Transportation Made Sublimation Literal. It Conveyed Evil

Far From Affording Artists Continuous Inspiration, Mass-media Sources For Art Have Become A Dead End. They Have Combined With The Abstractness Of Institutional Art Teaching To Produce A Fine-arts Culture Given Over To Information And Not Experience. This Faithfully Echoes The Drain Of Concreteness From Modern Existence- The Reign Of Mere Unassimilated Data Instead Of Events That Gain Meaning By Being Absorbed Into The Fabric Of Imaginative Life.

Landscape Is To American Painting What Sex And Psychoanalysis Are To The American Novel.

We Have Entered A Period Of Intolerance Which Combines, As It Sometimes Does In America, With A Sugary Taste For Euphemism.

But The Existence Of A Cult Does Not Mean That Images Appropriate To It Automatically Follow.

For The Machine Meant The Conquest Of Horizontal Space. It Also Meant A Sense Of That Space Which Few People Had Experienced Before – The Succession And Superimposition Of Views, The Unfolding Of Landscape In Flickering Surfaces As One Was Carried Swiftly Past It, And An Exaggerated Feeling Of Relative Motion (the Poplars Nearby Seeming To Move Faster Than The Church Spire Across The Field) Due To Parallax. The View From The Train Was Not The View From The Horse. It Compressed More Motifs Into The Same Time. Conversely, It Left Less Time In Which To Dwell On Any One Thing.