Leonardo

The Future of ManAuthor(s): Robert GrahamSource: Leonardo, Vol. 6, No. 3 (Summer, 1973), p. 285Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572675 .

Accessed: 16/06/2014 05:17

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access toLeonardo.

http://www.jstor.org

This content downloaded from 195.78.108.81 on Mon, 16 Jun 2014 05:17:45 AMAll use subject to JSTOR Terms and Conditions

Letters Letters Letters Letters

blance is an unruly notion and a major culprit in confusions about depiction. My descriptions of the two poles are not quite clear and what is between the poles is clamouring for attention.

Dennis Couzin Dept. of Philosophy

University of Illinois at Chicago Circle Chicago, IL 60680, U.S.A.

ON BOOK REVIEWS

'Secondary School Art'

In reviewing J. Portchmouth's book in Leonardo 5, 276 (1972), I was so impressed with its contents and flow that I decided to exclude any criticism that might detract from his unusually fine book, except for a loaded suggestion for further improvement to which the author responded in Letters, Leonardo 5, 384 (1972). Actually, I meant the suggestion more as a broad challenge to art educators in general to find ways and means to help students go all the way toward the unification of their paintings. To be sure, to implement this concept adds more problems for the instructor but for the student the benefits in heightened esthetic perception, sensi- tivity and art appreciation, from my experience, justify the effort.

Portchmouth's awareness of student needs and his methodology for inspiring creative expression are of a top quality. Yet, to spur the student's imagination without helping him to structure the results is not enough. As Dick Field says: 'Each problem must be dealt with in the knowledge that there is to be finally a whole thing to which the solution will contribute'-Change in Art Education (London: Routledge and Kegan Paul, (1972) p. 34) (cf. Books, Leonardo 6, 276 (1973)). Students respond to the discipline of scanning the whole surface area to establish esthetic relationships of two-dimensional shapes, tonal values, textures, lines and colors.

In justice to Portchmouth, he is concerned with the possibility of the student losing the character of the vision expressed. But in aiming no higher Portchmouth is, unwittingly, doing his students an injustice. He has but to envision the attainment of both aims: to strengthen the student's particular kind of vision and to broaden the student's insight to art through inculcating the habit of structuring the whole. Strategies are available for instructors to accomplish these aims without interfering with the student's personal vision.

David Friend 945 Crane St., A

Menlo Park, CA 94025, U.S.A.

'The Future of Man'

blance is an unruly notion and a major culprit in confusions about depiction. My descriptions of the two poles are not quite clear and what is between the poles is clamouring for attention.

Dennis Couzin Dept. of Philosophy

University of Illinois at Chicago Circle Chicago, IL 60680, U.S.A.

ON BOOK REVIEWS

'Secondary School Art'

In reviewing J. Portchmouth's book in Leonardo 5, 276 (1972), I was so impressed with its contents and flow that I decided to exclude any criticism that might detract from his unusually fine book, except for a loaded suggestion for further improvement to which the author responded in Letters, Leonardo 5, 384 (1972). Actually, I meant the suggestion more as a broad challenge to art educators in general to find ways and means to help students go all the way toward the unification of their paintings. To be sure, to implement this concept adds more problems for the instructor but for the student the benefits in heightened esthetic perception, sensi- tivity and art appreciation, from my experience, justify the effort.

Portchmouth's awareness of student needs and his methodology for inspiring creative expression are of a top quality. Yet, to spur the student's imagination without helping him to structure the results is not enough. As Dick Field says: 'Each problem must be dealt with in the knowledge that there is to be finally a whole thing to which the solution will contribute'-Change in Art Education (London: Routledge and Kegan Paul, (1972) p. 34) (cf. Books, Leonardo 6, 276 (1973)). Students respond to the discipline of scanning the whole surface area to establish esthetic relationships of two-dimensional shapes, tonal values, textures, lines and colors.

In justice to Portchmouth, he is concerned with the possibility of the student losing the character of the vision expressed. But in aiming no higher Portchmouth is, unwittingly, doing his students an injustice. He has but to envision the attainment of both aims: to strengthen the student's particular kind of vision and to broaden the student's insight to art through inculcating the habit of structuring the whole. Strategies are available for instructors to accomplish these aims without interfering with the student's personal vision.

David Friend 945 Crane St., A

Menlo Park, CA 94025, U.S.A.

'The Future of Man'

blance is an unruly notion and a major culprit in confusions about depiction. My descriptions of the two poles are not quite clear and what is between the poles is clamouring for attention.

Dennis Couzin Dept. of Philosophy

University of Illinois at Chicago Circle Chicago, IL 60680, U.S.A.

ON BOOK REVIEWS

'Secondary School Art'

In reviewing J. Portchmouth's book in Leonardo 5, 276 (1972), I was so impressed with its contents and flow that I decided to exclude any criticism that might detract from his unusually fine book, except for a loaded suggestion for further improvement to which the author responded in Letters, Leonardo 5, 384 (1972). Actually, I meant the suggestion more as a broad challenge to art educators in general to find ways and means to help students go all the way toward the unification of their paintings. To be sure, to implement this concept adds more problems for the instructor but for the student the benefits in heightened esthetic perception, sensi- tivity and art appreciation, from my experience, justify the effort.

Portchmouth's awareness of student needs and his methodology for inspiring creative expression are of a top quality. Yet, to spur the student's imagination without helping him to structure the results is not enough. As Dick Field says: 'Each problem must be dealt with in the knowledge that there is to be finally a whole thing to which the solution will contribute'-Change in Art Education (London: Routledge and Kegan Paul, (1972) p. 34) (cf. Books, Leonardo 6, 276 (1973)). Students respond to the discipline of scanning the whole surface area to establish esthetic relationships of two-dimensional shapes, tonal values, textures, lines and colors.

In justice to Portchmouth, he is concerned with the possibility of the student losing the character of the vision expressed. But in aiming no higher Portchmouth is, unwittingly, doing his students an injustice. He has but to envision the attainment of both aims: to strengthen the student's particular kind of vision and to broaden the student's insight to art through inculcating the habit of structuring the whole. Strategies are available for instructors to accomplish these aims without interfering with the student's personal vision.

David Friend 945 Crane St., A

Menlo Park, CA 94025, U.S.A.

'The Future of Man'

blance is an unruly notion and a major culprit in confusions about depiction. My descriptions of the two poles are not quite clear and what is between the poles is clamouring for attention.

Dennis Couzin Dept. of Philosophy

University of Illinois at Chicago Circle Chicago, IL 60680, U.S.A.

ON BOOK REVIEWS

'Secondary School Art'

In reviewing J. Portchmouth's book in Leonardo 5, 276 (1972), I was so impressed with its contents and flow that I decided to exclude any criticism that might detract from his unusually fine book, except for a loaded suggestion for further improvement to which the author responded in Letters, Leonardo 5, 384 (1972). Actually, I meant the suggestion more as a broad challenge to art educators in general to find ways and means to help students go all the way toward the unification of their paintings. To be sure, to implement this concept adds more problems for the instructor but for the student the benefits in heightened esthetic perception, sensi- tivity and art appreciation, from my experience, justify the effort.

Portchmouth's awareness of student needs and his methodology for inspiring creative expression are of a top quality. Yet, to spur the student's imagination without helping him to structure the results is not enough. As Dick Field says: 'Each problem must be dealt with in the knowledge that there is to be finally a whole thing to which the solution will contribute'-Change in Art Education (London: Routledge and Kegan Paul, (1972) p. 34) (cf. Books, Leonardo 6, 276 (1973)). Students respond to the discipline of scanning the whole surface area to establish esthetic relationships of two-dimensional shapes, tonal values, textures, lines and colors.

In justice to Portchmouth, he is concerned with the possibility of the student losing the character of the vision expressed. But in aiming no higher Portchmouth is, unwittingly, doing his students an injustice. He has but to envision the attainment of both aims: to strengthen the student's particular kind of vision and to broaden the student's insight to art through inculcating the habit of structuring the whole. Strategies are available for instructors to accomplish these aims without interfering with the student's personal vision.

David Friend 945 Crane St., A

Menlo Park, CA 94025, U.S.A.

'The Future of Man'

David Smith grasps precisely the aim of my book when he states its purpose as 'stimulating wholesome young intelligent couples to have larger families'

David Smith grasps precisely the aim of my book when he states its purpose as 'stimulating wholesome young intelligent couples to have larger families'

David Smith grasps precisely the aim of my book when he states its purpose as 'stimulating wholesome young intelligent couples to have larger families'

David Smith grasps precisely the aim of my book when he states its purpose as 'stimulating wholesome young intelligent couples to have larger families'

(Books, Leonardo 6, 69 (1973)). But then he becomes lost, perhaps among the footnotes that trouble him or because he is not sure what intel- ligence is.

Early man (a cave-dwelling hunter) rose above all other creatures largely because he evolved upward in intelligence instead of in size, strength or speed. However, about the time agriculture was developed, I believe he ceased to evolve further in average intelligence. As natural selection dimi- nished and the number of humans increased with the increased food supply, proletariats appeared and grew until (when led by intelligent exploiters) they were able to kill off most of the upper classes of their own people, especially the more intelligent ones. As Karl Marx pointed out, the French Revolution was the first great example of this.

My hope is that man will not deteriorate in average intelligence but instead will produce more and more good minds.

Robert Graham Armorlite, Inc. P.O. Box 1038

Burbank, CA 91505, U.S.A.

'Changing Art, Changing Man'

Ken Baynes' review of my book (Leonardo 6, 175 (1973)) is the most perceptive to date and his criticism is well-founded. I find, however, that a reply is in order.

A work of art is a replication of the human psyche and, a great work, speaking to the whole history of the past, changes the psyche of the observer in a more profound way than ordinary experience. The remarkable evolutionary changes from matter endowed with form to life endowed with form and sensitivity and then to man possessed of form, sensuousness, and self-consciousness, puts man at the top of a pyramid of increasing com- plexity and sensitivity. The further and deliberate extension of awareness can be viewed as a purpose for man's future. Then the art museum becomes more than ever a part of a superior man-made environment, a spiritual gymnasium where sensi- tivities can be stretched and strengthened. Art is one element in the next development of man. But only one.

A new social matrix is essential in order to institutionalize the effort to enlarge man's biolo- gicalequipment. I suggest that since acquisivity as the essential purpose of life begins at long last to show signs of disintegration, men, weary of the contem- porary purposelessness, can begin the search for a new center of purpose beyond faltering capitalism and Christianity, as well as present communism. They are likely to find this center in a dedication to the further advancement of man along his evolu- tionary road. We are reaching the limits of what man can endure in the area of disintegration and the

(Books, Leonardo 6, 69 (1973)). But then he becomes lost, perhaps among the footnotes that trouble him or because he is not sure what intel- ligence is.

Early man (a cave-dwelling hunter) rose above all other creatures largely because he evolved upward in intelligence instead of in size, strength or speed. However, about the time agriculture was developed, I believe he ceased to evolve further in average intelligence. As natural selection dimi- nished and the number of humans increased with the increased food supply, proletariats appeared and grew until (when led by intelligent exploiters) they were able to kill off most of the upper classes of their own people, especially the more intelligent ones. As Karl Marx pointed out, the French Revolution was the first great example of this.

My hope is that man will not deteriorate in average intelligence but instead will produce more and more good minds.

Robert Graham Armorlite, Inc. P.O. Box 1038

Burbank, CA 91505, U.S.A.

'Changing Art, Changing Man'

Ken Baynes' review of my book (Leonardo 6, 175 (1973)) is the most perceptive to date and his criticism is well-founded. I find, however, that a reply is in order.

A work of art is a replication of the human psyche and, a great work, speaking to the whole history of the past, changes the psyche of the observer in a more profound way than ordinary experience. The remarkable evolutionary changes from matter endowed with form to life endowed with form and sensitivity and then to man possessed of form, sensuousness, and self-consciousness, puts man at the top of a pyramid of increasing com- plexity and sensitivity. The further and deliberate extension of awareness can be viewed as a purpose for man's future. Then the art museum becomes more than ever a part of a superior man-made environment, a spiritual gymnasium where sensi- tivities can be stretched and strengthened. Art is one element in the next development of man. But only one.

A new social matrix is essential in order to institutionalize the effort to enlarge man's biolo- gicalequipment. I suggest that since acquisivity as the essential purpose of life begins at long last to show signs of disintegration, men, weary of the contem- porary purposelessness, can begin the search for a new center of purpose beyond faltering capitalism and Christianity, as well as present communism. They are likely to find this center in a dedication to the further advancement of man along his evolu- tionary road. We are reaching the limits of what man can endure in the area of disintegration and the

(Books, Leonardo 6, 69 (1973)). But then he becomes lost, perhaps among the footnotes that trouble him or because he is not sure what intel- ligence is.

Early man (a cave-dwelling hunter) rose above all other creatures largely because he evolved upward in intelligence instead of in size, strength or speed. However, about the time agriculture was developed, I believe he ceased to evolve further in average intelligence. As natural selection dimi- nished and the number of humans increased with the increased food supply, proletariats appeared and grew until (when led by intelligent exploiters) they were able to kill off most of the upper classes of their own people, especially the more intelligent ones. As Karl Marx pointed out, the French Revolution was the first great example of this.

My hope is that man will not deteriorate in average intelligence but instead will produce more and more good minds.

Robert Graham Armorlite, Inc. P.O. Box 1038

Burbank, CA 91505, U.S.A.

'Changing Art, Changing Man'

Ken Baynes' review of my book (Leonardo 6, 175 (1973)) is the most perceptive to date and his criticism is well-founded. I find, however, that a reply is in order.

A work of art is a replication of the human psyche and, a great work, speaking to the whole history of the past, changes the psyche of the observer in a more profound way than ordinary experience. The remarkable evolutionary changes from matter endowed with form to life endowed with form and sensitivity and then to man possessed of form, sensuousness, and self-consciousness, puts man at the top of a pyramid of increasing com- plexity and sensitivity. The further and deliberate extension of awareness can be viewed as a purpose for man's future. Then the art museum becomes more than ever a part of a superior man-made environment, a spiritual gymnasium where sensi- tivities can be stretched and strengthened. Art is one element in the next development of man. But only one.

A new social matrix is essential in order to institutionalize the effort to enlarge man's biolo- gicalequipment. I suggest that since acquisivity as the essential purpose of life begins at long last to show signs of disintegration, men, weary of the contem- porary purposelessness, can begin the search for a new center of purpose beyond faltering capitalism and Christianity, as well as present communism. They are likely to find this center in a dedication to the further advancement of man along his evolu- tionary road. We are reaching the limits of what man can endure in the area of disintegration and the

(Books, Leonardo 6, 69 (1973)). But then he becomes lost, perhaps among the footnotes that trouble him or because he is not sure what intel- ligence is.

Early man (a cave-dwelling hunter) rose above all other creatures largely because he evolved upward in intelligence instead of in size, strength or speed. However, about the time agriculture was developed, I believe he ceased to evolve further in average intelligence. As natural selection dimi- nished and the number of humans increased with the increased food supply, proletariats appeared and grew until (when led by intelligent exploiters) they were able to kill off most of the upper classes of their own people, especially the more intelligent ones. As Karl Marx pointed out, the French Revolution was the first great example of this.

My hope is that man will not deteriorate in average intelligence but instead will produce more and more good minds.

Robert Graham Armorlite, Inc. P.O. Box 1038

Burbank, CA 91505, U.S.A.

'Changing Art, Changing Man'

Ken Baynes' review of my book (Leonardo 6, 175 (1973)) is the most perceptive to date and his criticism is well-founded. I find, however, that a reply is in order.

A work of art is a replication of the human psyche and, a great work, speaking to the whole history of the past, changes the psyche of the observer in a more profound way than ordinary experience. The remarkable evolutionary changes from matter endowed with form to life endowed with form and sensitivity and then to man possessed of form, sensuousness, and self-consciousness, puts man at the top of a pyramid of increasing com- plexity and sensitivity. The further and deliberate extension of awareness can be viewed as a purpose for man's future. Then the art museum becomes more than ever a part of a superior man-made environment, a spiritual gymnasium where sensi- tivities can be stretched and strengthened. Art is one element in the next development of man. But only one.

A new social matrix is essential in order to institutionalize the effort to enlarge man's biolo- gicalequipment. I suggest that since acquisivity as the essential purpose of life begins at long last to show signs of disintegration, men, weary of the contem- porary purposelessness, can begin the search for a new center of purpose beyond faltering capitalism and Christianity, as well as present communism. They are likely to find this center in a dedication to the further advancement of man along his evolu- tionary road. We are reaching the limits of what man can endure in the area of disintegration and the search for a new center of belief will expand.

It seems to me that the most likely objective will be that of replacing our present concern with

search for a new center of belief will expand. It seems to me that the most likely objective will

be that of replacing our present concern with

search for a new center of belief will expand. It seems to me that the most likely objective will

be that of replacing our present concern with

search for a new center of belief will expand. It seems to me that the most likely objective will

be that of replacing our present concern with

285 285 285 285

This content downloaded from 195.78.108.81 on Mon, 16 Jun 2014 05:17:45 AMAll use subject to JSTOR Terms and Conditions