What we must think about is an agriculture with a human face. We must give standing to the new pioneers, the homecomers bent on the most important work for the next century – a massive salvage operation to save the vulnerable but necessary pieces of nature and culture and to keep the good and artful examples before us. It is time for a new breed of artists to enter front and center, for the point of art, after all, is to connect. This is the homecomer I have in mind: the scientist, the accountant who converses with nature, a true artist devoted to the building of agriculture and culture to match the scenery presented to those first European eyes.
How can we distinguish what is biologically determined from what people merely try to justify through biological myths? A good rule of thumb is ‘Biology enables, Culture forbids.’ Biology is willing to tolerate a very wide spectrum of possibilities. It’s culture that obliges people to realize some possibilities while forbidding others. Biology enables women to have children – some cultures oblige women to realize this possibility. Biology enables men to enjoy sex with one another – some cultures forbid them to realize this possibility. Culture tends to argue that it forbids only that which is unnatural. But from a biological perspective, nothing is unnatural. Whatever is possible is by definition also natural. A truly unnatural behavior, one that goes against the laws of nature, simply cannot exist.
Agriculture must mediate between nature and the human community, with ties and obligations in both directions. To farm well requires an elaborate courtesy toward all creatures, animate and inanimate. It is sympathy that most appropriately enlarges the context of human work. Contexts become wrong by being too small - too small, that is, to contain the scientist or the farmer or the farm family or the local ecosystem or the local community - and this is crucial.
If we are to have a culture as resilient and competent in the face of necessity as it needs to be, then it must somehow involve within itself a ceremonious generosity toward the wilderness of natural force and instinct. The farm must yield a place to the forest, not as a wood lot, or even as a necessary agricultural principle but as a sacred grove - a place where the Creation is let alone, to serve as instruction, example, refuge; a place for people to go, free of work and presumption, to let themselves alone. (pg. 125, The Body and the Earth)
..we have become wealthy, and wealth is the prelude to art. In every country where centuries of physical effort have accumulated the means for luxury and leisure, culture has followed as naturally as vegetation grows in a rich and watered soil. To have become wealthy was the first necessity; a people too must live before it can philosophize. No doubt we have grown faster than nations usually have grown; and the disorder of our souls is due to the rapidity of our development. We are like youths disturbed and unbalanced, for a time, by the sudden growth and experiences of puberty. But soon our maturity will come; our minds will catch up with our bodies, our culture with our possessions. Perhaps there are greater souls than Shakespeare's, and greater minds than Plato's, waiting to be born. When we have learned to reverence liberty as well as wealth, we too shall have our Renaissance.
Technology, like art, is a soaring exercise of the human imagination. Art is the aesthetic ordering of experience to express meanings in symbolic terms, and the reordering of nature--the qualities of space and time--in new perceptual and material form. Art is an end in itself; its values are intrinsic. Technology is the instrumental ordering of human experience within a logic of efficient means, and the direction of nature to use its powers for material gain. But art and technology are not separate realms walled off from each other. Art employs techne, but for its own ends. Techne, too, is a form of art that bridges culture and social structure, and in the process reshapes both.