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In a paper on the 'Unconscious Form-Creation in Art'1 I tried to show that the æsthetic feeling in our vision served a dynamic function; it counteracted the intense sexual ('pan-genital') significance with which our unconscious mind equips any seen form. I suggested that the pan-genital mode of our depth vision perpetuated an archaic crisis of the voyeur libido. When mankind rose to an erect gait the female genitals and with them the sole object of the male voyeur libido vanished from sight. The frustrated voyeur libido reverted to a less differentiated stage and endowed any visual object with a genital significance. Mankind acquired the ability of experiencing æsthetic feelings in order to overcome this sexual crisis. Freud, too, thinks that æsthetic feelings derive from the sexual voyeur libido, and marvels that only non-genital parts of the body produce marked æsthetic effects while the genitals could hardly be called beautiful. But the æsthetic feeling arose to destroy the excess voyeur excitation of non-genital body parts or objects by transmuting it into beauty. Only the genitals retained the maximum voyeur excitation. Our archaic unconscious mind still treats all visual objects as genital objects. In the visual arts the archaic pan-genital urge rises nearer to the surface and has to be overcome by the enhanced æsthetic graces of art. The artist projects order and beauty into the external world precisely because his unconscious vision tends to dissolve all differentiation and order into the chaos of the pan-genital vision.
In the fourth part of my paper I tried to show that the scientist also projects order into the external world. It is the order of causal necessity and compulsion, that is to say, the scientist projects an internal compulsion by guilt on to the external compulsion by causality. According to Kelsen the modern myth of causality is a remnant of a primitive world explanation by guilt. The primitive is only interested in disasters and