Word: sitting
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Dates: during 1960-1969
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...write the music, I just make sure it comes out right." Chris Kraft's unlikely podium is the windowless Mission Operations Control Room on the third floor of Building 30 at NASA's Manned Spacecraft Center near Houston. His musicians are the 30 controllers who sit at four rows of gray computer consoles, monitoring some 1,500 constantly changing items of information registered on gauges, dials and meters. Kraft's primary instrument is a pair of IBM 360 Model 75 computers with a total capacity of 2.5 million bits of information, which enables him to harmonize...
...back row sit Mission Control's brass, overseeing the entire mission. Alongside Kraft sits NASA's Mission Director George Hage, who has direct lines from his console to the White House, the State Department and NASA's Washington headquarters, but who rarely plays a direct role during a mission. Near by is a Department of Defense representative, whose console has direct lines to all military forces supporting the mission, including recovery teams; for Apollo 11, Air Force Major General Vincent Huston was the Pentagon's man. During most missions, George M. Low, Apollo program manager...
Schwarts said, "there were two guards at the door and two tape recorders. We remained standing and refused to sit down. After reading the statement Stauder said 'I'm leaving now.' They said 'what?" We left them one copy of the statement...
...petty men--they have come from public spokesmen of the American ruling class, a small group of men who own and control the large corporations, the U.S. government, and the universities--including Harvard. They derive their profits and power all over the world. They are the men who sit on the Harvard Corporation and who use Harvard to further their personal interests and those of their class. They use ROTC to train students to put down popular rebellions from Detroit to Vietanam--rebellions against the daily oppression millions of people face at the hands of these men and their class...
SOMETIMES DURING the course of Agnes Varda's Les Creatures, the hero and villain of the piece sit down beside a series of television screens and begin to play and odd sort of futuristic chess. The game's pieces represent characters in the village of the film. When two of them meet on the chess board, they meet in real life and are observed on the television screens. The villain has at his disposal a trap which, when it hovers over any one of the characters, permits him to play havoc with that character's emotions...