Don Fuller For anyone interested in showing their. . . For anyone interested in showing their work, there is space now available in the second-floor lobby of the Queen Elizabeth Playhouse. The shows will rotate on approximately a monthly basis and will be hung during the days when the stage sets for changing plays are also put up. Everything is being organized through the Helen Pitt Gallery so if you want to be involved, take your work there, specific deadlines will soon be made available. Work will be chosen by an alternating jury of students of which ° you can become a part, but no one on the jury can have their work included in the judging. We will ask those people whose work is accepted to help out in hanging the show and/or to spend an afternoon curating the Helen Pitt. We would like to extend our thanks to Cameron Porteous, designer for the Playhouse, he has made this space available to us on an indefinite basis. It is part of his plan to make the Playhouse lobby area less of a barren waste. typesetting by MAKARA Publishing & Design printing by Press Gang Publishers The necessity of living poetically in an electronic age. The following piece is an edited version of a lecture, given by film maker James Broughton, to the American Craftsman’s Council, October 11, 1968. —Reprinted from FILM CULTURE, Number 61, 1975. What am I doing here? What are we all doing here? When I told my wife that I had been invited to address the American Craftsman’s Council, she said, “Hubby, you don’t know anything about crafts. What could you pos- sibly say to all those experts?” I replied, “Ihave no idea.” I have only practiced the crafts of poetry, play-writing and film-making. But those would never qualify for such an august body as the A.C.C. I worried about this for some time and then, as I always do in times of confusion, I consulted my una- bridged Webster’s. 1 discovered that craft is defined as guile. Well, that I know, as well as you do. Every artist practicing his alchemy in private needs to be crafty — he is a potential heretic and revolutionary. We all need to be “as subtle as the serpent and as gentle as the dove.” Webster also said a craftsman is “sometimes an artist or writer.’’ That made me feel more reassured. I felt con- fident I could at least read you a poem or two if all else failed. All of us are poets. In the electronic age our major task is to be better poets than ever and above all to live poetically. So I come to you in the guise of the poet to speak of our world and our craft. This is apt to sound a bit goofy. The universe may look sane and orderly to the scientist but to the poet, like the lover, it is delight- fully lunatic and an absolute confusion. When Cocteau lectured at Oxford he spoke on the advisability of poets remaining invisible. Appearing in public made them appear less mysterious and magical. After all, artists are servants of the unseen and the unno- ticed, the unseeable and the unspeakable. Rightly enough, we are all invisible, it is by our fruits that we are known. Yet Cocteau was curious to see what Oxford was like. So it is with me. I was curious to come see this distinguished group of guileful persons. We all have to get to know one another these days, cross all kinds of barriers, now that it is imperative for us to mix our media. I confess, I am here to acquire a little more multi for my media. At S.F. State College I teach in the so-called Interdis- ciplinary Program of the School of Creative Arts. This is devoted to running everything together: not only inter- relating all the arts with one another but with everything else as well — philosophy, archeology, psychology, anthro- pology, social science and gym. To say nothing of every- thing else we have to take into account nowadays, like sensory awareness, meditation, group encounter, happen- ings, and trips of all sorts. We even give assignments asking students to think up the most unlikely combina- tions of media mixed. Like it or not, we’re all in it together. Everything is connected, as it always has been. This is only now being acknowledged. Of course, we all want to communicate as artists. We want someone or something to respond to our discoveries or insights. The more original or distinctive we are, the fewer we communicate with. We are lucky if one person, some day, is enchanted by our message and responds to it. Most of the time it would be like calling up all the persons in the telephone book and always getting a busy signal or a wrong number. Is all art really classifiable as information? This may be true of so-called mass media, but I have yet to be convinced that the important individual work of art falls into that category. In any case, the majority of people have nothing to communicate, except their complaints that the world is not the way they think it ought to be. Of that we hear plenty. This is, of course, what keeps everyone busy, because it is a psychological truism that the human being is never satisfied. Most people don’t bother to use their heads. think with their tongues. Maybe poets should set a good example. If not invisible, maybe they should be speech- less. Pascal said, ‘‘All the troubles of man come from his unwillingness to be alone with himself.’’ Do you think there is any hope of freeing us from the increasing roar and blather of talk which gets louder and thicker every year? Do you think it would help if we’d introduce wide- spread courses in meditation into all our schools? We might even make it into a major subject. Poets are too illogical and inconsistent to be speech- They pO SHALE ‘ebhbk Boy GCOuAnceN NEED Le a eo NOT NoES A wos EL MANAGEME N ai COURSE, HE HASN | ran ortvodd aye a Ut eeMb ayy rf Ae TU (densa bea AS hihi ili ae lll ADVI SED er INNIS PED \S A HOT ‘A Ti, See. SAY GY LET 5 GO amy AUT OUGE HE ene 1" = THAT HE HAS APPLCO FO VOTRE CU sa AND ie WE 7b ARE U4 - \ COME NEA neo SRALL Pr ceo eens Lys -—= I~—_< x SESAME ss. Don Fuller For anyone interested in showing their. . . For anyone interested in showing their work, there is space now available in the second-floor lobby of the Queen Elizabeth Playhouse. The shows will rotate on approximately a monthly basis and will be hung during the days when the stage sets for changing plays are also put up. Everything is being organized through the Helen Pitt Gallery 50 if you want to be involved, take your work there, specific deadlines will soon be made available. Work will be chosen by an alternating jury of students of which ‘you ean become a part, but no one on the jury can have their work included in the judging. We will ask those people whose work is accepted to help out in hanging the show and/or to spend an afternoon curating the Helen Pitt, We would ike to extend our thanks to Cameron. Porteous, designer for the Playhouse, he has made this space available to us on an indefinite basis. It is part of, his plan to make the Playhouse lobby area less of a barren waste typesetting by MAKARA Publishing & Design printing by Press Gang Publishers The necessity of living poetically in an electronic age. The following piece is an edited version of a lecture, given’ by film maker. James Broughton, to the American Craftsman’s Council, October 11, 1968. “Reprinted from FILM CULTURE, Number 61, 1975. What am I doing here? What are we all doing here? When I told my wife that I had been invited to address the ‘American Craftsman’s Council, she said, “Hubby, you don't know anything about crafts. What could you pos- sibly say to all those experts?" I replied, “Ihave no idea, T have only. practiced the crafts of poetry, play-writing and film-making, But those would never qualify for such an august body as the A.C.C. T-worried about this for some time and then, as 1 always do in times of confusion, 1 consulted bridged Webster's. 1 discovered that craft is def mile, Well, that I know, as well as you do. Every artist ing his alchemy in private needs to be erafty —he is ntial heretic and revolutionary. We all need to be “as subtle as the serpent and as gentle as the dove.” Webster also said a craftsman is “sometimes an artist for writer.” That made me feel more reassured. felt con: fident I could at least read you a poem or two if all else re poets. In the clectronic age our Iajor task is to be better poets than ever and above all 0 live poetically. $0 1 come to you in the guise of the poet to speak of our world and our craft. This is apt to sound a bit goofy. The universe may look sane and orderly to the scientist but to the poet, ike the lover, it is delight- fully lunatic and an absolute cor ‘When Cocteau lectured at Oxford he spoke on the advisability. of poets remaining invisible. Appearing in Public made them appear less mysterious and magical. ‘Afterall, artists are servants of the unseen and the unno- ticed, the unsceable and the unspeakable. Rightly enough, ‘we are all invisible, itis by our fruits that we are known, ‘Yet Cocteau was curious to see what Oxford was So it is with me. 1 was curious to come see this inguished group of guileful persons. We all have to get to know one another these days, ke. éi cross all kinds of barriers, now that it is imperative for us to mix out media. I confess, am here to acquire a litle more multi for my media. a [At SF, State College I teach inthe socalled Int