“The entire revolutionary movement necessarily finds both its empirical and its theoretical basis in the movement of private property – more precisely, in that of the economy. This material, immediately perceptible private property is the material perceptible expression of estranged human life. Its movement – production and consumption – is the perceptible revelation of the movement of all production until now, i. e., the realisation or the reality of man. Religion, family, state, law, morality, science, art, etc., are only particular modes of production, and fall under its general law. The positive transcendence of private property as the appropriation of human life, is therefore the positive transcendence of all estrangement – that is to say, the return of man from religion, family, state, etc., to his human, i. e., social, existence. Religious estrangement as such occurs only in the realm of consciousness, of man’s inner life, but economic estrangement is that of real life; its transcendence therefore embraces both aspects. It is evident that the initial stage of the movement amongst the various peoples depends on whether the true recognised life of the people manifests itself more in consciousness or in the external world – is more ideal or real. Communism begins where atheism begins (Owen), but atheism is at the outset still far from being communism; indeed it is still for the most part an abstraction. The philanthropy of atheism is therefore at first only philosophical, abstract philanthropy, and that of communism is at once real and directly bent on action.”

Introduction
The Wedge (1944)
Context: When a man makes a poem, makes it, mind you, he takes words as he finds them interrelated about him and composes them — without distortion which would mar their exact significances — into an intense expression of his perceptions and ardors that they may constitute a revelation in the speech that he uses. It isn’t what he says that counts as a work of art, it’s what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.

Songs of Freedom by Irish Authors (1907) Introduction. Revolutionary Song https://www.marxists.org/archive/connolly/1907/xx/revsong.htm

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Source: The German Ideology (1845-1846), Vol. I, Part 4.

Source: Economic and Philosophic Manuscripts of 1844, p. 99, The Marx-Engels Reader

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 17

Source: The Art of the Dance (1928), p. 54.
Context: The movement of the waves, of winds, of the earth is ever in the same lasting harmony. We do not stand on the beach and inquire of the ocean what was its movement of the past and what will be its movement of the future. We realize that the movement peculiar to its nature is eternal to its nature. The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body.

Source: The Look of Maps (1952), p. 13-14; As cited in: Clifford H. Wood, C. Peter Keller (1996) Cartographic design: theoretical and practical perspectives. p. 21

Introduction
Space—Time—Matter (1952)