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RS: Continued
very difficult to extirpate.
I would say that the reason people do go to museums is [[strikethrough]] with the idea that they [[/strikethrough]] that they imagine they are going to get something out of these paintings. It is a fulfilling sort of thing. [[strikethrough]] Like [[/strikethrough]] They will be enriched. They will be fulfilled. [[strikethrough]] Sort of [[/strikethrough]] This is the old idea of what was expected of traveling. If you can travel to Europe you can enjoy all [[strikethrough]] of these things. It is a filling up of ones sensibilities with life. [[/strikethrough]] the culture. This notion I'm afraid has had it.

Art seems to exist, no matter how repugnant it seems to people, independent of life and death. It has its origin in the mind and not in [[strikethrough]] the facilities of [[/strikethrough]] nature. [[strikethrough]] Death means non-extension of mind. [[/strikethrough]] I think the mind is only referred to in terms of mental illness. It seems that psychiatry has done a lot to encourage this thought; out of sickness comes this creative urge [[strikethrough]] which is a [[/strikethrough]] with its highly organic metaphors.

AK
That is another vestige of 19th and even 20th Century thinking. 
Here mind which was once exalted as an agency of truth became the place of illness, and a source of art. This is a sort of inverted idealism. Once the idea of mental illness and creativity became a cliche, there was nothing left except to start looking outside of the mind, so you look around.

RS: And when you do look you see the mind has become the post-war environment of the new suburbs, museums, and factories.

[[strikethrough]] RS:
The thinking that you do in order to become enthusiastic about the products of the mind lies in trying to point out the environment. The environment becomes a phenomena that is physical and it seems there is nothing to be gained by this disappointing, destroying kind of environment. You can't go to it and get something out of it. It is not like a museum where you can try to absorb [[strikethrough]] find [[/strikethrough]] a way of thinking [[strikethrough]] life [[/strikethrough]] that has no value for us by now. The trend today is going towards life rather than art and I disagree with you in that I feel there is a complete association. The environment is so depressing that the artist tends to refugize himself into his own world. Whereas he has been bound to living, but the society at some time rejected him and he is completely divorced. [[/strikethrough]]

RK:
The educational plan, to go back again to your reference of European environment which is conducive to art appreciation, or life appreciation, because there, art is taught and art is part of life. I mean take the newer environment of 1918 back to the tenth Century. You can tell villagers about the nature of space. The nature of the whole pleasure that society brought into making and shaping these forms that make the cities into museums, in a way, because every single piece of such a village is an artist's thinking.

This is what we are lacking today. With a knowledge we require the power and the imagination to bring together forces that would liberate the mind and at the same time live in what we think the fifth dimension, which is not a dimension plus time, but the state of well-being completely liberated.

RS:
What I am talking about is the nostalgia which creates the sickness. [[strikethrough]] We should transcend it. [[/strikethrough]] The thing is not to get that sickess and be stifled by it but to see it [[strikethrough]] in an example of a certain era. [[/strikethrough]] for what it is. A museum should not be a store for nostalgia. It should not [[strikethrough]] be where you feed people. [[/strikethrough]] culture food. The museum should not be part of the every-day experience.