The artist can correct the sense ratios before the blow of 
new technology has numbed conscious procedures. He can 
correct them before numbness and subliminal groping and 
reaction begin. If this is true, how is it possible to present the 
matter to those who are in a position to do something about 
it? If there were even a remote likelihood of this analysis being 
true, it would warrant a global armistice and period of stock-
taking. If it is true that the artist possesses the means of 
anticipating and avoiding the consequences of technological 
trauma, then what are we to think of the world and 
bureaucracy of “art appreciation”? Would it not seem suddenly 
to be a conspiracy to make the artist a frill, a fribble, or a 
Milltown? If men were able to be convinced that art is precise 
advance knowledge of how to cope with the psychic and social 
consequences of the next technology, would they all become 
artists? Or would they begin a careful translation of new art