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Dr. Joel Hildebrand explains how the results of observation and experiment can be illustrated with models. Demonstrates with models of crystal and molecules. Tells how models help in understanding phenomena and suggest mathematical relationships. Points out popular but defective models and theories. (KQED) Film.
Beginning with a visit to Anchorage, shows the city's modern developments in offices, houses, schools, and factories which best typify modern Alaska. Visits other sources of industry, commerce, education, and culture in Alaska. Points out factors that may slow Alaska's growth.
Dr. Glenn Seaborg and his associates describe the discovery of the four "missing elements," technetium, astatine, francium, and promethium. Emphasizes the role of the cyclotron on the creation of synthetic elements. Dr. Ernest O. Lawrence explains the operation and development of high voltage accelerators from the first eight-inch cyclotron to the mammoth bevatron. Dr. Emilio Segre, a participant in the discovery of the first synthetic element, describes its discovery and demonstrates the technique used by him to identify astatine. (KQED) Film.
Anthony Tudor, the choreographer, and Nora Kay and Hugh Laing, dancers who appear on this program, are figures prominently associated with the new developments in modern dance which began in the 1940’s. Mr. Tudor and Miss Myers describe the changes in subject and mood which accompany this new dance form and the reasons for a retention of the traditional steps and positions in the new dances. The highlight of the program is a recreation of the famous ballet “Pillar of Fire,” starring Nora Kaye and Hugh Laing.
Traces the history of the development of the liquid-fuel missile by groups in Germany and the U.S. Views the development of the White Sands Proving Grounds and a parallel development of rocketry by the Germans, and explains the similarity of the two. Identifies the German A-9 and A-10 rockets as the forerunners of the multi-stage rocket. (New Mexico College of A. & M.A.) Film.
Shows the musical difference between the conventional seven-tone white key scale and the "newer" scales used by Debussy and others. Demonstrates that romantic composers explored the newer scales and illustrates use of the full keyboard by modern composers. (University of Rochester) Film.
Discusses new aerodynamic problems caused by high speed flight. Explains the different flow regions corresponding to the subsonic, transonic, and supersonic velocities. Demonstrates the generation of shock waves in supersonic flow. Shows filmed sequences of supersonic flow configurations. Points out and demonstrates the basic concept of the newest development in wingless aircraft, the Aerodyne. (State University of Iowa) Kinescope.
Discusses the process of modulation, or key change, in musical composition. Explains the major and minor tonal patterns which dominate all music of the period under discussion (1700-1900). Illustrates the concept of the "freedom of the keys" with modulating sentences of two, three, and four phrases. Stresses the importance of understanding modulation when dealing with all the major forms of music. (WMSB-TV) Kinescope.
Use of a horizontal core, a split pattern, chaplets, and chaplet supports; how to gate a mold for rapid pouring of a thin casting; and how to clean a casting.
Shows what a gated pattern is and why it is used, how a match or follow board can simplify making a parting, how facing sand is prepared and used, and how and why some patterns are rapped.
Shows how to identify and use common bench molder's tools; how molding sand is prepared; how to face a pattern; how to ram and vent a mold; how to roll a drag; how to cut a sprue, runner, gates and riser; how to swab, rap, and draw a pattern; and, by animation, what takes place inside a mold during pouring.
Shows the difference between bench and floor molding, how to face a deep pattern, ram a drag and walk it off, clamp a mold, locate sprues and risers, and tuck the crossbars of a large cope.
Shows how to use a deep follow board; the technique of facing, ramming, and venting a deep green sand core; how to use a cheek in a three-part flask; and the purpose and method of step-gating.
Expressing valor and benevolence, this famous Japanese legend tells the tale of a boy who was found inside a peach by an elderly Japanese couple. The boy later rewards their kindness in caring for him by successfully going after a treasure to make the rest of their days happy. He is accompanied on his adventure by a monkey and a pheasant. Mr. Mikami draws illustrations of a monkey and a pheasant.
Discusses the problems and techniques of conceiving a monumental sculpture. Presents the steps the sculptor follows from the initial sketch to the completed work. Explains the use of the enlarging device in developing the eight-foot dimensions of a large figure from the basic features of a small sketch. Demonstrates by sculpturing a figure of Walt Whitman of a monumental scale. Features Merres Gage, sculptor and Professor of Fine Arts, University of Southern California. (UCS) Film.
Presents an interview with Dr. Reinhold Niebuhr on America's sense of morality. Questions are answered concerning the need of a moral code, changes in America's moral standards, the relationship of belief in God to morality, and morality as requisite to happiness.
What is the cause of the moral revolution? Other questions raised by Max Lerner and the five Brandeis students during this program are: what is the operative code of today; are we still a Puritan society; is the moral revolution of today merely discussion over such topics as the Kinsey Report; do the newspapers depict only a small percentage of the population, thus making the situation worse than it really is; how are the young people responding to the pressures in our society; has the idea of conformity to peers made the young people more permissive; were the old codes too repressive; was the older generation as pure as they claim to be; and are we succeeding in shaping a challenging code to replace the now degenerating operative one?
Continues the discussion of ternary form from the preceding program, THREE-PART FORM: TERNARY. Explains how the re-statement in ternary form is modified, in some cases, to provide an intensification of the close, or for purposes of cancelling a key-change at the end of the first part. Introduces the use of the coda or "tail-piece" and stresses its importance. Illustrates the developmental nature of the middle part of ternary form directing attention to the common modulatory processes in this section. (WMSB-TV) Kinescope.
Professor Jones illustrates sentences of three (triple) and four (quadruple) phrases and their common internal relationships. After which, since it would be a gross misrepresentation to leave the listener with the impression that phrases of four metrical accents are "regular" for all music, phrases of three five, six and seven accents are illustrated, from folk to art music.
