includes. When ballerinas began to dance on their toes a 
century ago, it was felt that the art of the ballet had acquired 
a new “spirituality.” With this new intensity, male figures were 
excluded from ballet. The role of women had also become 
fragmented with the advent of industrial specialism and the 
explosion of home functions into laundries, bakeries, and 
hospitals on the periphery of the community. Intensity or high 
definition engenders specialism and fragmentation in living as 
in entertainment, which explains why any intense experience 
must be “forgotten, “censored,” and reduced to a very cool 
state before it can be “learned” or assimilated. The Freudian 
“censor” is less of a moral function than an indispensable 
condition of learning. Were we to accept fully and directly every 
shock to our various structures of awareness, we would soon 
be nervous wrecks, doing double-takes and pressing panic 
buttons every minute. The “censor” protects our central