Archbishop Mitty High School - Excalibur Yearbook (San Jose, CA)

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THE MAGIC BUS You come and go from school in a variety of ways, ways which will probably persevere in how you go and come from work later in life. The following excerpt from the writing of john Fowles raises one of those vital questions we all are being bombarded with: How about You and the World you move through? Almost all nature education based on the know-what approach is bad, for what goes with it is the notion that everyone ought to get an identification interest in natural history. Of course, if we did all become keen naturalists that would solve all our - problems. But if anything is certain about the real situation, it is that many people are never going to be very interested in nature either as science or as a hobby for showing off a cleverness with names. In- deed, as they have less and less contact with nature in our overpopulated world, they are very probably going to be less and less interested in it. What has to be done is to get this vast and growing army of the indifferent to see nature as a daily pleasure of the civilized life. It doesn't have to be named, or studied, or hunted, it just has to ,W fn fn ,Q SCHOOL Bus Q, i T 'l . Q' E .t.-,- f r 3. i r l k lrif f t,,,,2,g.T..3,,:',,i e l ' l E hpwr p i... .pun . ,gp pg, M - ,, ef j In Xnganwk: . L - - 11 i :ff si .fa A-5 ,,,- ,. ,.,s,,.....,...-..........i., i...,....,. . ,.......,.,..,....,-..,............ KE ' a is 'TL jim Joe Bob Tim Kevin Tracy Blarney Borges Bower Brashe ar Bridgeman BFOWH evi K , ,,. if , - B 3 In f , a l a B fi 1 . Brad Burnett X X if s R N' ,lf x! .

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BY TRUCK OR AUTO r-ann, Q is via 'L l ...- 1 ,Q W s be there. And they have to be taught to miss it if it isn't there, the Way they would miss electricity or the water supply if that were cut off. The kind of seeing that this requiresis much more esthetic and imaginative than scien- tific. So for a start I should like to see the scientific element in our school-teaching about nature severe ly reduced and its place taken by study of the attitudes and vision of the many great painters, poets and writers who have treated the subject. They are who we need most to copy and to learn from, not the scientists. You can always tell the man who wants to experience na- ture from the one playing at scientist. The former will have granted equality to the whole scene, both in terms of the various families of natural life and in terms of the statistical commonness and rarity of what he is seeing. He won't, in short, be blind to all but his own field. He will know that he has to observe with both the eye of the flea and the eye of the elephant, as the Indian proverb goes. We all see too much with a human eye and to a human scale. He will see the moth's uncurled proboscis and the ancient glacier bed, the smallest and the largest, and all in one glance. He will see forms, colors, structures, see personal, artistic and literary allusions, see whole poetries where the, pseudo-scientist sees only names and matter for notes. One of the curses of our times is that this poetic approach has come to be ridiculed as something rather romantic. It is true that without any scientific check, such an atdtude can lead into the turgid bayous of nature-corner sentiment or to the equally nauseating anthropomorphic scripts of the Disney nature films and the kind of com- mentary one hears at Marineland. If such cheap sentimentality were the only alter- native to the scientific approach to nature, jim . Joe Tom Bart Bill C2S1igDaI11 Cesario Ciolino Clanton Clarke . . . .st , xp i -it ' l 'ff V . ' f 3 ' A ff ' -' - 'Y J. - .' 3 L Lmqb X f' f'.hisf!4' Steve Connelly s t 1 Mike Corica. at Y as