[I]

Examples

ad 1.

a] education – initiation, depth dimension

} anxiety of meaninglessness  b]  philosophy - logical positivism 

ad. 2.

a] psychology – test, determinism, technical therapy

} anxiety of selfloss 

b] Politics – suppression of the self by power, by propaganda

Possibilities: Reading of Einstein^h's discussion with me.      "     of an article on religion and psychotherapy.      "     of my lecture in the New School.      "     of parts of Syst. III, concerning the organic and the inorganic. History: Facts – interrelations [valuating], understan- ding, interpreting.

[III] The answer of the arts: The question (and positive philosophy) The limits of this answer and the quest for religion.

Religion and Culture II Applications to science and the arts. I 1. Application of the two concepts of religion to the one side of culture, the receptive one, the theoria, the cognitive and aesthetic. 2. A repetition of the two concepts. – Starting with the {artistic} aesthetic: "beauty and expressiveness". The question is: In how far does the aesthetic express ul- timate concern? 3. Subject=matter, form and style. Style as the expression of man's selfinterpretation, concerning the meaning of his world and himself.

[2] 4. Stylistic elements. The natural, the ideal, the expressive. The humility and receptivity of the natura- listic style in taking reality, its prophetic aggressiveness in showing the negativities. – The anticipatory style of idea- lism. Its non-existentialist character. Its easiness in being distorted in beautified naturalism. – The expressivistic style. Its showing the divine-demo- nic underground of reality. (In the {first} demonic side it is continuation of critical realism, in the divine side it has elements of the idealistic {fr} anticipation, but it is neither) There are different forms of this most universal style: Magic realism, non-objective, expressionistic: The sacramen- tal, the mystical, the Spiritual style.

[3] 5. The religious underground of all styles in the sense of the larger concept of religion. But now the question of the concrete religious symbols: The phenome- non of double symbolisation. The experience of the unity and the difference of the two sets of symbols in participating in [...] religious art. 6. The question of adequacy of style and religious symbols. The expressivistic style as the most adequate because most universal and most concerned about the dimension of depth (disrupting the surface). Something about the autonomy of style – but the right to chose by the churches for cult. This is implicit heteronomy and destinctive if not

[4] authentic for the artists: Imitated icons (or Gothic churches) 7. The present situation as unanswered question, but honestly presented. The hope in architecture. II. 1. The problem in the cognitive realm is the problem of conflict. The scars of the centuries of struggle. The present situation as clear cut separa- tion. 2. The three main conflicts and their analysis: