Quotes about reason
page 49

Marshall McLuhan photo

“When technology extends one of our senses, a new translation of culture occurs as swiftly as the new technology is interiorized.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 47

Ernesto Che Guevara photo
John Rogers Searle photo
Herbert Marcuse photo
Erich Heckel photo

“Brücke will remain in the inner sense; only the outer organizational thing should be dissolved.”

Erich Heckel (1883–1970) German artist

In a letter to Amiet, Fall of 1913; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 266 (transl. Claire Albiez)

Charles Darwin photo
Bill McKibben photo
Lois McMaster Bujold photo
Willem de Sitter photo
Jerry Coyne photo
Edwin Abbott Abbott photo
Gloria Allred photo
Pope Benedict XVI photo
George Granville, 1st Baron Lansdowne photo

“Since truth and constancy are vain,
Since neither love, nor sense of pain,
Nor force of reason, can persuade,
Then let example be obey'd.”

George Granville, 1st Baron Lansdowne (1666–1735) 1st Baron Lansdowne

To Myra; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), "Example", p. 242-43.

Ann Druyan photo

“When my husband died, because he was so famous and known for not being a believer, many people would come up to me-it still sometimes happens-and ask me if Carl changed at the end and converted to a belief in an afterlife. They also frequently ask me if I think I will see him again. Carl faced his death with unflagging courage and never sought refuge in illusions. The tragedy was that we knew we would never see each other again. I don't ever expect to be reunited with Carl. But, the great thing is that when we were together, for nearly twenty years, we lived with a vivid appreciation of how brief and precious life is. We never trivialized the meaning of death by pretending it was anything other than a final parting. Every single moment that we were alive and we were together was miraculous-not miraculous in the sense of inexplicable or supernatural. We knew we were beneficiaries of chance.... That pure chance could be so generous and so kind.... That we could find each other, as Carl wrote so beautifully in Cosmos, you know, in the vastness of space and the immensity of time.... That we could be together for twenty years. That is something which sustains me and it’s much more meaningful.... The way he treated me and the way I treated him, the way we took care of each other and our family, while he lived. That is so much more important than the idea I will see him someday. I don't think I'll ever see Carl again. But I saw him. We saw each other. We found each other in the cosmos, and that was wonderful.”

Ann Druyan (1949) American author and producer

Ann Druyan interviewed by the Committee for Skeptical Inquiry. — "Ann Druyan Talks About Science, Religion, Wonder, Awe … and Carl Sagan" http://www.csicop.org/si/show/ann_druyan_talks_about_science_religion/. Skeptical Inquirer 27 (6). November–December 2003.

Berenice Abbott photo
Thomas Jefferson photo

“But just like voices, thoughts are underpinned by physical stuff. We know this because alterations to the brain change the kinds of thoughts we can think. In a state of deep sleep, there are no thoughts. When the brain transitions into dream sleep, there are unbidden, bizarre thoughts. During the day we enjoy our normal, well-accepted thoughts, which people enthusiastically modulate by spiking the chemical cocktails of the brain with alcohol, narcotics, cigarettes, coffee, or physical exercise. The state of the physical material determines the state of the thoughts. And the physical material is absolutely necessary for normal thinking to tick along. If you were to injure your pinkie in an accident you’d be distressed, but your conscious experience would be no different. By contrast, if you were to damage an equivalently sized piece of brain tissue, this might change your capacity to understand music, name animals, see colors, judge risk, make decisions, read signals from your body, or understand the concept of a mirror—thereby unmasking the strange, veiled workings of the machinery beneath. Our hopes, dreams, aspirations, fears, comic instincts, great ideas, fetishes, senses of humor, and desires all emerge from this strange organ—and when the brain changes, so do we. So although it’s easy to intuit that thoughts don’t have a physical basis, that they are something like feathers on the wind, they in fact depend directly on the integrity of the enigmatic, three-pound mission control center.”

David Eagleman (1971) neuroscientist and author

Incognito: The Secret Lives of The Brain

Ali Shariati photo
Henry James photo
Sidney Poitier photo

“If you are anxious about death, then you don't have a sense of the oneness of things—you feel that after death, you will be no more.”

Sidney Poitier (1927) American-born Bahamian actor, film director, author, and diplomat

"Oprah Talks to Sidney Poitier", http://www.oprah.com/omagazine/Oprah-Interviews-Sidney-Poitier/1 O Magazine, October 2000

David Hume photo
Herbert Read photo
John Ruysbroeck photo

“Here comes Jesus, and sees the man, and shows to him, in the light of faith, that He is according to His Godhead immeasurable and incomprehensible and inaccessible and abysmal, transcending every created light and every finite conception. And this is the highest knowledge of God which any man may have in the active life: that he should confess in this light of faith that God is incomprehensible and unknowable. And in this light Christ says to man’s desire: Make haste and come down, for to-day I must abide at thy house. This hasty descent, to which he is summoned by God, is nothing else than a descent through desire and through love into the abyss of the Godhead, which no intelligence can reach in the created light. But where intelligence remains without, desire and love go in. When the soul is thus stretched towards God, by intention and by love, above everything that it can understand, then it rests and dwells in God, and God in it. When the soul climbs with desire above the multiplicity of creatures, and above the works of the senses, and above the light of nature, then it meets Christ in the light of faith, and becomes enlightened, and confesses that God is unknowable and incomprehensible. When it stretches itself with longing towards this incomprehensible God, then it meets Christ, and is filled with His gifts. And when it loves and rests above all gifts, and above itself, and above all creatures, then it dwells in God, and God dwells in it.”

John Ruysbroeck (1293–1381) Flemish mystic

From Evelyn Underhill, http://www.sacred-texts.com/chr/asm/index.htm Adornment of the Spiritual Marriage
The Spiritual Espousals (c. 1340)

Francis Picabia photo
Erich Fromm photo

“The existential split in man would be unbearable could he not establish a sense of unity within himself and with the natural and human world outside.”

Erich Fromm (1900–1980) German social psychologist and psychoanalyst

Source: The Anatomy of Human Destructiveness (1973), p. 262

Paul Gauguin photo

“[In] painting…all sensations are condensed, everyone…with a single glance [has] his soul invaded by the most profound recollections…everything is summed up in one instant. Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sound.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Quote from Gauguin's unfinished essay 'Notes Synthetiques', published in the July / September 1910 issue of ' Vers et Prose' XXII, pp. 51-55, as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 23
Gauguin's essay 'Notes Synthetiques' was written in Pont -Aven in 1888 and left incomplete. His essay was first published in 'Vers et Prose' XXII
1890s - 1910s

Henry Kissinger photo

“Every civilization that has ever existed has ultimately collapsed … History is a tale of efforts that failed, of aspirations that weren’t realized... So, as a historian, one has to live with a sense of the inevitability of tragedy.”

Henry Kissinger (1923–2023) United States Secretary of State

Cited in "Identifying the Wild Beast and Its Mark" http://wol.jw.org/en/wol/d/r1/lp-e/2004241?q=durant&p=par, in The Watchtower (1 March 2004)
2000s

Alain photo

“Chopin is the true inventor of the concert etude, at least in the sense of being the first to give it complete artistic form—a form in which musical substance and technical difficulty coincide.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Charles Cooley photo

“To get away from one's working environment is, in a sense, to get away from one's self; and this is often the chief advantage of travel and change.”

Charles Cooley (1864–1929) American sociologist

Source: Human Nature and the Social Order, 1902, p. 120

Daniel Bell photo

“Art is not life, but in a sense something contrary to life, since life is transient and changing, while art is permanent.”

Source: The Cultural Contradictions of Capitalism (1976), Chapter 3, The Sensibility of the Sixties, p. 124

Ludwig Feuerbach photo
Maimónides photo

“There are seven causes of inconsistencies and contradictions to be met with in a literary work. The first cause arises from the fact that the author collects the opinions of various men, each differing from the other, but neglects to mention the name of the author of any particular opinion. In such a work contradictions or inconsistencies must occur, since any two statements may belong to two different authors. Second cause: The author holds at first one opinion which he subsequently rejects: in his work, however, both his original and altered views are retained. Third cause: The passages in question are not all to be taken literally: some only are to be understood in their literal sense, while in others figurative language is employed, which includes another meaning besides the literal one: or, in the apparently inconsistent passages, figurative language is employed which, if taken literally, would seem to be contradictories or contraries. Fourth cause: The premises are not identical in both statements, but for certain reasons they are not fully stated in these passages: or two propositions with different subjects which are expressed by the same term without having the difference in meaning pointed out, occur in two passages. The contradiction is therefore only apparent, but there is no contradiction in reality. The fifth cause is traceable to the use of a certain method adopted in teaching and expounding profound problems. Namely, a difficult and obscure theorem must sometimes be mentioned and assumed as known, for the illustration of some elementary and intelligible subject which must be taught beforehand the commencement being always made with the easier thing. The teacher must therefore facilitate, in any manner which he can devise, the explanation of those theorems, which have to be assumed as known, and he must content himself with giving a general though somewhat inaccurate notion on the subject. It is, for the present, explained according to the capacity of the students, that they may comprehend it as far as they are required to understand the subject. Later on, the same subject is thoroughly treated and fully developed in its right place. Sixth cause: The contradiction is not apparent, and only becomes evident through a series of premises. The larger the number of premises necessary to prove the contradiction between the two conclusions, the greater is the chance that it will escape detection, and that the author will not perceive his own inconsistency. Only when from each conclusion, by means of suitable premises, an inference is made, and from the enunciation thus inferred, by means of proper arguments, other conclusions are formed, and after that process has been repeated many times, then it becomes clear that the original conclusions are contradictories or contraries. Even able writers are liable to overlook such inconsistencies. If, however, the contradiction between the original statements can at once be discovered, and the author, while writing the second, does not think of the first, he evinces a greater deficiency, and his words deserve no notice whatever. Seventh cause: It is sometimes necessary to introduce such metaphysical matter as may partly be disclosed, but must partly be concealed: while, therefore, on one occasion the object which the author has in view may demand that the metaphysical problem be treated as solved in one way, it may be convenient on another occasion to treat it as solved in the opposite way. The author must endeavour, by concealing the fact as much as possible, to prevent the uneducated reader from perceiving the contradiction.”

Guide for the Perplexed (c. 1190), Introduction

William Golding photo
Austen Chamberlain photo
Jean de La Bruyère photo

“To laugh at men of sense is the privilege of fools.”

Rire des gens d'esprit, c'est le privilège des sots.
56
Les Caractères (1688), De la société et de la conversation

Sam Harris photo
Marie-Louise von Franz photo
Nat Turner photo
Harry Truman photo
Frank Herbert photo
Frank Deford photo

“I grew up in Baltimore and that's why I root for the Orioles. I'm very suspicious of people who move and take on a new team. You should stick with the team of your youth all the way to your grave. That shows a sense of loyalty and devotion.”

Frank Deford (1938–2017) American sportswriter

Sweetness And Light, Deford, Frank, 2004-08-14, Morning Edition, National Public Radio http://www.npr.org/templates/rundowns/rundown.php?prgId=3&prgDate=08-14-2004,

Swami Vivekananda photo
F. R. Leavis photo
Michael Moorcock photo
Jacob Maris photo

“On the other hand, I am accused of not finishing my paintings, no matter how much time I spent to my airs. Well, 'finished' in the common sense of the word, they are certainly not! Finishing in that sense would drag the life out of it.”

Jacob Maris (1837–1899) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jacob Maris, in het Nederlands: Daarentegen wordt mij verweten dat mijn schilderijen niet af zijn, hoe ik mijn lucht ook doorwerkt heb. Nu, 'af' in de gewone beteekenis van het woord is mijn werk zeker niet. Door in dien zin het af te maken, zou ik er het leven uithalen.
in Jacob Maris (1837-1899), M. van Heteren and others; as cited in 'Ik denk in mijn materie', in exhibition catalog of Teylers Museum / Museum Jan Cunen), Zwolle 2003, p. 76

Ernesto Grassi photo
Richard Smalley photo
C. N. R. Rao photo
Henry Adams photo
Orson Scott Card photo
Karl Wilhelm Friedrich Schlegel photo

“Morality without sense for paradox is vulgar.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Moralität ohne Sinn für Paradoxie ist gemein.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 76

Mahadev Govind Ranade photo
John Steinbeck photo
Jacob M. Appel photo

“Much as we do not permit convicted pedophiles to teach kindergarten or convicted hijackers to board airplanes, common sense dictates that individuals who have been imprisoned for plotting violence against abortion clinics should never again be permitted anywhere near such facilities.”

Jacob M. Appel (1973) American author, bioethicist, physician, lawyer and social critic

"The Case for an Anti-Abortion Violence Registry," http://www.huffingtonpost.com/jacob-m-appel/the-case-for-an-anti-abor_b_222559.html The Huffington Post (2009-06-29)

Tim Jackson photo

“Prosperity, in any meaningful sense of the term, is about the quality of our lives and relationships, about the resilience of our communities and about our sense of individual and collective meaning.”

Prosperity Without Growth: Foundations for the Economy of Tomorrow, 2017 edition, Routledge, pages xxxviii-xxxix (ISBN 9781138935419).
Prosperity Without Growth

John Marshall photo
Antonio Negri photo
Thornton Wilder photo
George Gordon Byron photo
David Baddiel photo
Warren Farrell photo
George W. Bush photo

“As you serve others, you can inspire others. I’ve been inspired by the examples of many selfless servants. Winston Churchill, a leader of courage and resolve, inspired me during my Presidency—and, for that matter, in the post-presidency. Like Churchill, I now paint. Unlike Churchill, the painting isn’t worth much without the signature. In 1941, he gave a speech to the students of his old school during Britain’s most trying times in World War II. It wasn’t too long, and it is well-remembered. Prime Minister Churchill urged, 'Never give in… in nothing, great or small, large or petty. Never give in except to convictions of honor and good sense'. I hope you’ll remember this advice. But there’s a lesser-known passage from that speech that I also want to share with you. 'These are not dark days. These are great days. The greatest our country has ever lived; and we must all thank God that we have been allowed, each of us according to our stations, to play a part in making these days memorable in the history of our race'. When Churchill uttered these words, many had lost hope in Great Britain’s chance for survival against the Nazis. Many doubted the future of freedom. Today, some doubt America’s future, and they say our best days are behind us. I say, given our strengths—one of which is a bright new generation like you—these are not dark days. These are great days.”

George W. Bush (1946) 43rd President of the United States

2010s, 2015, Remarks at the SMU 100th Spring Commencement (May 2015)

M. C. Escher photo
Timothy Leary photo
Tom Robbins photo
Ali Khamenei photo
John Denham photo
Lee Kuan Yew photo
Sergei Prokofiev photo

“The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 36-37; from his fragmentary Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Nathaniel Hawthorne photo
Connie Willis photo
Joshua Reynolds photo
Alexander Calder photo

“Historical studies of the sciences tend to adopt one of two rather divergent points of view. One of these typically looks at historical developments in a discipline from the inside. It is apt to take for granted many of the presuppositions that are currently popular among members of the discipline and hence tends to view the past in terms of gradual progress toward a better present. The second point of view does not adopt its framework of issues and presuppositions from the field that is the object of study but tends nowadays to rely heavily on questions and concepts derived from studies in the history, philosophy, and sociology of science. A history written from the insider's point of view always conveys a strong sense of being "our" history. That is not the case with the second type of history, whose tone is apt to be less celebratory and more critical.
In the case of the older sciences, histories of the second type have for many years been the province of specialists in the history, philosophy, or sociology of science. This is not, or perhaps not yet, the case for psychology, whose history has to a large extent been left to psychologists to pursue. Accordingly, insiders' histories have continued to have a prominence they have long lost in the older sciences. Nevertheless, much recent work in the history of psychology has broken with this tradition.”

Kurt Danziger (1926) German academic

Source: Constructing the subject: Historical origins of psychological research. 1994, p. vii; Preface.

“I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so... Orchestral. My work in its entirety is like a symphony in which each painting has its part.”

Clyfford Still (1904–1980) American artist

Gallery Notes, Allbright-Knox Art Gallery, Vol. 24 summer 1961 pp. 9-14; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 197
1960s

Jane Roberts photo
Alastair Reynolds photo
William John Macquorn Rankine photo
Robert A. Dahl photo

“Democracy in the sense of political equality and majority rule is by no means the most desirable, that is, optimal solution for all kinds of associations.”

Robert A. Dahl (1915–2014) American political scientist

After the Revolution? (1970; 1990), Ch. 1 : Three Criteria for Authority

Benno Moiseiwitsch photo
Robert A. Heinlein photo

“This Universe never did make sense; I suspect that it was built on government contract.”

Source: The Number of the Beast (1980), Chapter II : “This Universe never did make sense—”, p. 16

Sam Harris photo
John Gray photo
Ward Cunningham photo
Stuart Kauffman photo

“Stephen Jay Gould is extremely bright, inventive. He thoroughly understands paleontology; he thoroughly understands evolutionary biology. He has performed an enormous service in getting people to think about punctuated equilibrium, because you see the process of stasis/sudden change, which is a puzzle. It's the cessation of change for long periods of time. Since you always have mutations, why don't things continue changing? You either have to say that the particular form is highly adapted, optimal, and exists in a stable environment, or you have to be very puzzled. Steve has been enormously important in that sense. Talking with Steve, or listening to him give a talk, is a bit like playing tennis with someone who's better than you are. It makes you play a better game than you can play. For years, Steve has wanted to find, in effect, what accounts for the order in biology, without having to appeal to selection to explain everything—that is, to the evolutionary "just-so stories." You can come up with some cockamamie account about why anything you look at was formed in evolution because it was useful for something. There is no way of checking such things. We're natural allies, because I'm trying to find sources of that natural order without appealing to selection, and yet we all know that selection is important.”

Stuart Kauffman (1939) American biophysicist

Kauffman in: John Brockman, ed. (1995) The Third Culture: Beyond the Scientific Revolution, p. 64-65. ( online http://www.edge.org/documents/ThirdCulture/i-Ch.2.html)

Thomas Jefferson photo

“A lively and lasting sense of filial duty is more effectually impressed on the mind of a son or daughter by reading King Lear, than by all the dry volumes of ethics, and divinity, that ever were written.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Letter to Robert Skipwith (3 August 1771) http://oll.libertyfund.org/Texts/Jefferson0136/Works/0054-02_Bk.html#hd_lf054.2.head.010 ; also in The Writings of Thomas Jefferson (19 Vols., 1905) edited by Andrew A. Lipscomb and Albert Ellery Bergh, Vol. 4, p. 239 http://books.google.com/books?vid=OCLC61981280&id=YjaXnbNMaccC&pg=RA6-PA239&lpg=RA6-PA239&dq=Bergh+%22volumes+of+ethics,+and+divinity%22
1770s

Colin Wilson photo
Walter Scott photo

“Scared out of his seven senses.”

Source: Rob Roy (1817), Chapter 34.

Roy Lichtenstein photo
Colin Wilson photo

“Your sense of responsibility to others can never be excessive.”

Harry Talbot; Part II, chapter 29, p. 287 [Koontz, Dean, w:Dean Koontz, Midnight, 1st edition, 1989, G. P. Putnam's Sons, New York, ISBN 0-399-13390-9, 383 pages]
Midnight (1989)