
"The Scientific Revolution and the Machine"
The Common Sense of Science (1951)
Conclusion, Part Second, II
Napoleon the Little (1852)
"The Scientific Revolution and the Machine"
The Common Sense of Science (1951)
On peut devenir un peintre, un sculpteur, un musicien même à force d'étude; on ne devient pas un auteur dramatique. On l'est tout de suite ou jamais, comme on est blond ou brun, sans le vouloir.
Preface to Le Père Prodigue (1859), in Théatre complet de Al. Dumas fils (Paris: Michel Lévy Frères, 1868-98) vol. 3, p. 199; translation by E. P. Evans from The Atlantic Monthly, May 1890, pp. 584-5.
Page 136; from his "Music and Life" (1951).
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)
Statement upon being appointed as UC Berkeley chancellor in 1958, as quoted Biographical Memoirs (2000) edited by Darleane C. Hoffman, p, 252 <!-- ISBN 0-309-07035-X National Academies Press-->
Context: There is a beauty in discovery. There is mathematics in music, a kinship of science and poetry in the description of nature, and exquisite form in a molecule. Attempts to place different disciplines in different camps are revealed as artificial in the face of the unity of knowledge. All literate men are sustained by the philosopher, the historian, the political analyst, the economist, the scientist, the poet, the artisan and the musician.
Kandinsky's last theoretical statement (Paris, 1942); in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 38
1930 - 1944
"The Distracted Public" (1990), p. 167
It All Adds Up (1994)
Context: Writers, poets, painters, musicians, philosophers, political thinkers, to name only a few of the categories affected, must woo their readers, viewers, listeners, from distraction. To this we must add, for simple realism demands it, that these same writers, painters, etc., are themselves the children of distraction. As such, they are peculiarly qualified to approach the distracted multitudes. They will have experienced the seductions as well as the destructiveness of the forces we have been considering here. This is the destructive element in which we do not need to be summoned to immerse ourselves, for we were born to it.
R. G. Collingwood (1925). "Plato’s philosophy of art." In: Mind. Vaduz, vol. XXXIV, pp.156-7
“The ideal man bears the accidents of life
With dignity and grace, the best of circumstances.”
Act V, scene i.
Cato, A Tragedy (1713)
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 281.