art and aesthetics in primitive societies

Leonardo

Art and Aesthetics in Primitive SocietiesAuthor(s): Carol F. Jopling and Jack D. FlamSource: Leonardo, Vol. 6, No. 1 (Winter, 1973), pp. 93-94Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572459 .

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hostile to unique, vibrant and meaningful works of contemporary art.

I feel that Leonardo should publish more texts of the scope of the one written by Goetz.

Richard Bowman 178 Springdale Way

Redwood City, CA. 94062, U.S.A.

ON VIOLENCE AND CAPRICE IN RECENT ART (cont.)

Nothing I said in 'Violence and Caprice in Recent Art' (Leonardo 5, 325 (1972)) was meant to diminish the importance of depth psychology nor to 'deni- grate' the professional status of Reta S. and Emanuel K. Schwartz, who objected rather heatedly (Letters, Leonardo 5, 379 (1972)) to comments I made on their analysis of 'No-Art: An American Psycho- social Phenomenon' (Leonardo 4, 245 (1971)). The intention was simply to criticise its misleading implication of universality in the phenomenon they examined and their failure to relate it adequately to evolutionary patterns of stylistic development and cultural evolution that have been a central interest of my own professional academic career.

A detailed clarification of specific points to which they objected and misunderstandings of my position would be too extensive to undertake here. Further- more, no willingness to accept constructive intel- lectual dialogue is indicated. Therefore, I would say simply that I agree heartily with their closing 'impassioned plea for the greatest possible respect for man', as well as for broader and deeper under- standing of his immaturities. Latterday discoveries about 'the child of and in man' can certainly be quite helpful, if applied with sufficiently deep com- prehension and awareness.

Lincoln Rothschild 63 Livingston Avenue

Dobbs Ferry, N. Y. 10522, U.S.A.

ON BOOK REVIEWS

'De Stijl'

Concerning the review by Alan C. Birnholz (Leonardo 5, 266 (1972)) of my book, there are two minor points I would like to make. He says 'who has chosen to summarize . . .'. This was by no means my choice but the formula of the series of books published by DuMont Schauberg. The second and more important point is that Peter Alma has never belonged to De Stijl. His activities as an inter- mediary between De Stijl and Soviet artists took place outside the group and have caused serious disputes.










ON BOOK REVIEWS

'De Stijl'











ON BOOK REVIEWS

'De Stijl'











ON BOOK REVIEWS

'De Stijl'











ON BOOK REVIEWS

'De Stijl'


Hans L. C. Jaffe Nieuwe Prinsengracht 17

Amsterdam C, Holland









'A Measure of Knowledge'

The review by James W. Davies of my book (Leonardo 5, 357 (1972)) captures the essence of the theory of knowledge and the discovery of the re- lationship between knowledge and energy that are reported in the book. The essence being summed up in my statement, 'an individual's knowledge is directly proportional to its capacity to direct energy'. However, there are a few points in the review that required clarification.

Davis reports my position to be 'that knowledge may be measured through the direction and exchange of energy between bodies in their pursuit of survival'. Proof was given in the book that knowledge may be measured by determining the amount of energy directed by a substance. This includes all the energy directed by the substance, not just that directed in the exchange of energy between bodies.

He states that perhaps one can question the axiom that the knowledge of a substance is equal to or greater than zero. This axiom is based on the statement that zero knowledge means that there is no capacity to direct energy and that absolute energy is always equal to or greater than zero. That is, there is no concept of negative absolute energy. Davis states: 'Perhaps one can question this postulate as applied to life sustaining systems, for under it the directing of energy may occur only with a partial regard of the energy potential of another given substance. The manifestation of knowledge as a prevalence of one energy source over another in a system, such as in parasitic activity, may be observed to reinforce the prominence of a given particle and, in some of these instances, negates the energy potential as well as the energy duration of another.' The postulate referred to by Davis is that, as in the physical sciences, absolute energy is positive. His argument is not valid for the following reasons. His statement that the directing of energy 'only with a partial regard of the energy potential of another given substance' implies relative energy levels and not absolute energy, which is the basis of my argument. The negation of the energy of one substance with respect to another as stated by Davis only implies that, at most, the substance energy reduces to zero-not a negative absolute energy.

James R. Simms 7413 Meadow View Circle

Clarksville, Maryland 21029, U.S.A.

'Art and Aesthetics in Primitive Societies'

I am glad Jack D. Flam found the articles interes- ting in my anthology (Leonardo 5, 363 (1972)). I am sorry that it escaped him that they were also carefully selected as the best and most representative examples to illustrate the diversity and complexity of the study of the art of non-literate peoples. The
































I am glad Jack D. Flam found the articles interes- ting in my anthology (Leonardo 5, 363 (1972)). I am sorry that it escaped him that they were also carefully selected as the best and most representative examples to illustrate the diversity and complexity of the study of the art of non-literate peoples. The book was not designed to be the last word on the subject but, instead, its primary purpose was to bring together these heretofore fairly inaccessible, yet

book was not designed to be the last word on the subject but, instead, its primary purpose was to bring together these heretofore fairly inaccessible, yet




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important pieces, in order to provide supplementary reading and models for further research to students and accounts of specific investigations to interested amateurs.

I concede that 'Introduction' may be too preten- tious a term for the modest foreword I intended but the 'overview or synthesis' that Flam prefers, unless simplistic, was not possible within the limits of the book and, at this stage of the research, it seems to me would only repeat what has been covered elsewhere.

Carol F. Jopling 260 Beacon Street

Boston, Mass. 02116, U.S.A.

That the editor of an anthology would carefully select articles that he judged to be 'the best and most representative' examples available seems to be self- evident; as does the fact that such judgements are not always universally shared. The words 'best' and 'most representative', furthermore, are not absolutes and beg the question 'toward what end ?'-especially in relation to a book like Jopling's, which has a rather definite title but a somewhat indefinite focus. Had the book been more modestly titled (something like 'Readings in . . .' or 'Approaches to Primitive Art and Culture'), the reader might not have been so disappointed. But 'Art and Aesthetics in Primitive Societies' is indeed an ambitious and explicit title; one which, as I noted in my review, the contents of the book do not justify.

Given the complex nature of the book, it does not seem unreasonable for the reader to expect a thoughtful introduction to such a critical anthology.

Jack D. Flam 5 rue des Chantiers 75-Paris 5, France

'Computers in Visual Communication'

Whilst grateful for Dick Land's review of the Symposium Proceedings of the SIAD/STD Typog- raphers' Computer Working Group in Leonardo 5, 369 (1972), he is inaccurate in maintaining that typography is the focus of all the papers. The paper by Gordon Wright, Director of the National Reprographic Centre for Documentation, dealt with microrecording as a medium for original publication and the paper by Ernest Hoch, Chairman of the Icograda Commission on Standardisation, on the implications for the design profession, referred to and was accompanied by computer-generated films. Both of these papers covered much wider fields than typography, print design and the incor- poration of computer technology in print media



























Whilst grateful for Dick Land's review of the Symposium Proceedings of the SIAD/STD Typog- raphers' Computer Working Group in Leonardo 5, 369 (1972), he is inaccurate in maintaining that typography is the focus of all the papers. The paper by Gordon Wright, Director of the National Reprographic Centre for Documentation, dealt with microrecording as a medium for original publication and the paper by Ernest Hoch, Chairman of the Icograda Commission on Standardisation, on the implications for the design profession, referred to and was accompanied by computer-generated films. Both of these papers covered much wider fields than typography, print design and the incor- poration of computer technology in print media production.

Your reviewer's opinion that today's reader would better spend his time on more recent literature should

production. Your reviewer's opinion that today's reader would

better spend his time on more recent literature should





be weighed against the fact that his review appeared four-and-a-half years after the event took place.

Maurice Goldring, Chairman SIAD/STD Typographers' Computer Working Group

4 Gayton Crescent, Hampstead London NW3 ITT, England

'The Hidden Dimension'

Art Brenner's review in Leonardo 5, 370 (1972) is honest and fair, and covers many of the important points in my book. He also caught a good deal of its flavour. There is an error in the book that he repeats. 'Population sink' should be corrected to read 'behavioural sink', a term coined by Calhoun to describe pathological conditions that occurred when rats were allowed to breed at will, with enough food, water and nesting materials to satisfy their needs but with a limited amount of space.

The point I wish to make is also that those who control the money often do not understand people and people's needs. That is, one does not have to mix cultures in order to make architectural mistakes. I am thinking of the North German need for auditory privacy that recently made the news when an un- married school teacher was brought into court because her cries of sexual ecstasy interfered with the sleep of other tenants in a thin-walled building. The court upheld her right to privacy but failed to mention that it was the architect or builder who should have been on trial.

Edward T. Hall Department of Anthropology

Northwestern University Evanston, Ill. 60201, U.S.A.

'The Nature and Art of Workmanship'

The review by Mike Nevelson of my book (Leonardo 5, 371 (1972)) does not seem to me to explain what the book is about. The gist of it is the following:

1. The visual quality of the man-made environ- ment depends not merely on its design but very largely on its workmanship also.

2. The dividing line between design and workmanship is distinct.

3. There is not and never has been (in most trades) any possibility of working either 'by hand' or 'by machine'.

4. There are two ways of making things: by the 'workmanship of certainty', usually mass production, or by the 'workmanship of risk', usually 'one-off' or short-series work. Either way may result in work whose character and aesthetic quality is 'free' on the one hand or 'regulated' on the other.











































The technical terms I use above are defined and illustrated in the book, which of course discusses




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art and aesthetics in primitive societies

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