1. This work was given as the Marvin B. Anderson Lectures at the Social Science Research Institute of the University of Hawaii at Manoa; it was subsequently published as Chapter 3 in my book Pacific Shift (San Francisco: Sierra Club Books, 1985). The final development of this theory, “Literary and Archetypal Mathematical Mentalities in the Evolution of Culture” will be published in 2003 or 2004 in the Journal for Consciousness Studies.
  2. See M. Cheour et al., 2002, “Psychobiology: Speech Sounds Learned by Sleeping Newborns,” in Nature, 415, 599–600
  3. Book One, ll. 269–281.
  4. See Ray Kurzweil, EDGE [online], March 25, 2002; see also his The Age of Spiritual Machines (New York: Viking, 1999). Also Hans Moravec, Mind Children: The Future of Robot and Human Intelligence (Cambridge, MA: Harvard University Press, 1988).
  5. There is one edition available in English. See Jean Gebser, Ever-present Origin, trans. Noel Barstad with Algis Mickunas (Athens, OH: Ohio University Press, 1991). There is a German paperback of selected works, Jean Gebser, Ausgewählte Texte (München: Goldmann Verlag, 1987); and the complete works are available in a boxed set as Jean Gebser, Gesamtausgabe (Schaffhausen, Switzerland: Novalis Verlag, 1986).
  6. See Bernard Lewis, What Went Wrong? Western Impact and Middle Eastern Response (New York: Oxford University Press, 2002, p. 118).
  7. See Walter Benjamin, “Paris, die Hauptstadt des XIX Jahrhunderts,” in Illuminationen: Ausgewählte Schriften (Frankfurt am Main: Suhrkamp, 1974). Surprisingly, Patrice Higonnet, in his Paris: Capital of the World (Cambridge, MA: Harvard University Press, 2002) misses the significance of Poincaré and chooses the year 1889 to mark the end of the mythic era of Paris. His point of view is too narrowly political and literary, and a much more sensitive understanding of the importance of science to art is to be found in Arthur I. Miller’s Einstein and Picasso: Space, Time, and the Beauty that Creates Havoc (New York: Basic Books, 2001); see especially his Chapter 4, “How Picasso Discovered Les Desmoiselles d’Avignon, pp. 85–127.