Science can now help us to understand ourselves in this way by giving factual information about brain structure and function, and how the mind works. Then there is an art of self knowledge, which each person has to develop for himself. This art must lead one to be sensitive to how his basically false approach to life is always tending to generate conflict and confusion. The role of art here is therefore not to provide a symbolism, but rather to teach the artistic spirit of sensitive perception of the individual and particular phenomena of one's own psyche. This spirit is needed if one is to understand the relevance of general scientific knowledge to his own special problems, as well as to give effect to the scientific spirit of seeing the fact about one's self as it is, whether on elikes it or not, and thus helping to end conflict.Such an approach is not possible, however, unless one has the spirit that meets life wholly and totally. We still need the religious spirit, but today we no longer need the religious mythology, which is now introducing an irrelevant and confusing element into the whole question.Itwould seem, then, that in some ways the modern person must manage to create a total approach to life which accomplishes what was done in earlier days by science, art and religion, but in a new way that is appropriate to the modern conditions of life. An important part of such an action is to see what the relationshipbetween science and art now actually is, and to understand the direction in which this relationship might develop.
For the same reason there is nowhere to begin to trace the sheaf or the graphics of differance. For what is put into question is precisely the quest for a rightful beginning, an absolute point of departure, a principal responsibility. The problematic of writing is opened by putting into question the value of the arkhe. What I will propose here will not be elaborated simply as a philosophical discourse, operating according to principles, postulates, axioms, or definitions, and proceeding along the discursive lines of a linear order of reasons. In the delineation of differance everything is strategic and adventurous. Strategic because no transcendent truth present outside the field of writing can govern theologically the totality of the field. Adventurous because this strategy is a not simple strategy in the sense that strategy orients tactics according to a final goal, a telos or theme of domination, a mastery and ultimate reappropriation of the development of the field. Finally, a strategy without finality, what might be called blind tactics, or empirical wandering if the value of empiricism did not itself acquire its entire meaning in opposition to philosophical responsibility. If there is a certain wandering in the tracing of differance, it no more follows the lines of philosophical-logical discourse than that of its symmetrical and integral inverse, empirical-logical discourse. The concept of play keeps itself beyond this opposition, announcing, on the eve of philosophy and beyond it, the unity of chance and necessity in calculations without end.