At one of the annual conventions of the American Society for Aesthetics much confusion arose when the Society for Anesthetics met at the same time in the same hotel.

What, then, is the basic difference between today's computer and an intelligent being? It is that the computer can be made to seebut not to perceive. What matters here is not that the computer is without consciousness but that thus far it is incapable of the spontaneous grasp of pattern--a capacity essential to perception and intelligence.

The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling--these are the tools of the dancer.

The foreign accent was a promise, and indeed, all over the country, European imports added spice to the sciences, the arts, and other areas. What one had to give was not considered inferior to what one received.

Both art and science are bent on the understanding of the forces that shape existence, and both call for a dedication to what is. Neither of them can tolerate capricious subjectivity because both are subject to their criteria of truth. Both require precision, order, and discipline because no comprehensible statement can be made without these. Both accept the sensory world as what the Middle Ages called signatura regrum, the signature of things, but in quite different ways.

The rehabilitation of order as a universal principle, however, suggested at the same time that orderliness by itself is not sufficient to account for the nature of organized systems in general or for those created by man in particular.

All perceiving is also thinking, all reasoning is also intuition, all observation is also invention.