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Indiana University, Bloomington. Audio-Visual Center
Summary:
Introduces Kenneth Noland and Morris Louis, known as color-field painters among the New Abstractionists. Discusses their attitudes toward their works, and the factors and people influencing them. Shows examples of their works and those of Helen Frankenthaler.
Indiana University, Bloomington. Audio-Visual Center
Summary:
Depicts Frank Stella and Larry Poons, two young New Abstractionists, in their studios painting and discussing their work.Concludes that these artists have instituted an innovation by exploiting repetition, emptiness, and monotony to produce their abstract works. Describes Stella's productions as high geometric polygons and Poon's current work as a counterpoint of dots on canvas.
Discusses the values of a hobby as a source of fun and relaxation, friendship, recognition, and health. Presents people and their hobbies, how they came to choose a particular hobby and the values they receive from their hobbies. Suggests different hobbies and where to secure information about each. (KOMU-TV) Kinescope.
Shows how to choose a job by first knowing one's self as revealed by performance in intelligence, aptitude, and personality tests, by learning the characteristics of different jobs, and by fitting these two together. Illustrates these steps by following a series of counseling sessions between a counselor and a counselee. (KOMU-TV) Kinescope.
Discusses ways of getting along with people and through interviews shows why some people can more easily get along wit h others. Emphasizes interest in others, acceptance, and understanding, as well as cheerfulness, helpfulness, and neatness and basic factors in getting along with people. (KOMU-TV) Kinescope.
Dr. C. Arthur Knight, featured on this program, introduces his topic with a brief description of properties which characterize living things, and then explains to what degree viruses do or do not have these properties. What is significant, he points out, is that viruses are like other living things to the extent that they are capable of reproducing themselves. Because viruses have a chemical content, similar to that of chromosomes — the cells which determine heredity — and because they can be more easily isolated and fragmented than chromosomes, they are a source of much information for scientists who study life's creation and formation. In addition to his general points, Dr. Knight shows, through a remarkable series of micro-motion pictures, how mutations within viruses can be formed and identified.
Despite its microscopic size, a cell may contain several thousand highly complex chemicals. Nonetheless, molecules of carbohydrates, fats, proteins and nucleic acids consistently form part of the structure of living cells. These combine in various ways to make the cells which cause a tree to grow, an eye to see, or the brain to think. In this program, each kind of cell is analyzed through a combination of lecture and chemical demonstrations, together with a use of the models developed and used by Dr. Linus Pauling to study cellular structure.
Divides laws into three categories--human, natural (moral), and divine--and discusses the nature of each. Suggests two ways of identifying the different laws, and explains how natural laws are discovered. Compares the characteristics of the positive or human law with the natural or moral law, and points out the conflicts which arise between the two. (Mortimer Adler-San Francisco Productions) Kinescope.
The energy expended in thinking or talking or moving or simply living must be supplied by fuel; this program outlines the kinds of fuel which a living being needs, and describes how this fuel is used by the cells, and how it is stored for future use. The function of adenosine triphosphate, an essential chemical compound in the metabolism of life, is explained, and models illustrating its functions display clearly how the compound is formed and reacts within the cell.
In this program, Dr. Jones introduces the series by illustrating that the topics of discussion are “unessential” in precisely the way that passing notes in a melody would be unessential to the whole. He touches on the various levels of musical appeal and suggests that the total meaning of music is relative to the amount the ear can hear and appreciate in a particular composition.
