The World's Fair audience tended to think of the machine as unqualifiedly good, strong, stupid and obedient. They thought of it as a giant slave, an untiring steel Negro, controlled by Reason in a world of infinite resources.

The new job of art is to sit on the wall and get more expensive.

Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker.

On the whole, money does artists much more good than harm. The idea that one benefits from cold water, crusts and debt collectors is now almost extinct, like belief in the reformatory power of flogging.

An ideal museum show would be a mating of Brideshead Revisited with House & Garden, provoking intense and pleasurable nostalgia for a past that none of its audience has had.

It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores.

Far from affording artists continuous inspiration, mass-media sources for art have become a dead end. They have combined with the abstractness of institutional art teaching to produce a fine-arts culture given over to information and not experience. This faithfully echoes the drain of concreteness from modern existence- the reign of mere unassimilated data instead of events that gain meaning by being absorbed into the fabric of imaginative life.