hh Ti ll' ( ', \\1 ' ;\ (; .. \ IN,\ I ':\ 1': 1 sym ho I ic sha pes. This narrow s 1 yli za tiOIl revc a Is t II l' a 1 '1 is 1 s! ILl II ill ,I.', II i III "i{'lt ' off from the wealth of empirical reality and creating til l' symboli(' tolli· verse. The aridity of linear precision is one of the hallmarks 01 Ihl • . turning point, calling to mind the Yoruba, who assoeiale lillC wllh civilization: "This country has become civilized," literally mea liS, ill Yoruba, "this carth has lines upon its facc." The inflexiblc forms 01 Indy alienatcd society arc everywhere apparcnt; Gordon Childc, for ex""'pit-, referring to this spirit, points out that thc pots of a Neolithic village arc all alike. Rclatedly, warfare in the form of combat scenes makes its lirsl appearance in art. Thc work of art was in no scnse autonomous at this timc; it serwd socicty in a direct sensc, an instrument of the necds of the ncw collectivity. Thcre had been no worship-cults during the Paleolithic, hut now religion held sway, and it is worth rcmcmbering that for thousands of years art's function will bc to dcpict thc gods. Meanwhile, what Gliiek stressed about African tribal architecture was true in all other cultures as well: sacrcd buildings camc to life on the model of thosc of the secular ruler. And though not even the first signed works show up before thc latc Grcek pcriod, it is not inappropriate to turn here to art's reali z ation, some of its gencral fcaturcs. Art not only creates the symbols of and for a socicty, it is a basic pan of thc symbolic matrix of estranged social life. Oscar Wilde said that art docs not imitate life, but vice versa; which is to say that life follows symbolism, not forgetting that it is (deformed) life that produces symbolism. Every art form, according to T.S. Eliot, is "an attack upon the inarticulate." Upon the unsymbolized , he should have said. Both painter and poet have always wanted to reach the silence behind and within art and language, leaving the question of whether the individual, in adopting these modes of expression, didn't settle for far too little. Though Bergson tried to approach the goal of thought without symbols, such a breakthrough seems impossible outside our active undoing of all the laycrs of alienation. In the extremity of revolutionary situations, immediate communication has bloomed, if briefly. The primary function of art is to objectify feeling, by which one's own motivations and identity are transformed into symbol and metaphor. All art, as symbolization, is rooted in the creation of substitutcs, surrogates for something else; by its vcry nature, therefore, it is falsification. Under the guise of "cnriching the quality of human experience," we accept vicarious, symholic descriptions of how we should fee I, trained to need such public images of sentiment that ritual art and myth providc for our psychic security. 'r ' " I· t' Llle Ul elVl lza IOn IS ' . 1 1 1.t\U'NI'" II' Il H I'. \I I , / - . lived '.lllulsl WlH1UV in a ull·diulli PI' sYIIIllI1b. NIII, " " ,. 1 ' t'fi I ' 'hllOlo"irai adivi\y htlt aesthetic ham a.! c (,,1110 s , on y sclen IIC (II . l . ,, . . n' 01 'uns irituaHv, lt iswiddy avcrrcli, tor ..f i tfll l\ Iii /al inti, nl {" eX'tH I.: s s \d .q u ,tm'lt·tcm a tic l fioures account f or the example ' . . ' . 'Thcre is Cezanne's famous dictum to .-'trcat nature Y -- . Ill'll '\ lt1llth:{ IHllll )(':r (, f _ efficacy "t ,II I. cylinder , Il. . Imp.d " L , . I, , .) I H ,weI U II . sphere anu c , t · th . ·,cute angle 0 a roa 0 , h the . • th ' cone " and Kandinsky's Judgcment that the _ t. t ' ngle on a circlc produces an c tect no f G d touehino the fin ocr of A am m .1' I than the !mger 0 0 0 " J'l "The sense 0 a sym J \1" 1,, 1,I"bc o. . _H:JII:;\ation mto another sym ) "_01 always displaced. though art IS no u . t ·· d " . d . 't t. . bell as Charlcs Pierce conclude , IS I S , ' , . ' bol thus an endless reproductIon, WIth the t f ndamenta Y con II ccrned wl'th beauty its inability to . k'd many unfavorable comparisons. ", . .1 "ature sensuou ly S " :,a; V l t a thorne ; Shelley praised the " un pre- I"onloght IS scu pture, . " f ",,·dltated art 0 e k V I" • pronounced the sea marc th skyl ar ·· er ame r...'"ltifu] than all the cat e rabs. . ] 11 1 1wcrs, etc" cyon . 'h d '1' And so on with sunsets, snowtlakes, -' d ts 'of art Jean Arp in fact, b d the sym 0 lC pro uc . , . 'd "the most perfect picture no I g Ii IIllC , ''1'l 'ro x lm , . ation a dry porrodge. . " " th ' n) morc than "warty, threadbare d 't' I to art" As compensation an h o ld onc respon pOSI lve y . . , Why t en w u I ,,,lliative, be cause our rc a 1 tionship to nature and life is so deficient an I · II s an authentIC one. s. (1 , I Isa ow, wloat one has not ee . . A ' '!vI therla n t put it "One gives to one's art • . " 1 bl f " g to on"'s e )wn cXlstencc. t IS b n capa C 0 glvlfl ..... , lrue for artist and amilcnce a I e, ar , I lied desire. Art should be conSI cr . sense of Nietzsche's apor : sm,. I.k ' t rke reiioion arises from unsalls- 0 ' " d cd a religious activity and category also in the "We have Art in order not to pensh of the widespread preference for metaphor Truth." 1Is consolatIon exp al ;; thc enuine artic l e. If pleasure were over a dlfect relal10nshlp h eleascd from evcry res ral , . some ow r , t . ';t the result would be the antitheSIS . freedom docs not exist outside art, however, a. of art. In domonated llf fraction of the riches of being is wclcomed. '1 d form d sO even a uny, e . , create on order not to cry, I d Kl " revca e cc. . d rf ' 's hoth important and on . , . ' te realm of contnve l e t . .' . ThIS separa comploclty Wlth the actu separation It corr e s P JI1 d S tO elements are not, an canno . d d . d . , . d , al ni htmare that prevails. 1n its onstltullonahze . g r ' on and ideology in general, where Its t l ! tuali zcd' the w ;"k of art is a selection , . . mblic terms. Arising from the of possibilities unre c f a ; x e v i e f ms to religion not only by reason sense of loss re erre ' .d I f ·t onfinement to an I ea sp · o I S C consequenccs, hut 1t can hence here and its absence of any dlsscntmg , j' d ' . be no more than thoroughly neutra lZe
critique at best. Frequently compared to play, art and culture like religio" haY
- Page 1 and 2: !\cknowleJgcmcnts Many people provi
- Page 3 and 4: i, II)l} Nl'W YUI k, Nl'W York 1'1
- Page 5 and 6: nllill 1:\ 11tlll·II()IIJ.III(l"';
- Page 7 and 8: II, ;111 illll'lIl alld strategy: t
- Page 9 and 10: , 'II and domination, With the adva
- Page 11 and 12: i - - ·""II'I\ · ( jl 1 11\ 11 I
- Page 13 and 14: ;II'ltlptl,\ is lliis Slllllilli ll
- Page 15 and 16: LANt jLI\(jL ORl
- Page 17 and 18: . • '''lloJl\J \NI ' 1\., \ N j,'
- Page 19 and 20: ' . 1 ' II, \IJ ) 1\ 11 ,\NINr , di
- Page 21 and 22: NUMBER: ITS ORIGIN AND EVOLUTION Ih
- Page 23 and 24: I ,' " NI IlHJ l{. II'. ()IUI ;)N .
- Page 25 and 26: Nllr\II\I Ie ITS ()J..:lt ilN ,\ NI
- Page 27 and 28: NI If\II1I 'H: IT ()I,lf jIN .\NI )
- Page 29 and 30: the quantum theory, is that which i
- Page 31: '1'111 CASI'. ;\"AINSI ;\1{1 reflec
- Page 35 and 36: AGRICULTURE Agriculture, the indisp
- Page 37 and 38: I'anlll:rs starvTd ;tiS() kslil ' y
- Page 39 and 40: SII Many thcories havc been advance
- Page 41 and 42: \( ;]Z]( ' [ il.l'! IIZI cd, proces
- Page 43 and 44: PART TWO
- Page 45 and 46: INDI)STRIAIJSM ANI> i)(lMJSrJ('ATH
- Page 47 and 48: INI)[ IS'II
- Page 49 and 50: 11111 INIHI .... ,I";\ ] 1.'\1\.1 .
- Page 51 and 52: IIJ.I INIHISII' Ir\I.lSM ANI ) 1)(I
- Page 53 and 54: IllS dismayed hy the rash of strike
- Page 55 and 56: ';' AXIS POINT OF AMERICAN INDUSTRI
- Page 57 and 58: J\dS "( )jN-.- f,, · AMI·',U·r\N
- Page 59 and 60: ,\ .\1', ('( liNT ()] !\1\·l I IW
- Page 61 and 62: 11·1 AXIS , 'c lIN l" eJl- ;\r\II-
- Page 63 and 64: A.\I\ I't liNT Ill- !\r-.1 I·11(
- Page 65 and 66: THE PRACTICAL MARX Karl Marx is alw
- Page 67 and 68: 1'111 " IL\( 'II( ,\ 1 MAle, revolu
- Page 69 and 70: 1·111 '1'111. 111, :\1 ' 111 ',\1
- Page 71 and 72: - .. ORIGINS AND MEANING OF WWI Wor
- Page 73 and 74: '; ("rc dN" ·\ NJ , 1\.1 1 .\ NINI
- Page 75 and 76: ()I,l< ilNS .\ NII r'vl l',\ NIN( ;
- Page 77 and 78: 1.")/1 ()I.: I\ ;INS ,\N I I MI·:\
- Page 79 and 80: Irll) ()Il( ilN.\ .'\NI ) MI :\ NIN
- Page 81 and 82: ()Ir("N', .\Nl l l\'11 ,\NINr, ( H'
- Page 83 and 84:
If, ; ' / , \YI(H\ I.',I\I ;\ NI I
- Page 85 and 86:
I / ,I ('I all IIlIillll :lppr():lc
- Page 87 and 88:
I INII IN I/. \II'JN IN '\ I\I I .
- Page 89 and 90:
lSI) I INI( )NI/,\TH )N Ir,J ;\' 1\
- Page 91 and 92:
III;I/ln; Ililt l 1 iiI" II 11\\111
- Page 93 and 94:
IXX ()H( ;,'\NI/I'IJ J.,\ IIC IH \'
- Page 95 and 96:
PI,' I ) l,c ,\Nl/I JI 1 . \ , ,,·
- Page 97 and 98:
I II" arhilralnr Rohcrt I ':. Burns
- Page 99 and 100:
, " , II \\ " " ' 1'. , '''
- Page 101 and 102:
Ti ll ' I{H'I I'." 1 II' '1"1 '( li
- Page 103 and 104:
. " IS AN IJ Wi tH .... :\ NJ ) 111
- Page 105 and 106:
important local collahorativL: setu
- Page 107 and 108:
THE PROMISE OF THE '80s For many, t
- Page 109 and 110:
' 1'111' 1·1( )I'vIISI · (II 1111
- Page 111 and 112:
J.) ·1 undcr-s pply u . cpitc a 6
- Page 113 and 114:
i\ flllllH"I" 1H"ISIHTlivl' lHI (i,
- Page 115 and 116:
"u. 'rilL PH( )M1SI ". (H' Ti ll' '
- Page 117 and 118:
Sl" H'I";tI di ... ·d rllsl nf ins
- Page 119 and 120:
· . , " " " ' ''' ''" .. ' " " " "
- Page 121 and 122:
I ' THE '80s SO FAR " rom new lcvel
- Page 123 and 124:
Ti ll ' 'xu .... :'-,( ) 1-",\ 1, t
- Page 125 and 126:
, . , , ) " TI ll' 'OS SI ) " ,\1,
- Page 127 and 128:
PI'.! '.1 -N I I' \' "H I \ I I 1 I
- Page 129 and 130:
,. MEDIA, IRONY AND "BOB" It is not
- Page 131 and 132:
" c' • n', " .' ' . , .f.: . ' ,'
- Page 133 and 134:
I'( )HM ANI ) ('()Nrl-NT IN 1, ' 1
- Page 135 and 136:
!-"I mr"" l\ NI ) ( " 'N / I -N ' I
- Page 137 and 138:
.) /f, N( )JI' , . : lIlllH:r H{Tk
- Page 139 and 140:
J%6), p. 3t1, n. 1.1. N( )II ', 48.
- Page 141 and 142:
S6. White, qUOh.:d ill Kulik, ("/ I
- Page 143 and 144:
,(0)) ,. T,lylm, op. ("if., p. J..I
- Page 145 and 146:
2J.. l'red ('ouk, " l lanl ! LlL.,;
- Page 147 and 148:
Appendix: Excerpts from Adventures
- Page 149 and 150:
NUCLEAR MADNESS ... VIOLENCE AGAINS
- Page 151 and 152:
If it's humiliating to be ruled, ho