
“Whenever a work's structure is intentionally one of its own themes, another of its themes is art.”
Quoted by Ted Nelson in Literary Machines (1982)
Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.201-2
“Whenever a work's structure is intentionally one of its own themes, another of its themes is art.”
Quoted by Ted Nelson in Literary Machines (1982)
Lectures on the History of History Vol 1 p. 17 John Sibree translation (1857), 1914
Lectures on the Philosophy of History (1832), Volume 1
Context: The enquiry into the essential destiny of Reason as far as it is considered in reference to the World is identical with the question, what is the ultimate design of the World? And the expression implies that that design is destined to be realised! Two points of consideration suggest themselves: first, the import of this design its abstract definition; and secondly, its realization. It must be observed at the outset, that the phenomenon we investigate Universal History belongs to the realm of Spirit. The term “World" includes both physical and psychical Nature. Physical Nature also plays its part in the World's History, and attention will have to be paid to the fundamental natural relations thus involved. But Spirit, and the course of its development, is our substantial object. Our task does not require us to contemplate Nature as a Rational System in itself though in its own proper domain it proves itself such but simply in its relation to Spirit. On the stage on which we are observing it, Universal History Spirit displays itself in its most concrete reality. Notwithstanding this (or rather for the very purpose of comprehending the general principles which this, its form of concrete reality, embodies) we must premise some abstract characteristics of the nature of Spirit. Such an explanation, however, cannot be given here under any other form than that of bare assertion. The present is not the occasion for unfolding the idea of Spirit speculatively; for whatever has a place in an Introduction, must, as already observed, be taken as simply historical; something assumed as having been explained and proved elsewhere; or whose demonstration awaits the sequel of the Science of History itself.
Michel Henry, Marx II. une philosophie de l’économie, éd. Gallimard, coll. « Nrf », 1976, p. 435
Books on Economy and Politics, Marx. A Philosophy of Human Being (1976)
Original: (fr) Comment le capital trouve sa substance et son essence dans le travail vivant, de telle manière qu’il provient exclusivement de lui, ne peut se passer de lui, ne vit que pour autant qu’il puise à chaque instant sa vie dans celle du travailleur, vie qui devient ainsi la sienne, c’est ce qu’exprime à travers toute l’œuvre de Marx le thème du vampire. « Le capital est du travail mort qui, semblable au vampire, ne s’anime qu’en suçant le travail vivant et sa vie est d’autant plus allègre qu’il en pompe davantage ».
The Origins of Art (1966)
Other Quotes
Context: What I am searching for... is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form. Form, which we discover in nature by analysis, is obstinately mathematical in its manifestations—which is to say that creation in art requires thought and deliberation. But this is not to say that form can be reduced to a formula. In every work of art it must be re-created, but that too is true of every work of nature. Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual with his instincts and intuitions, with his sensibility and his mind, searching relentlessly for the perfection that is neither in mind nor in nature, but in the unknown. I do not mean this in an other-worldly sense, only that the form of the flower is unknown to the seed.
Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.210
'Excerpts from the Teaching of Hans Hofmann', p. 59
Search for the Real and Other Essays (1948)
Source: Abstract Painting (1964), p. 159 : About 1961
Attributed without citation in "Tigran Petrosian's Best Games" http://www.chessgames.com/perl/chesscollection?cid=1014968 at chessgames.com
Max Beckmann's opinion on this issue you find in: 'Quotes About Franz Marc', below
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446
Letter 2
Letters on Logic: Especially Democratic-Proletarian Logic (1906)