When this new sensation of self arises, it is at once exhilarating and a little disconcerting. It is like the moment when you first got the knack of swimming or riding a bicycle. There is the feeling that you are not doing it yourself, but that it is somehow happening on its own, and you wonder whether you will lose it—as indeed you may if you try forcibly to hold on to it. In immediate contrast to the old feeling, there is indeed a certain passivity to the sensation, as if you were a leaf blown along by the wind, until you realize that you are both the leaf and the wind. The world outside your skin is just as much you as the world inside: they move together inseparably, and at first you feel a little out of control because the world outside is so much vaster than the world inside. Yet you soon discover that you are able to go ahead with ordinary activities—to work and make decisions as ever, though somehow this is less of a drag. Your body is no longer a corpse which the ego has to animate and lug around. There is a feeling of the ground holding you up, and of hills lifting you when you climb them. Air breathes itself in and out of your lungs, and instead,of looking and listening, light and sound come to you on their own. Eyes see and ears hear as wind blows and water flows. All space becomes your mind. Time carries you along like a river, but never flows out of the present: the more it goes, the more it stays, and you no longer have to fight or kill it. You do not ask what is the value, or what is the use, of this feeling. Of what use is the universe? What is the practical application of a million galaxies? Yet just because it has no use, it has a use—which may sound like a paradox, but is not. What, for instance, is the use of playing music? If you play to make money, to outdo some other artist, to be a person of culture, or to improve your mind, you are not really playing—for your mind is not on the music. You don't swing. When you come to think of it, playing or listening to music is a pure luxury, an addiction, a waste of valuable time and money for nothing more than making elaborate patterns of sound. Yet what would we think of a society which had no place for music, which did not allow for dancing, or for any activity not directly involved with the practical problems of survival? Obviously, such a society would be surviving to no purpose— unless it could somehow make a delight out of the 'essential tasks' of farming, building, soldiering, manufacturing, or cooking. But in that moment the goal of survival is forgotten. The tasks are being done for their own sake, whereupon farms begin to look like gardens, sensible living-boxes sprout interesting roofs and mysterious ornaments, arms are engraved with curious patterns, carpenters take time to 'finish' their work, and cooks become gourmets.

• time
• society
• culture
• body
• other
• money
• will
• work
• self
• light
• survival
• activity
• addiction
• ego
• control
• patterns
• music
• passivity

The Oedipal project is the flight from passivity, from obliteration, from contingency: the child wants to conquer death by becoming the father of himself, the creator and sustainer of his own life.

• death
• life
• passivity
• oedipal project

De Beauvoir envisages freedom as only being realized by actively engaging itself in the world. In other words, we cannot just sit about and passively proclaim our freedom - we have to go out and actively use that freedom in the world and in our relationships with other people.

• freedom
• relationship
• activity
• passivity
• relationships
• other