style,
inallthosehuman
phenomenarepresenting
the
moodofthe
mo-
ment.Weare
constantlyaltering
theformswehaveinheritedfrom
previ-
ous
generations,
andthese
changes
are
signs
of
lifeand
vitality.
Indeed.
the
things
thatdon’t
change,
theformsthat
rigidify,
cometolooktouslike
death,
andwe
destroy
them.The
young
showthismost
clearly:
Uncom-
fortablewiththeformsthat
societyimposesupon
them,
having
nosetiden-
tity,theyplay
withtheirown
characters,
trying
on
a
variety
ofmasks
and
poses
to
express
themselves.
Thisisthe
vitality
that
drivesthemotorof
form,
creating
constant
changes
in
style.
The
powerful
areoften
people
whointheir
youth
haveshownim~
mense
creativity
in
expressingsomething
new
through
anewform.
Society
grants
them
power
becauseit
hungers
forand
rewardsthis
sortofnewness.
The
problem
comes
later,
when
they
often
grow
conservativeand
posses-
sive.
They
no
longer
dreamof
creating
new
forms;
theiridentifiesare
set,
theirhabits
congeal,
andtheir
rigidity
makesthem
easytargets.Everyone
knowstheirnextmove.Insteadof
demandingrespectthey
elicitboredom:
Getoffthe
stage!
we
say,
letsomeone
else,
someone
younger,
entertainus.
Whenlockedinthe
past,
the
powerful
look
comica.l——they
are
overripe
fruit,
waiting
tofallfromthetree.
Powercan
only
thriveifitisflexibleinitsforms.Tobeformlessisnot
tobe
amorphous;everything
hasa
form—~—itis
impossible
toavoid.
The
formlessness
of
power
is
more
likethat
of
water,
or
mercury,taking
the
formofwhateverisaroundit.
Changingconstantly,
itisnever
predictable.
The
powerful
are
constantlycreating
form,
andtheir
power
comesfrom
the
rapidity
withwhich
they
can
change.
Theirformlessnessisinthe
eye
of
the
enemy
who
cannotsee
what
they
are
up
toand
sohas
nothing
solidto
attack.Thisisthe
premierpose
of
power:Lmgraspable,
aselusiveandswift
asthe
godMercury,
whocouldtake
any
formhe
pleased
andusedthis
ability
towreakhavoconMount
Olympus.
Humancreationsevolvetoward
abstraction,
toward
being
morernen~
tal
and
less
material.
Thisevolutionisclearin
art,which,
in
this
century,
madethe
greatdiscovery
ofabstractionand
conceptualism;
itcanalsobe
seenin
politics,
whichovertimehavebecomeless
overtly
violent,
more
complicated,
indirectandcerebral.Warfareand
strategy
toohavefollowed
this
pattern.Strategybegan
in
the
manipulation
of
armieson
land,
posi—
tioning
themin
ordered
forrnations;
on
land,
strategy
is
relatively
twodi-
mensional,
andcontrolled
by
topography.
Butallthe
greatpowers
have
eventually
takentothe
sea,
forcommerceandcolonization.Andto
protect
their
trading
lanes
they
havehadtolearnhowto
fight
atsea.
Maritime
war-
fare
requires
tremendous
creativity
andabstract
thinking,
sincethelines
are
constantlyshifting.
Naval
captainsdistinguish
themselves
by
theirabil»
ity
to
adapt
totheliteral
fluidity
oftheterrainandtoconfusethe
enemy
withan
abstract,
hard—to—ant:icipate
form.
They
are
operating
inathirddi-
mension:themind.
Back
on
land,
guerrilla
warfaretoodemonstratesthisevolutiontoward
abstraction.T.E.Lawrencewas
perhaps
thefirstmodern
strategist
tode-
(Ill\l"x’\<Tlxll\Il\l(!l(
To
tarry
can
(he
insliamualinhih2li(m
ciemamled
by
the
modernworldandIn
hr?ableIn
cope‘
withthe
mergy
rllmxwhich
results
from
thismhihis
tion,
the
ego
hasIn
1mrt'r.'rg0
41
change.
The
ego.
i.e..that
partof
the
person
lhalis
exposed
to
dangur.
bccanzex
rigid,
aswe
say,
wlwnil lrcontinu-
ully.\‘uhje('Ied
to
lhc
smiteorsimilar
c'on_f?z'cr.r
betweenmar,-xi
anda
j}'ur-inducing
outerworld.I:
acquirer
inthis
prr,7L't's.\'
a
chronic,amommirally
funcrlmrirlg
mmle
of
reu1‘Iir7IL,
i.e..its“vim!-
(Ic'1er."IIisas
iftlre
a/"fecti
vc
personality
armored.
.j.'
(Li
ifthe
hard5/zellit
develops
wereinlmdeclto
deflect
andweakentheblows
of
theouterworldas
wellasthe
rlurmrririg
ofme
innerneeds.This
armoriug
makerthe
person
lesssmszrnreIn
unpleasure.
hmaim
reyrrim‘
Izil‘libirlimzl
and
::ygre5sivz'motility
andthusri‘(lll(‘E’Shis
(1/z/uwityvfor
(1r,'IIimze-
men!
and
pleasure.
We
say
the
ego
hasbecome
l'c.c,\'
flexible
andmore
rigid.
11/111Ihu?
{ht
(rbiI~
fly
to
regulate
me
enemy
economy
deprenrlx
rmthewrmnt
of
the
armnring.
VVIIHELMREWH.
l897-A1957
LAW 48 425