Our present economic, social and international arrangements are based, in large measure, upon organized lovelessness. We begin by lacking charity towards Nature, so that instead of trying to co-operate with Tao or the Logos on the inanimate and subhuman levels, we try to dominate and exploit, we waste the earth's mineral resources, ruin its soil, ravage its forests, pour filth into its rivers and poisonous fumes into its air. From lovelessness in relation to Nature we advance to lovelessness in relation to art--a lovelessness so extreme that we have effectively killed all the fundamental or useful arts and set up various kinds of mass production by machines in their place. And of course this lovelessness in regard to art is at the same time a lovelessness in regard to the human beings who have to perform the fool-proof and grace-proof tasks imposed by our mechanical art-surrogates and by the interminable paper work connected with mass production and mass distribution. With mass-production and mass-distribution go mass-financing, and the three have conspired to expropriate ever-increasing numbers of small owners of land and productive equipment, thus reducing the sum of freedom among the majority and increasing the power of the minority to exercise a coercive control over the lives of their fellows. (Chapter V - Charity)

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "Our present economic, social and international arrangements are based, in large measure, upon organized lovelessness. We begin by lacking charity towards Nature, so that instead of trying to co-operate with Tao or the Logos on the inanimate and subhuman levels, we try to dominate and exploit, we waste the earth's mineral resources, ruin its soil, ravage its forests, pour filth into its rivers and poisonous fumes into its air. From lovelessness in relation to Nature we advance to lovelessness in relation to art--a lovelessness so extreme that we have effectively killed all the fundamental or useful arts and set up various kinds of mass production by machines in their place. And of course this lovelessness in regard to art is at the same time a lovelessness in regard to the human beings who have to perform the fool-proof and grace-proof tasks imposed by our mechanical art-surrogates and by the interminable paper work connected with mass production and mass distribution. With mass-production and mass-distribution go mass-financing, and the three have conspired to expropriate ever-increasing numbers of small owners of land and productive equipment, thus reducing the sum of freedom among the majority and increasing the power of the minority to exercise a coercive control over the lives of their fellows. (Chapter V - Charity)" in the context of "" to mean that wisdom is timeless.