Leonardo

Teaching Secondary School ArtAuthor(s): Earl W. LindermanSource: Leonardo, Vol. 7, No. 2 (Spring, 1974), p. 189Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572834 .

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Letters Letters Letters Letters

effects of time and distance give me an objectivity that I might otherwise lack.

Harold Cousins 46 Place du Chdtelain

Brussels 5 Belgium

Allan Shield's attempt to show that there is not a 'black' aesthetics (Leonardo 6, 319 (1973)) gives the im- pression that there is no aesthetics of any kind. His reliance on the universal character of creativity negates the importance of ethnic contributions, particularly those of the black peoples. For example, he states: 'Knowing that a dance is "black" does not allow one to infer anything else significantly about the work in advance of seeing the work performed' (p. 320). But is this true? If I am going to attend a dance perform- ance by a group from Mali or Ghana, I expect it to be significantly different from one, say, by the British Royal Ballet.

In spite of Shield's arguments, I believe there is an aesthetic that informs the art works of black peoples just as is the case for those of other peoples. In ancient Benin's 'Street of the Sculptors', the craft of sculpture continued over many years with clear, if unwritten, formulations of methods and of aesthetics. That the art of one African tribe can be so radically different from that of another seems to me to mean only that it was derived from philosophies differing on the nature of life and of art.

During the 1920's and 1930's in America, one who knew jazz well could recognize in what tradition a side- man had been schooled-whether of New Orleans, Kansas City or Chicago. One might add that jazz was a response of black musicians to the American environ- ment, not an extension of the Negro culture of Africa, as Shields states (p. 319). Many white musicians emu- lated the manner of the black jazz musical form, since aesthetic formulations derive from cultural responses not from inherent racial endowments. But it is not fair for Shields to say that 'obviously, George Gershwin was no black but, equally obviously, he has written a black opera' (p. 321)-he did not. He availed himself of one of the cultural traditions in America among several, including the Indian, the Anglo-Saxon and the Negro.

No aesthetician, to my knowledge, has analyzed the influence of the jazz idiom (or what I would call jazz aesthetics) on Abstract Impressionism in American painting, with its emphasis on improvisation within clusters of patterns. Such a study would be of much interest to me.

I agree with Shields that 'it is impressive just how recalcitrant are the problems and arguments of the theory of art' (p. 321). But, to paraphrase Goethe, gray is all theory but green the ever blooming tree of life.

Romare H. Bearden 357 Canal St.

New York, NY 10013 U.S.A.

Romare Bearden's response [above] to the arguments in my article (in Leonardo 6, 319 (1973)) was predict- able. The article, in the first paragraph, predicts it and further affirms the very real difficulty of making,

effects of time and distance give me an objectivity that I might otherwise lack.

Harold Cousins 46 Place du Chdtelain

Brussels 5 Belgium

Allan Shield's attempt to show that there is not a 'black' aesthetics (Leonardo 6, 319 (1973)) gives the im- pression that there is no aesthetics of any kind. His reliance on the universal character of creativity negates the importance of ethnic contributions, particularly those of the black peoples. For example, he states: 'Knowing that a dance is "black" does not allow one to infer anything else significantly about the work in advance of seeing the work performed' (p. 320). But is this true? If I am going to attend a dance perform- ance by a group from Mali or Ghana, I expect it to be significantly different from one, say, by the British Royal Ballet.

In spite of Shield's arguments, I believe there is an aesthetic that informs the art works of black peoples just as is the case for those of other peoples. In ancient Benin's 'Street of the Sculptors', the craft of sculpture continued over many years with clear, if unwritten, formulations of methods and of aesthetics. That the art of one African tribe can be so radically different from that of another seems to me to mean only that it was derived from philosophies differing on the nature of life and of art.

During the 1920's and 1930's in America, one who knew jazz well could recognize in what tradition a side- man had been schooled-whether of New Orleans, Kansas City or Chicago. One might add that jazz was a response of black musicians to the American environ- ment, not an extension of the Negro culture of Africa, as Shields states (p. 319). Many white musicians emu- lated the manner of the black jazz musical form, since aesthetic formulations derive from cultural responses not from inherent racial endowments. But it is not fair for Shields to say that 'obviously, George Gershwin was no black but, equally obviously, he has written a black opera' (p. 321)-he did not. He availed himself of one of the cultural traditions in America among several, including the Indian, the Anglo-Saxon and the Negro.

No aesthetician, to my knowledge, has analyzed the influence of the jazz idiom (or what I would call jazz aesthetics) on Abstract Impressionism in American painting, with its emphasis on improvisation within clusters of patterns. Such a study would be of much interest to me.

I agree with Shields that 'it is impressive just how recalcitrant are the problems and arguments of the theory of art' (p. 321). But, to paraphrase Goethe, gray is all theory but green the ever blooming tree of life.

Romare H. Bearden 357 Canal St.

New York, NY 10013 U.S.A.

Romare Bearden's response [above] to the arguments in my article (in Leonardo 6, 319 (1973)) was predict- able. The article, in the first paragraph, predicts it and further affirms the very real difficulty of making,

effects of time and distance give me an objectivity that I might otherwise lack.

Harold Cousins 46 Place du Chdtelain

Brussels 5 Belgium

Allan Shield's attempt to show that there is not a 'black' aesthetics (Leonardo 6, 319 (1973)) gives the im- pression that there is no aesthetics of any kind. His reliance on the universal character of creativity negates the importance of ethnic contributions, particularly those of the black peoples. For example, he states: 'Knowing that a dance is "black" does not allow one to infer anything else significantly about the work in advance of seeing the work performed' (p. 320). But is this true? If I am going to attend a dance perform- ance by a group from Mali or Ghana, I expect it to be significantly different from one, say, by the British Royal Ballet.

In spite of Shield's arguments, I believe there is an aesthetic that informs the art works of black peoples just as is the case for those of other peoples. In ancient Benin's 'Street of the Sculptors', the craft of sculpture continued over many years with clear, if unwritten, formulations of methods and of aesthetics. That the art of one African tribe can be so radically different from that of another seems to me to mean only that it was derived from philosophies differing on the nature of life and of art.

During the 1920's and 1930's in America, one who knew jazz well could recognize in what tradition a side- man had been schooled-whether of New Orleans, Kansas City or Chicago. One might add that jazz was a response of black musicians to the American environ- ment, not an extension of the Negro culture of Africa, as Shields states (p. 319). Many white musicians emu- lated the manner of the black jazz musical form, since aesthetic formulations derive from cultural responses not from inherent racial endowments. But it is not fair for Shields to say that 'obviously, George Gershwin was no black but, equally obviously, he has written a black opera' (p. 321)-he did not. He availed himself of one of the cultural traditions in America among several, including the Indian, the Anglo-Saxon and the Negro.

No aesthetician, to my knowledge, has analyzed the influence of the jazz idiom (or what I would call jazz aesthetics) on Abstract Impressionism in American painting, with its emphasis on improvisation within clusters of patterns. Such a study would be of much interest to me.

I agree with Shields that 'it is impressive just how recalcitrant are the problems and arguments of the theory of art' (p. 321). But, to paraphrase Goethe, gray is all theory but green the ever blooming tree of life.

Romare H. Bearden 357 Canal St.

New York, NY 10013 U.S.A.

Romare Bearden's response [above] to the arguments in my article (in Leonardo 6, 319 (1973)) was predict- able. The article, in the first paragraph, predicts it and further affirms the very real difficulty of making,

effects of time and distance give me an objectivity that I might otherwise lack.

Harold Cousins 46 Place du Chdtelain

Brussels 5 Belgium

Allan Shield's attempt to show that there is not a 'black' aesthetics (Leonardo 6, 319 (1973)) gives the im- pression that there is no aesthetics of any kind. His reliance on the universal character of creativity negates the importance of ethnic contributions, particularly those of the black peoples. For example, he states: 'Knowing that a dance is "black" does not allow one to infer anything else significantly about the work in advance of seeing the work performed' (p. 320). But is this true? If I am going to attend a dance perform- ance by a group from Mali or Ghana, I expect it to be significantly different from one, say, by the British Royal Ballet.

In spite of Shield's arguments, I believe there is an aesthetic that informs the art works of black peoples just as is the case for those of other peoples. In ancient Benin's 'Street of the Sculptors', the craft of sculpture continued over many years with clear, if unwritten, formulations of methods and of aesthetics. That the art of one African tribe can be so radically different from that of another seems to me to mean only that it was derived from philosophies differing on the nature of life and of art.

During the 1920's and 1930's in America, one who knew jazz well could recognize in what tradition a side- man had been schooled-whether of New Orleans, Kansas City or Chicago. One might add that jazz was a response of black musicians to the American environ- ment, not an extension of the Negro culture of Africa, as Shields states (p. 319). Many white musicians emu- lated the manner of the black jazz musical form, since aesthetic formulations derive from cultural responses not from inherent racial endowments. But it is not fair for Shields to say that 'obviously, George Gershwin was no black but, equally obviously, he has written a black opera' (p. 321)-he did not. He availed himself of one of the cultural traditions in America among several, including the Indian, the Anglo-Saxon and the Negro.

No aesthetician, to my knowledge, has analyzed the influence of the jazz idiom (or what I would call jazz aesthetics) on Abstract Impressionism in American painting, with its emphasis on improvisation within clusters of patterns. Such a study would be of much interest to me.

I agree with Shields that 'it is impressive just how recalcitrant are the problems and arguments of the theory of art' (p. 321). But, to paraphrase Goethe, gray is all theory but green the ever blooming tree of life.

Romare H. Bearden 357 Canal St.

New York, NY 10013 U.S.A.

Romare Bearden's response [above] to the arguments in my article (in Leonardo 6, 319 (1973)) was predict- able. The article, in the first paragraph, predicts it and further affirms the very real difficulty of making, marking and maintaining the distinction between the two meanings of 'black aesthetics'. In short, what Bearden asserts is in complete agreement with the argument of the article in the sense that there are

marking and maintaining the distinction between the two meanings of 'black aesthetics'. In short, what Bearden asserts is in complete agreement with the argument of the article in the sense that there are

marking and maintaining the distinction between the two meanings of 'black aesthetics'. In short, what Bearden asserts is in complete agreement with the argument of the article in the sense that there are

marking and maintaining the distinction between the two meanings of 'black aesthetics'. In short, what Bearden asserts is in complete agreement with the argument of the article in the sense that there are

unique qualities inherent in black art, there is a black aesthetic. But this is a trivial observation about any cultural effect. The root epistemological problem is to see how a theory of aesthetics cannot issue from a narrow, cultural relativism transformed into a political- social doctrine. Knowledge hangs higher than that. Bearden fails to grasp the basic distinction made.

It is, of course, false that the article '... attempts to show that there is not a "black" aesthetics . . .' and most certainly does not '. .. give the impression that there is no aesthetics of any kind'.

The article was a strange one to write, for it fails in three ways (also predicted): (1) for aestheticians, the distinction is so elementary and truistic that there is no apparent reason for writing the arguments, (2) for the theoretically uninitiated such arguments cannot be registered so laconically and tersely, and (3) for a common sense and currently ubiquitous (and uncritical) view of 'black aesthetics', since the view is motivated out of a political-social consciousness among whites, blacks and others, there is only small hope that a logical analysis of a concept will overcome it. I tried to do what philosophy does best: to clarify a concept. I believe the article does succeed in that respect.

Allan Shields Dept. of Philosophy

California State University San Diego, CA 92115

U.S.A.

6N BOOK REVIEWS

'Holography'

I should like to reply to the comments in H. Arthur Klein's letter (Leonardo 7, 94 (1974)) on my review of his book in Leonardo 6, 270 (1973). I am glad that he has made the point that the concept of negative and positive is really irrelevant in holography but I think that his second comment is misleading. The use of modulated reference beam holography to 'trace patterns of sound vibrations' is not acoustical holo- graphy. In acoustical holography, sound waves are used in place of light waves. His third point does not affect what I said in my review.

Margaret Benyon 60 Ditchling Rise, Flat 1

Brighton BN1 4QP England

'Teaching Secondary School Art'

I am pleased that David Friend in his review of my book in Leonardo 6, 377 (1973) has such fine and per- ceptive insight regarding its intent. May I also say that I respect the high quality of your publication in bringing such educational information before your readers. I believe that art begins in secondary schools and it is there that aesthetic sensitivity to art and, indeed, one's cultural life really begins. Through Leonardo and other high quality journals on art the artistic eye of man has an opportunity to develop.

Earl W. Linderman 6702 E. McDonald Drive

Paradise Valley, AZ85253 U.S.A.

unique qualities inherent in black art, there is a black aesthetic. But this is a trivial observation about any cultural effect. The root epistemological problem is to see how a theory of aesthetics cannot issue from a narrow, cultural relativism transformed into a political- social doctrine. Knowledge hangs higher than that. Bearden fails to grasp the basic distinction made.

It is, of course, false that the article '... attempts to show that there is not a "black" aesthetics . . .' and most certainly does not '. .. give the impression that there is no aesthetics of any kind'.

The article was a strange one to write, for it fails in three ways (also predicted): (1) for aestheticians, the distinction is so elementary and truistic that there is no apparent reason for writing the arguments, (2) for the theoretically uninitiated such arguments cannot be registered so laconically and tersely, and (3) for a common sense and currently ubiquitous (and uncritical) view of 'black aesthetics', since the view is motivated out of a political-social consciousness among whites, blacks and others, there is only small hope that a logical analysis of a concept will overcome it. I tried to do what philosophy does best: to clarify a concept. I believe the article does succeed in that respect.

Allan Shields Dept. of Philosophy

California State University San Diego, CA 92115

U.S.A.

6N BOOK REVIEWS

'Holography'

I should like to reply to the comments in H. Arthur Klein's letter (Leonardo 7, 94 (1974)) on my review of his book in Leonardo 6, 270 (1973). I am glad that he has made the point that the concept of negative and positive is really irrelevant in holography but I think that his second comment is misleading. The use of modulated reference beam holography to 'trace patterns of sound vibrations' is not acoustical holo- graphy. In acoustical holography, sound waves are used in place of light waves. His third point does not affect what I said in my review.

Margaret Benyon 60 Ditchling Rise, Flat 1

Brighton BN1 4QP England

'Teaching Secondary School Art'

I am pleased that David Friend in his review of my book in Leonardo 6, 377 (1973) has such fine and per- ceptive insight regarding its intent. May I also say that I respect the high quality of your publication in bringing such educational information before your readers. I believe that art begins in secondary schools and it is there that aesthetic sensitivity to art and, indeed, one's cultural life really begins. Through Leonardo and other high quality journals on art the artistic eye of man has an opportunity to develop.

Earl W. Linderman 6702 E. McDonald Drive

Paradise Valley, AZ85253 U.S.A.

unique qualities inherent in black art, there is a black aesthetic. But this is a trivial observation about any cultural effect. The root epistemological problem is to see how a theory of aesthetics cannot issue from a narrow, cultural relativism transformed into a political- social doctrine. Knowledge hangs higher than that. Bearden fails to grasp the basic distinction made.

It is, of course, false that the article '... attempts to show that there is not a "black" aesthetics . . .' and most certainly does not '. .. give the impression that there is no aesthetics of any kind'.

The article was a strange one to write, for it fails in three ways (also predicted): (1) for aestheticians, the distinction is so elementary and truistic that there is no apparent reason for writing the arguments, (2) for the theoretically uninitiated such arguments cannot be registered so laconically and tersely, and (3) for a common sense and currently ubiquitous (and uncritical) view of 'black aesthetics', since the view is motivated out of a political-social consciousness among whites, blacks and others, there is only small hope that a logical analysis of a concept will overcome it. I tried to do what philosophy does best: to clarify a concept. I believe the article does succeed in that respect.

Allan Shields Dept. of Philosophy

California State University San Diego, CA 92115

U.S.A.

6N BOOK REVIEWS

'Holography'

I should like to reply to the comments in H. Arthur Klein's letter (Leonardo 7, 94 (1974)) on my review of his book in Leonardo 6, 270 (1973). I am glad that he has made the point that the concept of negative and positive is really irrelevant in holography but I think that his second comment is misleading. The use of modulated reference beam holography to 'trace patterns of sound vibrations' is not acoustical holo- graphy. In acoustical holography, sound waves are used in place of light waves. His third point does not affect what I said in my review.

Margaret Benyon 60 Ditchling Rise, Flat 1

Brighton BN1 4QP England

'Teaching Secondary School Art'

I am pleased that David Friend in his review of my book in Leonardo 6, 377 (1973) has such fine and per- ceptive insight regarding its intent. May I also say that I respect the high quality of your publication in bringing such educational information before your readers. I believe that art begins in secondary schools and it is there that aesthetic sensitivity to art and, indeed, one's cultural life really begins. Through Leonardo and other high quality journals on art the artistic eye of man has an opportunity to develop.

Earl W. Linderman 6702 E. McDonald Drive

Paradise Valley, AZ85253 U.S.A.

unique qualities inherent in black art, there is a black aesthetic. But this is a trivial observation about any cultural effect. The root epistemological problem is to see how a theory of aesthetics cannot issue from a narrow, cultural relativism transformed into a political- social doctrine. Knowledge hangs higher than that. Bearden fails to grasp the basic distinction made.

It is, of course, false that the article '... attempts to show that there is not a "black" aesthetics . . .' and most certainly does not '. .. give the impression that there is no aesthetics of any kind'.

The article was a strange one to write, for it fails in three ways (also predicted): (1) for aestheticians, the distinction is so elementary and truistic that there is no apparent reason for writing the arguments, (2) for the theoretically uninitiated such arguments cannot be registered so laconically and tersely, and (3) for a common sense and currently ubiquitous (and uncritical) view of 'black aesthetics', since the view is motivated out of a political-social consciousness among whites, blacks and others, there is only small hope that a logical analysis of a concept will overcome it. I tried to do what philosophy does best: to clarify a concept. I believe the article does succeed in that respect.

Allan Shields Dept. of Philosophy

California State University San Diego, CA 92115

U.S.A.

6N BOOK REVIEWS

'Holography'

I should like to reply to the comments in H. Arthur Klein's letter (Leonardo 7, 94 (1974)) on my review of his book in Leonardo 6, 270 (1973). I am glad that he has made the point that the concept of negative and positive is really irrelevant in holography but I think that his second comment is misleading. The use of modulated reference beam holography to 'trace patterns of sound vibrations' is not acoustical holo- graphy. In acoustical holography, sound waves are used in place of light waves. His third point does not affect what I said in my review.

Margaret Benyon 60 Ditchling Rise, Flat 1

Brighton BN1 4QP England

'Teaching Secondary School Art'

I am pleased that David Friend in his review of my book in Leonardo 6, 377 (1973) has such fine and per- ceptive insight regarding its intent. May I also say that I respect the high quality of your publication in bringing such educational information before your readers. I believe that art begins in secondary schools and it is there that aesthetic sensitivity to art and, indeed, one's cultural life really begins. Through Leonardo and other high quality journals on art the artistic eye of man has an opportunity to develop.

Earl W. Linderman 6702 E. McDonald Drive

Paradise Valley, AZ85253 U.S.A.

'The Concept of Art'

I wish to comment on Donald Brook's review of my book in Leonardo 7, 74 (1974). Brook's review is, in

'The Concept of Art'

I wish to comment on Donald Brook's review of my book in Leonardo 7, 74 (1974). Brook's review is, in

'The Concept of Art'

I wish to comment on Donald Brook's review of my book in Leonardo 7, 74 (1974). Brook's review is, in

'The Concept of Art'

I wish to comment on Donald Brook's review of my book in Leonardo 7, 74 (1974). Brook's review is, in

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