stopped. The speed, vastness, excitement and complexity of our
society almost disqualifies criticism. To understand it first is
essential before judgment.

We are finally overcoming the apprehensiveness of traditions (tradition
not necessarily being a barrier) and you say no. We are also discover-
ing that if we don't spank children we may not warp their minds as much
as we do. In many cases the break with tradition has been sudden; this
has produced a situation of complete beginning, a situation of uncertainty,
one that if it does not produce greatness immediately, may, but most
important of all creates another alternative, a wider path. Artisan,
craftsman, artist-craftsman, artist; we must be allowed to choose but
do give us more than one choice and none wrong. With the destruction
of the barriers, we are seeing the fads, the bad works and, man, the
great works, If what is being done now is bad, good - in every cycle
there is confusion before there is resolvement.

It is absurd to determine a criterion for everyone based on
a society that does not exist.

The establishment of an inflexible criterion is unhealthy.
How can our society become vigorous without diversity;
individuals with individual criteria.

[am sure the state of our culture is not as vital or sane as it could be;
you condemn it, I'm going back to fight with my clay.

POTTERING OR POTTING? - by David Long
from "Tactile", July 1968,

SS —_ ——_

Kathleen Whatmough's excellent article on Contemporary Criteria in

the March "Tactile" could prove to be a milestone in the development

of the Guild. As long as juried competitive exhibitions continue, 50

will the trend of infinite variation for its own sake. The main contri-
bution offered by exhibitions is a temporary statement of fashion. It
would take a lot of colour from the craft if they were abandoned but it
would help the craft considerably if they were considered less as oracles.

6.