The absurd consequences of neglecting structure but using the concept of order just the same are evident if one examines the present terminology of information theory.
The arts, as a reflection of human existence at its highest, have always and spontaneously lived up to this demand of plenitude. No mature style of art in any culture has ever been simple.
The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.
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.
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.
Entropy theory is indeed a first attempt to deal with global form; but it has not been dealing with structure. All it says is that a large sum of elements may have properties not found in a smaller sample of them.
Entropy theory, on the other hand, is not concerned with the probability of succession in a series of items but with the overall distribution of kinds of items in a given arrangement.
Man's striving for order, of which art is but one manifestation, derives from a similar universal tendency throughout the organic world; it is also paralleled by, and perhaps derived from, the striving towards the state of simplest structure in physical systems.
Modem science, then, maintains on the one hand that nature, both organic and inorganic, strives towards a state of order and that man's actions are governed by the same tendency.
Rather than be asked to abandon one's own heritage and to adapt to the mores of the new country, one was expected to possess a treasure of foreign skills and customs that would enrich the resources of American living.
