In the slow accretion of self-images that is the mortar between periods in the history of our civilization, a third character ideal emerged, in part from the failure of the previous two [political man and religious man]: economic man, one who would cultivate rationally his very own garden, meanwhile solacing himself with the assumption that by thus attending to his own lower needs a general satisfaction of the higher needs would occur. A moral revolution was the result: what had been lower in the established hierarchy of human interests was asserted to be higher.

In the eighteenth century it was often convenient to regard man as a clockwork automaton. In the nineteenth century, with Newtonian physics pretty well assimilated and a lot of work in thermodynamics going on, man was looked on as a heat engine, about 40 per cent efficient. Now in the twentieth century, with nuclear and subatomic physics a going thing, man had become something which absorbs X-rays, gamma rays and neutrons.

Depicting rational economic man as an isolated individual – unaffected by the choices of others – proved highly convenient for modelling the economy, but it was long questioned even from within the discipline. At the end of the nineteenth century, the sociologist and economist Thorstein Veblen berated economic theory for depicting man as a ‘self-contained globule of desire’, while the French polymath Henri Poincaré pointed out that it overlooked ‘people’s tendency to act like sheep’.31 He was right: we are not so different from herds as we might like to imagine. We follow social norms, typically preferring to do what we expect others will do and, especially if filled with fear or doubt, we tend to go with the crowd.

Lacking positive myths to guide him, many a sensitive contemporary man finds only the model of the machine beckoning him from every side to make himself over into its image.

Cave man and Industrial man are both versions of a model of man that is, itself, constantly changed by its own eccentricities -- and their subjective experience of reality is so different that the respective versions follow entirely divergent paths. Cave man did not turn into Industrial man. Nor is Industrial man a better version of an earlier model. Each chose eccentricities that involved specific orientations within the same time-space framework. Each uses the contents of a given earth differently.

It paints a portrait of a man attempting to cope with being a human.

May it please our great Author that I may demonstrate the nature of man and his customs, in the way I describe his figure.

Man is no longer an artist, he has become a work of art.

"Homo economicus was surreptitiously taken as the emblem and analogue for all living beings. A mechanistic anthropomorphism has gained currency. Bacteria are imagined to mimic "economic" behavior and to engage in internecine competition for the scarce oxygen available in their environment. A cosmic struggle among ever more complex forms of life has become the anthropic foundational myth of the scientific age."

Hypnotized by their rear-view mirrors, philosophers and scientists alike tried to focus the figure of man in the old ground of nineteenth-century industrial mechanism and congestion. They failed to bridge from the old figure to the new. It is man who has become both figure and ground via the electrotechnical extension of his awareness. With the extension of his nervous system as a total information environment, man bridges art and nature. (p. 11)

Economic man deals with the "real world" in all its complexity. Administrative man recognizes that the world he perceives is a drastic simplified model... He makes his choices using a simple picture of the situation that takes into account just a few of the factors that he regards as most relevant and crucial.

In order to depict a man one must understand him, and to understand him one must be like him; in order to portray his psychological activities one must be able to reproduce them in oneself. To understand a man one must have his nature in oneself.

The stranger pointed at the unfinished, unsatisfying image which stood beside the pool of Haranton, wherein, they say, strange dreams engender.... "What is that thing?" the stranger was asking, yet again... "It is the figure of a man," said Manuel, "which I have modeled and remodeled, and cannot get exactly to my liking. So it is necessary that I keep laboring at it, until the figure is to my thinking and my desire."

Man be my metaphor’,