So long as we continue to raise more men who demand more food and clothes and fuel, we are subject to the limitations of the material universe, and what we get ever costs us more and benefits us less. But when we cease to demand more, and begin to demand better, commodities, more delicate, highly finished and harmonious, we can increase the enjoyment without adding to the cost or exhausting the store. What artist would not laugh at the suggestion that the materials of his art, his colours, clay, marble, or what else he wrought in, might fail and his art come to an end? When we are dealing with qualitative, i.e. artistic, goods, we see at once how an infinite expenditure of labour may be given, an infinite satisfaction taken, from the meagrest quantity of matter and space. In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free.
The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development
“In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free.”
The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development
Context: The case is a simple one. A mere increase in the variety of our material consumption relieves the strain imposed upon man by the limits of the material universe, for such variety enables him to utilise a larger proportion of the aggregate of matter. But in proportion as we add to mere variety a higher appreciation of those adaptations of matter which are due to human skill, and which we call Art, we pass outside the limits of matter and are no longer the slaves of roods and acres and a law of diminishing returns. So long as we continue to raise more men who demand more food and clothes and fuel, we are subject to the limitations of the material universe, and what we get ever costs us more and benefits us less. But when we cease to demand more, and begin to demand better, commodities, more delicate, highly finished and harmonious, we can increase the enjoyment without adding to the cost or exhausting the store. What artist would not laugh at the suggestion that the materials of his art, his colours, clay, marble, or what else he wrought in, might fail and his art come to an end? When we are dealing with qualitative, i. e. artistic, goods, we see at once how an infinite expenditure of labour may be given, an infinite satisfaction taken, from the meagrest quantity of matter and space. In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free. <!--section 16, p. 431
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J.A. Hobson 26
English economist, social scientist and critic of imperiali… 1858–1940Related quotes
1860s, Speeches to Ohio Regiments (1864), Speech to the One Hundred Sixty-fourth Ohio Regiment
Context: I say this in order to impress upon you, if you are not already so impressed, that no small matter should divert us from our great purpose. There may be some irregularities in the practical application of our system. It is fair that each man shall pay taxes in exact proportion to the value of his property; but if we should wait before collecting a tax to adjust the taxes upon each man in exact proportion with every other man, we should never collect any tax at all. There may be mistakes made sometimes; things may be done wrong while the officers of the Government do all they can to prevent mistakes. But I beg of you, as citizens of this great Republic, not to let your minds to carried off from the great work we have before us. This struggle is too large for you to be diverted from it by any small matter.
“Civilization is the art of living in towns of such size that everyone does not know everyone else.”
Book II, Chapter 1, p. 149
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)
Statement at the .
Context: Despite the fact that as an art, music cannot compromise its principles, and politics, on the other hand, is the art of compromise, when politics transcends the limits of the present existence and ascents to the higher sphere of the possible, it can be joined there by music. Music is the art of the imaginary par excellence, an art free of all limits imposed by words, an art that touches the depth of human existence, and art of sounds that crosses all borders. As such, music can take the feelings and imagination of Israelis and Palestinians to new unimaginable spheres.
No. 447 (2 August 1712).
The Spectator (1711–1714)
"Who Wants the English Composer?" (1912); cited from Ursula Vaughan Williams RVW (1964) pp. 101-2.
Source: posthumous, Astract Expressionist Painting in America, p. 64, in an unpublished letter of Gorky
Query 31 : Have not the small particles of bodies certain powers, virtues, or forces, by which they act at a distance, not only upon the rays of light for reflecting, refracting, and inflecting them, but also upon one another for producing a great part of the Phenomena of nature? <br/> How these Attractions may be perform'd, I do not here consider. What I call Attraction may be perform'd by impulse, or by some other means unknown to me. I use that Word here to signify only in general any Force by which Bodies tend towards one another, whatsoever be the Cause. For we must learn from the Phaenomena of Nature what Bodies attract one another, and what are the Laws and Properties of the attraction, before we enquire the Cause by which the Attraction is perform'd, The Attractions of Gravity, Magnetism and Electricity, react to very sensible distances, and so have been observed by vulgar Eyes, and there may be others which reach to so small distances as hitherto escape observation; and perhaps electrical Attraction may react to such small distances, even without being excited by Friction
Opticks (1704)
Context: It seems probable to me that God, in the beginning, formed matter in solid, massy, hard, impenetrable, moveable particles, of such sizes and figures, and with such other properties, and in such proportions to space, as most conduced to the end for which He formed them; and that these primitive particles, being solids, are incomparably harder than any porous bodies compounded of them, even so very hard as never to wear or break in pieces; no ordinary power being able to divide what God had made one in the first creation. While the particles continue entire, they may compose bodies of one and the same nature and texture in all ages: but should they wear away or break in pieces, the nature of things depending on them would be changed.<!-- Book III, Part I, pp.375-376 http://books.google.com/books?id=XXu4AkRVBBoC