“The success of art is measured by the extent to which it is able to render experiences of one dimension into terms of another.”

“These dimensions impinge on one another. They touch. They interpenetrate. And where one dimension touches or passes through another, it forms a line of force on the landscape.”

“The culture and civilization of the White man are essentially material; his measure of success is, "How much property have I acquired for myself?" The culture of the Red man is fundamentally spiritual; his measure of success is, "How much service have I rendered to my people?”

“Death is a fiction created by people who live their lives in total unawareness. There is only life, life and life alone, moving from one dimension to another, another dimension to another.”

“The triangles that we can measure are not large enough… to detect the curvature. Fortunately, however, we are, in a way, able to communicate with the fourth dimension. The theory of relativity has given us an insight into the structure of the real universe: …a four-dimensional structure. The study of the way in which the three space-dimensions are interwoven with the time-dimension affords a kind of outside point of view of the three-dimensional space… from this outside point of view we might be able to perceive the curvature of the three-dimensional world.”

“To a very high degree the measure of success in battle leadership is the ability to profit by the lessons of battle experience.”

“To a large extent textual evaluation cannot be bound by any fixed rules. It is an art in the full sense of the word, a faculty which can be developed, guided by intuition based on wide experience.”

“This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.”

“I should premise that I use the term Struggle for Existence in a large and metaphorical sense, including dependence of one being on another, and including (which is more important) not only the life of the individual, but success in leaving progeny.”

“One can measure the importance of a scientific work by the number of earlier publications rendered superfluous by it.”