“A skepticism concerning what one beholds - whether in the arts, in the sciences, or in the deeply etched channels of fashionable response - contains a force essential to the survival of civilized man.”

Plays of Three Decades: Thunder Rock / Jeb / Shadow of Heroes (1968)

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Robert Ardrey 8
Screenwriter and author of several books on anthropology 1908–1980

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“It is only through science and art that civilization is of value.”

Some have wondered at the formula: science for its own sake; an yet it is as good as life for its own sake, if life is only misery; and even as happiness for its own sake, if we do not believe that all pleasures are of the same quality...
Every act should have an aim. We must suffer, we must work, we must pay for our place at the game, but this is for seeing's sake; or at the very least that others may one day see.
Source: The Value of Science (1905), Ch. 11: Science and Reality

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“Do not merely practice your art, but force your way into its secrets; it deserves that, for only art and science can exalt man to divinity.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

Fahre fort, übe nicht allein die Kunst, sondern dringe auch in ihr Inneres; sie verdient es, denn nur die Kunst und die Wissenschaft erhöhen den Menschen bis zur Gottheit.
Letter to Emilie, July 17, 1812.
Quoted in Musical news, Vol. 3 (1892), p. 627

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“All other sciences are called speculative: they are not concerned with the deeds of the present or future life affecting man's salvation or damnation. All procedures of art and of nature are”

Source: Opus Tertium, c. 1267, Ch. 14 as quoted in J. H. Bridges, The 'Opus Majus' of Roger Bacon (1900) Vol.1 http://books.google.com/books?id=6F0XAQAAMAAJ Preface pp.x-xi
Context: All these foregoing sciences are, properly speaking, speculative. There is indeed in every science a practical side, as Avicenna teaches in the first book of his Art of Medicine. Nevertheless, of Moral Philosophy alone can it be said that it is in the special and autonomatic sense practical, dealing as it does with human conduct with reference to virtue and vice, beatitude and misery. All other sciences are called speculative: they are not concerned with the deeds of the present or future life affecting man's salvation or damnation. All procedures of art and of nature are directed to these moral actions, and exist on account of them. They are of no account except in that they help forward right action. Thus practical and operative sciences, as experimental alchemy and the rest, are regarded as speculative in reference to the operations with which moral or political science is concerned. This science is the mistress of every department of philosophy. It employs and controls them for the advantage of states and kingdoms. It directs the choice of men who are to study in sciences and arts for the common good. It orders all members of the state or kingdom so that none shall remain without his proper work.

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“.. [that] the overturning of the old world of arts will be etched across your 'palms”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

recto
admonition from the cover of Malevich's 'novykh sistemakh v iskusstve' (Vitebsk: Unovis, 1919); the cover is reproduced in Malevich: Suprematism and Revolution in Russian Art, Larissa A. Zhadova, (trans. Alexander Lieven); London: Thames and Hudson, 1982
the notice on the verso reads: 'Work and edition by the workshop [artef] of artistic labor at the Vitebsk Svomas'
1910 - 1920

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“After the war [1918] etching became Kirchner's favorite medium. He attributed this to its responsiveness. 'Etchings', he wrote, 'develop in the first states the most immediate hieroglyphs. Rich in lively handwriting and rich in variety of motifs, the etchings are like a diary of the painter.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

de:Louis de Marsalle, in Uber Kirchners Graphik, Genius 3, no. 2 (1921), p. 258; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 53
1920's

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“I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now.”

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 1
Context: I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated. "What's new?" is an interesting and broadening eternal question, but one which, if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow. I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now. Now the stream of our common consciousness seems to be obliterating its own banks, losing its central direction and purpose, flooding the lowlands, disconnecting and isolating the highlands and to no particular purpose other than the wasteful fulfillment of its own internal momentum. Some channel deepening seems called for.

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