feel of the wool,” Mary said. “I was a sheep producer at one time – my family was – and so therefore I’m going to continue to support the sheep people.”
Earning numerous blue ribbons over the years, Mary’s skill and artistry in embroidery represents just one aspect of her contributions to the Indiana State Fair. She has worked for the past several years as coordinator of the Antiques division in the Home and Family Arts Building. She enthusiastically supports her department, treating her co-workers as family and welcoming and encouraging new participants and visitors each year. The distinction of being named a State Fair Master is a highlight, said Mary, as she joins the ranks of the many distinguished and talented people that have preceded her: “It is really an honor to be recognized for the state. You stop and think about how many exhibitors are on this campus at one time, to be singled out and saying, ‘we recognize you for your years of servitude to us’ – it’s a big thing.”
Mary Alice Collins (Master), Hannah Davis (Director), Dave Walter (Videographer), Lewis Rogers and Dave Walter (Editing and Sound Design), Kara Barnard (Music), Traditional Arts Indiana
Summary:
Born March 7, 1939, Mary Alice Collins grew up in the kitchen. Learning how to cook and bake was just part of living on her family’s Hancock County farm. After finishing 10 years of 4-H and starting a career as a home economics teacher, she began participating at the Indiana State Fair in 1955.
Over the decades, she won thousands of ribbons for her pies, cakes, breads and cookies, and has been featured on "The View" and in a cookbook published by "Midwest Living." After retiring, she spent her time passing on winning tips and tricks to family and community members hoping to follow in her footsteps.
In 2015, the year following the production of this documentary, Mary Alice suffered suffering septic shock, and all of her fingers and both legs below the knee were amputated. Nevertheless after much therapy and determination, Mary continued to bake pies for the Indiana State Fair--and continued to take home ribbons. Mary Alice Collins passed away on September 9, 2019. Her story was featured in the introduction to the book "The Expressive Lives of Elders: Folklore, Art, and Aging" (Indiana University Press, 2018).
Mauri Williamson (Master), Jon Kay (Director), Shaun Williams (Production and Editing), Geoff Guernsey and Olivia Smiley (Music), Andrew Wei (Recorder of Music), Jessy Yancey and Mark Evans (Additional Footage),Traditional Arts Indiana
Summary:
Thanks to Mauri Williamson, the Pioneer Village has become one of the most popular and beloved activities of the Indiana State Fair. The Village celebrates Indiana’s agricultural heritage through displaying antique tractors and farm implements, as well as by hosting old-time craft and farm-life demonstrations. The roots of the Village date to 1961 when Mauri, then the Purdue Agricultural Alumni Association secretary, brought a collection of farming artifacts from the university to create an educational display at the Indiana State Fair. In 1968, the Village began to grow when the Fair built a barn dedicated to housing its unique collection.
From fiddling and quilting to threshing and storytelling, today the Pioneer Village features dozens of musicians, artisans, and demonstrators who share their talents with fairgoers. More than just the founder of the Pioneer Village, for over 54 years Mauri Williamson has worked to make the Village a memorable experience for countless Hoosiers.
The Indiana State Fair Master Award was established to recognize long-time fair participants, who share their knowledge and talents at the Fair. Indiana University's Traditional Arts Indiana and Indiana State Fair are Honored to name Mauri Williamson the 2015 Indiana State Fair Master.
Bill Bailey (Master), Jon Kay (Director), Geoff Davis and Bill Bailey (Music), The Hayloft Gang (Archival Photographs), Traditional Arts Indiana
Summary:
A fixture at the Indiana State Fair for many years, Bill Bailey coordinates the entertainment in the Pioneer Village, inviting musicians, storytellers, and other entertainers from around the state to perform on the village’s two rustic stages. His relationship with the fair began in 1991, when he played percussion with a band in the village—but Bill is no ordinary percussionist. A self-proclaimed “idiophonist,” he makes his rhythmic music with spoons, washboards, and a variety of other everyday items.
Bill played percussion throughout his school years, but sold his drums when he went to college, remaining “music-less” for a while. Then in 1976, a couple that played old-time music moved next door, and he was inspired to try his hand at the mandolin, guitar, and harmonica—yet percussion continued to call to him. He picked up playing the spoons, and eventually began tapping out his syncopated rhythms on a washboard and a variety of other resonate objects such as a wooden shoe, triangles, and horse shoes. Before long, Bill was playing multiple styles of music including old-time, blues, and jug band.
In 1991, Bill played with a couple of bands that were performing in the fair’s Pioneer Village. He was hooked. Each year he returned and played with a variety of musicians. In 2003, Gerry Gray, the original music coordinator for the village, chose Bill as her replacement. He continued to book the old-time and dulcimer music that had been featured at the fair since the 1970s, but he also expanded the program to include a greater variety of traditional music and other forms of entertainment. One successful program that he helped develop was a tribute to the WLS National Barn Dance, which featured the music and theatrical routines of the popular radio show in the early 20th Century. For six years, large audiences came to see this reenactment show.
Besides his work at the Indiana State Fair, Bill serves as a musical ambassador for the Columbus Washboard Company, the last manufacturer of hand-built washboards in North America. Bill paints and outfits their boards, transforming them into musical instruments. The company sells dozens of Bill’s musical boards, which they ship all over the world. Each year, Bill also travels to Ohio to perform at their Washboard Music Festival to promote this unique musical genre.
Today, in addition to his own musical pursuits, Bill continues to coordinate the entertainment at the Pioneer Village. From old-time country, bluegrass, gospel, and blues, to storytelling and fiddling contests, the stages at the village help create a nostalgic atmosphere where fairgoers can escape the pressures of contemporary life. And while he makes sure the Pioneer Village stage shows run smoothly, visitors can still find Bill Bailey tapping out his upbeat rhythms and entertaining audiences.
Kathy Rucker (Master), Jon Kay (Director), Traditional Arts Indiana
Summary:
Though born in Indiana, Kathy Rucker traveled around the world, following her father during his naval duty in the submarine service. When she was sixteen her family returned to Indianapolis. Throughout those young years there was one constant—Kathy was always dancing. She recalls, “I was either dancing with the cabinet, dancing with the refrigerator handle, dancing in my room— dancing all over the house.” Years later she would study square dancing and round dancing but clogging “caught her eye” when she saw a group performing at a local festival. So, she began taking clogging classes on the southside of Indianapolis and soon discovered that she was “pretty good at it.” “Why would you want to start clogging when you are forty?” some asked her, but Kathy recognized that it was fun way to exercise, and to meet people. Eventually, several fellow students suggested to her that instead of driving all the way to the southside to take lessons, they could clog with Kathy at her eastside home. What began as a small group, soon outgrew her garage.
Before long, she started teaching classes for older adults. First one, then a second, but as quickly as she added a new session, it filled. Finally, she was up to teaching twenty-one classes each week. As she jokes, “It keeps the body in shape… it keeps the body tired.” To fuel her teaching, Kathy traveled around the country taking clogging and dance workshops and classes, in addition to learning how to dance better, these experiences also taught her how to be a better teacher. She explains, “You can be a great dancer and a lousy teacher, and you can be an average dancer and a great teacher. I was going for the great teacher, I didn’t care if I was a superb dancer, I just wanted to teach someone how to do what I love to do.”
In 1995, Kathy volunteered to manage a small dance stage at the Indiana State Fair. That first year, the crowds wanting to see clogging were so big that it blocked the roadway and the fair shuttles could not pass. To accommodate the popularity of the dance stage, the fair moved it several times to larger and better locations. Today, the dance stage is located in Celebration Park and has grown to as big as it can get at the fair. Throughout the run of the fair, the stage features a variety of dance groups, and serves as a great promotional tool for dancing groups around the region. Two of Kathy’s groups, The Circle City Cloggers and Still Kickin, are regular acts at the fair; performing several times each week. While the Circle City Cloggers consist of dancers from their teens on up, Still Kickin is for older adults, 55 and older.
The idea of an older adults group emerged when several of the members of the Circle City group felt the routines were getting too hard on them. Kathy too was getting older but recognized the elders desire to continue clogging. While some are alumni of the Circle City group, others are older women and men who didn’t start dancing until they were in their sixties or seventies.
Kathy also teaches line dancing in the Indianapolis area. One of her groups, the Heritage Place Ladies of the Dance is a group of older African American women who love to dance. They dance to classic Motown as well as more contemporary popular music. Kathy started the class nearly twenty-five years ago, and several of the original dancers are still with the group. Odessa Higginson, the “elder of the club” is 92-year-old, explains “I love dancing, and I intend to keep dancing as long as I can keep moving.”
For several years, Kathy taught twenty-one dance classes each week, but as she got older she slowly pared them down to the ten groups that she teaches today. At 73, she explains that dancing is more than a hobby or a job for her. It literally saved her life. She explains, “I’ve had cancer twice, and the doctors told me that if I hadn’t been so physically fit I wouldn’t have made it. I credit dancing with saving my life…I will probably continue to clog until I can’t lift my foot anymore!” Kathy and the Indiana State Fair have fostered a wonderful network of dancing clubs throughout the greater Indianapolis area. Kathy teaches the class and organizes the groups, and the fair helps promote the benefits of dance through its dance stage. Nevertheless, Kathy Rucky has made an incredible contribution to the cultural vitality and the health and wellness of all the communities in which she works.
Ellsworth Christmas (Master), Jon Kay (Director), Traditional Arts Indiana
Summary:
For nearly 45 years, Ellsworth Christmas has volunteered at the Indiana State Fair’s Pioneer Village to teach fairgoers about Indiana’s traditional crafts and agricultural practices. He grew up on a farm in rural Warrick County, Indiana at a time when farming with a mule and plough was slowly giving way to tractors.
In 1975, Maurie Williamson* at the Purdue Ag Alumni Association invited the young extension specialist to demonstrate chair caning at the Pioneer Village. In subsequent years, Ellsworth constructed a smoke house and built the pin-framed barn that serves as the backdrop for the Pioneer Village stage. He worked with other From splitting shingles and smoking hams to building wooden wheels and making an ox yoke at the fair, Ellsworth Christmas has worked to preserve Indiana’s farming heritage through his contributions and demonstrations at the Pioneer Village.
volunteer artisans to build the “Johnson Cabin,” a replica of the 1822 cabin that once stood on the fairgrounds. While he continues to demonstrate during the fair each year, Ellsworth works with a team of volunteers to restore the village’s collection of antique farming equipment and wagons.
Rodnie Bryant (Master), Jon Kay (Director), Channel 40-WHMB Family Broadcasting Corporation (Gospel Day Video),Traditional Arts Indiana, Indiana State Fair
Summary:
Rodnie Bryant was raised in a “very religious” and musical home. In his youth, he learned music theory alongside his older sister at the Wurlitzer Music Company and later took private lessons. His musical repertoire draws from the classical and jazz music he studied and the gospel music he sang every Sunday.
Mentored by “musical giants” in Indianapolis, such as Robert Turner, Al “The Bishop” Hobbs, and Delores “Sugar” Poindexter, Rodnie soon gained national recognition as a gospel musician and recording artist. His accomplishments include a Grammy Award nomination in 1998, and winning Gospel Music Workshop of America Excellence Awards for both “Choir of the Year” and “Song of the Year.” His music became a staple among church choirs in many congregations both locally and beyond.
Raised in Indianapolis within walking distance of the fairgrounds, Rodnie has always enjoyed attending the big event with his family and friends. In 1995, the Indiana State Fair asked him to coordinate “Gospel Music Day,” which features both local and national gospel music talents. Since the first program, which had 400 attendees, Gospel Music Day has grown to host an audience of nearly 4000 every year. Rodnie takes pride in producing an event that is “wholesome, good and able to service an entire family.”