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MM The Educational Screen there were a few notable exceptions. I shall not soon forget the enraptured vis- age of a prominent art teacher at the close of his first Clavilux recital. Some paint- ers are secretly fearful of what the de- velopment of mobile color portends for the future of their own time-hallowed medium. Their fears, however, are cer- tainly unfounded. Like the camera and the cinema, the Clavilux will eventually prove of enormous benefit to painting by forcing the latter to abandon provinces foreign to its nature and to concentrate in a field peculiarly its own. Photography has made unnecessary and futile the pur- suit of microscopic realism; artists admit that the passing of the "subject" picture is due to the inroads of the cinema. In like manner the Clavilux and its successor will in time demonstrate to painters the futility of striving for effects which are obviously unattainable with a static me- dium. The youthful inventor of this instru- ment for the recreation of visible beauty —minus the non-essential detail which so frequently detracts from our enjoyment of unexpurgated nature—claims no great artistic value for his present recitals. Technically he considers himself a mere beginner, little more than a demonstrator who, having built the machine, is content to show us some of its possibilities. To him the present Clavilux is clumsy, old- fashioned, and obsolete. When we talk about the future of color music he wishes us not to forget the thirteenth century ancestor of our modern pipe-organ—a one-octave scale of enormous keys which were daintily played by vigorous blows of the fist! Plans have been drawn for an improved Clavilux which will permit more choice of thematic material. Next season Mr. Wilfred hopes to train a small class of pupils. When these de- velop into finished virtuosi we shall be better able to gauge the instrument's responsiveness to the touch of different personalities. The future holds some electric thrills in store for us. Duets, trios, quartets—tentative sketches foi these smaller ensembles are already in ex- istence. Eventually, why not an orches- tra? To be sure, it would be rather ghostly to see a conductor beating time for the performance of inaudible music but perhaps his physical presence could be dispensed with and the necessary syn- chronization—or should we say synchro- nization? —secured through some othei agency. A system of notation has beer devised, recording many silent composi- tions. In time a new literature will arise textbooks on mobile color-harmony counterpoint, and composition, treatises on the visual equivalents of sonata form etc. But even the primitive present has it- compensations. The new art may stili be infantile but it exhales an atmosphere of purity and other-worldliness which may be considerably polluted in days tc come. Then we shall have a multitude ol performers, some of them, inevitably, o\ gross mentality and perverted taste. Ii current fashions tell us anything of th( public's color preferences, Mr. Wilfred may live to gnash his teeth over the har- monies (?) evoked from the seraphic Clavilux by earthly-minded followers. □ □