The idea for this book took shape at some time in 1968. While teaching at two London art colleges, the author was disturbed by the fact that new work in any particular field of the visual arts was documented and considered in isolation. He felt that it was desirable to correlate many apparently disparate activities. He was aware that the student of graphic design, for instance, might have little knowledge of 'conceptual' or 'minimal' art, and that, on the other hand, the fine-art student could be equally ignorant of developments in 'autonomous typography' or 'ideative design'. By the same token, innovation in audio-visual techniques might elude both groups of students.

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