Quotes about alien
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Clifford D. Simak photo
Camille Paglia photo
Piero Manzoni photo
John Zerzan photo
Charles Stross photo
Happy Rhodes photo

“Here we are reaching out for aliens
Looking for our salvation.
Pity our emptiness
Save our souls.”

Happy Rhodes (1965) American singer-songwriter

"Save Our Souls" - Live performance at The Tin Angel, Philadelphia, PA (15 March 1997) http://www.youtube.com/watch?v=aPJ2HRgtquo
Equipoise (1993)
Context: We are the number one offender
Of specieism and yet
Here we are reaching out for aliens
Looking for our salvation.
Pity our emptiness
Save our souls.

“Hindus learn to look at themselves through borrowed eyes. The two approaches, that of self-discovery and creative response and that of self-alienation and imitation, were both inherited from the immediate history of the freedom struggle, though they derive their strength from the deeper sources in the psyche…. For one, the problem is of helping the society to find its roots, for the other to remake it in the image of a chosen pattern. The one serves; the other manipulates…. [The first approach] once formed a powerful current, and the freedom struggle was waged under its auspices. But increasingly its hold became weak, and in our own times it seems to have lost altogether…. Some see in this change a triumph of Nehru over Gandhi…. Nehru represented, in his own way, the response of a defeated nation trying to restore its self-respect and self-confidence through self-repudiation and identification with the ways of the victors. The approach was not altogether unjustified at one time. It had its compulsions and it also had a survival value for us. But its increasing influence can mean no good to us. We, however, believe that deeper Indian nationalism, which is also in harmony with deeper internationalism, may be weak just now, but it has the seed-power and it is bound to come up again under propitious circumstances”

Ram Swarup (1920–1998) Indian historian

Cultural Self-Alienation and Some Problems Hinduism Faces, 1987, p. 4-5

Calvin Coolidge photo

“A country cannot be defeated politically unless it is defeated culturally. Our alien rulers knew that they could not conquer India without conquering Hinduism - cultural India's name at its deepest and highest, and the principle of its identity, continuity and reawakening. Therefore Hinduism became an object of their special attack. Physical attack was supplemented by ideological attack. They began to interpret for us our history, our religion, our culture and ourselves. We learnt to look at us through their eyes…. The long period created an atmosphere of mental slavery and imitation. It created a class of people Hindu in their names and by birth but anti-Hindu in orientation, sympathy and loyalty. They knew all the bad things and nothing good about Hinduism. Hindu dharma is now being subverted from within. Anti-Hindu Hindus are very important today; they rule the roost; they write our histories, they define our nation; they control the media, the academia, the politics, the higher administration and higher courts. They are now working as clients of those forces who are planning to revive their old Imperialism… During this period our minds became soft. We became escapists; we wanted to avoid conflict at any cost, even conflict and controversy of ideas, even when this controversy was necessary. We developed an escape-route. We called it "synthesis". We said all religions, all scriptures, all prophets preach the same things. It was intellectual surrender, and our enemies saw it that way; they concluded that we are amenable to anything, that we would clutch at any false hope or idea to avoid a struggle, and that we would do nothing to defend ourselves. Therefore, they have become even more aggressive. It also shows that we have lost spiritual discrimination (viveka), and would entertain any falsehood; this is prajñâ-dosha, drishti-dosha, and it cannot be good for our survival in the long run. People first fall into delusion before they fall into misfortune.”

Ram Swarup (1920–1998) Indian historian

On Hinduism (2000)

Viktor Schauberger photo
Bernard Lewis photo
Bell Hooks photo
Richard Cobden photo
Steven M. Greer photo

“The conventional world of science thinks what I'm doing is nonsense, yet I'm one of the biggest skeptics in the UFO community because 90 percent of what I hear about this subject is nonsense. A lot of the information (about aliens) presented to the public is some kind of fantasy, but at its core there's always a little truth.”

Steven M. Greer (1955) American ufologist

Undated
Source: [Pearson, Mike, Is The Proof Out There, Too?, Rocky Mountain News, June 6, 1999, http://nl.newsbank.com/nl-search/we/Archives?p_product=RM&p_theme=rm&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EB4EDDE3547235C&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM, 2007-05-12, http://nbgoku23.googlepages.com/ISTHEPROOFOUTTHERETOO.htm, 2007-05-12]

Clarence Thomas photo
Subhash Kak photo

“Modern life alienates us from Nature, even our own.”

Subhash Kak (1947) Indian computer scientist

The Wishing Tree (2015)

Akbar photo
Calvin Coolidge photo
Greg Bear photo
Pauline Kael photo
Freeman Dyson photo
Hakim Bey photo
Ben Croshaw photo
Marsha Blackburn photo
Calvin Coolidge photo
Camille Paglia photo

“The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.””

Camille Paglia (1947) American writer

This he got from Spenser, not Marlowe.
Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 195

Clifford D. Simak photo
Kurt Schwitters photo

“Culture, Alienation, Boredom and Despair.”

Richey James Edwards (1967–2008) Welsh musician

Coda to Little Baby Nothing.

Camille Paglia photo
Georg Wilhelm Friedrich Hegel photo

“The fate of the Jewish people is the fate of Macbeth who stepped out of nature itself, clung to alien beings, and so in their service had to trample and slay everything holy in human nature.”

Georg Wilhelm Friedrich Hegel (1770–1831) German philosopher

Das Schicksal des jüdischen Volkes ist das Schicksal Makbeths, der aus der Natur selbst trat, sich an fremde Wesen hing, und so in ihrem Dienste alles Heilige der menschlichen Natur zertreten und ermorden, von seinen Göttern (denn es waren Objekte, er war Knecht) endlich verlassen, und an seinem Glauben selbst zerschmettert werden mußte.
in Theologische Jugendschriften (1907), S. 261
The Spirit of Christianity and its Fate (1799)

Pauline Kael photo
Gillian Anderson photo

“I didn't really think too much about the fact that it was about aliens. I was intrigued by that aspect of it, but I was more intrigued by the relationship between Mulder and Scully, and how intelligent this woman was, and that she would stand up in the face of his intelligence and feel comfortable with him.”

Gillian Anderson (1968) American-British film, television and theatre actress, activist and writer

On her first impressions of The X-Files — reported in Betsy Pickle (June 19, 1998) "Scully's strength is Anderson's inspiration", The Knoxville News-Sentinel, p. T11.
1990s

Kent Hovind photo
Roger Raveel photo

“That I started [in the creation of his art] from my immediate environment was extremely important to me. Only the things I knew, with which I was familiar, which I had caught on their reality value, I could approach free of extra-pictorial aesthetics and pale romanticism. Of course the question remained how I - who wanted to involve modern life in my art - could continue to seek my inspiration at Machelen-aan-de-Leie, a village in the countryside, far from the city and the crowds. Where can one sense better the infiltration of modern life than in a village in the countryside? In the city everything gets integrated immediately, you can't see clearly the insulating and contrasting-alienating effect of publicity, the gas-station, the concrete, the car, etc. On the other hand, I keep saying that we must continue to see the grass, the corn and the cows. Not within an animistic unity, but from a mentality that has the courage to approach these things freely and ruthless in our era. What ordinary people make out of life is fascinating me.”

Roger Raveel (1921–2013) painter

Dat ik [met het maken van mijn kunst] vertrok uit mijn onmiddellijke omgeving vond ik uiterst belangrijk. Alleen de dingen die ik kende, waarmee ik vertrouwd was, die ik op hun werkelijkheidswaarde had betrapt konden vrij van extra-picturale esthetiek en van bleek romantisme door mij benaderd worden. De vraag bleef natuurlijk hoe ik, die het moderne leven in mijn kunst wou betrekken, mijn inspiratie kon blijven zoeken te Machelen-aan-de-Leie, een dorp op het platteland, ver van de stad en van de drukte. Waar kan men beter het infiltreren van het moderne leven gewaar worden dan in een dorp op het platteland? In de stad wordt alles onmiddellijk geïntegreerd, ziet men niet zo scherp de isolerende en tevens contrasterend-bevreemdende werking van de publiciteit, het benzinestation, het beton, de auto, enz. Aan de andere kant blijf ik ervan overtuigd dat ook het gras, het koren en de koe nog moeten gezien worden. Niet binnen een animistische eenheid, maar wel vanuit een mentaliteit die vrij en meedogenloos deze dingen in ons tijdperk nog zou durven benaderen. Wat de gewone man van het leven maakt, dat boeit mij.
Quote of Raveel, 1969, in the text 'In gesprek met mezelf' ('In conversation with myself'), in the exhibition-catalog of his exhibition in 'De Hallen' (museum in Haarlem, The Netherlands; as cited by Ludo Bekkers in 'Roger Raveel en zijn keuze uit het Museum voor Schone Kunsten in Gent' http://www.tento.be/sites/default/files/tijdschrift/pdf/OKV1975/Roger%20Raveel%20en%20zijn%20keuze%20uit%20het%20Museum%20voor%20Schone%20Kunsten%20in%20Gent.pdf, Dutch art-magazine 'Openbaar Kunstbezit', Jan/Maart 1975, p. 3-4
1960's

Robert M. Pirsig photo
Annie Besant photo
William Hazlitt photo

“Few things tend more to alienate friendship than a want of punctuality in our engagements. I have known the breach of a promise to dine or sup to break up more than one intimacy.”

William Hazlitt (1778–1830) English writer

" On the Spirit of Obligations http://www.blupete.com/Literature/Essays/Hazlitt/SpiritObligations.htm" (1824)
The Plain Speaker (1826)

Sharron Angle photo

“Q: Why is it that in all of your commercials you have the image of Latinos? What do you see when you hear, and I quote, "illegal aliens?"
Sharron Angle: I think that you're misinterpreting those commercials. I'm not sure that those are Latinos in that commercial. What it is, is a fence and there are people coming across that fence. What we know is that our northern border is where the terrorists came through. That's the most porous border that we have. We cannot allow terrorists; we cannot allow anyone to come across our border if we don’t know why they're coming. So we have to secure all of our borders and that's what that was about, is border security. Not just our southern border, but our coastal border and our northern border.”

Sharron Angle (1949) Former member of the Nevada Assembly from 1999 to 2007

speaking to Rancho High School's Hispanic Student Union
Jon
Ralston
Video: Angle tells Hispanic kids “I’m not sure those are Latinos” in her ad (!), says really about northern border (!!)
2010-10-17
Las Vegas Sun
http://www.lasvegassun.com/blogs/ralstons-flash/2010/oct/17/video-angle-tells-hispanic-kids-im-not-sure-those-/
2010-10-20
Quinn
Bowman
Terence
Burlij
Angle Caught on Tape Again, Tells Latino Students They 'Look a Little More Asian'
2010-10-19
The Rundown
PBS
http://www.pbs.org/newshour/rundown/2010/10/the-morning-line-angle-caught-on-tape-again.html
2010-10-20

Steve Jobs photo
Gustavo Gutiérrez photo
Immortal Technique photo
Antonio Negri photo

“The contemporary scene of labor and production, we will explain, is being transformed under the hegemony of immaterial labor, that is, labor that produces immaterial products, suchs as information, knoledges, ideas, images, relationships, and affects. This does not mean that there is no more industrial working class whose calloused hands toil with machines or that there ae no more agricultural workers who till the soil. It does not even mean that the numbers of such workers have decreased globally. In fact, workers involved primarily in immaterial production are a small minority of the gloval whole. What it means, rather, is that the qualities and characteristics of immaterial production are tending to transform the other forms of labor and indeed society as a whole. Some of these new characteristics are decidedly unwelcome. When our ideas and affects, or emotions, are put to work, for insance, and when they thus become subject in a way to the command of the boss, we often experience new and intense forms of violation or alienation. Furthermore, the contractual and material conditions of immaterial labor that tend to spread to the entire labor market are making the position of labor in general more precarious. The is one tendency, for example, in various forms of immaterial labor to blur the distinction between work time and nonwork time, extending the working day indefinietly to fill all of life, and another tendency for immaterial labor to function without stable long-term contracts, and thus to adopt the precarious position of becoming flexible (to accomplish several tasks) and mobile (to move continually among locations). […] The production of ideas, knowledges, and affects, for example, does not merely create means by which society is formed and maintained; such immaterial labor also directly produces social relationships. […] immaterial labor tends to take the social form of network based on communication.”

65-66
Multitude: War and Democracy in the Age of Empire

Mark Kingwell photo

“We don't know what the future will bring, but that's because we are ever in the process of creating it, not because it is an alien force to which we have to submit.”

Mark Kingwell (1963) Canadian philosopher

Source: The World We Want (2000), Chapter 5, The World We Want, p. 222.

Wallace Stevens photo
Ronald David Laing photo

“Profit can only arise upon alienation, i. e. in the act of exchange, when the seller sells more dearly than he has bought.”

Eric Roll, Baron Roll of Ipsden (1907–2005) British economist

Source: A History of Economic Thought (1939), Chapter III, The Founders Of Political Economy, p. 101

Herbert Marcuse photo

“The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it”

Source: One-Dimensional Man (1964), pp. 59-60

Anish Kapoor photo

“It is almost as if the 49-year-old global Indian was an alien in his place of birth.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor: An unknown Indian

James Buchanan photo

“All agree that under the Constitution slavery in the States is beyond the reach of any human power except that of the respective States themselves wherein it exists. May we not, then, hope that the long agitation on this subject is approaching its end, and that the geographical parties to which it has given birth, so much dreaded by the Father of his Country, will speedily become extinct? Most happy will it be for the country when the public mind shall be diverted from this question to others of more pressing and practical importance. Throughout the whole progress of this agitation, which has scarcely known any intermission for more than twenty years, whilst it has been productive of no positive good to any human being it has been the prolific source of great evils to the master, to the slave, and to the whole country. It has alienated and estranged the people of the sister States from each other, and has even seriously endangered the very existence of the Union. Nor has the danger yet entirely ceased. Under our system there is a remedy for all mere political evils in the sound sense and sober judgment of the people. Time is a great corrective. Political subjects which but a few years ago excited and exasperated the public mind have passed away and are now nearly forgotten. But this question of domestic slavery is of far graver importance than any mere political question, because should the agitation continue it may eventually endanger the personal safety of a large portion of our countrymen where the institution exists. In that event no form of government, however admirable in itself and however productive of material benefits, can compensate for the loss of peace and domestic security around the family altar. Let every Union-loving man, therefore, exert his best influence to suppress this agitation, which since the recent legislation of Congress is without any legitimate object.”

James Buchanan (1791–1868) American politician, 15th President of the United States (in office from 1857 to 1861)

Inaugural address (4 March 1857).

China Miéville photo

“She felt so alien, bowed under culture shock as crippling as migraine.”

Part 2 “Salt”, chapter 6 (p. 78)
The Scar (2002)

Max Stirner photo
Herbert Giles photo
Herbert Marcuse photo

“They [great works of literature] are invalidated not because of their literary obsolescence. Some of these images pertain to contemporary literature and survive in its most advanced creations. What has been invalidated is their subversive force, their destructive content—their truth. In this transformation, they find their home in everyday living. The alien and alienating oeuvres of intellectual culture become familiar goods and services. Is their massive reproduction and consumption only a change in quantity, namely, growing appreciation and understanding, democratization of culture? The truth of literature and art has always been granted (if it was granted at all) as one of a “higher” order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference. Prior to the advent of this cultural reconciliation, literature and art were essentially alienation, sustaining and protecting the contradiction—the unhappy consciousness of the divided world, the defeated possibilities, the hopes unfulfilled, and the promises betrayed. They were a rational, cognitive force, revealing a dimension of man and nature which was repressed and repelled in reality.”

Source: One-Dimensional Man (1964), pp. 60-61

Kurt Lewin photo
Mike Oldfield photo
Camille Paglia photo
Hillary Clinton photo
Václav Havel photo
Jim Gaffigan photo

“One thing I've always appreciated about Dave is that he can be sarcastic without being alienating and self-deprecating without being self-abusing.”

Jim Gaffigan (1966) comedian, actor, author

On David Letterman — interview in Joanne Weintraub (November 21, 2000) "Mr. Midwest - Jim Gaffigan tries to hold his own", Milwaukee Journal Sentinel, p. 1.

“Kautilya has elaborated in his Arthashastra the psychological principles which alienate some people from their own society, and lead them straight into the lap of those who are out to subvert that society. The first group of people who can be alienated are the maneevarga, that is, those who are conceited and complain that they have been denied what is their due on account of birth, brains or qualities of character. (…) the Church was instinctively employing the psychological principles propounded by Kautilya. …Christian missionaries could find quite a few and easy converts amongst these upper classes precisely because the Church had declared war on their society. … By the time the French, the British and the Dutch appeared on the Eastern scene, Christianity had been found out in the West for what it had always been in facto power-hungary politics masquerading as religion. The later-day European imperialists, therefore, had only a marginal use for the christian missionary. He could be used to beguile the natives. But he could not be allowed to dictate the parallel politics of imperialism. … The field for the Christian politics of conversion has become considerably smaller in Asia due to the resurgence of Islam, and the triumph of Communism… It is only in India, Ceylon and Japan that the missionary continues to practice his profession effectively.”

Sita Ram Goel (1921–2003) Indian activist

Genesis and History of the Politics of Conversion, in Christianity, and Imperialist ideology. 1983.

Bernard Lewis photo
Joss Whedon photo

“I believe we are the only sentient beings in the universe, and I believe that 500 years from now, we will still be the only sentient beings around. … Aliens are something everyone else is doing.”

Joss Whedon (1964) American director, writer, and producer for television and film

As quoted in "Whedon creates space cowboys in 'Firefly'" in Post-Gazette (22 July 2002) http://www.post-gazette.com/tv/20020722owen0722fnp3.asp

Naomi Klein photo
Ilana Mercer photo
Jerry Coyne photo
Willem Roelofs photo

“.. at least I have the conviction of being honest and I do despise most of all those…. alienating works of art [eg. of Seurat ], the disease of our time. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) ..ik heb tenminste de overtuiging van opregt te zijn en heb geen grooter afschuw dan van alle.. ..vreemdsoortige kunstuitingen [oa. van ] de ziekte van onzen tijd.
In a letter, 19 Nov. 1889; as cited in Willem Roelofs 1822-1897 De Adem der natuur, ed. Marjan van Heteren & Robert-Jan te Rijdt; Thoth, Bussum, 2006, p. 18 - ISBN13 * 978 90 6868 432 2
1880's

Stephenie Meyer photo
Herbert Marcuse photo
Dana Milbank photo
Jefferson Davis photo
Roberto Mangabeira Unger photo
Roger Waters photo
Roger Ebert photo

“This movie is not merely bad, but incompetent. I get tapes in the mail from 10th graders that are better made than this… I have often asked myself, "What would it look like if the characters in a movie were animatronic puppets created by aliens with an imperfect mastery of human behavior?"”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Now I know.
Review http://www.rogerebert.com/reviews/friends-and-lovers-1999 of Friends & Lovers (30 April 1999)
Reviews, Half-star reviews

Shiva Ayyadurai photo
Raya Dunayevskaya photo
Albert Einstein photo

“I am the one to whom you wrote in care of the Belgian Academy… Read no newspapers, try to find a few friends who think as you do, read the wonderful writers of earlier times, Kant, Goethe, Lessing, and the classics of other lands, and enjoy the natural beauties of Munich's surroundings. Make believe all the time that you are living, so to speak, on Mars among alien creatures and blot out any deeper interest in the actions of those creatures. Make friends with a few animals. Then you will become a cheerful man once more and nothing will be able to trouble you.
Bear in mind that those who are finer and nobler are always alone — and necessarily so — and that because of this they can enjoy the purity of their own atmosphere.
I shake your hand in heartfelt comradeship, E.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Response to a letter from an unemployed professional musician (5 April 1933), p. 115
The editors precede this passage thus, "Early in 1933, Einstein received a letter from a professional musician who presumably lived in Munich. The musician was evidently troubled and despondent, and out of a job, yet at the same time, he must have been something of a kindred spirit. His letter is lost, all that survives being Einstein's reply....Note the careful anonymity of the first sentence — the recipient would be safer that way:" Albert Einstein: The Human Side concludes with this passage, followed by the original passages in German.
Attributed in posthumous publications, Albert Einstein: The Human Side (1979)

Amir Taheri photo
Georg Christoph Lichtenberg photo
Carl von Clausewitz photo
Thom Yorke photo

“Far up above, aliens hover
Making home movies for the folks back home
Of all these weird creatures that lock up their spirits
Drill holes in themselves and live for their secrets”

Thom Yorke (1968) English musician, philanthropist and singer-songwriter

"Subterranean Homesick Alien"
Lyrics, OK Computer (1997)

Will Rogers photo

“Our constitution protects aliens, drunks, and U. S. Senators. There ought to be one day (just one) when there is open season on senators.”

Will Rogers (1879–1935) American humorist and entertainer

Daily Telegram number 2678, Mr. Rogers Takes Notice Of The Senatorial Storm (6 March 1935)
Daily telegrams

William Luther Pierce photo
Jack Vance photo
Hartley Coleridge photo
Zhuge Liang photo
Salvador Dalí photo
John Gray photo
Sarvepalli Radhakrishnan photo