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Chesley Bonestell: Imagining the Future Privacy - Terms By: Don Vaughan | July 20, 2018
HOW PRINT MYDESIGNSHOP HOW DESIGN UNIVERSITY EVENTS Register Log In Search DESIGN TOPICS∠ DESIGN THEORY∠ DESIGN CULTURE∠ DAILY HELLER REGIONAL DESIGN∠ COMPETITIONS∠ EVENTS∠ JOBS∠ MAGAZINE∠ In this roundup, Print breaks down the elite group of typographers who have made lasting contributions to American type. Enter your email to download the full Enter Email article from PRINT Magazine. I'm not a robot reCAPTCHA Chesley Bonestell: Imagining the Future Privacy - Terms By: Don Vaughan | July 20, 2018 82 In 1944, Life Magazine published a series of paintings depicting Saturn as seen from its various moons. Created by a visionary artist named Chesley Bonestell, the paintings showed war-weary readers what worlds beyond our own might actually look like–a stun- ning achievement for the time. Years later, Bonestell would work closely with early space pioneers such as Willy Ley and Wernher von Braun in helping the world understand what exists beyond our tiny planet, why it is essential for us to go there, and how it could be done. Photo by Robert E. David A titan in his time, Chesley Bonestell is little remembered today except by hardcore sci- ence fiction fans and those scientists whose dreams of exploring the cosmos were first in- spired by Bonestell’s astonishingly accurate representations. However, a new documen- tary titled Chesley Bonestell: A Brush With The Future aims to introduce Bonestell to con- temporary audiences and remind the world of his remarkable accomplishments, which in- clude helping get the Golden Gate Bridge built, creating matte paintings for numerous Hol- lywood blockbusters, promoting America’s nascent space program, and more. -
Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK Muscle Beach Party (1964) is the second in a series of seven films made by American International Pictures (AIP) based around a similar set of characters and set (by and large) on the beach. The Beach Party series, as it came to be known, rode on a wave of surfing fever amongst teenagers in the early 1960s. The films depicted the carefree and affluent lifestyle of a group of middle class, white Californian teenagers on vacation and are described by Granat as, "…California's beautiful people in a setting that attracted moviegoers. The films did not 'hold a mirror up to nature', yet they mirrored the glorification of California taking place in American culture." (Granat, 1999:191) The films were critically condemned. The New York Times critic, for instance, noted, "…almost the entire cast emerges as the dullest bunch of meatballs ever, with the old folks even sillier than the kids..." (McGee, 1984: 150) Despite their dismissal as mere froth, the Beach Party series may enable an identification of issues of concern in the wider American society of the early sixties. The Beach Party films are sequential, beginning with Beach Party (1963) advertised as a "musical comedy of summer, surfing and romance" (Beach Party Press Pack). Beach Party was so successful that AIP wasted no time in producing six further films; Muscle Beach Party (1964), Pajama Party (1964) Bikini Beach (1964), Beach Blanket Bingo (1965) How to Stuff a Wild Bikini (1965) and The Ghost in the Invisible Bikini (1966). -
Note to Users
NOTE TO USERS This reproduction is the best copy available. UMI' The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties By Nancy McGuire Roche A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University May 2011 UMI Number: 3464539 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3464539 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties Nancy McGuire Roche Approved: Dr. William Brantley, Committees Chair IVZUs^ Dr. Angela Hague, Read Dr. Linda Badley, Reader C>0 pM„«i ffS ^ <!LHaAyy Dr. David Lavery, Reader <*"*%HH*. a*v. Dr. Tom Strawman, Chair, English Department ;jtorihQfcy Dr. Michael D1. Allen, Dean, College of Graduate Studies Nancy McGuire Roche Approved: vW ^, &v\ DEDICATION This work is dedicated to the women of my family: my mother Mary and my aunt Mae Belle, twins who were not only "Rosie the Riveters," but also school teachers for four decades. These strong-willed Kentucky women have nurtured me through all my educational endeavors, and especially for this degree they offered love, money, and fierce support. -
Duke University Commencement ~ 2013
Sunday, the Twelfth of May, Two Thousand and Thirteen ten o’clock in the morning ~ wallace wade stadium Duke University Commencement ~ 2013 One Hundred Sixty-First Commencement Notes on Academic Dress Academic dress had its origin in the Middle Ages. When the European universities were taking form in the thirteenth and fourteenth centuries, scholars were also clerics, and they adopted Mace and Chain of Office robes similar to those of their monastic orders. Caps were a necessity in drafty buildings, and copes or capes with hoods attached were Again at commencement, ceremonial use is needed for warmth. As the control of universities made of two important insignia given to Duke gradually passed from the church, academic University in memory of Benjamin N. Duke. costume began to take on brighter hues and to Both the mace and chain of office are the gifts employ varied patterns in cut and color of gown of anonymous donors and of the Mary Duke and type of headdress. Biddle Foundation. They were designed and executed by Professor Kurt J. Matzdorf of New The use of academic costume in the United Paltz, New York, and were dedicated and first States has been continuous since Colonial times, used at the inaugural ceremonies of President but a clear protocol did not emerge until an Sanford in 1970. intercollegiate commission in 1893 recommended a uniform code. In this country, the design of a The Mace, the symbol of authority of the gown varies with the degree held. The bachelor’s University, is made of sterling silver throughout. It is thirty-seven inches long and weighs about gown is relatively simple with long pointed Significance of Colors sleeves as its distinguishing mark. -
October 2010
Page 1 Phactum October 2010 "There are only two things a child will share willingly -- PhactumPhactum communicable The Newsletter and Propaganda Organ of the diseases and his mother's age." Philadelphia Association for Critical Thinking Dr. Benjamin October 2010 Spock (1903 - 1998) editor: Ray Haupt email: [email protected] Webmaster: Wes Powers http://phact.org/ PhACT Meeting Saturday, October 16, 2010 at 2:00 PM Dr. David Cattell, Chairman of the Physics Department of Community College of Philadelphia, will host Dr. Catherine Fiorello, Professor of Psychology at Temple University. At Community College of Philadelphia. In Lecture Room C2-28 of the Center for Business and Industry. Enter at the corner of 18th and Callowhill Streets This meeting is free and open to the public. Myths of Psychology and Child Rearing Will boosting my child‘s self-esteem lead to a better life? Will cutting out sugar cure my child‘s hyperactivity? Will our children do better in school if teachers match instruction to their learning styles? Does teaching children about sex or homosexuality make them promiscuous or gay? Will holding my child back in first grade give him time to mature? Does DARE cut down on alcohol and drug use by students? Does spanking make kids more obedient? Does breastfeeding make kids smarter? Is ―teaching to the test‖ a waste of time? Is there really an epidemic of autism? Dr. Catherine Fiorello is Assistant Professor and Cartoon by Gruhn Director of the School Psychology Program at Temple [email protected] University. She is best known for her work on cognitive Used by Permission (Continued on page 2) "Random chance seems to have operated in our favor" -- Spock "In plain, non-Vulcan English, we've been lucky" -- McCoy "I believe I said that, Doctor" -- Spock (The Doomsday Machine) Page 2 Phactum October 2010 and neuropsychological assessment and is co-author of the bestselling School Neuropsychology with her colleague Brad Hale. -
Cabineta Quarterly of Art and Culture
A QUARTERLY OF ART AND CULTURE ISSUE 18 FICTIONAL STATES CABINET US $10 CANADA $15 UK £6 inside this issue THERMIDOR 2005 Sasha Archibald • John Bear • Robert Blackson • William Bryk • Sasha Chavchavadze • Mark Dery • Allen Ezell • Charles Green • Invertebrate • Craig Kalpakjian • Peter Lamborn Wilson • David Levi Strauss • Brian McMullen • Glexis Novoa • George Pendle • Elizabeth Pilliod • Patrick Pound • Bonnie and Roger Riga • Lynne Roberts-Goodwin • Tal Schori • Cecilia Sjöholm • Frances Stark • Michael Taussig • Christopher Turner • Jonathan Ward • Christine Wertheim • Tony Wood • Shea Zellweger cabinet Cabinet is a non-profit 501 (c) (3) magazine published by Immaterial Incorporated. 181 Wyckoff Street Contributions to Cabinet are fully tax-deductible. Our survival is dependent on Brooklyn NY 11217 USA such contributions; please consider supporting us at whatever level you can. tel + 1 718 222 8434 Donations of $25 or more will be acknowledged in the next possible issue. Dona- fax + 1 718 222 3700 tions above $250 will be acknowledged for four issues. Checks should be made email [email protected] out to “Cabinet.” Please mark the envelope, “Rub your eyes before opening.” www.cabinetmagazine.org Cabinet wishes to thank the following visionary foundations and individuals Summer 2005, issue 18 for their support of our activities during 2005. Additionally, we will forever be indebted to the extraordinary contribution of the Flora Family Foundation from Editor-in-chief Sina Najafi 1999 to 2004; without their generous support, this publication would not exist. Senior editor Jeffrey Kastner Thanks also to the Andy Warhol Foundation for the Visual Arts for their two-year Editors Jennifer Liese, Christopher Turner grant in 2003-2004. -
File 770:144
February 2005 1 144 2 File 770:144 Best Dramatic Presentation Retrospective Hugo Awards Long Form (363 ballots) for work done in 1953 The Lord of the Rings: The Return of the King (New Line Cinema). Directed by Peter Jackson; screenplay by Fran Walsh, Best Novel of 1953 (113 ballots) Philippa Boyens & Peter Jackson. Fahrenheit 451 — Ray Bradbury (Ballantine) Best Novella of 1953 (67 ballots) Best Dramatic Presentation “A Case of Conscience” — James Blish (If, Sept. 1953) Short Form (212 ballots) “Gollum’s Acceptance Speech at the 2003 Best Novelette of 1953 (66 ballots) MTV Movie Awards” (Wingnut 144 “Earthman, Come Home” — James Blish Films/New Line Cinema). Written and (Astounding, Nov. 1953) directed by Fran Walsh, Philippa Boyens File 770:144 is edited by Mike & Peter Jackson. Best Short Story of 1953 (96 ballots) Glyer at 705 Valley View Ave., “The Nine Billion Names of God” — Arthur Monrovia CA 91016. File 770 is Best Professional Editor C. Clarke (Star Science Fiction Stories #1, available for news, artwork, (319 ballots) Ballantine) arranged trades, or by subscription: Gardner Dozois $8 for 5 issues, $15 for 10 issues, Best Related Book of 1953 (21 ballots) air mail rate is $2.50. Best Professional Artist Conquest of the Moon — Wernher von Braun, Telephone: (626) 305-1004 Fred L. Whipple & Willy Ley (Viking E-Mail: [email protected] (241 ballots) Press) Art Credits Bob Eggleton Taral: Cover, Bacover Best Dramatic Presentation, Bill Rotsler: 2,3,9,22,23,27,37 Best Semi-Prozine (199 ballots) Short Form, of 1953 (96 ballots) Diana Glyer (photos): 4 Locus, ed. -
Science Fictional the Aesthetics of Science Fiction Beyond the Limits of Genre
Science Fictional The Aesthetics of Science Fiction Beyond the Limits of Genre Andrew Frost University of NSW | College of Fine Arts PhD Media Arts 2013 4 PLEASE TYPE Tl<E UNIVERSITY OF NEW SOUTH WALES Tht:tltiDittorUdon Sht•t Surname or Fenily name: Frost FIRI neme; Andrew OCher namels: Abbr&Yia~lon fof" dcgrco as given in the Unlverslty caltn<S:ar. PhD tCOde: 1289) Sd'IOOI; Seh.ool Of Media Arts Faculty; Coll999 of A ne Am Title: Science Fletfonar.: The AestheUes or SF Beyond the Limit:t of Gcnt'O. Abstract 350 words maximum: (PLEASE TYPE) ScMtnce Flcdonal: The Anthetics of SF Beyond the Umlts of Genre proposes that oonte~my eufture 1$ * $pallal e)Cl>ertence dom1nS'ed by an aesane(IC or science liction and its qua,;.genefic form, the ·$dence ficdonal', The study explores the connective lines between cultural objects suet! as film, video art. painting, illustration, advertising, music, and children's television in a variety ofmediums and media coupled with research that conflates aspects of ctitical theory, art history a nd cuttural studies into a unique d iscourse. The study argues thai three types of C\lltural e ffeets reverberation. densi'ly and resonanoe- affect cultural space altering ood changing the 1ntel'l)totation and influeooe of a cuUural object Through an account of the nature of the science fictional, this thesis argues that science fiction as wo uncJersland It, a.nd how 11 has beon oooventionally concefved, is in fact the counter of its apparent function within wider culture. While terms such as ·genre~ and ·maln-stream• suggest a binary of oentre and periphery, this lh-&&is demonstrates that the quasi-generic is in fact the dominant partner in the process of cultural production, Ocelamlon ,.~ lo disposition or projoct thnlsJdtuen.tlon I htrOby grltlt t<> I~ Ul'll\IOI'IiiY Of Now SOUIJ'I WaltS or i&& agents the rlg:tlllo ard'llve anct to INike available my ttwrsl9 or di$sertabon '" whole or in 1»Jt il'lllle \Jtlivetsay lbrsrles., at IOtmS Of tnedb, rtOW or hero <~~Ot kncwn, 5tAijod:.lo lho Jl«Mdonll ol lho Co9yrlghlt Act 1968. -
It Comes in the Mail 4
CREEPS " MEAT PP1CE<S ?' I OOKJ’T ^OQRV fXBOUT "£M f - PAKTOVM Oi? THE PMSBED PUBS by Don Marquis Where has my little dog gone? Grief 5.3 'wrecking ray reason.- (fie vanished in the Daw.) This is the Sausage Season. Grief is wrecking ray reason. (I. doubt theej Butcher Man.) This is the Sausage Season. (Meat -'®e Hing Caliban i) I doubt thee, Butcher Man - His collar with gold was erusted, Meet-selling Caliban! he had a heart that trusted. His collar with gold was crusted - (0 Butcher, whet and mile!) Re had a heart that trusted? Thy heart is full of guile! 0 Butcher, whet and anile, My doubt of thee profound is? Thy heart is full of guile - And sausage two shillings a pound is! My doubt of thee profound is: He oft paused by thy door! And sausage two shillings a pound is! Ke lingered near thy store! He oft cause by thy door - 0 Butcher enterprising! He lingered near thy store - The price of sausage is rising! 0 Butcher enterprising, Where has my little dog gone? The price of sausage is rising; - He vanished in the Dawn! - from Noah An’ Jonah An^ Cap*a John Smith (thanks to Bruce Arthurs!) IT COMES IN THE MAIL - Number Four Ned Brooks, 713 Paul Street, Newport News, Virginia - 23605, for SFPA 53 & others Cover art by Greg Spagnola, courtesy George Beahm < OOOOOCOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOCOO . Ji y In running off the previous issue, I discovered that the third page stencil had been typed far too long, and would not fit on the page at all, so that to run it at all I had to corflu out the last three lines. -
The Shape of Space: NASA Designs for Orbital Space Settlements.Pdf
The Shape of Space: NASA Designs for Orbital Space Settlements 12/16/18, 12:37 PM YOU ARE READING AN ARTICLE PRINTED FROM PLACES, THE JOURNAL OF PUBLIC SCHOLARSHIP ON ARCHITECTURE, LANDSCAPE, AND URBANISM. READ MORE AT PLACESJOURNAL.ORG. The Shape of Space What the orbital space habitats designed for NASA in 1975 can teach us about living in new geometries. FRED SCHARMEN AUGUST 2018 Bernal Sphere, 1975. [Rick Guidice/Nasa Ames Research Center] “The sky starts at your feet. Think how brave you are to walk around.” 1 — Anne Herbert “Space is not only high, it’s low. It’s a bottomless pit.” 2 — Sun Ra Buckminster Fuller had an unusual way of talking about stairs. Instead of downstairs and upstairs, he encouraged people to say instairs and outstairs. “They all laugh about it,” he wrote, “But if they try saying in and out for a few days in fun, they find themselves beginning to realize that they are indeed going inward and outward in respect to the center of Earth, which is our Spaceship Earth. And for the first time they begin to feel real 3 reality.” Writing in 1970, at the dawn of extra-planetary space travel, Fuller identified a break in humans’ spatial perception. Standing on Earth, we see the ground plane as flat, but we know the planet is a sphere. To describe motion and existence in a vast universe, where planetary surfaces are the exception, we would need a new language. For centuries, the space away from the Earth’s surface — “outer” space — has confounded attempts to make sense of it with terrestrial geometric schemes. -
Introduction to the Retro Hugo Awards for 1953
Retro Hugo Awards for 1953 1 Introduction to the Retro Hugo Awards for 1953 to be presented at Noreascon 4 September 2-6, 2004 2 Noreascon 4 1953 Retro Hugo Awards Table of Contents An Introduction by Andrew I. Porter......................................... 3 Identifying Items to Nominate by Joe Siclari ............................ 4 The Year of the Hugos by Juanita Coulson ............................... 5 Additional comments by Robert Silverberg.......................... 9 1953: The Good Ones by Don D’Ammassa.............................11 Short Fiction of 1953 by Mark L. Olson & Jim Mann ............ 15 Artists of 1953 by Alex Eisenstein .......................................... 17 Dramatic Presentations by Daniel M. Kimmel ........................ 27 Editor: Andrew I. Porter Asst. Editor & Layout: Joe Siclari Staff: Edie Stern From the WSFS Constitution: Section 3.13: Retrospective Hugos. (http://worldcon.org/bm/const-2002.html) A Worldcon held 50, 75, or 100 years after a Worldcon at which no Hugos were presented may conduct nominations and elections for Hugos which would have been presented at that previous Worldcon. Procedures shall be as for the current Hugos. Categories receiving insufficient numbers of nominations may be dropped. Once retrospective Hugos have been awarded for a Worldcon, no other Worldcon shall present retrospective Hugos for that Worldcon. “World Science Fiction Convention” “Worldcon” and “Hugo Award” are service marks of the World Science Fiction Society, an unincorporated literary society. “Noreascon” is a service mark of Massachusetts Convention Fandom, Inc. The Noreascon 4 logo uses a picture taken by the Hubble Space Telescope, made available by NASA and STScl. Copyright © 2003 by Massachusetts Convention Fandom, Inc. All Rights Reserved. Rights to all material are returned to the contributors upon publication. -
The Audiences and Fan Memories of I Love Lucy, the Dick Van Dyke Show, and All in the Family
Viewers Like You: The Audiences and Fan Memories of I Love Lucy, The Dick Van Dyke Show, and All in the Family Mollie Galchus Department of History, Barnard College April 22, 2015 Professor Thai Jones Senior Thesis Seminar 1 Table of Contents Acknowledgements..........................................................................................................................3 Introduction......................................................................................................................................4 Chapter 1: I Love Lucy: Widespread Hysteria and the Uniform Audience...................................20 Chapter 2: The Dick Van Dyke Show: Intelligent Comedy for the Sophisticated Audience.........45 Chapter 3: All in the Family: The Season of Relevance and Targeted Audiences........................68 Conclusion: Fan Memories of the Sitcoms Since Their Original Runs.........................................85 Bibliography................................................................................................................................109 2 Acknowledgments First, I’d like to thank my thesis advisor, Thai Jones, for guiding me through the process of writing this thesis, starting with his list of suggestions, back in September, of the first few secondary sources I ended up reading for this project, and for suggesting the angle of the relationship between the audience and the sitcoms. I’d also like to thank my fellow classmates in the senior thesis seminar for their input throughout the year. Thanks also