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Captain Jack

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Title:
Captain Jack
Alternate Title:
Captain Jack (No. 19)
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Newspaper
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New College of Florida
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New College of Florida
Place of Publication:
Sarasota, Fla.
Creation Date:
April 27, 1970

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History -- New College (Sarasota, Fla.)
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newspaper   ( sobekcm )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
College student newspapers and periodicals
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United States -- Florida -- Sarasota

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Four page issue of the student produced newspaper.
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New College of Florida
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Published by Students of New College STUDENT INTERVIEW SERVICE ..... The following interview took place inFellini's hotel on the day of his return to Rome after a week of public appearances connected with the American release, in March, of his latest film, "Satyricon," by United Artists. This interview was conducted by Richard Monaco, screenwriter and fiction editor of the University Review with the assistance of press representative Mario Longardi. Monaco: I don't know what kind of questions have been asked you so I'm shooting in the dark. Fellini: Any kind of question. M: I was curious .. F: Any kind of question. M: I suppose every kind has been asked. F: Ask me any kind of question you want to. I know any answer. Question no. 2055. (laughter). M: Now, your movies, since "La Dolce Vita, 11 have become, to me, not more serious certainly--"La Strada" was serious --but denser, thicker, richer, more complicated. Longardi: .. piu complicate. M: This picture I found quite complicated. Not only because you left things out --as with the languages--bU: because it seemed allegorical, metaphorical ... great demands are being made on the audience. What kind of audience, in the long run, will you have? Say you continue to grow more complex, more dense. What sort of people will be looking at these movies? I saw people who didn't know the picture was going to be on--they weren't critics or professional moviegoers--some walked out, some booed and became upset. Because it was so violent, to them, so violently sexual. It scared them a little bit. At the same time they couldn't understand it. Which I think was their main problem. Not to say anyone understands it completely, of course. F: That sort of audience, that walks out, needs a picture like that. Because I don't think it is completely an allegorical, metaphorical picture. It's a very simple picture in a sense. Allegory and metaphor are in the minds of the people who see things with illegorical and metaphorical eyes. But there is something very simple there as well. Just because it is just itself. If you go to see that picture without any kind of prejudice, if you go to see that picture withoU: prejudice about movies, prejudice abouthumanity, prejudice about life, prejudice also about myself, if you don't expect to see an historical picture, an archeological picture, a picture filled with "meanings," a thoughtful. picture, a Fellini picture in the sense of autobiographic things, or a romantic picture, a picture in terms of conventional book structure, involving a story with a start and an ending ... If you go just to watch it like you go to a museum of painting or if you go just to listen as to a concerto, andyouare not asking what each and every shot means, the picture I think is very, very easy, very very honest it's just a picture about love, about life, fear, desperation, friendship: it's a picture that cessity to be friends in childhood, to be m love with life ... it's a picture about ourselves aboU: our lives, confusion, about the of certain myths and the creation of new myths. April 27, 1970 "No News ... Is Good News" M: I see. I understand that. I agree. I was thinking, you have the head theme, that is, you have heads chopped off, the big he ad being carried, I remember a statue that's headless when Encolpius can't make it with the girl, when he's impotent ... F: Those things are not done purposefully, you know. M: Oh, no? F: Well, anything can be done purposefully in an unconscious way, but, also, I can't be responsible for every irrational thing I do. For every little thing. First of all, I am not much for this diagnostic point of view about what I'm doing and I don't care at all. What I .:an answer is, I just try to do what the picture has required of me. I think that a creative person, an artist, just tries to do, not what he wishes, not what he wants, but just what he can, in that he tries to materialize in his way, what is required, what is requested ... L: What is required. F: required from ... from the creation, from the imagination. So, when you ask me, what about all the heads cut off I can find some intellectual reasons but I am not so sure they are real reasons. I can also, if I am very honest, say: I don't know, I was required, requested ... L: Obliged. F: I was obliged to do this. The picture asked of me to be done in that way. M: How did the Italian audience respond to the morality of this film? F: The church has forbidden the picture even for a man who is ninety years old. Forbidden for everybody. M: Have youseen anyorverymany American films? F: I, er, I don't go to movies very often. I am backward. I don't like to go. If movies had to depend on me for an audience, it would be a disaster. Anyway, I have seen some American movies, I like, very much, 2001. I think it's great. Wonderful picture:-Very touching. I have seen, er, Tom, Carol, Ted, Alice ... L: Is that right ... four names, what were they? F: Tom, Ted, Mario .. M: Giovanni, Marcello You liked that? F: Yes, I liked that very much. A new kind of comedy, very up-to-date, very ... well done humor, satire. I liked it very much. And I've seen ... what Mid n!:ht Cowboy ... not complete, I've seen o y hili. I think it might be a good picture That's all. I have not seen the underground pictures yet. But I will be back here at the end of March, probably, so I will stay longer and hope to have the chance to see some new American pictures made by underground directors. M: I see. Has it occurred to you at any time to do any work in this country? To make a picture here? F: Have I been asked to make a picture here? M: No. Are you interested? Neatsy Keen lntervie., F: Yes, I would like it very very much. Because I think well I like America, I like New York, it seems to me a very congenial set. You have the feeling, staying here, that your watch shows the present time. In Europe we are always prisoners of the past. So, when you are in Europe especially an old country like Italy or France you have always a certain kind of protection, always some connection with the past. Now this is good, of course, to be connected with the past is good, but not to be a prisoner of it. We have a lot of justification thinking to ourselves that we are the guardians of the archaeology, the beautiful monuments, of certain philosophical ideas ... it is good to be nurtured but not to be tied to the past ... So, that is why I like this country because one has a feeling of life today. And another reason why I would like very much to make a picture here is the kind of apocalyptic and catastrophic and atthe same time healthy freedom that is all around the country. That process, that feeling of decadence and science fiction, this combination, from an esthetic point of view, of macabre and grotesque is like a big circus I have the feeling that it is a very congenial set forme. This combination of childlikeness and experience, this combination of naiveity and sophistication: always these two themes are so expressive together in such a strong, funny, tragic and seductive way that I would like very much todo a picture ... I feel very involved in this, very involved. Always. Except in these interviews ... (lall$(hter) ... but, you know to make a picture means, to me, to know very well every little thing I'm dealing with, to know every physical detail. So, I can have feelings, I can talk about New York, I can even write about New York, and I am sure there are some, not vulgar, suggestions I've taken but, to try to materialize that, to try to realize that, to try to make them alive in a physical and ob ... L: Objective. F: ... objective dimension, that is very difficult because I don't know, really, not only the language--and I don't say language because there are different words, no, the language as a medium of religious feeling, of habits--but I really knownoth essential about American history and custom and feeling and so on. Iwouldnot even know what kind of shoes a character, like you for instance, should wear. M: Boots. (laughter) I understand that. Just living here would not solve this problem clearly. You might have to stay for ten 'years. BU: I think there's more to it than that. F: Well ... maybe what I'm saying can be completely contradicted an.d perh:"ps next March I will be here shootmg a plcture. But, if I have to be honest, up to this moment, I have refused to make a picture here If I were to be comered, and I don't like to be comered, I might have to say it is impossible. For aforeign director like myself. But, maybe I am incorrect and I will make a picture and will have the courage to jump into the middle of the battle. M: It might be very interesting. Kafka wrote about America without ever having been here and wrote a very beautiful story. F: Yes but no, you make a mistake, excuse ::Oe, but, yes, he has written in his language. L: But ... F: No, no. There is a big difference between a writer andfilmmaker. Youknow, when you are a writer you can write in an undetermined way, you can write: "The man came into the room, "you can use the room. The room. You can use the article, ''the. 11 lflii: the movie director can't talk about the room because to talk about a certain precise room with certain precise colors, sizes, furniture, everything has to be there if you want to express in an emotional way what that room It's a completely different thing. A writer can be elusive, can establ>:sJl a complicity between himself and the reader just by talking in a very illusive way. But in the movies one must be very, very precise, To be precise means that you have to know what you talking about. And 1 don't know what I'm talking about. M: To some extent, the images themselves transcend this difficulty. I can see a movie in French, Italian, Russian, and at least see what the characters are doing if I can't get what they're saying. F: Yes, yes, but I can be universal just in terms of things I really know. If I talk about myself, about my father, about the little town in which I was bom, about my little, very personal things, I make a universal speech just because I am talking honestly about things that I know. But if I try to talk about things that I don't know, that I presume, just because I think that in this way I will make a universal picture, that is the time nobody understands you, everybody says: 'rwhat'she talking about? What does Fellini know about America? What is he trying to show us?" You know, movies are expression, movies are, especially, something very physical. Anyway, don't be too worried, it may be that I'll make a picture here. M: That's what I want. I hope to talk you into it. F: Antonioni has made a picture here. But it's different. Artists are different. Antonioni has a detached eye, he just looks through the camera. I don't care a damn thing to look through the camera, I have to be inside of things I don't care about the camera, the camera does not exist for me. I have never had any ... any preoccupation with the camera. Yes, I need the camera because the film has to pass through it. But, when I make a picture I need to create a real world, I have to be involved, I have to make love, with ... (Monaco raises an eyebrow) ... don 1t (Fellini whispers and shakes pis head) don.'t worry, only with the actresses ... but, m a metaphorical sense, I have to make with horses, elephants, tables, everythmg men So I need to know, even about a little extra put in the comer of a shot, I need to know everything. lntim at ely. So, that is my psychological conditioning then, I am a man who is involved in things who is in confusion. Antonioni, and artists like him, have another psychological conditioning, they need to be tour ists of reality, you know, and that is another point of view. I am not a tourist, I am just a bum who goesinside, whowould be arrested .. That is my psychological condition: to express myself. I could not be a newspaper man, never, because of my very, very bad testifying. L: He has said before he nant with these things, in order to onng them to life. F: Don't ... don't exaggerate please.

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s c,s, & Y I THE MAGUS LETTER D8il Vu The Psychological Fantasy-FreaktheAudicnce-Rcally i-Ieavy Trip-Can You Dig It Flick, Shot No. Cosmic Infinity The Magus is one of the more enigmatic Of a class of movies recently become more and more common--a psycho semi-thriller, or There is a point at which the question arises of jus tif.ring exactly what is actually.germl:me to the "plot" versus what is purposeful "artiness" int<'ndcd only to be mysterious and cool, etc. and The Magus surely treads this line somewhat tipsily. For the audience, the movie is unusually baffling because therC' is no standard of reality to anchor themselves by, and by so doing gaining a perspective on the rest of the material. "With malice aforethought, 11 the basis of "Truth 11 is continually shifted, until it is no longer possible to differentiate fantasy from reality, truth from supposition, leaving anyone foolish enough to try to follow the plot completely freaked out by inherent contradictions which are as complimentary. i\tichael Caine portrays Nicholas--a rootless, hedonistic, phlegmatic, egocentric Englishman, a hanger-on of the Ask abou t our College Program 958 3153 THE HERTZ CORPORATION Rem A Cer DNtston 100 N Temtemj Tr811. Seresote. Fie 33577 Telephone 813 958-3153 DIPPER DAN 9ce Gu>n.m OPPIC KILLS the MUNCHIES Trail Plaza 3333 N. Tamiam.i Trail Phone 355-3931 Good marks win good jobs. Get ahead and study. Now and in college. jet set and parasite of society in general-who deserts a mistress who loves him (Ann the airline hostess) to teach in a boy's. schoo l in a small Greek village. It is a role peculiarly reminiscent of/> again well-played, though typically p ayed: in the final of his numerous amorous adventures, the day of finding that Ann had committed suicide after he had again re jected her, when asked the girl about Ann?" his reply lS "To hell w1th Ann. 11 Anthony Quinn is magnificent in his role(s) as the wealthy owner o f a villa near the boy' s school, who Caine finds to be sequentially: a wealthy old man dead years ago, a "psychic" visited by the ghost of his dead fiance, an experimental, avant-garde psychiatrist, a germ an-co l lauorator who fotmd it expedient to "di e 11 ten years ag_o, an avant garde:; film c:llrector of a mov1c w1thont any script, and a judgc-prosl'c>tor-i T' of tl w orld (and Caine in particular). It is this last role which is pervasive and the most fascinating--as a combination God and anti-Christ, deciding from on high that others shall suffer for his sins and in fact suffer in the role of protagonist in a reinactment of these sins. The reason?: "You failed to love ... we all failed to love." And thus Nicholas winds a symbolic and sometimes not very symbolic at all path through Quinn's (who is called Conchis--pronounced "con-science; 11 a bit of irony) little odessy of SP.lf-torture and deception, for the enjoyment? or perhaps vengence of this bitter man. Finally, after having gained only to lose, and lost some things never gained, after mucking his way through deceit after fantasy after deceit, Nicholas finds himself, deserted, looking at a Mona-Lisa-type smile on an ancient statue; and apt lines of poetry, specially marked in a book mysteriously given to him early in the picture, run through his mind (paraphrased--No matter how widely you explore, you will evenlually return to your starting poillt, recognizing it for the first time), and he at last :mderstands their meaning on a gut level, And The Magt;s, the "Con chis'' ill many roles, is ended; with an enigmatic Michael Caine-Mona Lisa-Morris Conchis smile. --dennis saver A April10, 1970 Dear Rob Mallet and future editors of Cap tain Jack: As I have mentioned to you, several times you have tmwittingly ralSed an enormous 'issue, which could your free-wheeling student paper (subs 1d1Z_ed contributors to New College?) runnmg m the black for s ome time. The question is simply this: What is cUITcnt policy within ourvalm ted ''Fourth Estate" --tmdergraduate, tm derground, professionally or widely circulated news med1a, mcludmg radio & TV, --regarding ublished anon_y mity? Editorial"anonymity11 is not an lS sue, because it docs not exist, but editorial responsible for publication of anon-sue because it does not exist, but editorial' responsibility f o r publication of anonymous, abusive, defamatory, scurrulous, or merely childish self-indulgence, under the pre-Homeric cloak of "anon," naturally & historically invites inquiry into the purpose of libel laws in free societies. Slander, as you know, is defamation by word of month, but libel is the printed word, anci group or mstitution which supports a news medium such as Captain Jack is liable for a dandy libel suit, right now. I regret that you are about to disembark from the poop-deck of vour craft, in re sponse to a higher calling. May it be the Merchant Marine? They feed well, and pay fairly well, afte r three ye::trs or so of apprentict:ship. Yours sincerely, Suzanne Macpherson erstwhile worker for PAX VOBISCUM Mrs. Macpherson, As I told you before, I doggedly believe that the only issue around this damned place is whether someone calls someone else Jew, which some (not I} consider a slander. God, if there were one, knows. I don't understand you:rnautical meta phors, but peace! (and other good things) theditor 10'5 Tuesday Night -May 5 11:00 p.m. 2:00 a.m. PIZZA All You Can Eat w/ liquid r efreshment (probably coke) New College S tudents Onl y Cost : 75 Limited capacity so tickets will be sold this week, in Hamilton C enter salad bar .\LL free YOU CAN EAT $1.49 mon -fri U19 S wal c o rtez pia u Maybe the only thing w ors e than a bad record is one that "sh ould" h a v e been great, but didn't make it. Such a re cord is Crosby, Stills, Nash, and Young's Deja Vu. What is most disappoint ing of all is tliat the album is so uneven in quality and a unified sense of tone or somethin g I don't have words for. Yet this is a very important record--with the breakup o f the Beatles, CS:t' Y are (with the Stones) the m ost creative, most charismatic rock/folk gro u p. It is no accident that in reviews o f the Woodstock movie they arcfeatured in b ot h pictures and words. The next musicalsociological-mythical transformation s of our generation may well be led or at least anticipated by them. The cover of Deja Vu depic ts the band staring from an 18801s style photograph in poised, restless reflectio n This i s much the tone of the album--it is less graceful and lyrical than their first. A l s o o;me senses some loss of the group s cohes ion, certain songs stand out for success or failure. In this way David Crosby c omes out the record's real bummer. His "Almo st Cut My Hair" (reminding one of Long Time Gone") is embarrassing musically and lyrically. And "Deja Vu, 11 the t itle song, also is devoid of much interest. I t is merely a song fragment, lacking r esolution. Incomplete in itself, i t brin gs lit tle unity to the songs or an tmderst an d i n g of the album as a whole. These arc b ot-J1 a far cry fl'('1m Crosby's earlier piec es ''Wooden Ships" and "Guinnevere." Neil Young fares a bit better, at least. His "Country Girl" is an interesting attempt at blending three short songs. It works musically but is jumbled and confusing otherwise. "Helpless, however, is a melancholy, beautiful ballad, as is Stephen Stills' 114+20"--a haunting tal<> of loss and despair. Joni Mitchell's "Wood 11 a fine song, is played roughly and at times drowns itself out; it has little of the poignancy of her own version on La dies of the Canyon. Nash's 110ur House" is an excellent, summery love song and his "Teach Your Children" a superb piece melodically, vocally, instrumentally; about )Z;enerations, changes, ways of being. To the parents and children: Don't you ever ask them why If they told you, you would cry So just look at them and sigh And know they love you. Perhaps the highlight of the album i s the first song, "Carry On. Gone are the days of untarnished peace in Heaven c ome to earth of a few years ago. Rather a determined resolution to continue stru ggling but with hope and love, "Rejoice, we have no choice. 11 don gervich 5 FAf-O.JS ITALIAN & AMERICAN RESTAURAN Pizza a Specialt y 27"Gl 14tb Street Wf::lt. ODe Mile Put Cortez Plal.a OD 41 TelephODea 747-1436 T. ARMANDS K E Y SARASOTA, FLORIDA 3357 "Complete Office Supplies" 1350 Main Street Sarasota, Florida 33577 Phone: 958-6577 COCKTAILS AT 1184 No. Washington Blvd. fine domes tic & THE COPPER BAR 1570 No. Lockwood Ridge Rd. 955-3446 imported

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COLLEGE ANNOUNCES FINANCIAL POLICY FOR OFF-CAMPUS STUDY I am told that there is some confusion as to what the College 1 s policy is on tuition charges to students who wish to be away from campus but want to receive credit at New College, counting toward graduati<'n. _.he eStablished policy of the College is that tuition must be paid to New College by the student if he wishes work done elsewhere to count toward graduation. Briefly, this is the policy and procedure: J.. The simplest way to state our policy to a student is to say that a B. A. at New College requires as many terms of f'-4_] ,-paid tuition as it does terms of aca residence. For an entering student the -1umber is nine in both cases. For a tr.wsfcr student, it is as many terms of tuit.ion payment as it is termsof.acaden ic residence. Under the prescntf acuity rules, this would be at least five terms. 2. The College will not certify work done here or elsewhere in the absence of tuition paid to this College. 3. For the time being, I have asked that decisions aboutpaymentsbyNew College hto other institutions during a term w ich the student is m academic (but not physical)residence at New College be handled on a case-by-case basis. By the same token, instances in which the offcampus studr:'nt in a eadem ic residence does not have an affiliation with an institution Will be handled on a case-by-case basis. The procedure is as follows: a. The student and his advisor or sponsors agree on the object desired and the means to achieve it. b. The student discusses with the offcampus study eoordiL.ator the expected tuition costs in the institution in which the wo:.k will actually be done; c. The off-campus study coordinator recommeLds to the provost what the payment to the other institution should be (This is in effect a payment which New College makes out of the tuition which the student pays to the College); d. The provost then notifies the business office of the arrangement. As the policy oaJy relates to tuition, I do not see it as fecting the student's financial aid situation from New College in most cases. I am trying to think through as carefully as possible the whole present fee structur ... of the College in order to bP. sure that it is both equitable and financially feasible, but for the time being you should know that these policies and procedures, which are not new, should be maintained. John Elmendorf (in a memo to the faculty) tJ3elkLindsey RECORD HOUSE SHEET MUSIC MUSIC BOOKS MUSICAL ACCESSORIES Ringling Shopping Center Gulf Gate Mall 1525 STATE STREET Moccasins Boots Leather Jackets-Levi's Be Z Z Bot toms LETTER Philosophy of Mind Dear Captain, Many things have been stolen this year from the Students of New College by stu _of C_ollege. The art department supphes m part1cular have been decimated as also the language lab supplies and athleti_c Despite many signs and Circulars askmg for their return the results have been minimal. This indicates that some other action be taken. Last term the SEC voted for a room search. was never carried out. At the last meeting I asked about the room search and was told that if I wanted to conduct one in the proper m anne.r I could. I am disappointed m the SEC failure to actively pursue their responsib.ilitics in the area of New College commun1ty property. A room search by one. delegation would probably be inef fective and take an inordinate amount of time. I certainly have no inclination to visit every room on campus. Whether another written appeal for the return of our equipment is unknown, but if not most of the articles will be permanently removed from NC over the summer. _A person that deprives the community of 1ts communal holdings has no place in the structure of NC. The purpose, as we all know, of central storage is that everyone has access to equipment and supplies when they need them. This purpose has been "overlooked" as people hoard vacuum cleaners, basketballs, and hand tools. They place themselves above the community and abuse the other members. This should not be tolerated. Equipment purchased by NC students for NC students is for the use of the community at large, not an individual. This is our equipment and we should have access to it. Stealing is the term generally applied tothisbehavior, however if you "borrowed" or lmow someone who has 'l.borrowrd" our equipment please direct it back to its original storage area so that everyone may use it. Equipment missing include almost all the sports equipment, the vacuum cleaners, records and tapes, handtools, an electric skill saw, and miscellaneous art supplies Singers I had hoped to come home and write a very positive review of this concert, lauding the group's sensitive and powerful performance, and demonstrating once andfor all that I view music in Florida critically, not negatively. Honesty about what I heard compels me to put off the proof. Mr. Smith's reputation as a man of great potential all the time not meeting the commitments his potential involves him in is echoed by his group, which intimates first-rate performance without going so far as to do it. They are a collection of fine solo voices which sound like an ensemble only when singing pianissimo, though it must be said that this most difficult of all choral techniques is done ravishingly indeed. They sing a lot of very complex music, ba jn a "ery half-satisfying way. I left the hall introduced to more than a few new and fascinating things, and still awaiting a presented insight into theirnaEDITOR'S NOTE: This course evaluation was submitted to Captain Jack, most likely in response to Dr. Clough's letter a few issues back criticizing the other evaluations for being too supexficial and nonacademic. Okay. Student Evaluation of the Philosophy of Mind Course, Term II 1970, New College. The seminar was, for the most part, an enjoyable and enlightening one. The scope of the readings was broad enough to be adequately representative of the various standpoints that have been and are being taken toward the field of the philosophy of mind, yet it was not so broad as to become disturbingly confusing and overly diverse. The initial set of readings, drawn prim arily from representatives who are working out of a background in the social sciences was especially helpful. It would benefit class discussion, I believe, if some additional readings -either 'required' or suggested -were added; these being drawn from the latter W:ittgenstein to help elucidate some features of Ryle and certain other proponents and elements of the behaviorist and linguistic analysis tradition (perhaps something from the area around paragraphs 244 and 257 in the Philosophical Investigations would be helPfUl) and from some of the representatives of phenomenology in order to cite the 'opposition' and to help to open possibilities for more fruitful discussion conceming the pa:rallelism (or lack thereof) between the concerns and responses of those working out of this background with those who are working out of the otherbackgroundsstudied (perhaps these readings could be selected from Husserl's Cartesian Meditations -wherein, for example, he ca:tls phenomenology a radically modificdform and equipment. Some of this is identifiable as NC property by an engraved "Property of NC students" or something similar. 1\Iot everything is labeled but most of the equipment and supplies are identifiable, especially if you know their origin. You know what's missing, so please return it. david lemer at MJC tures. This is not proper. This ought to be what the performance does. When Mr. Smith gets himself some singers he can control (i. e. make their loud sounds as. pretty as their soft ones, keep in time during antiphonal sections, and in gt:neral have them sing with animation & m ltsical perception) and demonstrates that he can them, I will go hear him again. He certainly does interesting music. At present, listeninrtoo frustrating. Gregg Smith Singers: Three Reincarnations (Barber), Be Glad Then, America (Billings), Psalm 90 (Ives), and works by Mendelssohn, Gibbons, G. Gabrielli, Britten, Najera, Monteverdi, and others. Neel Auditorium, MJC. 15 April, .1970/8:15 p.m. Servant of the Muse, D Raff r-,-, tro ea THEATRE u. s. 41 N. AT 33RD STREET Phone 355-9011 FILMS FROM AROUND THE WORLD Continuous from I pm Sidewallc Cafe Complimentary Demi-Tasse of neo-Cartesianism -and/ or from Merleau-Ponty's PhenomenologY of Perception -especially some of the first Chapters and his chapter on the 'Cogito'). The procedural mode of the class ses sions was among the most successful (from the standpoint of student participation, fundamental content, criticism, and open question-asking) that I have participated in. Class discussion was usually vigorous, aggressive, and interesting. The papers submitted for discussion were punctual, pertinent, often insightful, and were always given just, considered, critical attention by Dr. Riley as well as by other seminar participants. Unfortunately, the final exam is a procedi:tral weakness; for the most part, it seemed to the students to be a superfluous addendum. Before closing, I want to commend Dr. Riley for having radically increased in his ability to to the concerns and questions of his students and to be able to hear these concerns and questions more directly (i. e. with less of his own personal coloration), more transparently than before. As a result of Dr. Rilev's increase d S:!nsi tivity to his students, he has been able to treat their concerns and questions more adequately and satisfactorily than he could two years ago. Fllrlhermore, Dr. Riley's term-end course evaluations have continued to be the most forthrightly honest, clearly insightful, and critically helpful ones that I have ever received at New College. Dr. Riley's evaluations clearly demonstrate and attest to his responsible personal interest in the future and the development of each and cvety one of his students. I.hopethat Dr. Riley will not overextend himself so that he will no longer have the time to cultivate coucemful attention to every one of his students. --Phil Shenk jJ! -:...., -t-Beautifully Constructed to cover Bikinis and keep your cool 32. 00 Yellow-Lime-Coral St Armands Key

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<( al ::) ..I 0 u I :I: u 0 z <( z 0 e V) What do you think of a college at which: students are expected to hold jobs; class attendance is optional, not encouraged and hill the students don't go; members are responsible for their housing--in apartments, townhouses and farms in the local commtmity; the surrotmding city is three years old and is being planned with economic, racial, and ecological guidelines; students select both new students and faculty; the student evaluates his own development; several on the faculty are younger than several students; one does not have to be there to receive academic credit? Antioch-Columbia is afield study center of Antioch College situated in Columbia, Ma.xyland, the above-mentioned planned city, halfway between Baltimore and Washington, D. c. Although there are many ties with the Yellow Springs, Ohio, parent campus, A-c is increasingly becoming independent as it develops its own ideology of what is meaningful education. As a truly innovative entity, A-Chasbeen subject to friction and antipathy with its local community and with Antioch, but in this first year there is constant self-evaluation, and many problems are being reAC solved in a together manner. In many ways Antioch-Columbia is not what we know as a college--it is more like an agency, and the people it serves are both "students" and "commtmity." There are now slightly more than one ht.mdred students, and this will triple next year with a hundred or more living in new centers in D. c. and Baltimore. The faculty I spoke to and observed were all enthusiastic about A-C's future and were pretty successful at keeping its advances and mistakes in a broad perspective in their own heads. They work very long hours, with students and on their own; I didn't detect any martyr-complexes tho. One teacher (the word seems so stilted and sterile/misleading in this context)whohas a disproportionate workload is doing various studies in sociology--applying theory and inquisitiveness to the community (which serves as A-C's greatest resource). In one of his "classes, students (some of whom were well into middle age) are goinginto Columbia and speaking with older people about their problems and the process of aging. They are using an t;xtensive questionnaire and among other things are at temiX:ing to determine what vital services the community might offer to this largely disenfranchised minority. Another staff member is a nationallyknown poet and student of alternatives in higher education. He was busy completing a book when I visited him. Until a couple of years ago he was a literature professor at Antioch-Yellow Springs, and (as he and some of his former students assert:) he was very traditional. He realized that he was tired of teaching poetry and literature--that this had little meaning in the world, that he could make greater contributions than being "just another English teacher." Since then he has visited most of the "experimental" colleges in the United States and has written several articles about what they have and haven't accomplished. He feels that an academic orientation in a "progressive" school is an orientation that does not deal with the real ities of the-world. At Ant;ioch-Columbia he counsels people who want some guidance and can use another, more experienced perspective, and, if asked, will help people to leam about literature. That is another important facet of A-C's philosophy--"seek and ye shallfind but we sure as hell ain 1t gonna spoon-feed ya"--there are no published course schedules; if a student is interested in an area he goes to the appropriate staff member and raps about what he wants to learn. Then either the staff guy will decide to help him (course, research or whatever) or might. suggest how else the matter can be pursued ... Another class I went to was on films. There were about thirty people downstairs at the Manor (which houses the staff & all administrative stuff) to watch The Grapes of Wrath. Afterwards only about eight of us stayed to discuss the film with an A-C faculty and an interesting and personable DC film critic. The discussion we had was valuable for me and while being completely informal was very informative--this is one of the ways in bia affords education in a non-academic framework--altho this particular frame work was structured partially by the resource people, tmlike the experience. It tums outthatthefilmteacher will be leaving A-C next year in search of bread for his directing a film. As far as I know he is the only staff person who won't be returning; few students are planning to leave also. Many people want to go to a "free" place like Antioch-Columbia, and their self-images tell them that this is the place for them. Well, it seemed clear to me that a number of those at A-C (as well as those at New are wasting time and have madepoordecisionstogotothese places when they did. The kind of person who will thrive at an institution which makes little or no demands on him is one who has direction; self-discipline, motivation, and a need for commitment. He has to know what he wants to do and have some idea of how to do it. The vast majority of those who just graduated high schools do not 1.!:! possess these qualities and women aren't permitted to work for the construction I development (Rouse) company except as secretaries and in similarpositions. Nextyear, whenenrollment will increase to about 300 students, (more than 100 will be in centers located in Baltimore and Washington) the problems of getting a meaningful job are expected to lessen--if Columbia doesn't have the facilities a student needs then perhaps he can find them in one of these cities. If he is unable to then he should split to where the he needs are--while remaining an A-C student. Presently at least one guy is working in Baltimore as a radio dispatcher for one of the majornewsservices. Another student, who'll probably go p. C. next year, did a for one of the civic centers m Columb1a; smce completing that he's had trouble another good job, so he now works a lot m the fhoto lab and offers a class to those interested. People are doing all kinds of_things-one is compiling poetry, workmg on a novel, and learning about music teaching guitar to young people. It 1s expected that at least 20 people will go to San Francisco and 'apprentice' themselves to some art:ists there. EAR DC (as most of them accrue from experience). I know I didn't have them. It may be wiser to spend a term or year worl

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