“New Renaissance” (Ian Goldin and Chris Kutarna) and an “Age of Diminishing Expectations” (Paul Krugman, Christopher Lasch) are contending and somewhat divergent narratives about the nature of our times. Charles Taylor’s thoughts on “the malaise of modernity” also align with this sense of diminishing expectations, and the sense of diminishing expectations (or sense of contraction) is also connected with post-modernity and “the end of the Master Narrative”.
These contending and seemingly divergent narratives, at least incipiently, reflect Jean Gebser’s paradoxical “double-movement”, which he described in terms of an integration with an attendant disintegration. And the best way presently to reflect on that paradoxical dynamic is through these contending narratives of “new Renaissance” and “Age of Diminishing Expectations” or “modern malaise”.
We’ve drawn attention, so far, to the difference between values like the Whole and the Totality, Individuation and Individualism, Truth and Fact (or, more properly, between “the truth that sets free” and “the facts of the matter”). To this relationship, that between creativity and productivity must also be included.
If you contemplate this pairing of the values sufficiently, it becomes obvious that there are, here, two distinct orders of value which are, nonetheless. related to one another somehow — paradoxically related. Traditionally, this has provided the basis for a distinction between the noumenal and the phenomenal, the spiritual and the material, the “higher” and the “lower” (or the “noble” and the “ignoble” in Nietzsche’s terms), or between the infinite and the finite orders, or eternity and time. The paradox is acknowledged in the popular saying “same but different”. That drives strict logicians, rationalists, and a dualistic logic of the “either/or” variety quite nuts. So, too, what is called “spiritual materialism” arises from mistaking the “lower” value for the higher one, and is connected with Nietzsche’s understanding of nihilism: “all higher values devalue themselves”, and that is related to Iain McGilchrist’s idea of the Emissary’s “usurpation” of the Master.