“As for myself, I confess to a preference for clear-cut situations, for radical and even extreme positions. But I also feel a secret and very strong attraction to ambiguous situations… for example, that hovering moment when it is no longer day and not yet night, the shades of emotion between indifference and friendship… (they) are so fascinating because they are so indefinable. That which is pure transition, is all the more appealing to the mind because of its elusiveness. It is the same in the cases of Mondrian, Kandinsky and the Cubists: abstraction and figuration have a common frontier in their work that is so tenuous that we often do not know which side we are on. It is this ambiguity that imports a rare poetic charm to their paintings. Artists like Klee, Miro and Dubuffet have also pitched their tents on this borderline and constantly travel from one side tot the other.”

Ai Weiwei, “In China, Is Censorship the Mother of Creativity?” Interview on The Stream, Aljazeera, April 16, 2012.
2010-, 2012

Source: "Toward a universal law of generalization for psychological science," 1987, p. 1322

ex.:The Star Trek Episode A Taste of Armageddon
The Magnum Opus; On Thermonuclear War

Source: Demon in My View

Ich setze Mich nicht voraus, weil Ich Mich jeden Augenblick überhaupt erst setze oder schaffe, und nur dadurch Ich bin, dass Ich nicht vorausgesetzt, sondern gesetzt bin, und wiederum nur in dem Moment gesetzt, wo ich mich setze, d.h. Ich bin Schöpfer un Geschöpf in Einem.
Cambridge 1995, p. 135
The Ego and Its Own (1845)

Source: The Science of Rights 1796, P. 7-8

Things I Do For You (credited to "The Jacksons")
Destiny (1977)

Howard Gardner (1983), "Multiple approaches to understanding," in: Charles M. Reigeluth (ed.) Instructional-design Theories and Models: A new paradigm of ..., Volume 2. p. 69-90