comments about history comments | happened to -have just read that preceding article on the views about art history. (actually the only time | have a chance to read any of the paper, is when | type things in myself, so I'll take the liberty of interjecting before it hits the press.) I've got a few comments of my own to put in here. |, for one, have fallen asleep many a time in my four years at this institution in Art History. And yes, there unequivocally are people who don't fall asleep in those classes. Usually they are the ones in the front row breaking their necks looking up at the seemingly endless amount of slides on the wall. They happen to be the only ones that are interested (only a general comment & observation). | commend them on really being able to get something out of those classes, despite the usually dreary atmosphere, and presentation. (Don’t get me wrong, a few instructors are pretty good), but | know I’ve never met anyone more boring than Barbara Demott. | feel she has almost totally wrecked my interest in non-western art. Kind of sad really, but the word 4 just finished another endless art history class. Artis something people felt passion for, art history is about as interesting as watching paint dry. My dictionary defines history as “systematic or critical analysis of, or research into, past events...”how is memorising names and dates, long enough to take a test, “critical analysis” or “research”? Most students write essays, or have someone write it, not to learn anything, but to get it over with. The apathy that Jen Parkins wrote about in the last issue of the paper is caused, partly, by taking courses no one cares about. The instructors seem bored, the students are certainly bored, is there anyone who hasn't spent time sleeping in room-260? Why not teach art history in studio classrooms? Smaller groups, encour- Jaguar will never have the same meaning to me ever again. (If you don’t know what I’m talking about, there still might be hope for you.) Now the idea of individual instruc- tors teaching history probably wouldn't be a good idea, because more than likely they didn’t have any interest in it and would do a very poor job. Making people take courses that they don't like gives the student very poor incentive to pursue the material. Just think to yourself which classes you do the best work in. —But you always have to remem- age questions, and argument about the answers, more of that “critical analysis” in the definition of history. Why don’t the instructors who teach studio classes teach history as well? If they don’t remember any, maybe art history isn’t as important as we've been led to believe. This would mean the relation- ship between the history of art and what the students are producing would be much easier to see. (Gee Ralph that looks just like Marvin Minski’s “Green hose in a blue room’) It would also mean students feel some of that - passion, and far less apathy would result. Gee, even | might like art history class. Robin Hutchinson ber that you can’t become interested in something if you've never tried it. Certain things are an acquired taste. Don't try and cut down on your oppor- tunities, and experiences, you'll never know what you might have missed. —Keven Fedirko comments about history ‘comments, | happened to have just read that preceding article on the views about art history. (actually the only time I have a chance to read any of the paper, is when | type things in myself, soil take the liberty of interjecting before it its the press.) Tye got a few comments of my ‘own to put in here. |, for one, have fallen asleep many a time in my four years at this institution in Art History. ‘And yes, there unequivocally are people who don fall asleep in those classes. Usually they are the ones in the front row breaking their necks looking up at the seemingly endless ‘amount of slides on the wall. They happen to be the only ones that are interested (only a general comment & observation). | commend them on really being able to get something out of those classes, despite the usually dreary atmosphere, and presentation. (Don't get me wrong, a few instructors are pretty good), but | know I've never ‘met anyone more boring than Barbara Demott. I feel she has almost totally ‘wrecked my interest in non-western art. Kind of sad really, but the word just finished another endless art history class. Artis something people felt passion for, art history is about as Interesting as watching paint dry ‘My dictionary defines history as “systematic or ertical analysis of, or research into, past events...”how is memorising names and dates, long enough to take a test, “critical analysis” or “research”? Most students write ‘essays, or have someone write it, not to learn anything, but to get it over with. ‘The apathy that Jen Parkins wrote ‘about in the last issue of the paper is caused, party, by taking courses no one cares about. The instructors seem bored, the students are certainly bored, ig there anyone who hasn't spent time sleeping in room 260? ‘Why not teach art history in studio classrooms? Smaller groups, enoour- Jaguar will never have the same ‘meaning to me ever again. (If you ‘don’t know what I'm talking about, there stil might be hope for you.) Now the idea of individual instruc- tors teaching history probably wouldn't be a good idea, because more than likely they didn’t have any interest in it and would do a very poor job. ‘Making people take courses that they don’ like gives the student very Poor incentive to pursue the material. Just think to yourself which classes yyou do the best work in, —But you always have to remem- ‘age questions, and argument about the answers, more of that “critical analysis” in the definition of history. Why don't the instructors who teach studio classes teach history as well? If they don't remember any, maybe art history isn't as important as we've been led to believe. This would mean the relation- ship between the history of art and what the students are producing would be much easier to see. (Gee Ralph ‘that looks just like Marvin Minski's, “Green hose in a blue room’) it would also mean students feel some of that passion, and far less apathy would result. Gee, even | might like art history class. Robin Hutchinson ber that you can't become interested in something if you've never tried it. Certain things are an acquired taste Don't try and cut down on your oppor tunities, and experiences, you'll never know what you might have missed. —Keven Fedirko