“To our western eyes, the painted images are the most prominent component of a corpus of artistic expression. This Western bias, a particularly Eurocentric bias, has been pervasive and deep. …it has resulted in a lack of attention to, and concern about, prehistoric art of equal and sometimes greater antiquity in eastern and southern Africa.”

— Richard Leakey

Origins Reconsidered: In Search of What Makes Us Human (1992)

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Richard Leakey 39

Kenyan paleoanthropologist, conservationist, and politician 1944

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“Judaism’s campaign to make divinity invisible has never fully succeeded. Images are always eluding moral control, creating the brilliant western art tradition. Idolatry is fascism of the eye. The western eye will be served, with or without the consent of conscience.”

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“Our government has the weirdest bias against cannabis.”

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“The legal bias for special protection for women has begun to wreak havoc with the Constitution's guarantee of equal protection.”

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“In fact, the Eastern civilization is mostly concerned with the inner and spiritual aspects of living while the Western civilization includes the outer and external features of life. Therefore, the connection of these two, which results in looking up to one another in order to learn and improve, complements each of them in a different way. It is necessary to point out that the Eastern and Western civilizations are just taken as examples to explain the unification of cultures. This fact extends to the Northern, Southern, or any of the current civilization of the world.”

Elia M. Ramollah (1973) founder and leader of the El Yasin Community

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“This success has little to do with cultural factors. And the lack of cultural bias means that these practices can be – and are – just as successfully employed elsewhere.”

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“And reality has a well-known liberal bias.”

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“It's not that pain equals art. It's that creativity has the power to look pain in the eye, and to decide to turn it into something better. ... The quest to transform pain into beauty is one of the great catalysts of artistic expression.”

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“The subject matter of creation is chaos. The present feeling seems to be that the artist is concerned with form, color, and spatial arrangement. This objective approach to art reduces it to a kind of ornament. The whole attitude of abstract painting, for example, has been such that it has reduced painting to an ornamental art whereby the picture surface is broken up in geometrical fashion into a new kind of design-image. It is a decorative art built on a slogan of purism where the attempt is made for an unworldly statement…”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 139

“Prehistoric images speak to us more evocatively than any other element of the archeological record: colorful, vibrant paintings of horses, of bison, of a panoply of animals and humans that often seem alive and in motion. And yet there is a dimension of unreality about them… The images seem plucked from life… often arranged chaotically to our eye, frequently superimposed… sometimes apparently incomplete. …There is an enigma in these images, a profound challenge to our understanding of the past.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

“Socialism aside, there also has been a rejection of Western values, of which individual freedom is prominent, and acceptance of some form of value-relativism (thus, no political system is better than any other). In some cases this rejection has turned to outright hostility and particularly anti-Americanism, and thus opposition to American values, such as freedom. To accept, therefore, that democratic freedom is inherently most peaceful, is to the value-relativist, to say the unacceptable—that it is better.”

Rudolph Rummel (1932–2014) American academic

“Political Systems, Violence, and War,” chap. 14, in "Approaches to Peace: An Intellectual Map", edit, W. Scott Thompson and Kenneth M. Jensen, Washington, D.C., United States Institute of Peace, 1991, pp. 347-370; and “The Politics of Cold Blood,” Society, Vol. 27 (November/December, 1989) pp. 32-40

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