
Boccioni's quote on motion; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 328.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914
Lecture X, "Conversion, concluded"
1900s, The Varieties of Religious Experience (1902)
Context: The characteristics of the affective experience which, to avoid ambiguity, should, I think, be called the state of assurance rather than the faith-state, can be easily enumerated, though it is probably difficult to realize their intensity, unless one has been through the experience one's self.
The central one is the loss of all the worry, the sense that all is ultimately well with one, the peace, the harmony, the willingness to be, even though the outer conditions should remain the same. The certainty of God's 'grace,' of 'justification,' 'salvation,' is an objective belief that usually accompanies the change in Christians; but this may be entirely lacking and yet the affective peace remain the same — you will recollect the case of the Oxford graduate: and many might be given where the assurance of personal salvation was only a later result. A passion of willingness, of acquiescence, of admiration, is the glowing centre of this state of mind.
The second feature is the sense of perceiving truths not known before. The mysteries of life become lucid, as Professor Leuba says; and often, nay usually, the solution is more or less unutterable in words. But these more intellectual phenomena may be postponed until we treat of mysticism.
A third peculiarity of the assurance state is the objective change which the world often appears to undergo. 'An appearance of newness beautifies every object,' the precise opposite of that other sort of newness, that dreadful unreality and strangeness in the appearance of the world, which is experienced by melancholy patients, and of which you may recall my relating some examples. This sense of clean and beautiful newness within and without one is one of the commonest entries in conversion records.
Boccioni's quote on motion; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 328.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914
But the principal objects for which they are designed are social, the others are only secondary. It is, therefore, necessary that there should be a good understanding between all the members, and that nothing should occur that is likely to disturb the good feeling that ought to subsist between them.
Hopkinson v. Marquis of Exeter (1867), L. R. 5 Eq. Ca. 67.
Part One: 1. Stultifera Navis
History of Madness (1961)
Context: Meaning created links so numerous, so rich and involved that only esoteric knowledge could possibly have the necessary key. Objects became so weighed down with attributes, connections and associations that they lost their own original face. Meaning was no longer read in an immediate perception, and accordingly objects ceased to speak directly: between the knowledge that animated the figures of objects and the forms they were transformed into, a divide began to appear, opening the way for a symbolism more often associated with the world of dreams.
Source: Something More, A Consideration of the Vast, Undeveloped Resources of Life (1920), p. 33
Context: The most significant change in a man is not the change in his bodily strength or mental capacity. The most marvelous and far-reaching change which man ever undergoes is in his moral character and spiritual nature.
“An incentive is a bullet, a key: an often tiny object with astonishing power to change a situation”
Source: Freakonomics: A Rogue Economist Explores the Hidden Side of Everything
My Twisted World (2014), Thoughts at 19, Compliments
"Subjective and Objective," in Mortal Questions, Cambridge University Press, 1979, p. 196.