“Propose to an Englishman any principle, or any instrument, however admirable, and you will observe that the whole effort of the English mind is directed to find a difficulty, a defect, or an impossibility in it. If you speak to him of a machine for peeling a potato, he will pronounce it impossible: if you peel a potato with it before his eyes, he will declare it useless, because it will not slice a pineapple. Impart the same principle or show the same machine to an American or to one of our Colonists, and you will observe that the whole effort of his mind is to find some new application of the principle, some new use for the instrument.”

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Official Mix tapes, Da Drought 3 (2007)

Three quotes of Joseph Beuys, in 'An interview with Joseph Beuys,', Willoughby Sharp, published in 'Artforum,' November 1969; as quoted in Six Years: The Dematerialization of the Art Object from 1966 to 1972, Lucy R. Lippard, University of California Press, 1973, p. 121
1960's

Quoted in Manauri Jorge, 2012.
ARS Universal Press Conference, Santo Domingo, Dominican Republic, 2012-08-19

Part 3, Section 16
A Treatise of Human Nature (1739-40), Book 1: Of the understanding

The Conspiracy Against the Human Race: A Contrivance of Horror (2010)

Book IV, 1005
Metaphysics
Original: (el) τὸ γὰρ αὐτὸ ἅμα ὑπάρχειν τε καὶ μὴ ὑπάρχειν ἀδύνατον τῷ αὐτῷ καὶ κατὰ τὸ αὐτό （καὶ ὅσα ἄλλα προσδιορισαίμεθ᾽ ἄν, ἔστω προσδιωρισμένα πρὸς τὰς λογικὰς δυσχερείας）: αὕτη δὴ πασῶν ἐστὶ βεβαιοτάτη τῶν ἀρχῶν: ἔχει γὰρ τὸν εἰρημένον διορισμόν. ἀδύνατον γὰρ ὁντινοῦν ταὐτὸν ὑπολαμβάνειν εἶναι καὶ μὴ εἶναι, καθάπερ τινὲς οἴονται λέγειν Ἡράκλειτον.
Source: https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0051%3Abook%3D4%3Asection%3D1005b

Source: Life, the Universe and Everything

Source: Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values

Pupils at Sais (1799)
Context: If on the one hand the Scholastics and Alchemists seem to be utterly at variance, and the Eclectics on the other hand quite at one, yet, strictly examined, it is altogether the reverse. The former, in essentials, are indirectly of one opinion; namely, as regards the non-dependence, and infinite character of Meditation, they both set out from the Absolute: whilst the Eclectic and limited sort are essentially at variance; and agree only in what is deduced. The former are infinite but uniform, the latter bounded but multiform; the former have genius, the latter talent; those have Ideas, these have knacks (Handgriffe); those are heads without hands, these are hands without heads. The third stage is for the Artist, who can be at once implement and genius. He finds that that primitive Separation in the absolute Philosophical Activities' (between the Scholastic, and the "rude, intuitive Poet") 'is a deeper-lying Separation in his own Nature; which Separation indicates, by its existence as such, the possibility of being adjusted, of being joined: he finds that, heterogeneous as these Activities are, there is yet a faculty in him of passing from the one to the other, of changing his polarity at will. He discovers in them, therefore, necessary members of his spirit; he observes that both must be united in some common Principle. He infers that Eclecticism is nothing but the imperfect defective employment of this principle.