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ABSTRACT IT is impossible not to welcome this sensitive, and in part brilliant, essay with open arms. At the same time, it is equally difficult to accept all of it without reserve. Mr. Honey
does well to stress that a work of art is an ‘ultra’ event, transcending the metrical limitations inherent in scientific methodology. Nevertheless, it is very doubtful whether men of
science do, in fact, claim to evaluate art in terms of immediate usefulness. What is more likely is that the difficulty experienced in deciding what is ‘pure science’ and what is ‘applied
science’ has extended to the frontier region between the ‘fine arts’ and the ‘applied arts’ with the equivalent blurring of intention. The author's ideal State, sketched in his last
chapter, will need to focus upon this boundary line very critically if it is not to produce aberrations gross enough to obliterate the true image. For the rest, many will be encouraged by
such a deeply felt attempt to discover the good and the beautiful, and to render them available to all and sundry; and this in spite of one or two sweeping generalizations which either side
(materialist or ‘other-worldly’) will do well not to take too seriously. Science and the Creative Arts W. B. Honey By. Pp. 84. (London: Faber and Faber, Ltd., 1945.) 6_s_. net. Access
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Authors * F. IAN G. RAWLINS View author publications You can also search for this author inPubMed Google Scholar RIGHTS AND PERMISSIONS Reprints and permissions ABOUT THIS ARTICLE CITE THIS
ARTICLE RAWLINS, F. Science and the Creative Arts. _Nature_ 160, 418 (1947). https://doi.org/10.1038/160418c0 Download citation * Issue Date: 27 September 1947 * DOI:
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