Leonardo

Resumes Trop Courts: Parution Trop EspaceeAuthor(s): Vincent BatbedatSource: Leonardo, Vol. 1, No. 2 (Apr., 1968), p. 220Published by: The MIT PressStable URL: http://www.jstor.org/stable/1571975 .

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Letters-Lettres Letters-Lettres Letters-Lettres Letters-Lettres Letters-Lettres

DOES LEONARDO FAVOUR THE EGGHEAD?

Leonardo is first rate-many congratulations. Well done!-Handsome format, tastefully turned out, a cultivated presence.

A reservation: is there a weighting in favour of cerebral art? What of the lesser (?) intuitive per- formers who may understand but do not analyze the 'hidden order'-will they be frightened off? An aside-does theorizing and structuring lead to committed and inflexible future action-well ...

A very fine achievement, indeed, and here's wish- ing that it has many years of success ahead.

Vic Gray Bristol, England.

There is not an intended weighting in favour of cerebral art in Leonardo, although one wonders if there is such a thing as 'non-cerebral' art. The 'creative' process, which involves what we vaguely call intuition, is extremely difficultfor an artist to describe. On the other hand, once an artist has made use of this process, it is not so difficult for him to describe and analyze the results he has obtained. Artists who do not wish to analyze their work will undoubtedly be 'frightened off'. The journal is not designed for the 'literary' or 'poetic' style of writing. The poetry should be in the artist's works, not in his text.

Whether theorizing and 'structuring' lead to committed and inflexible future action depends on how satisfactory the resulting theories are and on the outlook and personality of the artist-THE EDITOR.

ERRATUM

Je me permets d'attirer votre attention sur une petite erreur d'impression dans mon article 'L'Art et la Ville' dans votre No. 1: le diagramme en haut de la Figure 7c a ete imprime avec une rotation de 180? par rapport a sa matrice associee.

Yona Friedman Paris, France.

ART IS DEAD!

Welcome indeed to Leonardo. Reading the section Terminology encourages me to send you in this letter my own definition, not of an art term, but of what appears to me to be the crisis facing artists at the present time and some indications of the way ahead.

When people pronounce the word 'art', they generally refer to all that to-day is considered as such and is shown in the art galleries and museums under this name. Actually, there is 'art' for every man's taste. Everybody thinks he is right and the others are wrong. The whole situation has become rather confusing.

I believe that Art has been violated and is dead. There is no longer any transcendental artistic problem. But there is a philosophical one. Aes- thetics without a secure ethical background may

DOES LEONARDO FAVOUR THE EGGHEAD?

Leonardo is first rate-many congratulations. Well done!-Handsome format, tastefully turned out, a cultivated presence.

A reservation: is there a weighting in favour of cerebral art? What of the lesser (?) intuitive per- formers who may understand but do not analyze the 'hidden order'-will they be frightened off? An aside-does theorizing and structuring lead to committed and inflexible future action-well ...

A very fine achievement, indeed, and here's wish- ing that it has many years of success ahead.

Vic Gray Bristol, England.

There is not an intended weighting in favour of cerebral art in Leonardo, although one wonders if there is such a thing as 'non-cerebral' art. The 'creative' process, which involves what we vaguely call intuition, is extremely difficultfor an artist to describe. On the other hand, once an artist has made use of this process, it is not so difficult for him to describe and analyze the results he has obtained. Artists who do not wish to analyze their work will undoubtedly be 'frightened off'. The journal is not designed for the 'literary' or 'poetic' style of writing. The poetry should be in the artist's works, not in his text.

Whether theorizing and 'structuring' lead to committed and inflexible future action depends on how satisfactory the resulting theories are and on the outlook and personality of the artist-THE EDITOR.

ERRATUM

Je me permets d'attirer votre attention sur une petite erreur d'impression dans mon article 'L'Art et la Ville' dans votre No. 1: le diagramme en haut de la Figure 7c a ete imprime avec une rotation de 180? par rapport a sa matrice associee.

Yona Friedman Paris, France.

ART IS DEAD!

Welcome indeed to Leonardo. Reading the section Terminology encourages me to send you in this letter my own definition, not of an art term, but of what appears to me to be the crisis facing artists at the present time and some indications of the way ahead.

When people pronounce the word 'art', they generally refer to all that to-day is considered as such and is shown in the art galleries and museums under this name. Actually, there is 'art' for every man's taste. Everybody thinks he is right and the others are wrong. The whole situation has become rather confusing.

I believe that Art has been violated and is dead. There is no longer any transcendental artistic problem. But there is a philosophical one. Aes- thetics without a secure ethical background may

DOES LEONARDO FAVOUR THE EGGHEAD?

Leonardo is first rate-many congratulations. Well done!-Handsome format, tastefully turned out, a cultivated presence.

A reservation: is there a weighting in favour of cerebral art? What of the lesser (?) intuitive per- formers who may understand but do not analyze the 'hidden order'-will they be frightened off? An aside-does theorizing and structuring lead to committed and inflexible future action-well ...

A very fine achievement, indeed, and here's wish- ing that it has many years of success ahead.

Vic Gray Bristol, England.

There is not an intended weighting in favour of cerebral art in Leonardo, although one wonders if there is such a thing as 'non-cerebral' art. The 'creative' process, which involves what we vaguely call intuition, is extremely difficultfor an artist to describe. On the other hand, once an artist has made use of this process, it is not so difficult for him to describe and analyze the results he has obtained. Artists who do not wish to analyze their work will undoubtedly be 'frightened off'. The journal is not designed for the 'literary' or 'poetic' style of writing. The poetry should be in the artist's works, not in his text.

Whether theorizing and 'structuring' lead to committed and inflexible future action depends on how satisfactory the resulting theories are and on the outlook and personality of the artist-THE EDITOR.

ERRATUM

Je me permets d'attirer votre attention sur une petite erreur d'impression dans mon article 'L'Art et la Ville' dans votre No. 1: le diagramme en haut de la Figure 7c a ete imprime avec une rotation de 180? par rapport a sa matrice associee.

Yona Friedman Paris, France.

ART IS DEAD!

Welcome indeed to Leonardo. Reading the section Terminology encourages me to send you in this letter my own definition, not of an art term, but of what appears to me to be the crisis facing artists at the present time and some indications of the way ahead.

When people pronounce the word 'art', they generally refer to all that to-day is considered as such and is shown in the art galleries and museums under this name. Actually, there is 'art' for every man's taste. Everybody thinks he is right and the others are wrong. The whole situation has become rather confusing.

I believe that Art has been violated and is dead. There is no longer any transcendental artistic problem. But there is a philosophical one. Aes- thetics without a secure ethical background may

DOES LEONARDO FAVOUR THE EGGHEAD?

Leonardo is first rate-many congratulations. Well done!-Handsome format, tastefully turned out, a cultivated presence.

A reservation: is there a weighting in favour of cerebral art? What of the lesser (?) intuitive per- formers who may understand but do not analyze the 'hidden order'-will they be frightened off? An aside-does theorizing and structuring lead to committed and inflexible future action-well ...

A very fine achievement, indeed, and here's wish- ing that it has many years of success ahead.

Vic Gray Bristol, England.

There is not an intended weighting in favour of cerebral art in Leonardo, although one wonders if there is such a thing as 'non-cerebral' art. The 'creative' process, which involves what we vaguely call intuition, is extremely difficultfor an artist to describe. On the other hand, once an artist has made use of this process, it is not so difficult for him to describe and analyze the results he has obtained. Artists who do not wish to analyze their work will undoubtedly be 'frightened off'. The journal is not designed for the 'literary' or 'poetic' style of writing. The poetry should be in the artist's works, not in his text.

Whether theorizing and 'structuring' lead to committed and inflexible future action depends on how satisfactory the resulting theories are and on the outlook and personality of the artist-THE EDITOR.

ERRATUM

Je me permets d'attirer votre attention sur une petite erreur d'impression dans mon article 'L'Art et la Ville' dans votre No. 1: le diagramme en haut de la Figure 7c a ete imprime avec une rotation de 180? par rapport a sa matrice associee.

Yona Friedman Paris, France.

ART IS DEAD!

Welcome indeed to Leonardo. Reading the section Terminology encourages me to send you in this letter my own definition, not of an art term, but of what appears to me to be the crisis facing artists at the present time and some indications of the way ahead.

When people pronounce the word 'art', they generally refer to all that to-day is considered as such and is shown in the art galleries and museums under this name. Actually, there is 'art' for every man's taste. Everybody thinks he is right and the others are wrong. The whole situation has become rather confusing.

I believe that Art has been violated and is dead. There is no longer any transcendental artistic problem. But there is a philosophical one. Aes- thetics without a secure ethical background may

DOES LEONARDO FAVOUR THE EGGHEAD?

Leonardo is first rate-many congratulations. Well done!-Handsome format, tastefully turned out, a cultivated presence.

A reservation: is there a weighting in favour of cerebral art? What of the lesser (?) intuitive per- formers who may understand but do not analyze the 'hidden order'-will they be frightened off? An aside-does theorizing and structuring lead to committed and inflexible future action-well ...

A very fine achievement, indeed, and here's wish- ing that it has many years of success ahead.

Vic Gray Bristol, England.

There is not an intended weighting in favour of cerebral art in Leonardo, although one wonders if there is such a thing as 'non-cerebral' art. The 'creative' process, which involves what we vaguely call intuition, is extremely difficultfor an artist to describe. On the other hand, once an artist has made use of this process, it is not so difficult for him to describe and analyze the results he has obtained. Artists who do not wish to analyze their work will undoubtedly be 'frightened off'. The journal is not designed for the 'literary' or 'poetic' style of writing. The poetry should be in the artist's works, not in his text.

Whether theorizing and 'structuring' lead to committed and inflexible future action depends on how satisfactory the resulting theories are and on the outlook and personality of the artist-THE EDITOR.

ERRATUM

Je me permets d'attirer votre attention sur une petite erreur d'impression dans mon article 'L'Art et la Ville' dans votre No. 1: le diagramme en haut de la Figure 7c a ete imprime avec une rotation de 180? par rapport a sa matrice associee.

Yona Friedman Paris, France.

ART IS DEAD!

Welcome indeed to Leonardo. Reading the section Terminology encourages me to send you in this letter my own definition, not of an art term, but of what appears to me to be the crisis facing artists at the present time and some indications of the way ahead.

When people pronounce the word 'art', they generally refer to all that to-day is considered as such and is shown in the art galleries and museums under this name. Actually, there is 'art' for every man's taste. Everybody thinks he is right and the others are wrong. The whole situation has become rather confusing.

I believe that Art has been violated and is dead. There is no longer any transcendental artistic problem. But there is a philosophical one. Aes- thetics without a secure ethical background may produce interesting, even beautiful results, but not Art. Art is a service. As long as Art has no spiritual function, all our efforts are condemned to lead to

produce interesting, even beautiful results, but not Art. Art is a service. As long as Art has no spiritual function, all our efforts are condemned to lead to

produce interesting, even beautiful results, but not Art. Art is a service. As long as Art has no spiritual function, all our efforts are condemned to lead to

produce interesting, even beautiful results, but not Art. Art is a service. As long as Art has no spiritual function, all our efforts are condemned to lead to

produce interesting, even beautiful results, but not Art. Art is a service. As long as Art has no spiritual function, all our efforts are condemned to lead to

but a kind of egocentric folk art, done by intellectu- als for intellectuals.

The over-emphasis on individual expression has, in the end, destroyed its importance. I think that the artist, instead of concentrating on his indepen- dent and non-conformist genius, should admit that his works are actually nothing but isolated, tem- porary designs or expressive spots on the wall and that all the rest is vanity, propaganda or business.

Fortunately there is arising a new art vision which is invading our life. This beginning, which is not yet fully recognized, seems to be constantly growing. It means a profound socialization of the arts. Instead of trying to go against this fact, the artist will have no choice but to accept the phenomenon and work on its spiritualization. It seems indeed, that some are already working thus.

The artist of the future will need a special sense for size or multiplication because in the constantly growing state of the masses the 'art object' is going to succumb or disappear. I have the feeling that painting has lost already its possibility of existing as an independent transcendental art form. Sculpture only makes sense to me under a new, monumental conception. Probably a new and not yet completely imaginable kind of architecture will not only be the frame but also give the inspiration to the arts to find again what they have lost: their spiritual function.

Mathias Goeritz Cuernavaca, Morelos, Mexico.

RESUMES TROP COURTS-PARUTION TROP ESPACEE

Tombant par hasard sur le premier numero de Leonardo, je tiens a vous feliciter pour la volonte d'objectivite et de serieux de cette revue, la rigueur de sa presentation et l'apport d'artistes pouvant exprimer directement le sens de leurs recherches. L'absence d'ecole affirme cette objectivite. En outre, la volonte de simplicite, la diversite des domaines abordes, font de Leonardo un excellent outil d'in- formation et de documentation.

Puis-je me permettre quelques suggestions? Les resumes en franqais d'articles publies seulement en anglais, ou vice-versa, me semblent parfois trop succints. Quelques indications biographiques au sujet des artistes qui prennent la parole me parai- traient utiles.

Enfin la Redaction de Leonardo ne pourrait-elle pas envisager de faire paraitre six numeros par an, la rythme de quatre ne permettant pas, a mon avis, au lecteur la continuite de l'interet.

Vincent Batbedat Paris, France.

SHEER GUFF

Haven't the slightest desire to subscribe. Who is Leonardo for? Painters? Page 85 (Terminology section) e.g. guff-sheer guff. Painters don't need

but a kind of egocentric folk art, done by intellectu- als for intellectuals.

The over-emphasis on individual expression has, in the end, destroyed its importance. I think that the artist, instead of concentrating on his indepen- dent and non-conformist genius, should admit that his works are actually nothing but isolated, tem- porary designs or expressive spots on the wall and that all the rest is vanity, propaganda or business.

Fortunately there is arising a new art vision which is invading our life. This beginning, which is not yet fully recognized, seems to be constantly growing. It means a profound socialization of the arts. Instead of trying to go against this fact, the artist will have no choice but to accept the phenomenon and work on its spiritualization. It seems indeed, that some are already working thus.

The artist of the future will need a special sense for size or multiplication because in the constantly growing state of the masses the 'art object' is going to succumb or disappear. I have the feeling that painting has lost already its possibility of existing as an independent transcendental art form. Sculpture only makes sense to me under a new, monumental conception. Probably a new and not yet completely imaginable kind of architecture will not only be the frame but also give the inspiration to the arts to find again what they have lost: their spiritual function.

Mathias Goeritz Cuernavaca, Morelos, Mexico.

RESUMES TROP COURTS-PARUTION TROP ESPACEE

Tombant par hasard sur le premier numero de Leonardo, je tiens a vous feliciter pour la volonte d'objectivite et de serieux de cette revue, la rigueur de sa presentation et l'apport d'artistes pouvant exprimer directement le sens de leurs recherches. L'absence d'ecole affirme cette objectivite. En outre, la volonte de simplicite, la diversite des domaines abordes, font de Leonardo un excellent outil d'in- formation et de documentation.

Puis-je me permettre quelques suggestions? Les resumes en franqais d'articles publies seulement en anglais, ou vice-versa, me semblent parfois trop succints. Quelques indications biographiques au sujet des artistes qui prennent la parole me parai- traient utiles.

Enfin la Redaction de Leonardo ne pourrait-elle pas envisager de faire paraitre six numeros par an, la rythme de quatre ne permettant pas, a mon avis, au lecteur la continuite de l'interet.

Vincent Batbedat Paris, France.

SHEER GUFF

Haven't the slightest desire to subscribe. Who is Leonardo for? Painters? Page 85 (Terminology section) e.g. guff-sheer guff. Painters don't need

but a kind of egocentric folk art, done by intellectu- als for intellectuals.

The over-emphasis on individual expression has, in the end, destroyed its importance. I think that the artist, instead of concentrating on his indepen- dent and non-conformist genius, should admit that his works are actually nothing but isolated, tem- porary designs or expressive spots on the wall and that all the rest is vanity, propaganda or business.

Fortunately there is arising a new art vision which is invading our life. This beginning, which is not yet fully recognized, seems to be constantly growing. It means a profound socialization of the arts. Instead of trying to go against this fact, the artist will have no choice but to accept the phenomenon and work on its spiritualization. It seems indeed, that some are already working thus.

The artist of the future will need a special sense for size or multiplication because in the constantly growing state of the masses the 'art object' is going to succumb or disappear. I have the feeling that painting has lost already its possibility of existing as an independent transcendental art form. Sculpture only makes sense to me under a new, monumental conception. Probably a new and not yet completely imaginable kind of architecture will not only be the frame but also give the inspiration to the arts to find again what they have lost: their spiritual function.

Mathias Goeritz Cuernavaca, Morelos, Mexico.

RESUMES TROP COURTS-PARUTION TROP ESPACEE

Tombant par hasard sur le premier numero de Leonardo, je tiens a vous feliciter pour la volonte d'objectivite et de serieux de cette revue, la rigueur de sa presentation et l'apport d'artistes pouvant exprimer directement le sens de leurs recherches. L'absence d'ecole affirme cette objectivite. En outre, la volonte de simplicite, la diversite des domaines abordes, font de Leonardo un excellent outil d'in- formation et de documentation.

Puis-je me permettre quelques suggestions? Les resumes en franqais d'articles publies seulement en anglais, ou vice-versa, me semblent parfois trop succints. Quelques indications biographiques au sujet des artistes qui prennent la parole me parai- traient utiles.

Enfin la Redaction de Leonardo ne pourrait-elle pas envisager de faire paraitre six numeros par an, la rythme de quatre ne permettant pas, a mon avis, au lecteur la continuite de l'interet.

Vincent Batbedat Paris, France.

SHEER GUFF

Haven't the slightest desire to subscribe. Who is Leonardo for? Painters? Page 85 (Terminology section) e.g. guff-sheer guff. Painters don't need

but a kind of egocentric folk art, done by intellectu- als for intellectuals.

The over-emphasis on individual expression has, in the end, destroyed its importance. I think that the artist, instead of concentrating on his indepen- dent and non-conformist genius, should admit that his works are actually nothing but isolated, tem- porary designs or expressive spots on the wall and that all the rest is vanity, propaganda or business.

Fortunately there is arising a new art vision which is invading our life. This beginning, which is not yet fully recognized, seems to be constantly growing. It means a profound socialization of the arts. Instead of trying to go against this fact, the artist will have no choice but to accept the phenomenon and work on its spiritualization. It seems indeed, that some are already working thus.

The artist of the future will need a special sense for size or multiplication because in the constantly growing state of the masses the 'art object' is going to succumb or disappear. I have the feeling that painting has lost already its possibility of existing as an independent transcendental art form. Sculpture only makes sense to me under a new, monumental conception. Probably a new and not yet completely imaginable kind of architecture will not only be the frame but also give the inspiration to the arts to find again what they have lost: their spiritual function.

Mathias Goeritz Cuernavaca, Morelos, Mexico.

RESUMES TROP COURTS-PARUTION TROP ESPACEE

Tombant par hasard sur le premier numero de Leonardo, je tiens a vous feliciter pour la volonte d'objectivite et de serieux de cette revue, la rigueur de sa presentation et l'apport d'artistes pouvant exprimer directement le sens de leurs recherches. L'absence d'ecole affirme cette objectivite. En outre, la volonte de simplicite, la diversite des domaines abordes, font de Leonardo un excellent outil d'in- formation et de documentation.

Puis-je me permettre quelques suggestions? Les resumes en franqais d'articles publies seulement en anglais, ou vice-versa, me semblent parfois trop succints. Quelques indications biographiques au sujet des artistes qui prennent la parole me parai- traient utiles.

Enfin la Redaction de Leonardo ne pourrait-elle pas envisager de faire paraitre six numeros par an, la rythme de quatre ne permettant pas, a mon avis, au lecteur la continuite de l'interet.

Vincent Batbedat Paris, France.

SHEER GUFF

Haven't the slightest desire to subscribe. Who is Leonardo for? Painters? Page 85 (Terminology section) e.g. guff-sheer guff. Painters don't need

but a kind of egocentric folk art, done by intellectu- als for intellectuals.

The over-emphasis on individual expression has, in the end, destroyed its importance. I think that the artist, instead of concentrating on his indepen- dent and non-conformist genius, should admit that his works are actually nothing but isolated, tem- porary designs or expressive spots on the wall and that all the rest is vanity, propaganda or business.

Fortunately there is arising a new art vision which is invading our life. This beginning, which is not yet fully recognized, seems to be constantly growing. It means a profound socialization of the arts. Instead of trying to go against this fact, the artist will have no choice but to accept the phenomenon and work on its spiritualization. It seems indeed, that some are already working thus.

The artist of the future will need a special sense for size or multiplication because in the constantly growing state of the masses the 'art object' is going to succumb or disappear. I have the feeling that painting has lost already its possibility of existing as an independent transcendental art form. Sculpture only makes sense to me under a new, monumental conception. Probably a new and not yet completely imaginable kind of architecture will not only be the frame but also give the inspiration to the arts to find again what they have lost: their spiritual function.

Mathias Goeritz Cuernavaca, Morelos, Mexico.

RESUMES TROP COURTS-PARUTION TROP ESPACEE

Tombant par hasard sur le premier numero de Leonardo, je tiens a vous feliciter pour la volonte d'objectivite et de serieux de cette revue, la rigueur de sa presentation et l'apport d'artistes pouvant exprimer directement le sens de leurs recherches. L'absence d'ecole affirme cette objectivite. En outre, la volonte de simplicite, la diversite des domaines abordes, font de Leonardo un excellent outil d'in- formation et de documentation.

Puis-je me permettre quelques suggestions? Les resumes en franqais d'articles publies seulement en anglais, ou vice-versa, me semblent parfois trop succints. Quelques indications biographiques au sujet des artistes qui prennent la parole me parai- traient utiles.

Enfin la Redaction de Leonardo ne pourrait-elle pas envisager de faire paraitre six numeros par an, la rythme de quatre ne permettant pas, a mon avis, au lecteur la continuite de l'interet.

Vincent Batbedat Paris, France.

SHEER GUFF

Haven't the slightest desire to subscribe. Who is Leonardo for? Painters? Page 85 (Terminology section) e.g. guff-sheer guff. Painters don't need technical manuals.

G. T. Ackroyd Hunstanton, England.

technical manuals. G. T. Ackroyd

Hunstanton, England.

technical manuals. G. T. Ackroyd

Hunstanton, England.

technical manuals. G. T. Ackroyd

Hunstanton, England.

technical manuals. G. T. Ackroyd

Hunstanton, England.

220 220 220 220 220

This content downloaded from 195.78.108.40 on Thu, 12 Jun 2014 12:39:59 PMAll use subject to JSTOR Terms and Conditions