These two different responses, the idealistic and the scientific, do not merely exist simultaneously: there is a dialogue between the two. The imagin… - Shulamith Firestone

Culture then is the sum of, and the dynamic between, the two modes through which the mind attempts to transcend the limitations and contingencies of reality. These two types of cultural responses entail different methods to achieve the same end, the realization of the conceivable in the possible. In the first, the individual denies the limitations of the given reality by escaping from it altogether, to define, create, his own possible. In the provinces of the imagination, objectified in some way – whether through the development of a visual image within some artificial boundary, say four square feet of canvas, through visual images projected through verbal symbols (poetry), with sound ordered into a sequence (music), or with verbal ideas ordered into a progression (theology, philosophy) – he creates an ideal world governed by his own artificially imposed order and harmony, a structure in which he consciously relates each part to the whole, a static (and therefore ‘timeless’) construction. The degree to which he abstracts his creation from reality is unimportant, for even when he most appears to imitate, he has created an illusion governed by its own – perhaps hidden – set of artificial laws. (Degas said that the artist had to lie in order to tell the truth.) This search for the ideal, realized by means of an artificial medium, we shall call the Aesthetic Mode.

The fifties was the bleakest decade of all, perhaps the bleakest in some centuries for women.

Another internal contradiction in empirical science: the mechanistic, deterministic, ‘soulless’ scientific world-view, which is the result of the means to, rather than the (inherently noble and often forgotten) ultimate purpose of, Empiricism: the actualization of the ideal in reality.