“Life is experienced holistically with sensations pouring in through every physical and mental organ of perception. Art exists embodied in physical elements—especially meticulously calibrated aspects of sight and sound—which scholarly explication can illuminate but never fully replace. However conceptually incoherent and subjectively emotional, the amateur response to poetry comes closer to the larger human purposes of the art—which is to awaken, amplify, and refine the sense of being alive—than does critical commentary”

19
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

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Dana Gioia80

American writer 1950

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“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“It is especially dangerous when fatalism appears in the gown of science, which nowadays so often replaces the cassock of the theologian; therefore we repeat: The causes which underlie the processes of social life have nothing in common with the laws of physical and mechanical natural events, for they are purely the results of human purpose, which is not explicable by scientific methods.”

Rudolf Rocker book Nationalism and Culture

Source: Nationalism and Culture (1937), Ch. 1 "The Insufficiency of Economic Materialism"
Context: However fully man may recognise cosmic laws he will never be able to change them, because they are not his work. But every form of his social existence, every social institution which the past has bestowed on him as a legacy from remote ancestors, is the work of men and can be changed by human will and action or made to serve new ends. Only such an understanding is truly revolutionary and animated by the spirit of the coming ages. Whoever believes in the necessary sequence of all historical events sacrifices the future to the past. He explains the phenomena of social life, but he does not change them. In this respect all fatalism is alike, whether of a religious, political or economic nature. Whoever is caught in its snare is robbed thereby of life's most precious possession; the impulse to act according to his own needs. It is especially dangerous when fatalism appears in the gown of science, which nowadays so often replaces the cassock of the theologian; therefore we repeat: The causes which underlie the processes of social life have nothing in common with the laws of physical and mechanical natural events, for they are purely the results of human purpose, which is not explicable by scientific methods. To misinterpret this fact is a fatal self-deception from which only a confused notion of reality can result.

“The computer constitutes the first human construction that aspired to amplify mental rather than physical human powers.”

Yiannis Laouris (1958) Cypriot neuroscientist

mLearn International Conference (2005)

“There is a physical neurobiological substrate to all human knowledge, including thoughts, memories, perceptions and emotions. To this end, mental states and thought processes are physical.”

Nayef Al-Rodhan (1959) philosopher, neuroscientist, geostrategist, and author

Source: Sustainable History and the Dignity of Man (2009), p.109

“The aim of poetry—in this primal and primary sense as enchantment—is to awaken us to a fuller sense of our own humanity in both its social and individual aspects. Poetry offers a way of understanding and expressing existence that is fundamentally different from conceptual thought”

Dana Gioia (1950) American writer

22
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“The time of the often criticized art without real subject [l'art pour l'art] and the art without object [ Abstract art ] seems to be over. We are experiencing a new return to the meaningful subject, which the common people can understand”

Fernand Léger (1881–1955) French painter

Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 12
Quotes of Fernand Leger, 1980's

“The consciousness of being human was fully developed in the cave man, of course, but the human conception was alive in the fish. We have spoken of mental genes. These are more or less psychic blueprints for physical matter, and in these mental genes existed the pattern for your type of self-consciousness.”

Jane Roberts (1929–1984) American Writer

Source: Seth, Dreams & Projections of Consciousness, (1986), p. 159, quoting from Seth Session 26

“For literary purposes, the art of writing poetry can be simply defined as: A creative act using language as a medium refined to an art.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

The Cosmos as a Poem (2010)

“Neuro-rational Physicalism is premised on the neuro-biological foundation of human nature, which implies that thoughts, perceptions or emotions correspond to a physical reaction in the brain.”

Nayef Al-Rodhan (1959) philosopher, neuroscientist, geostrategist, and author

Knowledge and Global Order https://www.bbvaopenmind.com/en/article/knowledge-and-global-order/?fullscreen=true - OpenMind September 2013

“This conscious self is only one aspect of our greater reality, however; the part that springs into earthknowing. It can be called the "focus personality," because through it we perceive our three-dimensional life. It contains within it, however, traces of the unknown or "source self" out of which it constantly emerges. The source self is the fountainhead of our present physical being, but it exists outside of that frame of reference. We are earth versions of ourselves, beautifully turned into corporal experience. Our known consciousness is filtered through perceptive mechanisms that are a part of what they perceive. We are the instruments through which we know the earth. In other terms, we are particles of energy, flowing from the source self into physical materialization. Each source self forms many such particles or "Aspect selves" that impinge upon three-dimensional reality, striking our space-time continuum. Others are not physical at all, but have their existence in completely different systems of reality. Each Aspect self is connected to the other, however, through the common experience of the source self, and can come to some degree to draw on the knowledge, abilities, and perceptions of the other Aspects. Psychologically, these other Aspects appear within the known self as personality traits, characteristics, and talents that are uniquely ours. The individual is the particle or focus personality, formed by the intersection of the unknown self with space and time. We can follow any of our traits or emotions back to this source self, or at least to a recognition of its existence.”

Jane Roberts (1929–1984) American Writer

Source: Adventures In Consciousness: An Introduction to Aspect Psychology (1975), pp.118-119

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