460 Book Reviews TECHNOLOGY AND CULTURE the midst of gardens seem oppressive. Brian Horrigan suggests that Americans denied that designers owned the future when they rejected mass-produced Dymaxion houses in favor of traditional homes filled with appliances. And in the volume’s best essay, Jeffrey Meikle dem onstrates that massive promotion did not persuade consumers that plastic was a miracle rather than a shoddy substitute for other materials. While none of the contributors carries hindsight to the point of patronizing prophets of the past, only a few recognize the essential theatricality of so much of the exuberant rhetoric. It is worth noting, for example, that those responsible for packaging the spectacular futuramas and “democracities” of the world’s fairs of the 1930s had first designed for the stage. Moreover, an insufficient sense of humor encourages Corn to warm up the academic chestnut that holds that faith in technology is an opiate of the masses. Evangelism doubtless animates many projections, but you miss the point of a Disney World if you miss its sincerely vulgar, therefore intensely human, affection for technology, and you certainly miss the fun. Minor solemnities aside, this book is fun. The essays are well edited, well researched, and well written, as engrossing as they are informative. Joseph W. Slade Dr. Slade is director of the Communications Center and chairman of the Depart ment of Media Arts at the Brooklyn campus of Long Island University. He is editor of The Markham Review, an interdisciplinary journal of American culture, the author of Thomas Pynchon (1974), and coeditor of Beyond the Two Cultures: Essays in Science, Technology, and Literature. He is currently writing a study of the Maxim family of inventors. IA: The Journal of the Society for Industrial Archeology. Vol. 12, no. 2: IA in Art. Edited by Betsy Fahlman. Washington, D.C.: Society for Industrial Archeology (NMAH, Room 5020, Smithsonian Institu tion 20560), 1986. Pp. iii + 76; illustrations, notes. $10.00/single copy (paper). This is a special issue of the periodical published by the Society for Industrial Archeology. In her guest editorial, Betsy Fahlman states that a full understanding of the birth and development of American industry requires that we look beyond the historical and archaeological sources to examine how and why artists depicted technology and industry. These images not only enhance American art history, Fahl man explains, but are also invaluable for historians and curators re constructing (say) a mill or speculating on how a specific task was performed. Helena E. Wright’s “The Image Makers: The Role of the Graphic Arts in Industrialization” and Jadviga M. da Costa Nunes’s “The In dustrial Landscape in America, 1800—1840: Ideology into Art” ex plore the relationship between patron and artist in implementing the TECHNOLOGY AND CULTURE Book Reviews 461 transition from an agrarian to a manufacturing and industrial econ omy. Wright discusses the employment of prints to gain acceptance for the burgeoning manufacturing cities of Lowell and Lawrence, Massachusetts. To promote these cities for both potential investors and a public apprehensive about the growth and development of manufacturing centers, the artists depicted them in a nonthreatening way, as straightforward topographic renderings. Likewise, in order to present railroads in the best possible light, railroad corporations com missioned artists to produce prints featuring the lovely surroundings of their routes (see fig. 1), and locomotives encompassed by the spec tacular scenery of the American West. Nunes examines how some artists attempted to merge the agrarian, preindustrial tradition with the new industrial landscape by borrowing elements from the picturesque tradition, putting lakes, figures, or animals in the foreground, and a mill in the middle ground. Charles Willson Peale’s Pleasure Party by a Mill (ca. 1793) exemplifies this mode of representation, termed “the machine in the garden” aesthetic by Leo Marx. All but one of the images Nunes discusses represent in dustry and the new industrial cities as orderly and free of smoke, grime, and poverty. The exception is Russell Smith’s Pittsburgh Fifty Years Ago from the Salt Works on Saw Mill Run (1884), which features a cloud of black smoke rising from the disheveled mill at foreground. Nunes correctly Fig. 1.—An 1857 lithograph by Rau & Son, Dresden...