HOUSE OVERSIGHT 029664 But we need tools to mine good intentions: inspirations, ones which await the creative spark, the source of all enlargement. Creativity is central to our progress and to all human endeavour. Music provides the clue: unlike other forms of art, music is not representational. Unlike the outcome of the sciences, it was never discoverable or awaiting discovery. A Mahler symphony did not exist before Mahler created it. E.T.A. Hoffman, a contemporary of Beethoven's, famously said: "Music reveals to man an unknown realm, a world quite separate from the outer sensual world surrounding him, a world in which he leaves behind all feelings circumscribed by intellect in order to embrace the inexpressible." This is not to turn our back on reason. Or to argue that modernism, with all its secular progress through education, industrialisation, communications, transport and the centralised state, has not spectacularly endowed the world as no other movement before it. But a void exists between the drum-roll of mechanisation with its cumulative power of science and the haphazard, explosive power of creativity and passion. Science is forever trying to undress nature while the artistic impulse is to be wrapped in it. While these approaches are different - perhaps often diametrically opposite - they inform related strands of thinking in ways that promote energy and vision. This is what I have found when these forces are contemplated in tandem. When passion and reason vie with each other, the emerging inspiration is invariably deeper and of an altogether higher form. One is able to knit between them, bringing into existence an overarching unity - a coherence - which fidelity to the individual strands cannot provide. In the world I have lived in, the world of politics, political economy and internationalism, the literature exists in abundance. But what is far from abundant are the frameworks for the intuitive resolution of complex problems that re