Word: viewpoints
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Anthony Boucher, the editor of Fantasy in Science Fiction, represents the second important viewpoint. As he maintains, "Non-slice-of-life fiction gives the author a chance to spotlight and to examine in greater detail certain aspects of human behavior." This could rightly be called the literary viewpoint. Boucher, it might be added, is the mystery book editor for the New York Times...
There is a third viewpoint, and this one is unquestionably the most valid and the most reasonable. Campbell is a leading exponent of it. For him, science fiction is speculative philosophy. It is a means of training people in creative thinking. As he states it, "People like security. They like the well-tested ideas. But anything we know exactly how to do can be better done by machines. What we want to do is show people that it is possible to view things in different ways, without relying on well-worn patterns of thought...
...even if Javits unfurls more liberal colors after the election than he is flying now, his victory would probably shift the entire balance of the Senate from the Democratic side to a more conservative Republican viewpoint...
...Times, the only feature length movie which has thus far resulted from the activity of Ivy Films. In Secrets of the Reef, which started out as a twenty minute short, they sought to suggest the way life happens around a reef in the southern Atlantic less from the viewpoint of men than from that of the creatures themselves. There are no humans in the movie; and Producer Alfred Butterfield's commentary intelligently avoids the Disney practice of lending human characteristics to animals. The result is a restrained film which, due to fine continuity, seems remarkably real...
...Renaissance masters, details of flowers and fruits were like armor and rich fabrics-just opportunities to show off their technical virtuosity. Their great central passages focused on what they deemed to be nature's sublime creation: man. But through the centuries the viewpoint has changed. Today still life has become for many artists an intimate proving ground for their own vision and expression. The very fact that the inanimate objects grouped together are from everyday life provides the challenge to infuse them with what one of the greatest still-life painters, Paul Cézanne* called "an impulse that...