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It took me more than a decade to work my way through the landscape. I owe my liberation from it to the work of geographer David Lowenthal and social critic Marshall McLuhan. Their writing convinced me that the world-as-picture was, on one hand, geared to the superficiality of taste and, on the other, an outcome of a Renaissance mathematical perspective that tended to separate rather than join. Walter Ong's essay "The World as View and the World as Event" convinced me that this distinction between the visual and the tactile was more than ideological. The landscape was an inadequate nexus. It was only a twist in the idea of the co-option of the earth. Indeed, such ideas depended as much on unconscious perception as on intellectual or artistic formulations. I began to feel that something still more biogenic, yet common to humankind, which yet might take particular social or aesthetic expression, held the key to an adequate human ecology.
“Over the next decade I read anthropology and child psychology. During that time a meeting of anthropologists took place in Chicago that resulted in the publication of Man the Hunter. I began to think that the appropriate model for human society in its earth habitat may have existed for several million years. If Claude Levi-Strauss were to be believed, nothing had been gained by the onset of civilization except technical mastery, while what had been lost or distorted was a way of interpreting in which nature was an unlimited but essential poetic and intellectual instrument in the achievement of human self-consciousness, both in evolution and in every genera tion and individual human life. I knew such an idea would be ridiculed as a throwback to the discredited figure of the noble savage, but when it was considered in light of Erik Erikson's concept of individual development as an identity-shaping sequence I found it irresistible.
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