Dion Fortune (1890–1946) British occultist and author
Dion Fortune, Spiritualism and Occultism
as quoted by Ilya Prigogine in his Autobiography http://nobelprize.org/nobel_prizes/chemistry/laureates/1977/prigogine-autobio.html given at the occasion of Prigogine's 1977 Nobel Prize in Chemistry.
Dion Fortune (1890–1946) British occultist and author
Dion Fortune, Spiritualism and Occultism
Clement Greenberg (1909–1994) American writer and artist
"Milton Avery" (1958), p. 201
1960s, Art and Culture: Critical Essays, (1961)
Dion Fortune (1890–1946) British occultist and author
Dion Fortune, The Mystical Qabalah
Kenneth Clark (1903–1983) Art historian, broadcaster and museum director
Source: The Romantic Rebellion (1973), Ch. 6: Blake
Leonardo Da Vinci (1452–1519) Italian Renaissance polymath
The Notebooks of Leonardo da Vinci (1883), II Linear Perspective
Context: The air is filled with endless images of the objects distributed in it; and all are represented in all, and all in one, and all in each, whence it happens that if two mirrors are placed in such a manner as to face each other exactly, the first will be reflected in the second and the second in the first. The first being reflected in the second takes to it the image of itself with all the images represented in it, among which is the image of the second mirror, and so, image within image, they go on to infinity in such a manner as that each mirror has within it a mirror, each smaller than the last and one inside the other. Thus, by this example, it is clearly proved that every object sends its image to every spot whence the object itself can be seen; and the converse: That the same object may receive in itself all the images of the objects that are in front of it.
Arthur Schopenhauer book Parerga and Paralipomena
Vol. 2 "On Philosophy and the Intellect" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves it to the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.
Jay Lemke (1946) American academic
Lemke, J. (2005). "Towards critical multimedia literacy: Technology, research, and politics." In McKenna, M., Reinking, D., Labbo, L. & Kieffer, R. (Eds.), Handbook of literacy and technology. Mahwah, New Jersey: Erlbaum (LEA Publishing). p. 4
Samuel Taylor Coleridge book Biographia Literaria
Source: Biographia Literaria (1817), Ch. XIV.
Context: This power... reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative; the sense of novelty and freshness with old and familiar objects; a more than usual state of emotion with more than usual order; judgment ever awake and steady self-possession with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry.
Northrop Frye (1912–1991) Canadian literary critic and literary theorist
"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction