“The alternation of motion is ever proportional to the motive force impressed; and is made in the direction of the right line in which that force is impressed.”

Source: The Alchemist

Geometrical Lectures (1735)

Physics and Philosophy (1942)

Tertium Organum (1922)
Context: Generally speaking, the significance of the indirect results may very often be of more importance than the significance of direct ones. And since we are able to trace how the energy of love transforms itself into instincts, ideas, creative forces on different planes of life; into symbols of art, song, music, poetry; so can we easily imagine how the same energy may transform itself into a higher order of intuition, into a higher consciousness which will reveal to us a marvelous and mysterious world.
In all living nature (and perhaps also in that which we consider as dead) love is the motive force which drives the creative activity in the most diverse directions.

Quote of Kandinsky, in Paris, March 1935; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 451
1930 - 1944

these directions making between them meaningful angles, and senses, together defining one big conclusion or many. Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds. Nothing at all of this is fixed. Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe. It must not be just a fleeting moment but a physical bond between the varying events in life. Not extractions, but abstractions. Abstractions that are like nothing in life except in their manner of reacting.
1930s, How Can Art Be Realized? (1932)

Peter Levi. The Hill of Kronos. 1980.

Source: Organizational stress: Studies in role conflict and ambiguity, 1964, p. 16-17

As quoted in New York Tribune (28 February 1860).
1860s