Source: The Image: A Guide to Pseudo-Events in America (1961), p. 204.
Source: Kritik der zynischen Vernunft [Critique of Cynical Reason] (1983), p. 56
I.96
Human, All Too Human (1878)
Source: The Image: A Guide to Pseudo-Events in America (1961), p. 37.
42.
För levande och döda (For the Living and the Dead) 1996
Introduction
The Nature of the Physical World (1928)
Context: In physics we have outgrown archer and apple-pie definitions of the fundamental symbols. To a request to explain what an electron really is supposed to be we can only answer, "It is part of the A B C of physics".
The external world of physics has thus become a world of shadows. In removing our illusions we have removed the substance, for indeed we have seen that substance is one of the greatest of our illusions. Later perhaps we may inquire whether in our zeal to cut out all that is unreal we may not have used the knife too ruthlessly. Perhaps, indeed, reality is a child which cannot survive without its nurse illusion. But if so, that is of little concern to the scientist, who has good and sufficient reasons for pursuing his investigations in the world of shadows and is content to leave to the philosopher the determination of its exact status in regard to reality. In the world of physics we watch a shadowgraph performance of the drama of familiar life. The shadow of my elbow rests on the shadow table as the shadow ink flows over the shadow paper. It is all symbolic, and as a symbol the physicist leaves it. Then comes the alchemist Mind who transmutes the symbols. The sparsely spread nuclei of electric force become a tangible solid; their restless agitation becomes the warmth of summer; the octave of aethereal vibrations becomes a gorgeous rainbow. Nor does the alchemy stop here. In the transmuted world new significances arise which are scarcely to be traced in the world of symbols; so that it becomes a world of beauty and purpose — and, alas, suffering and evil.
The frank realisation that physical science is concerned with a world of shadows is one of the most significant of recent advances.
Source: Big Magic: Creative Living Beyond Fear
Book 10: Exposition of Canon II; this is the earliest known description of the inverted image produced by a camera obscura,; as translated in by Ian Jonston in The Mozi (2010), p. 489
“All our knowledge has its origin in our perceptions.”
The Notebooks of Leonardo da Vinci (1883), XIX Philosophical Maxims. Morals. Polemics and Speculations.
