The article suggests that a holistic strategy which combines developing technology alongside creative action to produce technology that can play a part in extending the boundaries of human though and action.

The folk and traditional arts field described in this study is enormously complex, encompassing the traditions of literally thousands of communities, but in another way it is quite simple to comprehend. Folk and traditional arts have the aura of authenticity about them: real art by real people who draw their inspiration, technique and aesthetics from traditions as old as the land, as old as home, as old as a family and community.

Review by Steve Dubin of the book The Subversive Imagination: Artists, Society, and Social Responsibility [New York, NY: Routledge, 1994, 258 p.].

The incidents listed in this report document challenges to artistic expression across the during the calendar year 1994. The controversies involve virtually all forms of visual art (drawings, paintings, sculpture, photography, and mixed-media) as well as such narrative forms as plays and performance art. Film and television works are included only when they were presented in a non-commercial format and/or were the recipient of federal arts funding.

The meaning and value of cultural diversity in America are not topics open to purely objective or theoretical assessment. Nobody enjoys a truly global view and no one can claim to speak from a totally disinterested vantage point. Whites, in particular, must be careful to avoid any such pretense, since in too many cases it means that they are passing judgment on the personal testimony of non-whites without accounting for their own experience or clearly establishing their everyday perspective on the social realities involved. (from abstract)

The purposes of this report are twofold. First, it summarises the findings of a study of the social, cultural and attitudinal characteristics of those sections of the population which make little or no use of public museums or art galleries. Second, it reviews and analyzes those findings in the light of comparative data concerning the social, cultural and attitudinal characteristics of regular museum and art gallery visitors. Its primary concern, in so doing, is to identify the steps museums and art galleries might take to become more attractive and accessible to those who, at present, do not

This report provides a nationwide snapshot of challenges to artistic free expression in America during 1992 and 1993. Together, the incidents offer a unique picture of the many issues confronting both artists and the viewing public. These pages also provide analysis and insight into the complex political, social and cultural forces creating pressure in communities across the nation to mute artistic expression. The hundreds of incidents documented here send three important warning signals: controversies over art are proliferating at the local level; the attacks come from across the political

The author examines censorship of the arts by both liberal and conservative groups.

The author concludes with the following statement: I am going to conclude here by suggesting again that censorship is gendered; it is male-centered; the people who crafted the criminal code were men, the Judges who interpret it are men. That what feminists need is a radical reconstruction of their own civil libertarian values and affirmative action for women in the arts.

The pages that follow document 74 challenges to artistic expression in America, the vast majority focusing on art created and exhibited without NEA involvement. In each of these instances, citizens have demanded that works of art, sometimes entire exhibits, be removed or recast, or that performances be revised or canceled altogether. This report covers calendar year 1991, and the incidents have been painstakingly documented.