1960s Culture

El éxito de la música beat durante la segunda mitad de los años sesenta constituye un episodio clave, pero muy poco estudiado, de la historia de la música popular argentina. La aparición de numerosos conjuntos locales inspirados en The Beatles y otros grupos similares produjo una fuerte renovación de la música joven y contribuyó fuertemente en la conformación del pop-rock en el país. En este artículo propongo el análisis
musical de una de las canciones fundamentales de este fenómeno, «El extraño del pelo largo» de La Joven Guardia. Mi argumento es que esta canción, que fue uno de los grandes hits musicales del año 1969, demuestra la progresiva normalización de la estética rock al interior de la música popular argentina.

Oddajemy w Państwa ręce efekt pracy zespołu interdyscyplinarnego, skupiającego historyków, archeologów, geografów i historyków sztuki. W każdym zeszycie planowanej przez nas serii znajdziecie Państwo teksty poświęcone ważniejszym okresom w dziejach danej dzielnicy czy osiedla obecnego Lublina. W ramkach umieszczonych na marginesie tekstu podajemy wyjaśnienia nie tylko terminów specjalistycznych, które dla większości mieszkańców Lublina mogą nie być zrozumiałe, ale także krótkie informacje o niektórych historycznych wsiach. Wszystkie ona oznaczono w tekście głównym grubszą czcionką (np. dziesięcina, Mętów). Konsekwentnie stosujemy tu jednak jasne kryteria doboru wyjaśnianych terminów i nazw. Nie podajemy bowiem informacji o wszystkich wymienionych w tekście głównym miejscowościach. Przede wszystkim pomijamy historyczne wsie, które dały początek obecnym dzielnicom i osiedlom Lublina (np. Wrotków), gdyż te wyczerpująco zostaną opisane w innych zeszytach serii. Następnie pomijamy wsie lub miasta leżące w większej odległości od Lublina, choćby leżały w ziemi lubelskiej. Tym samym skupiamy się na wsiach odległych obecnie o kilka-kilkanaście kilometrów od Lublina, zaś podając ważniejsze informacje o nich ograniczamy się tylko do daty pierwszej wzmianki, ewentualnej daty lokacji (gdy jest różna od daty pierwszej wzmianki), oraz informacji świadczących o związkach danej osady z miastem Lublinem, wsiami otaczającymi go, które dały początek obecnym osiedlom i dzielnicom miasta, a także z lubelskimi urzędnikami ziemskimi (np. podkomorzym, starostą). teatR foRmy otwaRtej, pRoj. o. i z. hansen, fot. l. 70. XX w.

for the thoughts they shared with me. 3 In earlier generations this was not as important as today, as home tuition and autodidacticism filled the gap. 4 As students many support various distinct left-wing ideologies, but as they mature these melt away.

for the thoughts they shared with me. 3 In earlier generations this was not as important as today, as home tuition and autodidacticism filled the gap. 4 As students many support various distinct left-wing ideologies, but as they mature these melt away.

Η παρούσα ακαδημαϊκή έρευνα εξετάζει τον αντίκτυπο της κυβερνητικής στη δυναμική σχέση μεταξύ του χώρου και του ανθρώπινου σώματος, εστιάζοντας στο συνθετικό και ερευνητικό έργο του Τάκη Ζενέτου. Πιο συγκεκριμένα στην έρευνά του «Ηλεκτρονική Πολεοδομία», ως παράδειγμα της καταλυτικής επίδρασης των τεχνολογιών των ψηφιακών δικτύων, στις μεταλλαγές που επιδέχονται οι έννοιές του ανθρώπινου σώματος και του χώρου, στην αρχιτεκτονική και πολεοδομική σύνθεση.
Η ανάλυση επιτυγχάνεται μέσω ενός δυναμικού - θεωρητικού εργαλείου (χωρικό σχεδιάγραμμα), που αποδίδει τις μεταλλαγές μεταξύ των σχέσεων χώρου – σώματος σε τρείς ιστορικές τομές: την Αναγέννηση, την Βιομηχανική Επανάσταση (Μοντέρνο), φτάνοντας στην εποχή της αυγής των τεχνολογιών της Κυβερνητικής του 1960, όπου άλλαξε για πάντα τον τρόπο με τον οποίο ο άνθρωπος συλλαμβάνει και βιώνει τον χώρο.
Η αρχιτεκτονική έρχεται να επηρεαστεί από τις τεχνολογικές ανακαλύψεις και τα δοκίμια των οραματιστών Norbert Wiener και Marshall McLuhan, όπου έβλεπαν την σύνδεση του σώματος και των δικτύων σε ένα ευρύτερο - άυλο ψηφιακό χώρο.
Ο Τάκης Ζενέτος ήρθε να γίνει ο κοινωνός των θεωριών των Wiener και McLuhan αποδίδοντας αυτές στις θεωρίες μέσω συνθετικών χειρονομιών, όπως το «Σπάσιμο του Κύβου» για την επίτευξη της χωρικής ευελιξίας και μεταβλητότητας, για να φτάσει στο αρχιτεκτονικό του «απόσταγμα» την «Ηλεκτρονική Πολεοδομία», ως λύση για την κοινωνία του μέλλοντος.

In recent years the United States has experienced a steady rise of antiimmigrant sentiment comparable to "the worst periods of time in [its] history." ' With mounting fears regarding scarce jobs and a stagnant economy, immigrants have become the unfortunate scapegoats for the ills of American society. 2 The tide of anti-immigrant sentiment has been profoundly influenced by factors of race, and the policies that have emerged from anti-immigrant sentiment seem to reflect this racial influence. 3 This has led some to describe tough anti-immigrant laws such as California's Proposition 187' as "mean spirited" and "racist." 5 Anti-immigrant sentiment is not unique to the United States. 6 Britain has experienced similar problems with immigration and race hatred. 7 In the * J.D. 1996. The author would like to thank his mother, Dr. Christine Rodgers, for her support and guidance in all things, including the writing of this article. The author would also like to thank Joel Silverman and Porter Elliott for their helpful suggestions and comments. With the love and support of such wonderful people, anything is possible.

- ENGLISH BELOW -

Avec Blow up, Antonioni prolonge sa recherche d’un cinéma atmosphérique : les variations lumineuses et sonores, les effets d’instabilité – des personnages, de la caméra – et de décentrement engendrent des ambiances singulières, tour à tour claustrophobiques, volatiles ou éthérées. Le regard ne trouve de répit que ponctuel et illusoire, avant de comprendre qu’il était lui-même objet de manipulation. Cette déstabilisation par les ambiances rompt avec les représentations conventionnelles du paysage. Comment qualifier le rôle si expressif du travail esthétique des atmosphères dans Blow up ? Quelles continuités et quelles ruptures peut-on y déceler avec les précédents films d’Antonioni ? Cet article étudie la mise en scène des ambiances londoniennes comme un refus délibéré du paysage. Celui-ci est remplacé par une succession d’espaces distendus, éclatés ou fissurés, évoquant la désorientation « morale » des personnages. Antonioni poursuit une recherche aussi expressive que subtile sur les moyens d’édifier une critique visuelle, par les moyens du cinéma, de certaines des tensions propres à la « société du spectacle » des années 1960 – et qui restent en partie les nôtres.
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With Blow up, Antonioni continues his search for an atmospheric cinema: variations in light and sound, effects of instability – of the characters, of the camera - and of decentring create singular atmospheres, by turns claustrophobic, volatile or ethereal. The gaze finds only temporary and illusory respite, before realising that it was itself the object of manipulation. This destabilisation through the atmospheres breaks with conventional representations of the landscape. How can we describe the expressive role played by the aesthetics of atmosphere in Blow Up? What continuities from and breaks with Antonioni’s previous films can be discerned? This article examines the staging of London atmospheres as a deliberate rejection of landscape. This is replaced by a succession of distended, fragmented or cracked spaces, evoking the “moral” disorientation of the characters. Antonioni pursues a quest that is as expressive as it is subtle, concerning the means of constructing a visual critique, through the medium of cinema, of some of the tensions inherent in the “society of the spectacle” of the 1960s - and which remain in part our own.

In India, the COVID-19 epidemic, or more precisely the lockdown, has highlighted the country's social and spatial inequalities. The disease has brutally made the “invisible”visible, by revealing the scope of these circulatory migrations which are at the root of India's economicgrowth. After recalling the facts of this lockdown, which was both impossible to implement and deadly in its consequences, we present the foundations at the origin of the tragedy, in particular the structure of internal migrations. The article then describes the closure of internal borders, through three burning issues: special migrant trains, the dilution of the labour laws, and internal food aid. We then test what we call the “DIDI scale”, based on a Disparities<Inequality<Domination<Injustice gradient.Spatial injustice seems less pronounced than social injustice. We conclude by trying to explain why all these dramas has not lead to hunger riots, so few revolts and no revolution. Is the feel...

Pop art. He was also a filmmaker, photographer, painter, commercial illustrator, music producer, writer and even fashion model. Throughout his career Warhol developed new approaches to artmaking and so challenged the boundaries of art. Warhol has also been a huge influence on current artmaking, making him an exciting artist for South African audiences today. This booklet will guide you along your journey of discovery in the exhibition. It has spaces for you to draw and write down your thoughts about what you see, think and feel. By working in this book you will have made a personal exhibition resource to take home with you.

Louise Downe played a significant role in the exploitation cinema movement in the 1960s and early 1970s, and her take on abortion in particular was forward thinking and is extremely timely. Her contributions as an actor, screenwriter, assistant director, and designer are a noteworthy chapter in twentieth century cinema history. Her efforts have been routinely overlooked, as she has been overshadowed by her moviemaking partner, Herschell Gordon Lewis.

This essay details her early years living in Miami and explains her work as an actor in nudie-cutie movies and her role as an assistant director and designer in a variety of exploitation movies. I then analyze some of her contributions as a screenwriter by analyzing two ground breaking exploitation movies that she wrote: The Girl, the Body and the Pill (1967) and She-Devils on Wheels (1968). Working within the constraints of the low budget exploitation movie genre, Downe manages to shift two significant boundaries directly related to women’s bodies on the cinematic screen, and for this alone, her work is important.

Ralph omas Ward winds a single sinuous line, tracing two male silhouettes united in the prelude to a kiss or a tender tête-à-tête. Andy Warhol (https://www.artnews.com/t/andy-warhol/)'s Two Male Heads Face to Face (1952) found early publication alongside various images of unabashedly same-sex desire, as did lithographs from the artist's "Studies for a Boy Book, " exhibited at New York's Bodley Gallery on Valentine's Day in 1954. Warhol's homosexuality-the subject of a wide-ranging and elegant show titled "Warhol: Velvet Rage and Beauty" at Neue Nationalgalerie in Berlin-proved an open secret for most of his adult life. Gathering over 300 paintings, prints, photographs, collages, lms, and drawings, the exhibition (on view through October 6) hammers this home from the o erings in the rst room: a series of works on

The 1960s and 70s formed the wilderness years of the Christmas movie. Sandwiched between the genre’s post-war golden age and its commercial revival in the 1980s, these decades have come to be regarded as the Bermuda Triangle of festive cinema — where many features have become lost in the mists of Christmas past and have subsequently been forgotten by later generations.

Far from a creative backwater, however, this period would bear witness to some of the most fascinating, unconventional and experimental Christmas movies ever to reach the big screen, with features such as "The Apartment", "The Lion in Winter" and "Black Christmas" all subverting expectations of the holiday season to produce compelling narratives and memorable themes through wildly different artistic approaches.

From the author of "The Golden Age of Christmas Movies", "A Righteously Awesome Eighties Christmas" and "A Totally Bodacious Nineties Christmas", this book considers the festive cinema of the sixties and seventies in detail, taking a look at the movies that came to define this unpredictable period in recent history while also reflecting on those features that broke the mould in entirely different ways — including "Santa and the Ice Cream Bunny", "The Magic Christmas Tree" and (perhaps most infamously of all) "Santa Claus Conquers the Martians". When these tempestuous decades carried the torch for Christmas films, the features on offer may rarely have been traditional, but even today they remain captivating, intriguing and very difficult to ignore for those who are willing to revisit them.

This study analyses Andy Warhol’s creative vision and how he treated and ridiculed consumer culture. By applying quantitative content analysis to 45 specific Warhol artworks, such as “Campbell’s Soup Cans” and “Marilyn Diptych”, done between the 1960s and the 1980s, the study reveals materialism, consumerism, celebrity culture, and social critique as
popular themes of Andy Warhol’s universe. The critique of mass production and the commodification of culture is highlighted through his mass production techniques and the use of colours in his works. Another aspect that this study unveils is Warhol’s wish to democratise art, challenging rooted cultural values and predefined mentalities. By showcasing everyday use objects in his artworks, he tried to get people to relate to his way of looking at everyday banalities.

This study analyses Andy Warhol's creative vision and how he treated and ridiculed consumer culture. By applying quantitative content analysis to 45 specific Warhol artworks, such as "Campbell's Soup Cans" and "Marilyn Diptych", done between the 1960s and the 1980s, the study reveals materialism, consumerism, celebrity culture, and social critique as popular themes of Andy Warhol's universe. The critique of mass production and the commodification of culture is highlighted through his mass production techniques and the use of colours in his works. Another aspect that this study unveils is Warhol's wish to democratise art, challenging rooted cultural values and predefined mentalities. By showcasing everyday use objects in his artworks, he tried to get people to relate to his way of looking at everyday banalities.

December 2024 is the 60th anniversary of Donald Horne's The Lucky Country. Next year (2025) marks the 60th anniversary of the first successes in sales for this Australian masterpiece in non-technical sociology. The year 1965 marked the shift into what we consider today, Modern Australia.

In 2024 Australians are again spiraling into a new age of thinking as a nation, in the spiraling struggles against old ways of doing things.

This manuscript was discovered accidentally in 1988 during the course of an inventory. Mark Rothko's son, Christopher, edited and wrote an introduction for the book. As Anne Seymour as shown in Beuys, Klein, Rothko: Transformation and Prophecy (London: Anthony d'Offay Gallery, 1987), 1, among the artists of the New York School, Rothko was one of the most well grounded intellectually; he was an expert in both Judeo-Christian and Greek tradition, particularly Plato and Greek tragedy, and in the works of Shakespeare, Nietzsche, and Kierkegaard. Christopher Rothko, Introduction to Rothko, Artist's Reality, xxv.

“Born in Time is a gnostic love lyric.  The lyrics are gnostic in refusing the very fall into the desiring body, finally, as if some hidden light of gnostic revelation has already been given and which lovers only deny or damage by their fall into the divisions of sexual passion.

The current paper examines a series of portraits called Thirteen Most Wanted Men that the famous American Pop artist Andy Warhol created on the occasion of his participation in the World's Fair that took place in New York in 1964. The paper explores the economic-political context of the 1964 World's Fair and explains how and why Warhol's work got it to the façade of the New York State Pavilion designed by the prominent American architect Philip Johnson. The paper reveals the ambiguous nature of the antihero representation of Thirteen Most Wanted Men and studies the contribution of one of Warhol's art dealers Ileana Sonnabend to the international circulation of these paintings in the aftermath of the 1964 World's Fair.

This essay shows how Jimi Hendrix's experiments with fuzz anticipated notyet-audible sonic worlds and evinced Blackness in sound. Focusing on the American guitarist's debut album, Are You Experienced (1967), I describe fuzz as an entryway into the politico-theatrical scene of Black sociality. My analysis pivots on two axes: edgework and excess. I argue that Hendrix's pursuit of new sonic territory, as well as the mathematical-electrical engineering that brought such sounds into being, can be read as an aesthetic practice of edgework, but also that the resulting music-which early reviewers described as "hellish," "freaky," "unimaginable," and "manic"-acts as a sign of fuzz's unruly excess. Across my analysis, I am in conversation with Matthew Morrison's theory of "Blacksound," which shows how US popular music attempts to essentialize and delimit Black performativity. If Hendrix's fuzz tone is audible as an enactment of fugitivity born from a tradition of radical Black aesthetics, I argue, then its unruly and anarchistic ethos refutes racial essentialism, insisting on agency, beauty, and life in the face of social death. Through this intervention, I develop a theory of "rehearsal" as a future-oriented Black performance sensibility that creates the conditions in which living otherwise becomes imaginable and achievable.

A blog post for Manchester University Press, written with my co-editors of our book series 'The Television Series' and our new 'Moments in Television' books. With Jonathan Bignell and Lucy Fife Donaldson, we discuss top TV highlights we can expect to see on our screens in 2024. My section considers the popular TV show (and a personal favourite) Death in Paradise.

Ursula Andkjær Olsen indgår desuden i Birgitte Stougaard Pedersens “Tvetunget tale – om Ursula Andkjær Olsens ‘Selvoptagelser’ (2006)”, hvor Olsens poesivideo “Selvoptagelser” danner udgangspunkt for en diskussion af stemmen i samtidslyrikken. Artiklen undersøger den lyriske stemmeføring på grænsen mellem skrift og lyd, ligesom den tematiserer,hvordan stemmen i samtidslyrikken mere generelt genforhandler forestillinger om stemmen på en performativ basis og skubber til forestillinger om, hvad lyrik er og kan som genre.Birgitte Stougaard: “Double Talk. On Ursula Andkjær Olsen’s ‘Selvoptagelser’ (2006)”From the perspective of voice the article investigates the poetry video “Selvoptagelser” by the Danish poet Ursula Andkjær Olsen. The article takes its point of departure in a literary concept of voice but also wishes to include a concept of voice centered around the material and performative qualities of the acoustic voice. From a mediated and technological perspective, the voice in And...

This article presents an intertextual study of T.S. Eliot's The Waste Land (1922) and Bob Dylan's 'Desolation Row' (1965)-the original version in the album Highway 61 Revisited. Only a few scholars dedicated to the works of Bob Dylan have 'Desolation Row' being a vague rather than an explicit allusion to The Waste Land. This study will demonstrate how the themes and topics in both texts are not only similar, but how the piece by Dylan contains direct references to Eliot's poem as well as to other literary and cultural phenomena which Eliot references in his Wasteland-"alluding to allusions", therefore. All this will be illustrated through the nearly identical processes of archetypal characterisation led by the two authors and the rhetorical use of multiplicity of voice.

Some have doubted the sensational claim of “Ex-Evangelical” Mormon convert David Alexander that he was an evangelical for 47 years prior to his conversion to Mormonism.  Part of the reason is that during the past c. 18 of those 47 years Alexander belonged to a communal group called the Twelve Tribes, who follow the teachings of a recently deceased prophet named Gene Spriggs, and which some have labeled a cult.  Alexander insists that they are just another evangelical denomination, which rings false to many and seems to serve his claim of being an evangelical for 47 years. During most of the time prior to the Twelve tribes Alexander jumped from one group to another, something he had in common with Book of Mormon witness, Martin Harris.  The question has been asked whether Alexander is a spiritual "grifter" or a Martin Harris. I argue the latter.

Katalog obuhvaća rezultate našeg gotovo osmogodišnjeg
rada na području antropologije tekstila. Radove smo počele razvijati
još u studentskim danima, proučavajući fotografiju kao etnografski
dokaz na kolegiju Antropologija tekstila kod profesorice Tihane
Petrović Leš pri Filozofskom fakultetu u Zagrebu. Godinama smo
razvijale ovu temu pričajući na kavama i druženjima o iskustvima
odijevanja i uređivanja naših obitelji i svim izazovima koje su
prolazile u tranzicijskom razdoblju napose 1960-ih godina. 2020.
godine dogurale smo i do naše prve fizičke i virtualne izložbe "Ste se
zriktale! Transformacije u odijevanju ruralnog Zagreba 1960-ih",
koja je obrađivala odijevanje na istoku, zapadu i sjeveru zagrebačke
okolice. Izložba je bila predstavljena u galeriji Modulor pri Centru za
kulturu Trešnjevka tijekom lipnja i srpnja 2020. godine. Nakon
godinu dana daljnjeg razvijanja ideje, pridružila nam se i nova članica
- Martina Piškor - koja je svojim istraživanjem pokrila i zapadni dio
grada, čime je puni krug oko Zagreba bio dovršen!
Nova postava, koja je ovaj put i dobila ime - Etno Šnajderaj -
aludirajući u nazivu na većinski korištenu etnološku i
kulturnoantropološku metodu pri istraživanju i pokrivenost
istraživačke sfere antropologije tekstila, otvorila je u listopadu 2022.
godine i drugi volumen etnološko-edukacijske izložbe "Ste se
zriktale! vol. 2. Transformacije u odijevanju ruralnog Zagreba
1950/60-ih". Ovim putem donosimo vam izbor fotografija i tekstova
s dviju navedenih izložbi i pozivamo vas da naš daljnji rad pratite
putem naše društvene mreže na Facebook stranici - Etno Šnajderaj.
Zahvaljujemo svima koji su pomogli u izradi i postavljanju naših
izložbi na Trešnjevci i u Sesvetama. Posebna hvala našim obiteljima
koje su sudjelovale u istraživanjima i čije su fotografije, tekstilni
predmeti i priče iz mladosti glavni izlošci na našim izložbama.
Velika hvala i našoj profesorici Tihani Petrović Leš koja nas je uvela
u divan svijet antropologije tekstila te nas inspirirala na daljnji rad i
na pričanje priča kroz niti tkanine koja nosi sjećanja naših obitelji.

Betonicus se nastavlja na ranije serije fotografija Lane Stojićević, koje su temeljni medij njezinih konceptualno-istraživačkih projekata; snimljene su u depou Hrvatskog narodnog kazališta Split, Amfiteatru Doma mladih ili u javnom prostoru u kojemu autorica nosi kostime stupa i PVC vrata, evocirajući time kazališna načela. U klasicizmu 19. stoljeća (engl. Neoclassicism) ustanovljen je novi arhitektonski program s vlastitom tipologijom: kazališta, odnosno opere, u skladu sa Schinkelovom idejom architecture parlante. Christian Norberg-Schulz historicizam čita kao „zbrku stilova”, a Fouquet ga označava kao osjećaj uvijenog prostora koji je rekreiran antički senzibilitet za prostor. U radu Lane Stojićević riječ je o fotografskoj i pjesničkoj evokaciji neostilova koji glume povijesne. U kostimu stupa će se fotografirati pored zatečenih scenografskih rekvizita nalik na osnovni rječnik arhitekture, koji su za potrebe fotografiranja ekstrahirani iz gomile (ostvaruje se dijalog kostimiranog tijela i prostora – odnosno, aktivacija prostora kostimiranom figurom).

The world of visual art has devolved into a commercial enterprise. Part of the decline in visual art arises from artists' surrender to media environment influence, as an exploration of the life and work of noteworthy artist Andy Warhol reveals. This study terms such artist surrender Warhols Wake and elucidates its features. However, by examining, through an interpretive biographic method, the life and work of 4 other artists who responded to media environment influence differently, we gain insight into how creative consciousness can gainfully resist Warhols Wake, in a move that Marshall McLuhan calls "anti-environmental." 1 Chapter 1 Introduction and Overview of Study: Rationale for study, Statement of Research Question, Identification of Method, Chapter Outline We live now in a new kind of world... But very few people dare look at the present. I don't think it comes easy to people, in any period. I've never heard of anybody except artists who could do it. The artist does it because he's prepared to use his senses as scientific instruments, instead of just using them as pickup devices for his own satisfaction. He is engaged in a critique of satisfaction. He's willing to put aside or reject all satisfaction in order to discover, and probe.-Marshall McLuhan The Modern Art Museum of Fort Worth, Texas, is a global museum where visitors can view notable art of past and present. Daily, hundreds of visitors form a line outside of the building well before its 10 a.m. opening. There are over 3,000 artworks in the 150,000 square foot facility. Included in the museum's art collection are famed Andy Warhol screen prints. One visitor, while looking at a Warhol screen print titled Flowers, enthusiastically proclaims to another, "These would make great backgrounds!" They quickly pull out cell phones, pose in front of the Warhol screen print and take selfies, pausing rarely to contemplate or discuss artwork at length. Later that afternoon, guests make their way to the gift shop. Of the museum's 150,000 square feet of floor space, only 55,000 square feet is used to display artwork (personal communication, February 24, 2019). In addition to gallery space and a gift shop, additional accommodations include a restaurant, full bar, and outdoor fountain. While in the gift shop, guests peruse thousands of mass-produced products. These products replicate artists' images for commercial consumption. Beautiful but unnecessary doo-dads surround the room. More time is spent in the gift shop searching for a perfect souvenir than in front of artwork. This art-as-ornamental-frill, accompanied by visitor comments about Warhol's work, plainly exemplifies the inundation of commercialism and consumerism encroaching upon the media environments of contemporary artists. Art finds itself redefined through commercialism, piddling entertainment for the masses. Public displays and merchandising of art comprise a media environment that offers art via image replication. A veritable Disney World for art enthusiasts who desire accessible entertainment above all else. In the Fort Worth Modern, consistent distraction via entertainment options diverts the attention of museum visitors and artists alike. All involved are affected by a media environmental influence that draws society away from personal contemplation. Consequently, individual contributions are made irrelevant and replaced with external, consumer-based entertainment. The Modern Art Museum of Fort Worth, Texas, was established in 1901 as the Carnegie Public Library and Art Gallery (Scheuber, 1928). The art gallery resided on the second floor of a quiet brick and mortar library in downtown Fort Worth. The museum and library were funded with a $50,000 donation given by Andrew Carnegie. This businessman facilitated numerous libraries across America in hopes of encouraging learning in approachable, welcoming environments (Scheuber, 1928). Fine art was displayed on the second floor of the Carnegie library to expand to Fort Worth's culture beyond cattle sales (Scheuber, 1928). At that time, media environmental influence promoted quiet, individual reflection. This milieu provided an environment of uninterrupted contemplation and response to art (Scheuber, 1928). The