Lynn Poole discusses the history of and variety of calendars, including Edmund Osborne's scenic calendars, Benjamin Franklin's "Poor Richard's Almanac", the evolution of calendar girls from 1899 to present, the perpetual calendar, Stonehenge as a calendar, and a deck of cards representing a calendar. He also explains how primitive man reckoned time, the Babylonian astrologers' influence, and the origins of sennight and fortnight. Words for the days of the week in French, Italian, and Anglo-Saxon reflect their origins in the Romans' naming of days for the moon, Mars, Mercury, Jupiter, Venus, Saturn, and the sun. Years can be considered as anomalistic, tropical, or sidereal. The tropical year is explained with a globe and photographer's lamp as the earth orbits around the sun from vernal equinox to vernal equinox every 365.2422 days, requiring a leap year day to catch up. Calendars based on the moon are soon out of sync with the seasons as they're based on the 29.5-day lunar month, which is why the dates of Passover and Easter fluctuate. Mr. Poole displays an American Indian lunar calendar drawn on buckskin for the period 1865-1892. Julius Caesar abandoned the lunar calendar and decreed that the year would run from vernal equinox to vernal equinox; however, by 1582 this Julian calendar was off by ten days, and Pope Gregory decreed the Gregorian calendar, still used today.

Lynn Poole uses film clips, sketches, and photos to discuss pre-Columbian discoveries of the new world. In the seventh century BC, the Phoenicians circumnavigated Africa and may have sailed to the Azores and Canary Islands. They were followed by the Celts, who journeyed to Iceland and Greenland according to accounts by St. Brendan, who set sail from Ireland between 565-573 and encountered a crystal column in the sea, either an iceberg or glacier. He also possibly sailed to the Azores and Canaries and possibly to Mexico since Cortez discovered, in 1519, that the Aztecs celebrated a blend of paganism and Christianity and spoke of Quetzalcoatl, a legendary white priest. The Vikings or Norse also migrated to Iceland in 874. Around 900 they discovered Vitramannaland, or "white man's land," possibly an Irish settlement in North America. In 930 Gunnbjorn discovered Greenland, and in 982 Erik the Red colonized it. Bjarni Herjulfsson, blown off course, explored part of the American coast unknowingly in 985. Leif Erikson also sailed along the shores of the American continent and established a colony named Vinland the Good, its exact location disputed. Other evidence of pre-Columbian Viking discovery includes maps and the existence of the stone Newport Tower in Rhode Island. Edmund Plowden referred to the tower in a 1632 petition, but this may have been elsewhere than Newport. Additional exploration included that of Giovanni da Verrazzano in 1524, the Venetian expedition in 1398 described in "The Zeno Narrative", and the Portuguese discovery of Newfoundland in 1450 and Labrador in 1492.

Johns Hopkins University chemistry professor John H. Andrews demonstrates that all matter vibrates in harmonic wave patterns. He begins by using an oscilloscope and slow motion camera to show a plucked harp string's fundamental vibration at 64 times per second and its harmonics at a faster vibration. He compares this with the two-dimensional vibration of a drum membrane, also viewed on the slow motion camera and oscilloscope. Dr. Andrews then progresses to the three-dimensional wavelength of a sphere and notes that different and more complex harmonic patterns are based on the shape of the object. Since no two statues are alike, their wave patterns are all unique, as evidenced when a gadget taps them repetitively and their sound is recorded on magnetic tape. Dr. Andrews slows the tape to hear specific sounds and compares this to slowing a LP record on a record player from high speed to the proper speed to make the words recognizable. He explains that the aggregate vibration of the whole statue is based on its external shape, like atomic and molecular vibration. He points out that the formula for entropy, the measurement of the complexity of harmonic pattern, is the same as the formula for information theory, the measurement of the amount of information in a communication. Thus, a statue has high information value because its complex external shape gives it a high shape entropy and it communicates more meaning. This concept has implications for the communication values of modern v. classical art.

Lynn Poole and Dr. John Woodburn, with the Masters in Teaching program at Johns Hopkins University, interview five students about their winning Science Fair projects: Roger Roberts demonstrates his computer-programmed "logical mouse" in a maze; Wayne Grimm discusses zonal distribution of land snails of Maryland; Ann Taylor experiments with radioactivity measurement in the dials of a clock; John Clauser demonstrates his electronic interceptor computer; and Jeannie Hodges discusses her study of goose pimples. Mr. Poole also talks with the 1950 National Science Fair winner, Dominic Edelen, who is now a design specialist in the manned satellite division of Martin Co. in Baltimore, Md.

In this first program of a three-part series, Dr. I. M. Levitt, Director of the Fels Planetarium of Philadelphia's Franklin Institute, describes the shape, characteristics, and historical formation of the moon. He explains that over 30,000 craters have been counted on the moon, including Tycho, and that the dark areas called "seas" by Galileo are actually deserts. Dr. Levitt predicts that because of its low gravity and lack of atmosphere the moon will be used as a launching site for exploring the solar system. For the same reasons, the moon is also an ideal place for asthmatics and heart sufferers. He discusses the Saturn rocket project under Wernher von Braun, which will launch a rocket to the moon. He anticipates that between 1962-68 a man will land on the moon, but first robots must probe the lunar surface and gather data such as temperature. A man models a Navy full pressure suit similar to what astronauts will use in their lunar exploration. Dr. Levitt also predicts that within the next 20 years a nearly self-sustaining colony will be established on the moon. Displaying a lunar housing simulation model, Dr. Levitt describes how fuel, water, atmosphere, and quarters can be made from readily available basic elements on the moon and how algae and hydroponics could form the basis of the food supply. He maintains that the moon is the key to the conquest of space because the earth's gravity is so strong it limits our exploratory distance. Lynn Poole concludes the program by recommending Levitt's recent book "Target for Tomorrow."

In this second program of a three-part series, astronomical historian and lecturer John Williams Streeter describes Venus as the morning and evening star and tells the viewers when and where to observe it. He gives the planet's distance from sun and earth, its solar orbiting time, its measurements, and its mass, density, and surface gravity and then announces, "That's all we know." A brief history of the astronomers who made telescopic observations and early drawings of Venus include Galileo in 1609, Francesco Fontana in 1645, Gian Domenico Cassini in 1666, Francesco Bianchini, William Herschel, and Johann Schroter in 1788. Mr. Streeter says that Venus apparently has an atmosphere because it reflects sunlight and thus must be covered by dense white clouds. Venus's atmosphere was first thought to be like that of the carboniferous period on earth, but a subsequent spectroscopic study showed nothing but carbon dioxide, permitting no life as we know it. However, the Venusian ocean may support one-celled animals. Mr. Streeter describes the history of speculated life on Venus and shows early sketches of Venusians. Film clips show the 1959 balloon and gondola designed by Johns Hopkins University's Dr. John Strong and piloted by Navy commander Malcolm Ross. It rose to an altitude of 80,000, and its spectroscopic data, analyzed by physicist Charles Moore, showed measurable water vapor on Venus. In order for a rocket to reach Venus, Mr. Streeter predicts, it would launch from the moon, choose a route requiring the least fuel, and not reach its destination for over two years.

Leo Geier introduces the viewers to Euterpe, the Greek muse of music and then introduces William Sebastian Hart, faculty member at the Peabody Conservatory and founder/musical director of the Gettysburg Symphony Orchestra. Dr. Hart states that the three artistic entities of music are the composer, the orchestra, and the conductor. The composer invents the music, which is made up of rhythm, melody, and harmony. He demonstrates each of these elements with the tune "Pop Goes the Weasel," which he also plays in the styles of Mozart, Bach, Mendelssohn, Debussy, and Prokofiev. Baltimore composer Sidney Shapiro wrote these variations for this broadcast. Next Dr. Hart describes the history of the orchestra and how instruments were added. He shows a chart of the orchestra seating for a 90-member symphony and explains how the sounds are balanced. Lastly, Dr. Hart explains how the conductor and his baton evolved from the church's choirmaster keeping time with his staff. He displays one page of a full orchestra score and explains each line written for different instruments. The conductor has many tasks, including controlling the orchestra's balance and timing, setting the pace, and unifying the whole, but most of all he must inspire the musicians.

As historical background to 1959 Doppler radar navigation systems, an animated film considers the use of Ptolemy and Mercator's maps, the magnetic compass, and John Hadley's 1731 sextant. Clarence Rice, aviation products manager of the Bendix Radio Division in Baltimore, MD, points out that aviation navigation depends on knowing the ground speed and the path of the aircraft over the earth. He uses a chart to demonstrate the effects of winds on plane direction and the efforts to compensate: a homing device, which did not account for wind drift and also picked up static interference; the radio range system, which used four beams to overcome the drift problem but still received static; and the manual direction finder, which became the standard aid in the 1930s. A film describes how, in 1939, Bendix developed the automatic direction finder (ADF) with omnirange, which also eliminated static. Over the ocean, LORAN, or long range navigation, devices were used. Another animated film shows how Christian Doppler, in 1842, described the Doppler effect based on sound waves and how that principle has been applied to radar's radio waves. The film explains the "plus" Doppler effect for direct measurement of forward speeds and the "minus" for measurement of drift angle. Pitch and roll are also corrected by the radar beams since beam compensation is based on the magnitude of the Doppler shift. A plane's Doppler radar components include a transmitter, antennae, receiver, frequency tracker, and cockpit indicator. Mr. Rice explains how pilots divide their flights into shorter legs, placing the information into the navigational computer. He notes that Doppler radar will not become obsolete with faster aircraft speeds and that it does not require a land-based facility.

In this final program of a three-part series, Robert Neathery, Director of the Science Museum of Philadelphia's Franklin Institute, discusses the possibility of life on Mars by first defining the needs of life as we know it: water, oxygen, food, moderate temperatures, adaptation to gravitational forces, and protection from radiation. He then gives the history of Mars from Francesco Fontana's 1636 drawing of the planet to Christian Huygens' comments on possible inhabitants of Mars and Giovanni Schiaparelli's 1877 observation of Mars's channels (mistakenly translated as "canals" by others). Mr. Neathery describes a diagram of the planet's orbit between 1956-71 indicating its nearness to the earth every 15 years. Aerology, or the study of the features of Mars, is done with telescope, spectroscope, thermocouple, and camera and reveals polar caps that wax and wane and a reddish color, thought to be desert, covering 75% of the planet's surface. Dr. Neathery shows a cactus in a bell jar containing nitrogen, argon, carbon dioxide, and oxygen in proportions considered similar to those in the Martian atmosphere and compares it to a cactus plant outside the jar. He also uses balloons filled with nitrogen or helium to demonstrate the escape velocity of gravity on earth as compared to the lower surface gravity on Mars. Because oxygen is nearly non-existent on Mars, the temperatures are extreme, and it's unclear whether chlorophyll exists on the planet, Dr. Neathery concludes that Mars is inhospitable to life as we know it. However, he is certain that man's curiosity will take him there. The trip will take eight months, and an artist's rendition shows what will be seen upon landing. Dr. Neathery laments that the public's belief in Orson Welles's 1938 "War of the Worlds" radio broadcast is a sad commentary on their understanding of science.

On this Easter Sunday program, Lynn Poole and art professor Adolf Katzenellenbogen discuss Christ's resurrection and its depiction in early art. Dr. Katzenellenbogen notes that the event is generally presented in three ways: symbolically, indirectly, and directly. He and Mr. Poole analyze the elements of a symbolic stone relief. The indirect depiction shows the three holy women visiting the spice merchant and/or the sepulcher. Actors perform a typical Easter drama of this event, and Dr. Katzenellenbogen compares a painting, fresco, and woodcut of the similar scene. Christ rising from the tomb is the direct portrayal of the resurrection. Dr. Katzenellenbogen discusses a series of paintings, by artists Piero della Francesca, Giovanni Bellini, and Matthias Grunewald, in historical sequence, indicating how the landscape in the scenes becomes progressively more real and the light and darkness more contrasted. Paul Hindeman's Grunewald-inspired music closes the program.