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Page 284 text:
THE FUTURE 13 NOW " 7 8 SPIRIT STAFF Co-Editors—Jeff Shaw, James Wilson Assistant Editors—Lil Svec, Mark Gibson Head Photographer—Eric Rawson Business Manager—Tracy Swank Student Community Life Editor—Cindy Oppedal School Life Editor—Mary Jo Macintosh Senior Section Co-Editors—Cindy Hall, Beth Ricketts, Deanne Stevens Junior Section Co-Editors—Mary Kay Rogge, Chris Carey Sophomore Section Co-Editors—Mary Homer, Mark Handy Faculty Section Co-Editors—Jamie Miller, Dave Woolley Graphic Arts Editor—Lisa Johnson Academics Co-Editors—Jane Hogle, Dave Booth Organizations Editor—Terri Marshall Ads Co-Editors—Linda Mendenhall, Bret Fuller Sports Co-Editors—Craig Stromer, Kris Nass, Michelle Rudi ۱ Ads Graphics— Zetta Huinker Photographers—Liz Triplett, Jim Standish, Paul Bivens, Steve Miller, Greg Reynolds, Bret Fuller Drama Editor—Kay McFarlin Music Editors—Jim Standish, Lynn Thompson Index Editor—Lynn Thompson Artists—Frank Osgood (cover, page 3), Stephanie Lendt (page 5), Lil 9۷۶6 (page 278) | Adviser—Pam Bobenhouse ACKNOWLEDGMENTS The SPIRIT staff would like to extend special thanks to: Kevin Powell, the Swanks, the Mendenhalls, the Millers, the Oppedals, the Wilsons, Shirley Shaw, the Gibsons, THE AMES TRIBUNE, Pam Hildebrand, Tom Schnabel, Julie Cheville, Bob Kerdus, Grace Sherman, | Dorothy Brown, Barb Alvord and Dorothy Gugel. INFORMATION SPIRIT. Volume 66, Ames Senior High, Ames lowa was published by Newsfoto Yearbook Company, San Angelo, Texas. Consisting of 280 pages, the book was printed on 80 pound matte finish. The cover is a special design-silk screened with a mylar base. The two applied inks are black and red. Body Copy is in 10 pt. News Gothic, and captions in 8 pt. News Gothic. The cover and endsheets were school designed. Typefaces used on the inside were Automation and Futura Demi-Bold. 280 Acknowledgements SS SS SS SS I WCU A A AA A AM. MQ Xs
Page 283 text:
D cues note: The illustrations on pages 3, 4, and 1978. R Chones shifted in his viewing chair. The .mood music had been most effective in relaxing him. Its subtle melody had helped him become completely absorbed in the ensuing holograph. The film had run almost to completion now. Images of his former senior portraits transformed by the holographic process into life-like three-dimensional images, flashed into the viewing area. Chen, Cheville, Chones —the semblance of his own youthful face startled him. Automatically his hand went to his head to flip back the blonde layered hair of his youth. Instead of the healthy 18-year-old head of hair he expected, his gesture found a crown of unnaturally thick, transplanted and graying strands. He shut the holograph off, the imageless screens projecting an iridescent silver glow for a moment before fading completely. Glancing around the empty apartment Chones felt alienated, as if he was a time traveler thrust unprepared into an insensitive future. The holograph had affected him more than he expected. Nostalgically, forgotten memories of his young-manhood, triggered by tape, crowded into his conscious like harried commuters crowding onto the eight ` o'clock train. He actually remembered what it felt like to be 18, to be young, optimistic, and rash. How long had it ` WB accompanying the introduction and conclusion E copy are the artists’ conception. The introduction . andcosing copy was written by Lil Svec and James - Wilson.) - VISITED been since he had drunk beer from keg in a corn field, talking arrogantly about how he could keep his female companion out two hours past her curfew without serious punishment from her parents and his own. Crossing the room Chones stepped out onto a glass enclosed balcony which clung like a clear balloon to the smooth concrete facade of the highrise. From this vantage point the lights of the city spread out meeting the horizon in each direction. Seeing this awesome panorama made Chones' sentimental reminiscences fade. It was ironic how one decade's innovations became bypassed so quickly that in the passage of only 30 years the principles behind the innovations were considered fundamental while the original inventions were museum pieces. The holographic yearbook-tape had been filled with antiquated computer images: video screens, computer programming cards, computer printouts. Articles had featured programmable video grams, electronic music and solar energy. His apartment contained technologically sophisticated versions of all these things. Chone's holograph was a refined video toy. The mood music which could control his emotions with a chord was the creation of banks of synthesizer symphonies, and the bubble balconies were a part of the building's solar electrical generator. A computer ran every aspect of modern life. His electrical appliances were all hooked up to a maintenance computer; the voice modulated elevators and personalized touch-locks were operated by the building's master computer; the commuter trains were computer controlled and his factory employed more computer technicians than manual laborers. As Chones looked out over the megalopolis, he realized that the world was now 2 result of all years past. Nineteen seventy-eight had been a part of the future. Just as the computers that ran his life now were fundamentally based on the same principles as those that printed his high school report cards, his life now was fundamentally based on what his life had been as a teenager. High school had become the past and the future just as today becomes yesterday and tomorrow simultaneously at midnight. Abruptly, Chones turned away from the lights of the city and returned to the inner sanction of his apartment, Closing 279
Page 285 text:
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