Senin, 12 Januari 2009

Islam, Muslims, and modern technology

In this interview, Professor Seyyed Hossein Nasr highlights the impact of modern technologies on human habitats and ecosystems. The destruction of environment by modern technology is seen as one of the most serious threats faced by humanity. Modern technologies have also replaced traditional methods of making objects of daily use. This replacement has serious consequences for the spiritual health of humanity. In discussing the impact of modern technology on the Muslim world, suggestions are made to preserve various aspects of Islamic civilization.

Keywords: Modern technology and its impact; Muslim world and modern technology; aspects of Islamic civilization; role of machine-made objects in the destruction of natural balances; traditional crafts and their spiritual significance; Islamic urban design; modern technology and Islamic civilization.

**********

In this article, modern technology refers to technologies which have been developed during and after the Industrial Revolution mostly in the West and which have now spread all over the world. There are two very different dimensions to this discussion: one pertains to the actual situation that exists in the world, that is, what is going on now; the other pertains to the question of what we believe should go on as far as the Muslim world is concerned. Let me give an example. There is no government in the Muslim world today which does not support any form of technology that brings with it either power or wealth. No one resists any form of technology that is believed to bring certain conveniences, like the cell phone which has spread like wildfire all over the world, and which has many detrimental effects upon the brain, as many studies are showing, though most people usually do not care too much about such negative factors--at least for now.

So, at that level, discussing the relationship between Muslims and modern technology is not efficacious in the sense that whatever form of technology comes on the market--and it is usually from the West, and occasionally from the Japanese and a few other peoples who invent new things--if these new technologies are perceived to bring wealth, power, or conveniences, they spread very rapidly among Muslims as elsewhere and it is no use talking to them about the danger of their spread with the hope of having any positive influence.

But there are other questions which can be discussed, for instance, the destruction of the environment which modern technology is causing. Then there is the dimension of this issue concerning what should take place. What should be the Muslims' attitude toward modern technology whose negative effects are obvious? It is about this dimension that I wish to say something and this is where the deepest issues lie. Otherwise, if we go on debating whether this particular country, or that particular country, has or is going to have or should have knowledge of nuclear engineering or certain types of lasers or this or that, this I think is a wasteful effort at the present moment, because we, who are supposed to be the intellectual figures of the Islamic world, who are supposed to clarify these issues, cannot do much at the level of action by Muslim governments and companies in relation to technology. There is, however, something very important that we can do and that is to create an understanding for the future as far as these issues are concerned. We are responsible for creating an awareness of what is really involved for Muslims when it comes to the adoption of modern technology. And in this domain, in fact, a number of people in the West have a much greater awareness of the dangers of technology than do people in Asia or Africa, who are on the receiving end of modern technology, and this itself is one of the major issues that should be discussed.

In light of this, I think we should turn to the issue of what the problems are which modern technology poses for Muslims, not only as ordinary human beings, but more specifically as people who belong to the Islamic religion and are rooted in the Islamic worldview; then to try and analyze these problems, and in light of that, to discuss what can be done, if anything, and what Muslims should do.

First of all, it is important to define terms. The word technology comes, of course, from the Greek word techne which means "to make" and is related to the word for art, which comes from the Latin word ars, also meaning to make, and both are related to the word san'at in Persian, or the word sina'ah in Arabic which we still use in these languages for both technology and art. Quite interestingly, the division has not yet come about for us, as it has in the West, where art is one thing and technology another, despite the fact that there are some modern sculptors who go to junkyards and put various parts of cars together and call it art. That is a minor matter.

What we have in the modern world is a situation in which technology in the modern sense is the source of most of the objects that surround human life, whereas, before the Industrial Revolution, when things were made by hand, the products of arts and crafts surrounded man's life. This is very important to understand. There is a qualitative difference, although the root of the word "technology" goes back to a Greek word with a very different meaning.

A very important event took place in the Industrial Revolution that completely changed the nature of technology. Machines were made as means to create objects for human beings in Western Europe and gradually elsewhere and they soon replaced human beings in many realms. Now what was the significance of this change that occurred? Let us take a concrete example. There were water wheels in ancient times and complicated clocks created by al-Jazar and many other Muslims, but ordinary objects of human life were still made by human agents. Moreover, there is a very big difference in the techniques used to make ordinary objects by hand and the ways of modern technology. Of course, there always was some technology like the water clock in Muslim lands, but it always remained secondary and peripheral. What surrounded life was the product of art and had a spiritual significance. It is very interesting to note that the very complicated machines made by Muslim scientists were considered mostly for play and amusement. They were not seen as a means of increasing production and serving economic purposes. This is very significant.

So there is a qualitative as well as a quantitative change that took place when the Industrial Revolution occurred. A number of eminent Western writers, going back to William Morris and John Ruskin in the nineteenth century and Ivan Illich and Jacques Ellul in the twentieth, wrote about certain negative aspects of modern technology that Muslims should know. Illich wrote a remarkable book, Tools for Conviviality, and the French author Jacques Ellul wrote The Technological Society. Ellul has recently turned against Islam because he does not understand it, but he has produced some important and profound critiques of modern technology in its relation to the human soul, the human spirit, and human society.

In the 1970's, I invited Ivan Illich to Iran and on purpose I organized a session that involved some of the higher authorities of the land who were in charge of various activities which required technology from the department (ministry) of national economy, the department of industry, and so on. Ivan Illich gave a talk to them on the significance of traditional technologies in contrast to modern technologies. He gave a simple example of a water closet. He said that if all the people of Asia and Africa were to have the same water closets as do the people of the industrialized societies in the West, that fact in itself would destroy the water system of the whole world. Everyone was shocked. These were all highly educated Iranian administrators, some on the ministerial level with advanced degrees from the best Western universities, and precisely because of that they did not have the least notion of what Illich was talking about. We have the same situation in Pakistan, in the Arab world, and in many other Muslim countries.

Now what we have to do first of all is to understand the difference between traditional technologies, which were an extension of our hands, senses, and other parts of our body and which, like the body, were subservient to the soul, and the modern machine which dominates over the human being; an example may explain this: if you were to go to a part of the Muslim world where we still have traditional craftsmen, let us say Isfahan, Fez, Damascus, or somewhere like that, you will see a person sitting with a simple hammer and a simple chisel and producing remarkable geometric patterns in stucco, stone, or wood. Traditionally, the know-how and the art resided within the being of the craftsman and the tool was very simple. But if you go to a Detroit factory where they are producing cars, the worker there has very little know-how--he just presses a few buttons. All of the know-how is in the machine. In a sense it is a transfer of human knowledge and art to the machine. And now we have the second step of the same process in the form of the computer, where knowledge in the mind has been transferred to the machine. I have many students who can no longer spell because they rely on a computer to spell for them. They cannot do any math because the computer computes for them, and gradually the computer empties the mind as the machine emptied the dexterity of the hand, the eye, and other parts of the body of the artisan and craftsman.

Now, that is what modern technology does. Modern technology is not simply the continuation of the Persian waterwheel or some medieval contraption. It changes the relationship between the human being and the means of creating things. Therefore, it takes away from the human being's creativity--it takes away the creativity and the spiritual content of work. The only creative part of modern technology is done by those engineers who design the machine. For someone who is designing an airplane or a ship or something like that, yes, there is still creativity in that work. But for those who make things, especially in mass production, objects that are made no longer involve creativity, which is why work in a modern factory and most other places has become so boring. That is why you have to have long vacations. In traditional societies, you did not go on vacation. Have you ever thought of that? Vacation was integrated into life. Weekends were not necessary like today. Nowadays, many people say 'I hate Monday', 'thank God it is Friday'--this sort of thing. This attitude exists because work has come to be emptied of spiritual content, thanks to the machine.

All of these negative effects on human beings are consequences of modern technology. The first thing we have to understand is that this technology is not neutral, that is, claiming that if you are good, you make good use of it, if you are bad you make bad use of it. That is not at all the case. Of course, if you are good and make good use of it, you do not drop a bomb on somebody's head--that part I accept--but even if you go for a drive down the road peacefully, so-called peacefully, this gadget, this automobile, is a major source of aggression against nature. Now of course we realize, or I hope we realize, that global warming is destroying many ecosystems and so many other things and that much destruction comes from the so-called peaceful use of the automobile. Therefore, it is not simply a question of good use and bad use of technology. There is something more involved. Technology itself brings with it a certain technological culture which is against the soul of the human being as an immortal being, and is against the fabric of all traditional societies which are based on the spiritual relationship between the human being and the objects he or she creates, that are based on an art that is creative and reflects God's creativity, as the Supreme Artisan. God is called Al-Sani in the Qur'an; He is the Creator, the Artist, the Supreme Artisan, and He has given us the power of creativity which we share because we are His khulafa, vicegerents on earth.

In Islamic civilization there was no line of distinction between art and technology, between the high arts and the low arts, between the so-called fine arts--this terminology is total nonsense from the Islamic point of view--and industrial arts. What is fine arts? All such terms were created in the West including "beautiful arts" (the French beaux arts) because art as the means of creating objects for use in everyday life was taken away from human beings in the Industrial Revolution and replaced by, for the most part, ugly products of the machine. In traditional civilizations there was a continuous spectrum of creation which was always related to God, from the making of a simple comb to the composition of f poetry and everything in between; everything was related to God and reflected His quality as the Supreme Artisan on the human plane. Now modern technology destroys that relationship. Whether or not the person driving a car is a pious person, who uses the car to go to the masjid to pray, or go to a night club, the destruction of the environment is there and the making and driving of the car--which is a machine--are cut off from the divine prototype of creativity.

Many of us think that the sacred character of life can be preserved simply by saying our daily prayers. I wish it could. But those are simply the pillars; the rest of life also needs to be made sacred. In Islam every activity has a symbolic and sacred aspect. In agriculture, for instance, when one cultivated the land, the whole process of sowing seeds and cultivation has a spiritual and religious significance, whereas now with mechanized agribusiness this spiritual dimension of agriculture is all gone. The use of animals in transportation necessitated a relationship between the human being and the animal. There is the hadith about treating animals well. That attitude is mostly gone and of course the fact that animals are used less for transportation does not mean that they are better treated. Let us remember how many species disappear and become extinct everyday as a result of the use of modern technology or through painful experiments performed upon them.

The structure of our traditional cities was one of the greatest artistic creations in human history. I mean the Islamic urban design, of which we can still see remnants (al-hamdu li'Llah they have not completely disappeared in cities such as Fez in Morocco, Yazd in Iran, in parts of Isfahan, in parts of Damascus around the Umayyad Mosque, in the old quarters of Cairo, etc.). These urban designs were meant to create a human ambiance in which religion, commerce, education, and daily living were all combined and integrated into a whole in which unity dominated over multiplicity. And what we today call amusement, or having fun or entertainment, which is such a big part of modern society, that also was integrated into life. The reason that amusement (including sports) has become such an important part of today's world and treated as an independent reality is that work is so unentertaining and so depleted of the sense of the sacred, thanks to the modern machine. It is so boring for most people that entertainment has to become a major independent event to make life bearable. It has practically replaced religion for many people.

I have said all of these things in order to prepare the ground for Muslims to understand the nature of this technology and not to be naive and think that it is simply neutral. It is true that sometimes we have no choice. God has placed me at this time and place in history where I cannot get on a donkey and go to a madrassah as my ancestors did in Kashan. There are no donkeys here and the roads are long. I have to use a car. God knows in what condition we are in this world. Yet, this does not mean that we should be blind to the consequences of the technologies that are involved and adopt every form of technology that comes along just because it is out there.

Besides the loss of subtle spiritual elements, some of which I have mentioned and some of which I have not, modern technology is literally leading us to our death. It is as simple as that. We are witnessing the destruction of the natural environment on a vast scale and no amount of putting our head in the snow and trying to forget what is going on is going to solve the problem. If the Muslim world, China, and India really take off industrially and become as industrialized as, let us say the United States, and have the same rate of consumption as does America, then the whole ecosystem in the world will probably collapse or be radically modified. Everybody knows that. Already without having reached that point, numerous places are at the verge of catastrophic destruction--from the coral reefs of Australia to the Amazon forest. Every intelligent person knows these facts, but few want to pay attention to them. I think that it is the duty of the Islamic intelligentsia to draw attention to this situation. This issue is, from the point of view of our earthly life, much more important than any other single issue in this world. I am not talking about the spiritual matters which, from the Islamic point of view, are the most important, of course, in human life, but of issues such as poverty, economic crises, political oppression, dictatorships, revolutions, all of these things: none of these poses as great a danger as this problem of the destruction of the natural environment, because those things may gradually be solved, whereas if we do not turn immediately to the issue of environmental degradation caused by modern technology, we are not going to be around to solve anything else unless God intervenes in nature in ways that we cannot think of--that is in His Will--but from the human point of view, the way we are going, we have just a few years left to completely change the way we live, or we shall perish.

Most people in the West will say, "Ah! The solution to this crisis is new technologies to replace old technologies." It is here I believe that they are completely wrong. What has to be done is to revive the sacred view of nature which is totally opposed to how modern technology views nature. What Muslims have to do, in fact, is not to employ every new foreign technology that comes along, but only use technologies which have less negative impact on the environment. Yes, I agree, there are relative benefits in, for example, having factories which do not create as much smoke as before, but that is minor compared to something much more profound and that is the general negative impact of modern technology upon the environment and upon the souls of modern human beings. Modern technology creates a negative impact, and this impact increases not only tenfold, but up to hundredfold with many new technologies, so that the more technology we have normally, the more negative of an impact we make upon the environment, and also upon minds and psyches.

We have to change our whole way of living. We--and I mean everybody on this planet--have to change in a basic way and think of technology in another manner. This is where the Muslim world can play a positive role. Let me say a few things specifically about Islam. Educated people in the Muslim world want to be technologically like the West, including, unfortunately, even those who are pious and do not like the West, and even those who are so-called 'fundamentalists'. When it comes to technology, they are as Western as the most modernized Muslims. You take the most secularized Turk in Istanbul or from some other city, and the most fundamentalist Muslim preaching in some mosque in Saudi Arabia; their attitude toward technology is probably the same, which is a remarkable comment to make when you consider their very different interpretations of the Islamic worldview.

Now, that has to change. Muslims have to realize what we cannot and should not do in this realm. There is no choice for a Muslim community in having or not having telephone or electricity. Let us, therefore, not talk about things which cannot be done and technologies that cannot be avoided, even if we realize their negative aspects. Let us talk about things which can be done.

The Muslim world can still preserve many things. First of all, in the field of agriculture, for instance, genetic engineering is a dangerous practice to be avoided if possible. In countries like Pakistan and Iran, which have major agriculture sectors, we must strive to preserve as much as possible, and it is possible to preserve the traditional modes of agriculture production by keeping small farms, rather than changing the whole method by adopting large agro-businesses, using genetically engineered seed, taking over the traditional farms; these agro-businesses are hardly the hope for providing food for the whole globe as is usually advertised.

Secondly, it is possible to preserve to a large extent the traditional urban design of Islamic cities and the technologies which affect human relationships, modes of transportation, the use of energy, and many other forms of technology. The preservation of traditional Islamic architecture and urban design can play a major role in preserving something of traditional technologies and a saner way of life.

We must not be like a sleepwalker who accepts whatever comes along without even thinking about its consequences. It is paradoxical, just to take the case of cell phones that have spread like wildfire over the earth in the last twenty years. We even have people circumambulating the Ka'bah while their cell phones are ringing--this is a blasphemy of the worst kind that you can imagine. These cell phones have so many negative medical effects, but many Muslims are just blindly following the trends that originate in the West. But the irony is that in the West, at least a small number of people have their eyes open, whereas the Muslim world is blindly copying whatever comes from Western technology. Even those who are against the West have a deep trust in Western technology. They think that whatever technology comes from the West must be good. We need to have a greater sense of discernment in this matter.

That does not mean that tomorrow morning we can stop having anything to do with modern technology. Some people in England have recently created small villages which are completely pre-industrial, with natural agriculture, natural water, and so on. Alas, I do not think that many in the Muslim world would envisage such a thing at this time.

There are, however, many wise choices which we can still make and are not making, for example in the use of traditional technologies in making objects such as carpets and utensils, traditional irrigation systems, traditional use of energy in relation to architecture, and so on and so forth. More generally I believe that we must do everything possible in the Muslim world not to allow our tradition of making of things in an artistic way to be totally destroyed. The weakening of this tradition was one of the major results of the impact of colonialism in the nineteenth century, parallel to the destruction of our scientific tradition and of much of our educational system. The arts have not been completely destroyed but they have suffered a great deal.

Let me give you an example: the Persian carpet is a very important element in many homes. It is true that for the most part its dyes have become chemical, imported originally from Germany, since the 1920's and 30's, but still carpet making remains a traditional artform. It is woven by artisans and has a spiritual significance. The carpet plays a very important role in traditional Islamic society because we sit on the floor, pray on the floor, eat on the floor, sleep on the floor. A carpeted space becomes the living room, the dining room, the prayer room, and the family room where everyone sits together in the small traditional home, which is the case for the majority of Muslims. In many places, say in a village in Afghanistan, many have one room, where they do everything. The same is true in Iran, Pakistan, Morocco, everywhere. Now, we must not allow the traditional carpet to become the industrialized carpeting that we have in the United States, though such an industry makes money. Unfortunately, some carpet factories have even come to Iran, which is the most important country for the making of carpets. We have to prevent such destruction of the traditional crafts to the extent possible and this is an instance where the preservation of traditional technologies is possible if there is the will. We have to try to preserve the making of hand-woven cloth. A lot of the things that Gandhi said that everyone scoffs about today, even in India, where he is the father of the nation and yet nobody wants to listen to what he said, were completely true. Once you destroy over 100,000 Indian villages whose economy is based on recycling, what is left of India? The same holds true for us.

The wonderful hand-woven cloth still made in Morocco or Algeria is there, but many other arts, crafts, and traditional technologies have been destroyed in the central lands of Islam; much has been lost. But in certain parts of the Muslim world, traditional methods of production continue and these should be strengthened rather than lost. The governments should try to help in this task of preservation. There are projects like this in Amman, in Morocco, in Iran, and other places. They should try to expand the production of traditionally produced objects not as luxury items, so that you can buy a vase and put it in your living room not as a so-called piece of art, but as part of daily living. Your grandmother and my grandmother took a cloth to go to the public bathhouse once a week, as almost all men and women did in those days--those pieces of cloth were all woven by hand, and many of them are in textile museums today.

It is remarkable how the quality of life has gone down, and not up, with modern technology. The clothing, the bowls from which people ate food, the quality of the food itself, its fragrance and everything else has gone down as far as quality is concerned. So, we should try and preserve these islands, those sectors of human life in which the traditional technologies still survive. Such technologies are combined with art, with a meaning in the making of things, with the satisfaction of the person who makes them, the satisfaction of the person who consumes them, because there is something directly human and at the same time spiritual in the production of handiworks, even if it be a simple comb made by hand.

Titus Burckhardt has a wonderful story in his book on Islamic art that a simple comb maker narrated in Fez, Morocco. He told of how this art was first taught by God to Seth, the son of Adam, and has a spiritual significance. The simple comb, if you go to the bazaar and buy one made by hand, you feel the difference between it and the one produced by the machine. Even an American tourist feels it. In Western society with its high technology something made by hand is considered to be valuable and not inferior. People pay a lot more money if something is made by hand, whereas in much of the Muslim world things have been going in the reverse direction for the last hundred years. Machine-made objects are considered by many to be better than hand-made ones. We can, however, reverse these trends. This can be done. This reversal has to go hand in hand with the intellectual critique of modern technology along the lines of first dealing with its cosmological/ spiritual aspect and second its impact upon the environment, both natural and human.

In response to this point of view, it is often said that it is impossible to go back to those technologies which cannot produce massive quantities because our needs have increased manifold, because the number of people on this planet has increased tremendously from the pre-Industrial Revolution era. This is true to some extent in certain fields, but not all. For example, let us take the big cities of India where women still wear saris made by hand. Today there are about 500 million of them. Two hundred years ago there were probably 100 million of them; a 1000 years ago 50 million of them. It is true that the consumers have increased from perhaps 50 million in the Middle Ages to 500 million now, since there are now a billion Indians, out of which approximately 500 million are women. But the number who can produce the cloth have also increased. If one has a somewhat simpler life there will be also more people who can produce things which are made by hand, as their consumption is also increased in proportion. This is one of the fallacious arguments (supposedly on firm economic basis) that is given to create a consumer society.

A consumer society consumes a lot more than it needs. It feeds upon the creation of false needs, which is driving the world to its annihilation and always, the argument is given, that "oh, yes, more people need more things." That is not necessarily true, because when you have more people, you also have more people who can produce simpler things and do not always need machines. In fact the sudden explosion of the world population is itself a product of modern technology, for medical technology is a part of that technology; there is no doubt about it. Modern medicine is a double-edged sword. It saves many lives but it is also indirectly destroying the world through making possible over-population and the greater impact of human beings on the natural environment. They all go together. Right now, if there were a billion of us on the surface of the earth rather than six billion and a half, this catastrophe--that several species have already disappeared from the surface of the earth just during the forty-five minutes that I have been speaking--would not have occurred. It is a catastrophic situation.

So, it is true that we have now a much larger world population, but we also have a much larger population to produce simple things, as I gave the example of hand-woven saris in India. This could work for many other objects. For example, Iran now has a population of over 70 million people. Just a generation ago we had 35 million people, doubled in a period of 30 years. That means that the usage of Persian carpets has more or less also doubled. That could be the pretext, and it was something that many in the government said both before and after the Iranian Revolution, that we have to bring in machine-made carpets because the population and its needs have increased. But also, the people who make the carpets have increased. In fact, in the villages in Iran today, you can see that there are lot more people making carpets than there were thirty years ago. Appropriate government policies can help a great deal in such situations. I am not saying that it should be done in every case, but in many cases, efforts should be made to preserve the qualitative relationship to production and to consider happiness in life not as having more and more, but in valuing what one has while providing for basic necessities.

This is a very challenging matter because many people will criticize me and say, "Oh! You are against wealth. You are against this, you are against that." No, I am not. There have always been poor people and rich people. But the human collectivity--six billion people--cannot together have the so-called standard of living (which is a dangerous statement but it is made all the time) of the highly industrial nations of the world. The earth cannot support that. And despite all of this modern technology, far from destroying poverty, the modern world has made poverty much worse in cutting man away from nature. Look at the difference between the rich and the poor--there are few places on earth where the difference is as great as in the United States, where the head of a company makes nine million dollars and the janitor makes 10 thousand dollars a year. This is very common here. It is in many ways worse than the difference between the maharajas of India and their subjects during the rule of the Raj. This is one of those very fallacious arguments that are given by economists of communism and socialism on the one hand as well as capitalism on the other. All claim that they will make people richer and destroy poverty. Now this is possible to some extent but not completely. You see what has happened in practice. Those countries which have the modern technologies, the North, look how different their life is from those who do not. And the idea of chasing after this technology in the so-called underdeveloped world is of course based on the fact that you are always receiving the breadcrumbs of someone else who has eaten at the table, and this so-called chase is not going to improve matters.

We need to think of poverty and wealth in other terms. Let us take a village that lives close to nature, has natural water, has good clean air coming from the mountains, deserts, or forests. It does not have to have all of the wealth of the city of New York in order for people to be happy. That is not the case. We need to rethink our whole attitude towards happiness, towards poverty. Of course, no government can refuse food or clothing or water to its citizens, I am not saying that. Modern technology could of course help these things, but the fact is that most modern technology is associated with greed; it is associated with modern economics, which is based on greed, and you have seen the consequences of it. We do not have to go into that matter here but we should not blindly accept such arguments that modern technology is the only means to a happy life. The Muslim world can, perhaps, do a better job if it can control greed, if it can control the negative elements, and have a better distribution of wealth, as the Qur'an teaches us. That it can do if it remains faithful to Islam. But that does not mean that it has to forego the intimate relationship between human beings and the means of production, while trying to have economic justice. That is the whole issue.

Coming back to the main point, "what should be the attitude of Muslims toward modern technology", let us first analyze this matter. This is a very complicated question. The Muslim world encountered the modern West in a situation of a power struggle, that is, the West invaded the Muslim world and Muslims tried to understand how it was that they were being dominated. They thought it was modern Western technology, science, and managerial organization which had allowed the West to colonize them. And power brings with it a sense of respect, unfortunately. There is a beautiful Arabic saying, "al-insanu 'abid al-ihsan", "man is the servant of virtue". But unfortunately, there is also the axiom: "al-insanu 'abid al-qudrah", that is, "man is the servant of power". This is human nature. And the Muslim world, seeing the power of the West, just as did the Chinese and the Japanese worlds, began to have a sense of servitude, obedience, and awe, combined with an inferiority complex, from the nineteenth century onwards: attitudes which are still very much with us.

Although during the past fifty years many voices have spoken very strongly against this inferiority complex (and insha'a 'Llah it will gradually diminish) it is still present to a large extent. This inferiority complex does not only involve technology; it is a subset of something larger, that is, the attitude towards the whole of Western culture's organizational strength, its political and economic power and so forth, although not, strictly speaking, religious thought. Even among the most Westernized Muslims would few would say, "Christianity is superior to Islam because that is the religion of the West." But in other domains the inferiority complex remains.

There is, however, one very important mistake that has complicated this discussion. Muslim society has tried to reassert itself during the last half century, or a bit earlier, but certainly since the Second World War, and has tried to redefine its own identity. Many people have said, "We are no longer mesmerized by the West, its philosophies, its this or that, but what the West has that is positive is its technology. We are against modern Western culture, but technology is neutral, and we want to adopt it." The supreme case of this way of looking at things can be found in what happened in Saudi Arabia between the 1960s and early 90s. The Saudis became very docile in the acceptance of Western technology, as if it were totally neutral. This attitude, although it is a subset of a larger problem, is in fact a new problem that is even more dangerous because it is based on an illusion of the worst kind, and that is that modern technology is culturally and ethically neutral. It is not. It is culturally bound. And it cannot be separated from a worldview which affects man's understanding of himself, of the world around him, not to speak of God and the spiritual world.

But there is some hope. Let me turn to the subject of Islamic architecture and design which are so deeply related to traditional technologies. In the early 1970s I organized the first conference ever held on traditional Islamic architecture in modern times in the city of Ifahn. I brought Hasan Fathy, the famous Egyptian architect, from Cairo to Iran. We helped publish his book Building for the Poor and Fathy's style has now changed the whole area around Lake Fayyum in Egypt. It really began to take off from the Isfahan conference. And it became a turning point of sorts. From about the early 1970s, a number of Muslim architects and city planners began to realize the significance of what in Persia we call "baft", that is, the texture of the Islamic City, meaning not only individual buildings, but the urban design itself. My own former students Nader Ardalan and Laleh Bakhtiar wrote a book The Sense of Unity which analyzed the urban design of Isfahan and other places on the basis of the idea of "divine unity", the integration of various functions of a city and the cosmological and theological significance of urban design.

Since that time, some thirty years have passed. One of the things I did was plant, along with others, the idea in the mind of the Aga Khan to give an award for architecture which now has become very famous, though the Aga Khan award, I believe, does not only deal with buildings that are Islamic architecture, but it gradually grew out of the ideals of Islamic architecture and then came to also include other buildings. Its concerns have remained in any case mostly Islamic. This program has helped to gradually draw attention to the importance of Islamic architecture and of the urban design of Islamic cities, which are a very important part of Islamic civilization and culture and include traditional technologies.

Now, what can be done? The first thing that can be done is to preserve what has not been destroyed. All those areas of cities such as Tehran, Lahore, and Cairo--where people infatuated with Western models have demolished beautiful traditional quarters to make big boulevards which are extremely hot during the summer and have destroyed the whole environmental context of the city and all of these things--cannot be resuscitated anymore; nothing can be done to undo this destruction, at least in the short term. But there are quarters of some of these cities which are still partly traditional, like the area around the Wazir Khan Mosque in Lahore or the Grand Bazaar of Tehran or of course the old Mamluk and Fatamid Cairo. The first thing to do is to prevent these areas from being further destroyed by having big streets run though them, or building tall structures which would destroy the texture of the area. And some of this has been done, thank God. This is one area where things are better now than before. Can you imagine that in the 1970s the mayor of Fez wanted to cut a big boulevard across the middle of the city? Fez is the largest urban area in the world which has no cars in it. And Titus Burckhardt saved the city by going to UNESCO and getting a commission to save Fez and finally speaking with the King of Morocco so that they stopped the plan. Nobody today would think of doing such a thing in Morocco. Things have improved a great deal in this respect. So the first thing to do is to preserve those areas which we still have in many of our countries, especially the smaller cities--for example, Aleppo, Kashan, and Yazd--those magnificent cities in Syria, the central and southern parts of Iran, and also in Morocco, the whole of Yemen, perhaps Hyderabad in Sindh, some of the Indian cities, and so forth. This is the first thing to do.

The second step, and this has also been taken to some extent, is to try to be inspired by this traditional Islamic urban design in the designing of new towns and villages, rather than simply using Western designs. I was very happy to see that a few of these traditional designs have been implemented in even Saudi Arabia which destroyed so much of its old architecture so rapidly, as well as in Iran, Egypt, Morocco, and elsewhere; of course they are still a minority voice (the architects that are doing this) but this trend continues. Now, I accept that it is not possible in the big capitals of the Muslim world; you cannot undo what has been done to Istanbul or to Cairo. But for the smaller cities, I think, it can be done: many great cities of the Muslim World still have areas which have traditional Islamic architecture or urban design: Damascus, Istanbul, Isfahan, Mashad, Lahore, even Delhi--much of which is really an Islamic city because it was ruled by Muslims for so long--Cairo, and of course the cities of North Africa, which are exceptional in the preservation of their medinahs. All of these can still be preserved.

A new generation of architects has to be trained to carry out this task. Right now there is only one school of traditional architecture in the Muslim World that gives a degree in traditional Islamic architecture. That is in Jordon. Until a few years ago, there was just the Prince of Wales Institute in London. There is still no other university in the Muslim World which grants a degree in Islamic architecture and design. When they have a "school of architecture", it is Western architecture. So, we have to start changing by having more schools of Islamic architecture. The same is true for medicine; we have to teach Islamic medicine and pharmacology in medical and pharmacy schools, to teach their philosophy as we should teach the philosophy of Islamic architecture and design. What is important is to understand the principles of Islamic urban design, not only its external form.

For example, in the planning of the city of Lahore--which was one of the most beautiful cities in the world when I first saw it in 1959, and when I saw it thirty years later, I was flabbergasted by the sprawl, it was one of the big shocks of my life--Islamic architecture took into consideration local natural and social conditions, traditional technologies, as well as metaphysical and cosmological principles. They knew that the climate of Lahore is not the same as the climate of Yazd, nor that of Tangiers, so they took everything into consideration: climatic conditions, the social fabric, social dynamics, etc. But above all, these cities had something common in their design: they were all based on certain metaphysical principles related to the nature of reality, cosmology, and the relationship between the human being and God from an Islamic point of view. These principles are now gradually being studied by younger Muslim architects. This type of study has in fact made a lot of progress in the last few decades. For this, we owe a great deal to the writings of Titus Burckhardt and a few others, and perhaps some of my own humble writings which I wrote to try to explain the cosmology and the philosophy behind Islamic art and architecture along with their related technologies. But we also owe a great deal, of course, to the few architects, such as Hasan Fathy, and then the younger generation of architects--people such as Abdul- Wahid al-Wakil and Umar Faruq in Egypt and Sami al-Anghawi in Saudi Arabia, who have tried to apply some of these principles. In this domain, I am more hopeful than I was thirty years ago when I organized the conference in Isfahan. Let us hope that, insha'Llah, this will continue and that in-depth critique of modern technology will enable Muslims to preserve at least something of their traditional ambiance, which was always permeated with the presence of God and was also in harmony with the natural ambiance. Let us also hope that Muslims will gain a deeper awareness of what modern technology entails and develop a more discerning attitude toward it.

The Peculiar Development of the Modern Professional Astrologer

In the light of the strange position of astrology in our modern culture, how do astrologers develop and how do we work with each other as professionals? What are the potentials and pitfalls of an astrologer's development?

My interest here is to explore our professional development and community in light of important issues of psychological development. Because astrologers are often held in low esteem in our modern culture, how do we maintain our own esteem? One problem is that astrologers sometimes cannot rely upon each other, and, in fact, we often make the problems worse. This has to do with some "shadow" issues that we astrologers need to work with. I take as my model the teachings of a branch of modern psychoanalytic psychotherapy called "Self Psychology." Pioneered in the 1960's and 1970's by Heinz Kohut, its concern is with how we develop self-esteem and maintain self-esteem, how and why we admire others, and how we try to become people worthy of being admired by others. 1

One premise of any branch of psychoanalysis is that adult psychological issues reflect impasses or incompletions accumulated from childhood,. The further back in childhood these difficulties occurred, the more pervasive and damaging they are to us adults. Even under the best of circumstances, issues of self-esteem, self-value, and our ideals for ourselves continue throughout life. We all depend on the affirmation of others for our sense of self-worth. For example, when difficult things happen our lives, we tend to take them personally, our self-esteem diminishes, and we have to find ways to make up for that. Without certain kinds of support in our lives, we also begin to feel we are falling apart. This is true for all of us human beings; the difference is only that of degree.

Jennifer Freed, at the last ISAR convention, spoke about these issues regarding an astrologer's clients. I will extend this investigation to the astrologers themselves! First I will present the problem, then our common ways of working with them, and finally I will make some recommendations.

Our Strange Place in the World

Every astrologer in modern times is caught in a contradiction. We are diviners, people with intuitive abilities who can help people to a surprising extent. Yet we function within a culture that does not understand us very well.

When you the astrologer go to a party, social occasion, or any event where you meet some people for the first time, notice their response when and if you tell them you do astrology. Usually you have no way of knowing ahead of time who will think you're prophetic and who thinks you're a fraud or must be flaky. In any event, you'll soon be assaulted by various stereotypes about astrology and the work of astrologers. Because astrology has a long history, is at odds with conventional ideas about reality, and manifests within popular culture, the perceptions of others about astrology are wildly divergent.

At our worst, we've internalized how our culture negatively looks upon astrology, and we've become part of that, almost like an "identification with the aggressor." Some of the problems we astrologers encounter with each other are manifestations of this shadow.

None of us have power over astrology's history or how the public perceives our work. It's easy to to wish that things were different and to stop there. For purposes of this article, I'd like to accept our situation as fact and explore how we work with the question of legitimacy.

"Narcissistic" Lines of Development

The literature on "Self Psychology" is rather opaque but its ideas are very simple. 2 For all of us, in our early years, we begin to achieve intactness from relationships which soothe us and make us feel good. If we don't there can be major difficulties throughout life. Later, the need for soothing develops into a phase of grandiosity -- we require "mirroring" from others, that somebody else treasures us as special and wonderful.. For basic psychological health, early in our lives we need to have an inflated sense of ourselves, and for that inflation to be modified by "reality."

Although this process of deflation is painful for all of us, we also internalize that mirroring as the basis of our self-esteem, our feeling good about who we are. We've never fully "outgrown" our grandiose selves; we are always somewhat vulnerable. We are all dependent on others' mirroring to maintain self-cohesion and self-esteem and we need to pretend we are not. We all have this basic vulnerability.

Further in our early psychological development is a need to admire another who we can idealize, who we can put on a pedestal. That person represents the best of ourselves. Under the best of circumstances, as the object of our idealization becomes more "real" and more life-size, we have internalized enough of that person's qualities to sustain realistic ideals for ourselves. For many of us, the process of idealizing somebody and becoming disappointed is very painful. Avoiding these patterns will limit our opportunities in life, as so much of our own growth happens through an idealizing relationship.

Grandiosity and idealization are called "narcissistic" issues as they stem from the development and vicissitudes of self-love in early psychological development. A person we call a "narcissist," however, is one who has had failure in normal development. Because that person has not developed the ability to maintain self-esteem without perfect mirroring from others, they tend to "take" from relationships and be unable to give. We tend to dislike them intensely -- they drain our energy and withhold from us our needs from them!

If the "narcissist" tends to relate to somebody in an unrealistic idealizing manner, we the admired briefly enjoy the admiration but soon we feel suffocated and repelled by it.

Now I connect these general issues of grandiosity and idealization with the development and professional life of an astrologer. These patterns are not exclusively the province of astrology; you can find them, for example, dominant in political, religious, or an artist's life. Since I'm an astrologer and I'm writing this article for astrologers, I'll confine myself to astrologers. Unlike many other professionals, however, we have to deal with the complex situation in our conventional world.

The Astrologer's "Grandiose" Self

What is the grandiose self of an astrologer? What is the overt or hidden fantasy of the astrological student, professional, and teacher? A grandiose self exists under the veil of consciousness and is present in our fantasies or implicit in our disappointments when reality doesn't measure up. We tend to be embarrassed by them. We shouldn't belittle these components of our grandiose self, for they are keys to our greatness as astrologers and as people.

A few of these qualities are similar to the fantasies of a psychotherapist or a healing professional, but we also have a few others:
All-knowing - astrologers have this ability to understand people or a situation in a very direct way. We see this clearly in the brilliance of an astrologer's work. When we learned astrology for the first time, we were all amazed at how much we could find out about somebody from his or her birthchart. A light went on for us.
Benevolent - we can help people with all kinds of difficulties. As with many psychotherapists and healing professionals, we desire to do great good for others. Most of us are in this field because we can make a positive difference in a person's life, not because this is just a "cool" way to make money.
Able to change our world - because our work is so different from the governing paradigms of our culture, any small victory for us compromises that governing paradigm. We are at the "cutting edge" of a more open future. This is much of the appeal of the Aquarian Age.
Connected - we have access to some higher source of wisdom. This is where astrologers are more like clergy, energy healers, channelers or psychics than conventional psychotherapists. Astrology by its nature has cosmic implications and is imbedded in a kind of divine mystery. Any astrologer, by use of the tools of astrology, connects with that mystery or primary numinosity. Somehow, and we don't quite know how, the cosmos speaks through us. Any astrologer, no matter how "scientific" he or she tries to be, partakes of this experience.

This desired quality of connectedness provides us some of our greatest weaknesses and strengths as a profession. As I will conclude, it helps provide a way through some difficulties I outline below.

A novice astrologer, not yet feeling all-knowing, benevolent, or connected, and certainly not ready to change the world, will likely project these grandiose qualities to a teacher or mentor or favorite author or, possibly, to the astrological community as a whole. The novice also needs to have his or her aspirations and possibilities reflected back by one's mentor or by the astrological community as a whole. This is the acknowledgment that "indeed you too are one of us." This helps us understand how relatively new astrology students or professional astrologers become completely inspired at large astrological conferences.

As with a child's development, reality cannot bear up well against the pressure of those kinds of expectations. And there are consequences. I'd like to first speak from the viewpoint of grandiosity and then from that of idealization.

Often there's a time of personal deflation, followed by a time of mourning and recovery or by defeat and disengagement. The need for mirroring is stronger at the beginning of an astrologer's career, when one is more vulnerable and can feel more easily defeated . How does this happen to you, the novice astrologer? Here's a sequence many of us have been through.

1. Your clients baffle you - the Virgo keeps a messy room or the Capricorn is lackadaisical or a party-animal - or your client doesn't like you. You're not being helpful and you become frustrated and anxious. Sometimes these experiences alternate with times in which your interpretations are potent and the rapport with clients is excellent; difficult sessions can be disconcerting because they are unpredictable.

(Interestingly, astrologers working with clients for the first time often complain about how much preparation they need. We felt compelled to account for every house placement, every aspect in a natal chart, or the perfect astrological correlate for every important event of a client's life including now. Why do we put ourselves through this? Most of our clients don't quiz us on our perfect knowledge; all this preparation serves to calm anxiety at possibly being caught off-guard by our clients.)

2. Over time, as doubts emerge about yourself, reflecting on the poor esteem astrology can have in our world, your ask yourself, "am I some kind of well-meaning fraud?" You call into question your own basic honesty and benevolence.

3. That leads to a disconnection to the divine mystery - of the realm of numinosity - that astrology takes as its province. Astrology becomes as if made of cardboard; it doesn't speak to us anymore.

The disapproval of one's parents or partner or the sight of your co-worker thinking of you as flaky begins to hurt you much more than before. At least once you were inspired and you knew you had right on your side -- this is true no longer.

Now let's go to the other side, our need to idealize.

Patterns of Idealization

1. Admiration is necessary but at first out of bounds -- we think, 'I want to be like this person; I read all their books, take all their classes, etc." This is particularly potent because there are many people in the astrological world who have charisma. In this context, what does a person's "charisma" mean? That person reinforce others' idealizations of him or her. This can become creative and powerful but can also lead to a kind of narcissistic fantasy for both people or for a group clustered around a teacher.
As developing astrologers, we need this stage: we're not yet all-knowing, benevolent, or connected and we need to find somebody who is. This is how we're able to connect with our own possibilities. The relationship of teacher and student, even if to an author you have never met, appears indispensable to becoming an astrologer. The more personal it is, the more potent the astrologer's development.
2. Eventually this leads to a problem - hopefully and often a normal one. If the idealizing person can make a relatively smooth transition to "reality," disappointment in his or her mentor can lead to grieving (sometimes expressed as resentment), perhaps a period of noninvolvement; and, with any luck, the mentor and student can have a newer kind of comradely relationship
3. If, however, the student has had unsatisfactory idealizing relationships in the past or elsewhere in life, the student may move quickly between extremes of hero-worship and outrage.

The alternative is to shrink from this kind of relationship even beginning. As with the spiritual life, this can result in as narrowing of possibilities. Why? Our urge to protect ourselves exceeds our need to admire and learn from a person you would like to emulate, and thus we are cut off from our ideals for ourselves. And, as with the spiritual life, one remedy is to continually shop around for the next new thing without ever being satisfied.

How Do We Adjust to Deflation of Grandiosity and Idealization

How do we astrologers deal with these important issues, which co-exist with our culture's strange attitudes toward our art? These strategies range broadly in their effectiveness. What they have in common is that as a community we do all these things.

1. We become the "expert", looking for new astrological ideas so our clients or their situations won't baffle us. We study a hundreds of different techniques from a dozen different systems, looking for the "magic bullet" that always works. Maybe we attend counseling school so our clients don't make us so anxious. Our effort is to never be caught unprepared or ignorant.

2. We deny our own shadow quality -- maybe our own doubts about astrology or being astrologers. Then we become outraged and self-righteous at carefully selected qualities of "other" astrologers. I've sometimes wondered whether many astrologers who spend time and energy polarized against other astrologers are actually displacing their own shame at being one. A good question for us to ask ourselves is this: who are the astrologers who embarrass us? Who are those we feel indignant about? This is a form of splitting where the "other" astrologers serve as proxy for our own issues of poor self-regard. Examples abound -- humanistic astrologers think predictive astrologers are callous and inhumane; predictive astrologers think of spiritual astrologers as mushy-minded people indulging in some kind of guru fantasy; elitist astrologers see writers of popular astrology as selling their soul to the devil of the marketplace -- and it goes on and on. The advantage is that you've made yourself immaculate and you've inoculated yourself from your own insecurity and uncertainty.

3. We give up. We lose hope because we're not going to be good enough anytime soon - we stop trusting ourselves or our art and drop out. Many people begin to study and practice astrology, but many don't continue.

4. We compensate for astrology's lack of legitimacy by stressing its cultural, historical, psychological, or scientific aspects, by creating a lockbox of legitimacy for astrology. We begin to make astrology seem like magic, history, science, or psychotherapy.
(I must at this time acknowledge that I've gone through all four strategies except the third. I have never lost hope, #3, because my students and clients always have inspired me to be a better astrologer, helper, and person).

I'm not through discussing our strategies. Here are some more:

5. We take another job with more social legitimacy. In that way, at a party with strangers, or with relatives, we can present ourselves differently and then later might take a chance.

6. We become politically savvy and active. Although it has had its share of community problems, AFAN is a good example of how to make a pragmatic difference for astrologers in our modern culture.

7. We only trust other astrologers and strive to be a leader among them. Our need for support can become creatively utilized in community-building among astrologers, and there is much good work done that benefits astrology as a whole. The shadow side, however, is our ambition to become a "big fish in a small pond" as a way to make ourselves feel better about who we are. We all know what happens when too many big fish inhabit too small a pond.

8. It's easy to circle the wagons and adopt a kind of self-righteous paranoia. Interestingly, our great adversaries, skeptic societies, do the same thing! We are the misunderstood and misrepresented, as opposed to all that unified opposition to us out there. This can manifest in some kind of secure and pious defiance of our culture as it is.

9. We go along with some popular stereotypes of an astrologer, and practice our astrology in a less than ideal way; this does pay the rent and perhaps there is some good we can accomplish within our market society. Its quality ranges from true education of the public to cynical hucksterism.

Solutions?

There are ways through these difficulties Do not cast hope aside!

We need to normalize the situation, to understand that many of our difficulties are understandable and not cause for shaming ourselves or others. It's necessary for us to understand how people navigate the emotional difficulties that can arise within our profession. We have to take greater responsibility for our shadow of vulnerable self-esteem and not to inflict it on others. We all have our stories, our strengths and our weaknesses: as people we need to give each other enough room to grow, find our own solutions, and support for avoiding the easy sidetracks I have listed.

We, as professional astrologers, need to engage in a personal activity that allows skillful and honest self-reflection: a personal supervisory relationship, a counseling training program, psychotherapy, or a spiritual practice. Among these possibilities, we all have our preferences and styles, which can also change over time.

Finally, we need to appreciate and use astrology's inherent connection with a larger world than the one we have been told is the only "real." one. We have to remember the original intent of our work as astrologers and, as appropriate, as personal healers. Within a larger vision of what we are about, we can work through the pettiness of our smaller versions of ourselves, to see clearly and even become inspired by our own sense hopefulness and the vulnerability. In that way we can see that the real meaning of what we do is to reconnect one to a more cosmic viewpoint. In that way, we can work through our difficulties with daring and strength. 3

1 This article is largely inspired by an article I worked with in graduate school: (1983) "Narcissistic Issues in the Training Experience of the Psychotherapist." International Journal of Psychoanalytic Psychotherapy

2 The primary literature of Self Psychology is mostly authored by Heinz Kohut. His later writings are (1971) "The Anaylsis of the Self" and (1977) "The Restoration of the Self" (both Madison, CT. International University Press.) I also suggest a secondary work, (1983) "Object Relations in Psychoanalytic Theory," Greenberg, J. R. & Mitchell, S. A. (Cambridge, Ma.: Harvard University Press.

3 Redington, R. "Personal communication." Dec. 2000

Leading article: Modern technology - the autocrat's worst enemy

It is natural for us to recoil at the sight of Western commercial interests submitting to the totalitarian whims of the Chinese government. And Google's agreement to censor its new Chinese website appears, at first, to be yet another example of a Western company putting profit before principle

The decision of the world's most popular search engine to bow to the will of Beijing certainly sends a disappointing message to democrats in China. And it inevitably opens Google to the accusation that it has betrayed its own liberal principles. Coming hard on the heels of the company's brave decision to defy the demands of the US Justice Department for access to information about its users, this certainly appears to be an embarrassing capitulation for Google.

There are, however, mitigating circumstances. Few would argue that Google could have denied itself access to China's millions of web surfers without severe financial repercussions somewhere down the line. And while it is true that Google presents itself as an ethical company, it must still answer to shareholders. Alone, this would be a pitiful defence. Free speech - like human rights - must be indivisible, and Google's executives have undermined that principle through their behaviour in China. But there are also practical reasons why Google's decision was the best it could have made in this imperfect world.

The website's users in China will be told that their search results have been censored. The determined will almost certainly find ways around this, either by logging on to foreign-based search engines or keying in subtler searches. In truth, the entire concept of "censoring" the internet is unrealistic. The Chinese state's belief that banning searches for words such as "democracy" will prevent its people discovering the concept, shows how little it understands this technology. Even closing dissident websites is futile. New ones appear at an astonishing rate. Many permitted sites will contain links to unauthorised ones. Policing this mass of diverse information is like collecting sand with a sieve.

We must, of course, be wary of colluding in China's shameful repression of its own people. And when Yahoo last year provided the Chinese authorities with the e-mail account information of a Chinese journalist who was later convicted of violating state secrecy laws, a line was clearly crossed. Westerners must also never become apologists for the regime in Beijing. It is nauseating to hear an increasing number of businessmen claim that China must "find its own way" to modernity.

But we must also be aware of the potential of new technologies to change circumstances on the ground. From this perspective, it is better to have a censored Google in China than no Google at all. And this principle is true further afield. Mobile phones are opening up communications for the poor in remote regions of Africa and have facilitated popular revolutions in the Philippines and Ukraine. An increasing number of young people in Iran are defying the religious authorities by downloading Western music on their iPods. Popular technology is fast becoming the autocrat's worst enemy.

The situation is still developing rapidly. Very recently, Microsoft was regarded as unstoppable. Now Bill Gates's empire is under threat from internet brand franchises such as Google. It is difficult to predict where this journey will take us next. But we can be sure that it will not suit the world's lumbering dictatorships. Technology will seek out the gaps in the armour of repressive societies. The Chinese government may have won an ignoble concession from Google in its efforts to stifle free speech, but it cannot hold back the tide forever.

Feature article: Modern rebel - Pablo Picasso

Pablo Picasso was the archetypal modern artist, and his work raises all sorts of questions about modernism. He was an artistic rebel who became fantastically wealthy. He was an experimental artist who hated much about the modern world, and his paintings, which so often baffled and shocked the establishment, are among the most reproduced images in the world ­ part of our visual language.

The questions raised by Picasso's work have largely been avoided by turning him into a celebrity and concentrating on his personal life. We tend to be told more about his bohemian lifestyle, his fabulous wealth or his string of girlfriends than we do about his artistic motives. The film Surviving Picasso is a case in point. It concentrates on his legendary love life, portraying him as a nasty, sex obsessed and manipulating old man. It makes no attempt to understand him as an artist.

Academics have also been drawn by Picasso's personal life. John Richardson's massive biography is one of a string of studies that dredge through his personal life looking for significant details ­ the suicide of a friend, sexual obsessions, a morbid fear of syphilis ­ to explain the man's genius. This kind of posthumous psychoanalysis is not very rewarding. It is next to impossible to weigh up the impact of such episodes. More important, this approach doesn't begin to explain the influence and popularity of Picasso's painting in wider society.

Picasso produced an enormous volume of work in a number of distinct styles. But the breakthroughs that made him so controversial occurred in the six or seven years before the First World War. Les Demoiselles d'Avignon ­ a 1907 painting of Parisian prostitutes ­ is widely regarded as a turning point, not just in Picasso's work, but in the history of modern art. The painting caused outrage because of its brutality and anger, but its power lies in the extent to which the images of the women are disfigured and transformed.

Other modern artists like Cézanne and Mattisse had been experimenting with new ways of expressing the reality they saw. Picasso went further by starting to create an entirely new reality in his paintings.

Demoiselles was the catalyst for the development of Cubism. Working closely with his friend, Georges Braque, Picasso developed a way of painting which undercut any simple relationship between artist and subject. By revealing subjects from different angles simultaneously, the Cubists suggested that the real world was too dynamic and complex to be reduced to the two dimensions of a canvas.

Braque and Picasso went a step further with Cubism. They began to use everyday objects like wallpaper, newspapers and advertisements to make up their pictures.

In these paintings they threw out perspective altogether and abandoned representation in any traditional sense. These were open ended picture poems, celebrating the wonders of mass production, challenging the bourgeois concept of art as something unique and precious. They revelled in the excitement of city life, and by freeing the artist from the role of mere imitator of reality they suggested an intoxicating sense of power and freedom.

As two of Picasso's Cubist followers wrote, `Henceforth objective knowledge is at last regarded as chimerical...and natural form proven to be convention, the painter will know no laws other than taste... A realist, he will fashion the real in the image of his mind, for there is only one truth, ours, when we impose it on everyone.'

The breakthroughs of these years laid the basis for much of the artistic experiment that followed the First World War ­ surrealism, the Dada movement and even abstract painting itself. Traditional perspective had been fractured and art itself was being redefined by the use of new materials and new artistic languages. To explain this kind of shift we have to go beyond personal anecdote and turn to deep seated changes in the world Picasso and his colleagues inhabited.

Since the late 1800s France, like the other advanced capitalisms, had been a place of restless change. The Paris Commune of 1871 ­ the first attempt at establishing a workers' state ­ had been defeated, but the industrial working class was becoming a major social force. Big new capitalist companies were invading every area of life and literally reshaping the world. Paris had been rebuilt in the 1860s and 1870s, and traditional artisan communities had been cleared out and replaced with standardised boulevards, dominated by the huge new department stores. Food, clothing, furniture, even entertainment, were being mass produced for the first time. It was a period of rapid technical change. First railways and then the motor car revolutionised transport. Electric light transformed the city at night. The miraculous possibility of air travel became a symbol of the human potential of new technology.

The burst of artistic experiment that began in the 1880s was a response to these changes. Artists could no longer simply record the lives of the rich or paint pleasing country scenes. As the Impressionists showed, even the countryside was being transformed by railways, new suburbs and factories.

The artist's role in society was itself in question. Photography and film challenged the relevance of the traditional `fine arts', but rebellion against the art establishment meant putting yourself at the mercy of the new art dealers and their capitalist clients. By the turn of the century the idea of the artist as the outsider in an oppressive, hostile world was common. Even an artist as politically conservative as Cézanne was complaining that `the world was being flattened by the dictatorship of the engineer and planner, beauty and inspiration are in mortal danger'.

Despite his phenomenal success, Picasso always considered himself a rebel. Shortly after arriving in Paris from Spain in 1904 he said, `A painter is always at war with the world. Either he wants to crush it or conquer it, change it or celebrate it.' His early `Blue Period' paintings are full of the loneliness and bewilderment of people rejected by mainstream society. Later he described his empathy with primitive art as a kind of magical protection against the world. `They were against everything-against unknown, threatening spirits... I too believe that everything is unknown, that everything is an enemy!'

Picasso's particular sense of outrage and distance from modern Paris were sharpened by his upbringing. He had arrived in Paris with the advantages and the limitations of the cultural outsider. He had been brought up in relatively backward southern Spain. Its lack of industrialisation and vestiges of feudal and semi-feudal past made a sharp contrast to turn of the century Paris. Picasso himself was born into the middle classes, dominated by the extensive administrative class left over from the high tide of Spanish imperialism centuries before. As he grew up he felt cramped by the provincialism of Spain, but his rebellion against his stultifying background was shaped by anarchist ideas. He believed that painting `is a sum of destructions' and his visions of social harmony tend to be idealisations of the past rather than visions of a modern alternative.

He retained the sense of being an outsider all his life. The civil war in his native Spain politicised him and inspired the great protest painting Guernica.

After the war he joined the Communist Party, saying, `I have always been an exile, now I am one no longer... I have found there [in the CP] all whom I esteem.' But he never really found a home with the Stalinists. They were ambivalent about him. They could use his celebrity status, but they viciously attacked his painting as decadent because it did not follow the rules of `Socialist Realism'.

Picasso's sense of being an outsider was double edged. After the great collaborative breakthroughs before the First World War, Picasso's art never again made that kind of progress. He was always prolific but at times his painting lacked passion and became repetitive or obscure almost to the point of self parody. Sometimes his paintings' only significance seems to be that they are obviously by Picasso. This kind of self conceit is not surprising given the way he was feted by the art world. As early as 1912 his dealer thought it was worthwhile demolishing a wall in Provence that he had painted on and sending the whole painted piece to Paris to be remounted on a wooden panel.

But it is not the case that he sold out in some simplistic way. Right through his life he had periods of brilliance. For all his supposed mistreatment of women, he deals with sexuality in the most open and sensitive ways. The drawings of artist and model from the end of his life are among his most moving and painfully honest work. But he rejoiced in sensuality as often as he recorded sexual alienation. As the Marxist critic John Berger has suggested, it wasn't that Picasso sold out, more that he rarely found the subject matter to light up his passionate humanism. Hemmed in by celebrity on the one hand, and the crudeness of Stalinist politics on the other, his instinctual rebellion against the modern world never found the allies it needed.