“That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity—that is to say, the unexpected, surprise and astonishment, are an essential part and characteristic of beauty.”

Source: BBC Documentary based on Adam Hochschild's 'King Leopold's Ghost'
Congo: White King, Red Rubber, Black Death

Source: Practical Pictorial Photography, 1898, How expression may be given to a picture, p. 33

On Truth and Lie in an Extra-Moral Sense (1873)
Context: The drive toward the formation of metaphors is the fundamental human drive, which one cannot for a single instant dispense with in thought, for one would thereby dispense with man himself. This drive is not truly vanquished and scarcely subdued by the fact that a regular and rigid new world is constructed as its prison from its own ephemeral products, the concepts. It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally. This drive continually confuses the conceptual categories and cells by bringing forward new transferences, metaphors, and metonymies. It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams. Indeed, it is only by means of the rigid and regular web of concepts that the waking man clearly sees that he is awake; and it is precisely because of this that he sometimes thinks that he must be dreaming when this web of concepts is torn by art.

Are You an Illusion (2014). 29.
Context: A particularly strong assumption here has been scientists’ deep reliance on atomization; on finding the meaning of things by breaking them down to their smallest components. Atomizations illustrates the simplest, most literal meaning of the word “reduction”; it works by making things smaller. The illumination that follows does not, of course, flow simply from their being smaller but from the wider scientific picture into which they can now be fitted. That picture gives them a new kind of context, a wider whole within which they can be differently understood. And finding that kind of context is an essential part of what “understanding” means.

194
The Sublime Object of Ideology (1989)

Quoted by: Philip Jenkins, God's Continent / Christianity, Islam And Europe's Religious Crisis https://books.google.nl/books?id=IilDVBzWiGAC&printsec=frontcover&dq=%22God%27s+Continent+/+Christianity,+Islam+And+Europe%27s+Religious+Crisis%22&hl=nl&sa=X&ved=0ahUKEwiTy-arla3MAhVCQBoKHWTlAToQ6AEIHDAA#v=onepage&q=%22And%20for%20my%20part%20I%20cannot%20but%20believe%22&f=false, 2007, p.3
Source: The Great Heresies (1938), Chapter III

The Scientific Outlook (1931)
1930s
Context: The most essential characteristic of scientific technique is that it proceeds from experiment, not from tradition. The experimental habit of mind is a difficult one for most people to maintain; indeed, the science of one generation has already become the tradition of the next...

Markings (1964)

Autobiography (1936; 1949; 1958)
Context: Russia apart, the theory and philosophy of Marxism lightened up many a dark corner of my mind. History came to have a new meaning for me. The Marxist interpretation threw a flood of light on it... It was the essential freedom from dogma and the scientific outlook of Marxism that appealed to me. p. 362-363