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RS: 
I just don't understand. They try to bring better life-fulfillment to people, but they just bring a nostalgia for the "finer" things of life.

AK:
There is no comparison between what is, what was, and what should be.

The museums are filled with less, and less work because there isn't anything to fill them with. Naturally, the Trustees will fill them with something, discoteques, swimming pools, tennis courts, travel exhibitions of educational value and then this becomes simply another school in the sky.

If there's [[strike through]] Is enough [[/strikethrough]] art being produced of all kinds and if there is enough should it be placed in a museum. How can you answer? What good is the museum; shouldn't you call it by its real name and look for Universities? Since I am a university teacher I would immediately avoid such a classroom.

RS:
[[strikethrough]] There has been a lot of emphasis placed on manual dexterity and this smacks of moralistic attitudes. When you think of better art, that is dangerous because that is a moral category. Value is at the root of this.[[/strikethrough]] A lot of more rigorous kinds of abstraction[[strikethrough]]ism[[/strikethrough]] seem [[strikethrough]]s[[/strikethrough]] to deny this kind [[strikethrough]] higher quality [[/strikethrough]] of value [[strikethrough]] s [[/strikethrough]], and this tends to upset the categories. I think that the reason people cling to these values [[strikethrough]] is [[/strikethrough]] because as long as people are buying art they want to get their hands on something. The university is just another kind of business.

AK:
As long as you are going to have that situation you are going to have architects building museums.

RS:
I don't like the idea of living with art.

RK:
The point is that you can still have places [[strikethrough]] at which to [[/strikethrough]] could show work by artists, to people. When we speak of total environment, I mean this is where everything should meet.

RS
I would say that a museum like the Whitney tends to be disappointing and I think that people have to accept that major art is disappointing. That it does not satisfy. [[strikethrough]] There is [[[strikethrough]]] this [[[/strikethrough]]] an idea that you have to empathize [[[strikethrough]]] emphaeise [[[/strikethrough]]] that you have to project your walls into it [[/strikethrough]] It is interesting that [[strikethrough]] we [[/strikethrough]] some artists are tending towards a more inanimate, less organic, more static kind of art, [[strikethrough]] architecture [[/strikethrough]] It [[strikethrough]] was [[/strikethrough]] has something to [[strikethrough]] involve [[/strikethrough]] do with a kind of negativism that is very foreign to the American temperment. There is a fear of the void. People keep trying to throw some sort of response into the void. [[strikethrough]] so that was a need to [[/strikethrough]] They want to empathize [[strikethrough]] how this goes back to an old problem. You need a threshold for your capacity. [[/strikethrough]] abstract art back to life. A lot has to do with the organic metaphor where everybody constantly projects their own [[strikethrough]] organic needs [[/strikethrough]] idea [[strikethrough]] organism into whatever they see of art. [[/strikethrough]]

SE:
The Traditional Museum does not fulfill that.

[[strikethrough]]
RS:
In this age that we live in, the death-space society the neurotic artist is coming in very strong. [[/strikethrough]]

AK
You have the "cult of youth" in this country.

Transcription Notes:
I use "[[[]]]" to indicate cross outs within cross outs