Notes
Notes
SOUL—UNITY
MATHEMATICS—PARTICULARS—MECHANICS
Leonardo da Vinci (Reynal & Co., New York, 1963), pp. 163–174, Leonardo’s Thought.
On Science and Culture,” Encounter, October 1962.
In The God Who Is There (InterVarsity Press, 1968) I have shown in detail the development under the Line of Despair in these areas (philosophy, art, music, general culture and theology), from the time when they went below the Line of Despair until the present.
In the Marxian state, the state was made the arbitrary absolute, putting forth detailed, arbitrary absolutes as laws, to give unity in the midst of their Hegelian materialism. The artists were at first the supporters of the Revolution, but then (with their modern art forms, based on modern thought-forms) they were a threat that had to be suppressed, because they challenged the sufficiency of the state and its laws in relationship to: 1. the meaning of the individual; 2. the attempt to restrain the natural development from Hegelian thinking toward increasing meaninglessness, as it has developed in the West. Theoreticians, like Adam Schaff of Warsaw, are now seeking a way to find a meaning for the individual without falling into the increasing chaos of the West. Hegelian relativism is now the consensus on both sides of the Iron Curtain; thus, in the most basic sense, the situation on both sides of the Iron Curtain is uniform, and on both sides man is dead. The West can point out the loss of the meaning of the individual through political suppression and brainwashing in the Communist states. But the individual is also losing meaning in the West: the question can be asked if this will not lead rapidly to the practical suppression of the individual in the West as well, in order to offset the growing chaos. One could think of John Kenneth Galbraith’s suggestion of an “academic, scientific establishment—State élite” or Allen Ginsberg’s concept of an India-like caste system.
Allen and Unwin, London, 1961.
Collins, London; Harper and Row, New York, 1939.
The Listener, October 13, 1966.
Vision Press, London, 1958.
Secker and Warburg, London, 1954.
Faber, London, 1952.
“Whatever Happened to the Great Simplicities,” Saturday Review, February 18, 1967.
Kaddish Symphony, 1963 (Columbia KL6005 or KS6005).
Berkeley Publishing Company, New York, 1963.
The Theatre of the Absurd (Anchor Books, New York, 1961).
Pantheon, New York, 1966.
Science and Hebrew Tradition, vol. 4 of Huxley’s Collected Essays (Macmillan, London, 1902).
Deuteronomy 5:23-24.