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paintings are dominated by screens which are taken from the major media of the Twentieth Century--the television and the cinema.
   [[strikethrough]] As [[/strikethrough]] Like Marshall McLuhan, Casas is interested in the effect which these media have upon the public.  In one of his early paintings, Humanscape Number 15 (August, 1966), Casas shows the viewer how modern man mimics what he sees on the television and the movie screens.  This same underlying idea is evident in Humanscapes 34 and 36 as well as in almost all of Casas' early paintings.  At this point, he is obsessed with the idea that all media "are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us [modern man] untouched, unaffected, unaltered."2
   In his early paintings, Casas is trying to make his viewers aware of the dynamic effect which television and movies have upon American society.  The immense force of these media upon the lives of modern man explains why Casas divides the picture plane as he does.  In most of the Humanscape series, a screen dominates the canvas.
   Casas himself states: "I so divide the picture plane of my painting format so as to force the spectator into the role of 'voyeur.'"3  The viewer as "voyeur" thus helps to explain the blatantly sexual overtones of many of the paintings in the Humanscape series.  In Casas' early works, he "sees