Black and white photograph of a man, Lars Jorgensen, posed for a portrait. He is bald except for some tufts of hair that extend past his ears; he also has a beard. He is wearing a dark pea coat under which one hand is visible. Behind him to the left is part of a piece of furniture.

Studio photograph of a mother and her child in a well-lit space, in front of a blank backdrop. They have not been identified, but a notation in accompanying information provides a last name, "Ingvardsen". The woman wears a dark, long-sleeve dress with a striped turtleneck. Her baby wears a voluminous dark gown with a bow attached to the shoulder. There is both printed and hand-written text on the back of the photograph, but only the printed text can be made out. It is in Danish, and seems to list information about the photography studio that printed it.

Black and white photograph of a group of students standing outside of a building, identified as both the Danevang School and the Danevang Community Hall. They are forming a long line that leads from the door of the schoolhouse down a dirt path that has been forged in the school yard. According to a handwritten note on the back of the photograph, the students are part of a gym class in Danish school. The building has two stories and five windows that are visible on its front facade. A small tree and part of a tall, post-like object are visible in the field behind them.

Black and white photograph of two young women, Inger Nielsen and Alma Harton, standing on concrete steps in front of the Danevang Lutheran Church. They are both wearing white dresses and have their arms around each others' waists. The young woman on the left has her other arm on her hips. Behind them, the doors of the church are closed. The arched window above the door has an inscription that says "ANSGAR KIRKE," meaning each other's waist.

Black and white photograph of a husband and a wife, Ole Nielsen and Sidst Marie Nielsdatter. They are posed for a professional photograph and are wearing formal attire. Ole is sitting in an embellished chair; his arm is resting on the arm of the chair. Sidst is standing to his right, with her arm behind him.

Black and white photograph of the Hans Larsen family, posing for a professional portrait. Hans, who is wearing a suit jacket, is standing behind his family and has one hand on the shoulder of his son, who is wearing a collared shirt that has a four-button placket and a bowtie. Hans' daughter stands directly in front of him, wearing a dark, laced-collared dress that comes to her knees. Birte Marie is seated to the right and is wearing a long, dark dress. The background behind them has painted palm leaves.

Black and white photograph of a woman, Sophie Jensen Olson, who is the wife of J.P. Olson. She is wearing dark clothing that features a ruffled top and a high collar. Her hair is pulled back tight. The portrait is vignetted so that only her bust and above are visible.

Letter from Captain Edward Drew to Mickey McLernon apologizing for not responding, discussing how busy his life in New York has been, a recent trip to Boston to visit friends and family, another trip to Morristown, New Jersey to visit another friend, aviation, and how he got his job.

Recording of Rasmus Bruuse Lunding's Det Noedvendige. This work consists of 5 recordings. The first 4 are meant for separate speakers while the fifth is the piece as a whole.

An interview with Willis Conover, following an introduction in Danish.

Canticum Novum choir concert performed at the UNT College of Music Recital Hall.

Photographs of "Der fliegende Koffer" (The Flying Trunk) by Hans Christian Andersen, held by UNT Special Collections. The cover of the book contains the title at the top in red, with an illustration of a green trunk flying in the air with a man flailing inside of it. In the background our thin pointy towers that are gold in color, and even further back a boat can bee seen sailing on the water. Image 2 contains a pop-up of a water fountain in the middle of a courtyard of a castle, a man in a red robe (who is the Sultan) standing on the right, a woman with a face/head covering holding a baby and a man with a turban holding a staff in the back. In front of the pop-up is the illustration of an open book with the story inside it.

Newspaper article about Mica England who filed a lawsuit against the Dallas Police Department after they refused to hire her because she was a lesbian and admitted to having broken Texas Penal Code §21.06, which made sexual acts between same sex couples a misdemeanor. Because the image has been reassembled in PhotoShop from two separate images there is a vertical line running down the center of the article. The article features an image of England standing outside of Dallas City Hall.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …