“Once a person acknowledges that they possess some form of privilege, they are more likely to accept the reality that they are not in any way objective about the form of marginalization in question”

Leftist Critiques of Identity Politics (2018)

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Julia Serano8

transsexual American writer, spoken-word performer, trans-b… 1967

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“Objective reality is the amalgamation of every subjective reality, which added together forms the objective reality relative to any given subject.”

Teal Swan (1984) American spiritual teacher

“There are numerous forms of marginalization that exist in our society: racism, classism, sexism, ableism, heterosexism, and so on. If you happen to be on the wrong side of any of these hierarchies, you will face many inequities and injustices. … Some people are single-issue activists that are only concerned about a single form of marginalization, usually one that impacts them personally. Single-issue perspectives create a distorted view of the world, and lead activists to propose solutions that will help some people while hurting others and leaving countless more behind. … In contrast, others of us take a more intersectional approach, recognizing that all forms of marginalization intersect with and exacerbate one another, and that we must challenge all of them simultaneously.”

Julia Serano (1967) transsexual American writer, spoken-word performer, trans-bi activist, and biologist

Leftist Critiques of Identity Politics (2018)

“People usually gravitate toward single-issue activism because they are unconcerned about forms of marginalization that do not personally impact them.”

Julia Serano (1967) transsexual American writer, spoken-word performer, trans-bi activist, and biologist

Leftist Critiques of Identity Politics (2018)

“The Good was not a form of reality. It was reality itself, ever changing, ultimately unknowable in any kind of fixed, rigid way.”

Robert M. Pirsig book Zen and the Art of Motorcycle Maintenance

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 29

“There is no need in these mathematical days to defend the use of symbolism. It is regarded by many schools of modern thought as the only safe form of language. Wittgenstein treats symbols as something more than conventional signs, and regards them as corresponding in some way to the reality to which they refer. He would probably accept Gurdjieff’s dictum that:

Symbols not only transmit knowledge but show the way to it.

Even though other thinkers deny any objective reference to symbols, no one questions that symbolism has a power beyond that of ordinary language. It is different with the language of myth. This is despised by superficial thinkers, but the greatest philosophers have known its value.”

John G. Bennett (1897–1974) British mathematician and author

Gurdjieff’s All and Everything (1950)

“The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted... Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.”

Wassily Kandinsky (1866–1944) Russian painter

There is no 'must' in art, which is forever free.
Quote from: Kandinsky: Complete Writings on Art, eds. Kenneth C. Lindsay and Peter Vergo, 2 Vols. (transl. Peter Vergo); Boston: G.K. Hall & Co., (1982), p. 195; as cited in: Samet, Jennifer Sachs. Painterly Representation in New York, 1945-1975. Dissertation, The City University of New York, 2010. p. 25
1910 - 1915