he elevation of a culture can be measured directly by the numbers of its people working in the field of aesthetics. LRH
Hence, his lifelong dedication to aesthetics, hence his concern for artists of every field, and hence the larger view from which we present: Art and Philosophy of Art.
Yet before we consider that larger view, let us establish the larger perspective. To begin with, and however we may popularly associate the initials LRH and Scientology, those initials were originally most associated with the artsin particular, the stories with which he actually funded his long road of research to Dianetics and Scientology. Next, and quite apart from what those stories represented as a means to that greater end, the creative act remained quite close to his heartas in: Capturing my own dreams in words, paint or music and then seeing them live, he had confided, is the highest kind of excitement. Finally, and even more to the point of this publication, there is all LRH represents to others who would capture their dreams in words, paint or music... which is to say, all he provided for our greater understanding of this rather vast subject of ART.
But first to consider the man himself as an artist. Having published hundreds of works and millions of words between 1929 and 1941, the name L. Ron Hubbard had become virtually synonymous with American popular fiction. In point of fact, as friend and fellow author Frederik Pohl proclaimed, The instant Rons stories appeared on the newsstands, they became part of every fans cultural heritage. And given the sheer volume of those storiesfrom white-knuckled adventure and labyrinthian mysteries to rough-riding Westerns, boundless science fiction and even the occasional romanceRons contribution to that cultural heritage was indeed rich. It was also a fully enduring contribution, as underscored by the LRH titles appearing on bestseller lists more than three decades after original publication, including Fear, Final Blackout and Buckskin Brigades.