Series page
Title page
Copyright page
Series Foreword
Acknowledgments
Introduction
Part I Earth
1. 1 Anonymous Reality and Redemption in “The Family of Man”
2. 2 Invisible Ecologies: Cousteau’s Cameras and Ocean Wonders
Part II Worlds
1. 3 T Is for Telekinema: Projecting Future Worlds at the Festival of Britain
2. 4 Terre des Hommes / Man and His World: Expo 67 as Global Media Experiment
Part III Planet
1. 5 Inflatable Media: Film Festivals, Microcinemas, and Ephemeral Media
2. 6 Dolphins in Space, Planetary Thinking
Epilogue: An Ecological Approach to Media Studies
Bibliography
Index

List of Illustrations

Figure 1.1 Edward Steichen with delphiniums. Umpawaug House, Redding, Connecticut, ca. 1938. The Museum of Modern Art Archives. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
Figure 1.2 Visitors in Johannesburg awaiting entry into the exhibition “The Family of Man,” organized by the Museum of Modern Art, New York, installation at Government Pavilion, Johannesburg, Union of South Africa, August 30 through September 13, 1958. International Council / International Program Records. The Museum of Modern Art Archives. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
Figure 1.3 The visitor’s extended vision illustrated in Herbert Bayer, “Fundamentals of Exhibition Design,” 1939. © Estate of Herbert Bayer / SODRAC (2017).
Figure 1.4 Installation view of the exhibition “Road to Victory,” Museum of Modern Art, New York, May 21 through October 4, 1942. Photo credit: The Museum of the City of New York / Art Resource, NY.
Figure 1.5 Installation view of the exhibition “The Family of Man” at the Museum of Modern Art, New York, January 24 through May 8, 1955. The Museum of Modern Art Archives, New York. Photographer: Rolf Petersen. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
Figure 1.6 Installation view of the exhibition “The Family of Man” at the Museum of Modern Art, New York, January 24 through May 8, 1955. The Museum of Modern Art Archives, New York. Photographer: Rolf Petersen. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
Figure 1.7 Installation view of the exhibition “The Family of Man” at the Museum of Modern Art, New York, January 24 through May 8, 1955. The Museum of Modern Art Archives, New York. Photographer: Rolf Petersen. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
Figure 1.8 Wayne Miller’s wife and children in front of a picture of the H-Bomb at the “Family of Man” exhibition, Museum of Modern Art, New York, February 1955. The H-bomb photograph was provided by the US government and was the only color photograph in the exhibition. Photo credit: Wayne Miller / Magnum Photos.
Figure 2.1 Jacques Cousteau climbing into his Diving Saucer on board the Calypso docked in New York Harbor in August 1959. Credit: Granger Historical Picture Archive/Alamy.
Figure 2.2 Jacques Cousteau receives assistance from his crew in adjusting his “Self-Contained Underwater Breathing Apparatus,” or as it was originally called, the “Aqualung.” Paris, France, 1965. Photo credit: MARKA/Alamy.
Figure 2.3 Jacques Cousteau driving his underwater electric scooter in a scene from his film The Silent World, filmed in 1954–1955 and released in 1956. Credit: Granger Historical Picture Archive/Alamy.
Figure 2.4 Louis Malle (right) and three crew members examine an underwater camera partly pulled out of its housing, aboard the Calypso in 1955. Credit: © 2010 MIT. Courtesy of MIT Museum.
Figure 2.5 Film still of divers in Jacques Cousteau and Louis Malle’s 1956 documentary The Silent World. Credit: Jacques-Yves Cousteau and Louis Malle, Le monde du silence (1956); FSJYC Production, Requins Associés, Société Filmad, Titanus.
Figure 3.1 An aerial view of the South Bank exhibition site near the River Thames in London during the Festival of Britain in 1951. Credit: Trinity Mirror, Mirrorpix / Alamy.
Figure 3.2 Festival of Britain 1951 leaflets featuring logos by British graphic designer Abram Games (1914–1996). Credit: Amoret Tanner / Alamy.
Figure 3.3 The First Year’s Work, Mass Observation, 1937–1938. Edited by Charles Madge and Tom Harrisson. Cover design by Humphrey Jennings. London: Lindsay Drummond, 1938. Courtesy of the Trustees of the Mass Observation Archive, University of Sussex.
Figure 3.4 Humphrey Jennings (center) on the set during the shooting of Family Portrait, London, 1950. Courtesy of BFI National Archive.
Figure 3.5 Portrait of Patrick Geddes in Bombay, India, December 1922. Photographer: Gopal Advami. Courtesy of the University of Strathclyde, Department of Archives and Special Collections.
Figure 3.6 Notes by Patrick Geddes on the classification of the sciences and arts. Courtesy of the University of Strathclyde, Department of Archives and Special Collections.
Figure 3.7 Diagram of the Outlook Tower in Cities in Evolution (1915) by Patrick Geddes. Courtesy of the University of Strathclyde, Department of Archives and Special Collections.
Figure 3.8 Exterior view of the main entrance to the Telekinema, a state-of-the-art cinema designed for the Festival of Britain’s South Bank Exhibition, London, 1951. Courtesy of the BFI National Archive.
Figure 3.9 Interior view of the Telekinema foyer, London, 1951. Courtesy of the BFI National Archive.
Figure 3.10 Interior view of the Telekinema’s auditorium, London, 1951. Courtesy of the BFI National Archive.
Figure 3.11 An audience wearing 3D glasses during the Telekinema’s stereoscopic 3D film program at the Festival of Britain in 1951. Credit: Ronald Grant Archive / Alamy.
Figure 3.12 A still from Norman McLaren and Evelyn Lambart’s pioneering 3D animated film Now Is the Time (1951). Credit: National Film Board of Canada, Ronald Grant Archive / Alamy.
Figure 3.13 A still from McLaren and Lambart’s Around Is Around, the first stereoscopic animated film ever made using a cathode ray oscilloscope to create the illusion of three-dimensionality. Credit: National Film Board of Canada, Ronald Grant Archive / Alamy.
Figure 4.1 A still from Christopher Chapman’s 1967 film A Place to Stand, showcasing its “multi-image” effect. Credit: A Place to Stand, 17 mins, 70mm, color, English. Directed by Christopher Chapman. Produced by Christopher Chapman and David Mackay.
Figure 4.2 An exterior view of a crowd lining up outside of the Labyrinth Pavilion before a screening at Expo 67. Credit: In the Labyrinth © 1979 National Film Board of Canada. All rights reserved.
Figure 4.3 An interior view of the audience watching one of two fifty-foot screens in the first chamber of the Labyrinth Pavilion. Credit: In the Labyrinth © 1979 National Film Board of Canada. All rights reserved.
Figure 4.4 During a screening in Chamber 1, the audience watches a film from the venue’s four stacked rows of elliptically shaped balconies. Credit: In the Labyrinth © 1979 National Film Board of Canada. All rights reserved.
Figure 4.5 A couple pauses in Chamber 2’s mazelike passage to examine the structure’s two-way mirrors through which they can see thousands of small lights. Credit: In the Labyrinth © 1979 National Film Board of Canada. All rights reserved.
Figure 4.6 Early tests conducted with Labyrinth’s cruciform screen in an airplane hangar rented by the National Film Board of Canada, 1966. Credit: In the Labyrinth © 1979 National Film Board of Canada. All rights reserved.
Figure 4.7 A view of Chamber 3’s unprecedented viewing experience that presents the audience with five 35mm projections arranged in a cruciform, which was meant to represent the tree of life. Credit: In the Labyrinth © 1979 National Film Board of Canada. All rights reserved.
Figure 5.1 Patrick Geddes’s “Notation of Life,” from Amelia Dorothy Defries, The Interpreter Geddes: The Man and His Gospel (London: George Routledge and Sons, 1927). Image courtesy of the University of Strathclyde, Department of Archives and Special Collections.
Figure 5.2 Exterior view of Graham Stevens’s “Pneumatic Environment (1968)” at Phun City, 1970–1971. Photographer: Andrew Tweedie. GASACT © Graham Stevens.
Figure 5.3 Interior of “Pneumatic Environment (1968)” at Luton Arts Festival, January 1970. Photograph courtesy of Graham Stevens. GASACT © Graham Stevens.
Figure 5.4 Sale held at Rochdale College on August 26, 1971, to raise funds for legal fees the residents believed would be needed when Canada Mortgage and Housing (CMHC) assumed management. Photograph courtesy of John Wood.
Figure 5.5 Martin Heath’s “Cinema Mobile” on location in northern Ontario. Photograph courtesy of Martin Heath.
Figure 5.6 Inside Martin Heath’s inflatable cinema during a screening in northern Ontario. Photograph courtesy of Martin Heath.
Figure 5.7 Martin Heath, Walking on Water sculpture (1975). Photograph courtesy of Martin Heath.
Figure 5.8 The sign above the entrance at CineCycle’s first location (1991–1995), behind 317 Spadina Avenue, Toronto. The bicycle was built by George McKillop using 16mm film reels for the wheels and chain ring. Photograph courtesy of John Porter.
Figure 5.9 Martin Heath in the unfinished projection booth at CineCycle, 317 Spadina Avenue, 1991. Photograph courtesy of John Porter.
Figure 6.1 Buckminster Fuller’s Geoscope proposed for Expo 67.
Figure 6.2 Ant Farm, DOLØN EMB 2 (drawing by Curtis Schreier), 1975, hand-colored brownline. University of California, Berkeley Art Museum and Pacific Film Archive. Photo: Benjamin Blackwell.
Figure 6.3 Ant Farm, Dolphin Embassy Viewed from Directly Astern, 1977, color photocopy. University of California, Berkeley Art Museum and Pacific Film Archive. Photo: Benjamin Blackwell.
Figure 6.4 Doug Michels, interview about Project Bluestar on Japanese television in 1990. Image courtesy of Media Burn Archive.
Figure 6.5 Doug Michels with dolphins in Dolphin Embassy publicity shoot, c. 1976, Australia. Photo: Ant Farm, courtesy University of California, Berkeley Art Museum and Pacific Film Archive. Photo: Benjamin Blackwell.
Figure 6.6 Ant Farm, Oceania (drawing by Doug Michels and Alex Morphett), 1977, two Polaroid pictures, graphite, and rubber stamp on blueprint. University of California, Berkeley Art Museum and Pacific Film Archive. Photo: Benjamin Blackwell.
Figure 6.7 WORKac, inspired by the work of Ant Farm and especially the Dolphin Embassy, proposes a new model of utopia: 3.C.City, a floating city, unbound by national allegiances and designed to facilitate dialogue and debate—between people and other species. Photograph by Bruce Damonte.
Figure 6.8 The 3.C.City vessel, a research lab, conference center, and vehicle of dreams designed by WORKac, inspired by the projects of Ant Farm. Photograph by Bruce Damonte.
Figure 6.9 Still image from The Future Is Not What It Used to Be (directed by Mika Taanila). © Kinotar 2002. Kurenniemi documenting his surroundings for his personal archive.
Figure 6.10 Still image from The Future Is Not What It Used to Be (directed by Mika Taanila). © Kinotar 2002.
Figure 6.11 From the film The Future Is Not What It Used to Be (directed by Mika Taanila). Photo: Jussi Eerola. © Kinotar 2002.
Figure 6.12 Still image from The Future Is Not What It Used to Be (directed by Mika Taanila). © Kinotar 2002.
Figure 6.13 Antarctica Collection (2011–2012) in A People’s Archive of Sinking and Melting, featuring a scientific sample bottle, a wrench, a fire extinguisher inspection tag, an Antarctica embroidered patch, a photo magnet, and a pair of steel crampons.

Guide

Cover
Table of Contents