The Roving Critic (1923), p. 20
Context: Neither creator nor critic can make himself universal by barely taking thought about it. He is what he lives. The measure of the creator is the amount of life he puts Into his work. The measure of the critic is the amount of life he finds there.
In Quest of Democracy (1991)
Source: Computer Science as Empirical Inquiry: Symbols and Search (1975), p. 122.
Source: Hidden Order - How Adaptation Builds Complexity (1995), Ch 2. Adaptive Systems, p. 86
Letter to H. E. Kramer, 25-10-1926, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 44 (English translation: Charlotte Burgmans)
1920's
Source: Aleister Crowley: The Nature of the Beast (1987), p. 153-154
Tigerbeat interview (2006)
De Abaitua interview (1998)
Context: The origin of money is something to do with representational thinking. Representational thinking is the real leap, where somebody says ‘hey I can draw this shape on the cave wall and it is, in some way, the bison we saw at the meadow. These lines are the bison. That of course lead to language – this squiggle is, of course, a tree, or something. Is the tree. Money is code for the whole of life – you can bind in everything that is contained within life for money, money is a certain amount of sex, a certain amount of shelter, a certain amount of sustenance. … Money is the code for the entire world. Money is the world, the world in the sense I was talking about earlier, our abstract ideas about the world. Money is a perfect symbol for all that, and if you don’t believe in it, and you set a match to it, it’s just firewood – it doesn’t mean anything anymore.
Quoted in The Algonquin Wits, (1968) by R E Drennan, p. 5
