TPO 4 Lecture 3 Geology
Narrator
Listen to part of a lecture in a geology class.
Professor
Now we've got a few minutes before we leave for today. So I'll just touch on an interesting subject that I think makes an important point. We've been covering rocks and different types of rocks for the last several weeks. But next week we are going to do something a bit different. And to get started I thought I'd mention something that shows how uh…as a geologist, you need to know about more than just rocks and the structure of solid matter, moving rocks, you may have heard about them. It's quite a mystery. Death valley is this desert plane, a dry lake bed in California surrounded by mountains and on the desert floor these huge rocks, some of them hundreds of pounds. And they move. They leave long trails behind them, tracks you might say as they move from one point to another. But nobody has been able to figure out how they are moving because no one has ever seen it happen. Now there are a lot of theories, but all we know for sure is that people aren't' moving the rocks. There are no footprints, no tyre tracks and no heavy machinery like a bulldozer…uh, nothing was ever brought in to move these heavy rocks. So what's going on? Theory NO.1 ---Wind? Some researchers think powerful uh…windstorms might move the rocks. Most of the rocks move in the same direction as the dominant wind pattern from southwest to northeast. But some, and this is interesting, move straight west while some zigzag or even move in large circles. Um…How can that be? How about wind combined with rain? The ground of this desert is made of clay. It's a desert, so it's dry. But when there is the occasional rain, the clay ground becomes extremely slippery. It's hard for anyone to stand on, walk on. Some scientists theorized that perhaps when the ground is slippery the high winds can then move the rocks. There's a problem with this theory. One team of scientists flooded an area of the desert with water, then try to establish how much wind force would be necessary to move the rocks. And guess this, you need winds of at least five hundred miles an hour to move just the smallest rocks. And winds that strong have never been recorded. Ever! Not on this planet. So I think it's safe to say that that issues has been settled. Here is another possibility – ice. It's possible that rain on the desert floor could turn to thin sheets of ice when temperatures drop at night. So if rocks…uh becoming better than ice, uh … OK, could a piece of ice with rocks in it be pushed around by the wind? But there's a problem with this theory, too. Rocks trapped in ice together would have moved together when the ice moved. But that doesn't always happen. The rocks seem to take separate routes. There are a few other theories. Maybe the ground vibrates, or maybe the ground itself is shifting, tilting. Maybe the rocks are moved by a magnetic force. But sadly all these ideas have been eliminated as possibilities. There's just no evidence. I bet you are saying to yourself well, why don't scientists just set up video cameras to record what actually happens? Thing is this is a protective wilderness area. So by law that type of research isn't allowed. Besides, in powerful windstorms, sensitive camera equipment would be destroyed. So why can't researchers just live there for a while until they observe the rocks' moving? Same reason. So where are we now? Well, right now we still don't have any answers. So all this leads back to my main point – you need to know about more than just rocks as geologists. The researchers studying moving rocks, well, they combine their knowledge of rocks with knowledge of wind, ice and such…um not successfully, not yet. But you know, they wouldn't even have been able to get started without uh… earth science understanding – knowledge about wind, storms, you know, meteorology. You need to understand physics. So for several weeks like I said we'll be addressing geology from a wider perspective. I guess that's all for today. See you next time.
TPO 4 Lecture 4 United States government
Narrator
Listen to part of a lecture in a United States government class.
Professor
OK, last time we were talking about government support for the arts. Who can sum up some of the main points? Frank?
Frank
Well, I guess there wasn't really any, you know, official government support for the arts until the twentieth century. But the first attempt the United States government made to, you know, to support the arts was the Federal Art Project.
Professor
Right, so what can you say about the project?
Frank
Um…it was started during the Depression, um…in the 1930s to employ out of-work artists.
Professor
So was it successful? Janet? What do you say?
Janet
Yeah, sure, it was successful. I mean, for one thing, the project established a lot of…uh like community art centers and galleries and places like rural areas where people hadn't really had access to the arts.
Professor
Right.
Frank
Yeah. But didn't the government end up wasting a lot of money for art that wasn't even very good?
Professor
Uh…some people might say that. But wasn't the primary objective of the Federal Art Project to provide jobs?
Frank
That's true. I mean…it did provide jobs for thousands of unemployed artists.
Professor
Right. But then when the United States became involved in the Second World War, unemployment was down and it seems that these programs weren't really necessary any longer. So, moving on, we don't actually see any govern…well any real government involvement in the arts again until the early 1960s, when President Kennedy and other politicians started to push for major funding to support and promote the arts. It was felt by a number of politicians that …well that the government had a responsibility to support the arts as sort of… oh, what can we say?...the the soul…or spirit of the country.
The idea was that there be a federal subsidy…um…uh…financial assistance to artists and artistic or cultural institutions.
And for just those reasons, in 1965, the National Endowment for the Arts was created. So it was through the NEA, the National Endowment for the Arts, um…that the arts would develop, would be promoted throughout the nation. And then individual states throughout the country started to establish their own state arts councils to help support the arts. There was kind of uh…cultural explosion. And by the mid 1970s, by 1974 I think, all fifty states had their own arts agencies, their own state arts councils that work with the federal government with corporations, artists, performers, you name it.
Frank
Did you just say corporations? How are they involved?
Professor
Well, you see, corporations aren't always altruistic. They might not support the arts unless…well, unless the government made it attractive for them to do so, by offering corporations tax incentives to support the arts, that is, by letting corporations pay less in taxes if they were patrons of the arts. Um, the Kennedy Centre in Washington D.C. , you may uh…maybe you've been there, or Lincoln Centre in New York. Both of these were built with substantial financial support from corporations. And the Kennedy and Lincoln center's aren't the only examples. Many of your cultural establishments in the United States will have a plaque somewhere acknowledging the support – the money they received from whatever corporation. Oh, yes, Janet?
Janet
But aren't there a lot of people who don't think it's the government's role to support the arts?
Professor
Well, as a matter of fact, a lot of politicians who did not believe in government support for the arts, they wanted to do away with the agency entirely, for that very reason, to get rid of governmental support. But they only succeeded in taking away about half the annual budget. And as far as the public goes, well…there are about as many individuals who disagree with the government support as there are those who agree. In fact, with artists in particular, you have lots of artists who support and who have benefited from this agency, although it seems that just as many artists suppose a government agency being involved in the arts, for many different reasons, reasons like they don't want the government to control what they create. In other words, the arguments both for and against government funding of the arts are as many and, and as varied as the individual styles of the artists who hold them.
