Captain David Minard, with the medical corps of the U.S. Navy, discusses tests conducted for 44 days in Korea to study the physiological and psychological stressors on troops under actual combat and fatigue. Using a chart, he explains the test for reactivity of the autonomic nervous system. Both attack and defense troops were measured before and after combat for hormone excretion, protein destruction, body salt retention, white blood cell count, and number of days to recover. Capt. Minard recommends using electronic transducers and transmitters to record such data in the future. Jean Taylor, an operations analyst with Johns Hopkins University, explains homeostasis (adjustments to protect the status quo) and the results of serious strains on it. Combatants were given paper and pencil tests to measure their higher mental functions and given a visual flicker fusion frequency test and an auditory flutter fusion frequency test to measure sensory cortical sensitivity. Ms. Taylor concludes that the physiological tests were more definitive than the psychological tests, which were inconclusive. Psychological stress was best observed through films shown of men before and after a combat that resulted in a 61% casualty rate. The men's physiological reactions followed Hans Selye's chart of response to stress: alarm reaction, resistance stage, exhaustion phase.

Dr. John C. Geyer and Dr. Charles E. Renn, professors of sanitary engineering at the Johns Hopkins University, discuss the municipal and industrial demands on water. Dr. Geyer explains how a city water meter works and shows the resulting graphs that predict the time of greatest water use. Dr. Renn displays examples of common products and tells how much water is required to manufacture each. He also discusses rainwater, wells, rivers, lakes, and reservoirs as sources of water and how river water can be used, treated, and returned. A film clip documents the formation of a river. Using a diagram, Dr. Geyer explains municipal water purification and waste treatment processes. Dr. Renn discusses industrial waste disposal and how it can cause stream pollution unless treated by a waste control plant, such as that of American Cyanamid Co., in New Jersey. Dr. Geyer notes the growing conflict in the American southwest over water use between industry and agriculture. Dr. Renn concludes that increasing water demands require either stopping growth or building more dams and evaluating priorities for use, such as recent multiple use (recreation, power, water control) projects of the Tennessee Valley Authority (TVA).

Denys Peter Myers, Assistant Director of the Baltimore Museum of Art, discusses sculpture. He first describes, and displays, sculptures as artistic expressions existing in the round and being representational, semi-representational, or non-representational. He then argues that to understand the purpose of a sculpture, one must consider the culture that produced it and will generally find that it is either humanistic (making a statement about the human condition) or cult (serving as a bridge from this world to the next). As examples of cult objects, Mr. Myers exhibits the bronze head of the dead king of the kingdom of Benin in Nigeria. He also shows an Egyptian rose quartz sculpture of a pharaoh, an 8th century Indian temple corner graced by two dancers, a 14th century French Madonna and child, a second century Gandharan stucco head in the Roman tradition, and a 5th century sculpture similar to a Roman sarcophagus. To contrast humanistic examples of sculpture, Mr. Myers displays the remainder of a Greek Venus sculpture, the ideal of feminine beauty. The neo-humanism of Dante's era led to contemporary individualism as expressed in Maillol's 1898 "Bather Fixing Her Hair," Degas' "Little Dancer," and Matisse's "Serf," "Reclining Nude," and "Serpentine." He compares Renoir's 1916 bronze Venus to the ancient one and Henry Moore's abstract "Reclining Woman" with previous examples. Mr. Myers maintains that modern artists are the prophets and moralists of society and their return to abstract ideas and figures are a balance of otherworldliness and worldliness, with Venus and the dead king coalescing. He concludes the program showing two abstract metal sculptures: Giacometti's "Man Pointing" and Ibram Lassaw's "Planets."

Dr. George Carter, professor of geography at the Johns Hopkins University, discusses elephant drawings as the key to the controversy of whether or not the American Indian civilization was influenced by European and Asian civilizations. Examples of elephant drawings made between 1500 B.C. and 500 A.D. in such diverse places as England, Ceylon, China, and Siam are often stylized or abstract whether the animal is native to the country or not. Similarly, a Greek coin displays an elephant likeness. However, during this period in Central America, Mayan statues, carvings, and writings and Aztec art and rituals distinctly show elephants even though there were none to copy nor anyone to describe them. Thus Dr. Carter maintains that Asian peoples must have brought drawings or statues of elephants to Central America over 2,000 years ago. The proof he offers for this theory is the Thor Heyerdahl transpacific raft voyage (proving such a trip could be made in a primitive vessel), identical temples 12,000 miles apart in Mexico and Cambodia, identical Sumatran and Mexican folding bark religious books, identical fishhooks from Easter Island and California, physical attributes of Central American and Asian Indians (photos show one of each, both playing nose flutes), and plants appearing in lands too far from original sources to have blown there. In closing, Lynn Poole shows additional examples of elephant artwork found in the United States.

This program considers the stories of love, courtship, and marriage in Appalachia as told through folk songs. Virgil Sturgill sings "Sourwood Mountain," accompanied by Mike Seeger on banjo. Elwil Hughes strums a mountain dulcimer as she sings "Lonesome Dove." In the duet "Mountaineer's Courtship" with Hughes, Seeger plays the autoharp and Sturgill comments on the lyrics. Seeger sings "The Wedding Dress" with banjo accompaniment and "Aggravate Your Soul" with guitar. Sturgill plucks a mountain dulcimer and sings "Devilish Mary." Seeger, on guitar, sings "Everyday Dirt." The ensemble concludes with "Wish I Was Single Again" and "Careless Love."

Johns Hopkins history professor Charles A. Barker describes the characteristics and beliefs of Henry David Thoreau, one of the Transcendentalists in Concord, MA. The narrator enumerates Thoreau's life events, including his isolation at Walden Pond and Emerson's influence on him. Dr. Carl Bode, English professor at the University of Maryland, analyzes Thoreau's 26-month Walden venture and suggests that Thoreau was experiencing the cycle of withdrawal and return as described by Arnold Toynbee. Dr. Barker discusses Thoreau's animosity towards his peers and his polemic essays, such as the 1849 "Essay on Civil Disobedience" and the 1859 "A Plea for Captain John Brown," his last outburst of creative energy. Individualistic and dogmatic to the end, Thoreau died of tuberculosis in 1862. Actor Ed Golden portrays Thoreau and recites lines written by him to underscore the scholars' comments.

Dr. Milton S. Eisenhower, president of the Johns Hopkins University, opens the show by explaining the 1701 replica model of the universe, the symbol of this oldest TV series on air. Assisted by costumed reenactors, Sidney Painter, professor of history at Johns Hopkins, describes the history of the Middle Ages, the life of knights, and the development of the feudal system. William the Norman spread the feudal system to Anglo-Saxon England where King John disregarded feudal customs. Dr. Painter tells how the Articles of the Barons, based on feudal law, were drafted by Stephen Langdon, Archbishop of Canterbury, granted under duress by John at Runneymeade in 1215, and ultimately revised into the Magna Carta, guaranteeing liberty to freemen and the Church of England and limiting the king's powers.

The program opens with a film of the firing of a rocket and its subsequent high altitude photos charting the structure of a storm. Lynn Poole shows a model of an early twentieth century satellite and notes its increasing importance in meteorology. Dr. George Benton, Johns Hopkins University professor of meteorology, displays a chart of satellites' distance above the earth's atmosphere and another chart of the electromagnetic spectrum. Dr. Sigmund Fritz, a meteorologist with the U.S. Weather Bureau, lists the advantages of a satellite in weather forecasting, including its high vantage point, rapid mobility, and broad coverage over the globe. Dr. William Kellogg, a meteorologist with the Rand Corp., describes the typical orbits of satellites launched from Cape Canaveral, explaining why an elliptical orbit is generally preferable, but a circular one is best for a weather satellite. He also says that the higher the satellite's elevation, the longer it will take to circle the earth but the longer the satellite's lifespan as well. Dr. Fritz stresses the technological problems that need to be overcome before satellites can become more useful tools: stabilization, to make it constantly look down; transmission, interpretation, and distribution of collected data; and measurement of cloud reflectivity. The satellites' benefits to meteorology will include wide range cloud detection, measurement of the heat balances that drive the storms, and measurement of radiation balance over land and water by latitude. Visuals include a time lapse film of gathering thunderclouds from the ground and 22 miles up, a photo of cloud cover over the entire eastern seaboard from 86 miles up, and an artistic rendition of how the earth might look from 4,000 miles up, by Harry Wexler of the U.S. Weather Bureau.

This program opens with a brief scene from Shakespeare's "Othello" performed in twentieth century dress and setting. Dr. Lawrence Ross, associate professor of English at the Johns Hopkins University, argues that such modern trappings distort Shakespeare's work and Elizabethan times. He explains that the Shakespeare stage was an open air platform with emphasis on the actors and their speech and symbolized the order of the universe with man in the center. The same scene is then performed on the Folger Shakespeare Library's stage in Washington, DC in period costume. Dr. Ross says that Shakespeare's dramatic poetry spoken on the symbolic stage represented the essence of life and that the meanings of Elizabethan words often differed from current ones. Shakespeare's characters are hybrid: part real, part symbol, such as Shylock exacting a pound of flesh in the dramatized scene from "The Merchant of Venice." Dr. Ross analyzes a portrait of Queen Elizabeth as an introduction to the Elizabethan order of natural authority: the king ruled over the state, God over the universe, the sun over the planets, the husband over the family, and reason over man. Actors from Johns Hopkins Play Shop perform five passages from "Macbeth" as Dr. Ross explains the violation of the social, political, and natural worlds, evident in the words and their rhythms, when Macbeth and his wife contemplate and carry out the death of King Duncan.

Lynn Poole discusses the era of American showboats and their on-water performances, such as the melodrama "The Drunkard." The first act of this play is performed in the studio by Naomi Evans, Betty Shaffer, Joe Bandiera, Mel Shaffer, Robert Adams, Maurice Sole, Jane Pollard, Walter Koehler, and Sonny Harmon, and Mr. Poole summarizes the remainder of the plot. Film clips show river boats and a few specialty numbers or entre acts that took place between play scenes. Vaudeville often followed the play, like the program's barbershop quartet singing "Bird in a Gilded Cage." In 1817 Noah Ludlow and his acting troupe boarded a keelboat and performed in halls onshore. Chapman's 1831 Floating Theater was the first pre-Civil War showboat to ply the rivers and entertain culture-hungry audiences with lectures, plays, religious revivals, circuses, and museums. Between 1870-1920, other riverboats, such as Augustus B. French's "New Sensation," were popular floating theaters, their calliopes dignaling the coming of the showboat into town.