sudden luminosity. The telephone companies make tapes of the blither of boors, who inundate defenseless telephone operators with various kinds of revolting expressions. When played back this becomes salutary fun and play, and helps the operators to maintain equilibrium. The world of science has become quite self-conscious about the play element in its endless experiments with models of situations otherwise unobservable. Management training centers have long used games as a means of developing new business perception. John Kenneth Galbraith argues that business must now study art, for the artist makes models of problems and situations that have not yet emerged in the larger matrix of society, giving the artistically perceptive businessman a decade of leeway in his planning. In the electric age, the closing of the gaps between art and business, or between campus and community, are part of the overall implosion that closes the ranks of specialists at all levels. Flaubert, the French novelist of the nineteenth century, felt that the Franco-Prussian War could have been avoided if people had heeded his Sentimental Education. A similar feeling has since come to be widely held by artists. They know that they are engaged in making live models of situations that have not yet matured in the society at large. In their artistic play, they discovered what is actually happening, and thus they appear to be "ahead of their time." Non-artists always look at the present through the spectacles of the preceding age. General staffs are always magnificently prepared to fight the previous war. Games, then, are contrived and controlled situations, extensions of group awareness that permit a respite from customary patterns. They are a kind of talking to itself on the part of society as a whole. And talking to oneself is a recognized form of play that is indispensable to any growth of self-confidence. The British and Americans have enjoyed during recent times an enormous self-confidence born of the playful spirit of fun and