
TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)
TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)
“Objectivism and the State: An Open Letter to Ayn Rand,” 1969
Nobel lecture (2005)
Notes on the Cuban Revolution (1960)
Source: Father and Child Reunion (2001), p. 106.
Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, pp. 247
Notes From a Dada Diary, published in 1932; as quoted by Anna Moszynska, in Abstract Art, Thames and Hudson, London, 1990, p. 113
1930s
Source: Living systems, 1978, p. 9-10; As cited in: Kenneth D. Bailey (1994) Sociology and the New Systems Theory: Toward a Theoretical Synthesis. p. 262
Arabs are in fact reacting to Zionist Jewish colonialism and its commitment to European white supremacy in Jewish guise.
Ibid.
"The legacy of Jean-Paul Sartre"
Source: Reason and Hope: Selections from the Jewish Writings of Hermann Cohen (1971), p. 124
A New Dawn for America : The Libertarian Challenge (1976) p. 16
Source: Living systems, 1978, p. 41
Vilem Flusser, Aspects and Prospects of Tsai's Work, Art International, March 1974
"Science and Reality" (1931) Bios Vol. 2, No. 1 , p. 39
Session 830, Page 148
The Individual and the Nature of Mass Events, (1981)
1990s, Inaugural speech (1994)
1960s, Why Jesus Called A Man A Fool (1967)
The Curves of Time: The Memoirs of Oscar Niemeyer (2000), p. 62.
1945 - 1970, A Report on the Wall' 1970
The Law of Mind (1892)
Source: The Subversion of Christianity (1984), p. 32
Source: "An Approach to a Theory of Bureaucracy," 1943, p. 50
The Owner Built Home: A How-to-do-it Book (1972)
“Art is the concrete representation of our most subtle feelings. That's the end”
of the interview
1980 - 2000, Perfection Is in the Mind', 1995
Source: Model-driven development of complex software: A research roadmap (2007), p. 37: Abstract
Gunnar Myrdal (1982, 265); as cited in: Carlson, Benny, and Lars Jonung. "Knut Wicksell, Gustav Cassel, Eli Heckscher, Bertil Ohlin and Gunnar Myrdal on the role of the economist in public debate." Econ Journal Watch 3.3 (2006): p. 534-5
Source: First We Read, Then We Write: Emerson on the Creative Process (2009), p. 34
David Aberle, Albert K. Cohen, A. K. Davis, Marion J. Levy Jr. and Francis X. Sutton, (1950). T"he functional prerequisites of a society." Ethics, 60(2), p. 100; cited in: Neil J. Smelser (2013), Comparative Methods in the Social Sciences. p. 189
Progress, Coexistence and Intellectual Freedom (1968), Dangers, Vietnam and the Middle East
"Socialism in the Theology of Karl Barth"
"What did we misjudge in 2008?," http://www.independent.co.uk/opinion/commentators/johann-hari/johann-hari-what-did-we-misjudge-in-2008-1202269.html The Independent (2008-12-18).
Source: Mind As Behavior And Studies In Empirical Idealism, (1924), p. 5
Max Wertheimer (1923). "Laws of organization in perceptual forms." Translation published in W. D. Ellis (Ed.), A source book of Gestalt psychology, pp. 71–94. London, England: Routledge & Kegan Paul, 1938. (Original title: Untersuchungen zur Lehre von der Gestalt II); Online http://psychclassics.yorku.ca/Wertheimer/Forms/forms.htm at psychclassics.yorku.ca, accessed 03.2017.
p, 125
Number: The Language of Science (1930)
“The abstract kills, the concrete saves.”
1959-01-07 http://books.google.com/books?id=4V7HOuom_I4C&q=%22The+abstract+kills+the+concrete+saves%22&pg=PA287#v=onepage
The Unabridged Journals of Sylvia Plath (2000)
Source: 1980s and later, The Fatal Conceit: The Errors of Socialism (1988), p.102
Afterword to Exposures, p. 246
In Alien Flesh (1986)
Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)
Part II, Chapter IV, A Plan For Conserving Surplus, p. 50
Storage and Stability (1937)
The Tragic Sense of Life (1913), X : Religion, the Mythology of the Beyond and the Apocatastasis
"Introduction: The Decline of the City of Mahagonny"
Nothing If Not Critical (1991)
Source: Autopoiesis and cognition: The realization of the living (1980), p. 89.
Arp's quote, on the cooperation with his future wife Sophie Taeuber ca. 1916; as quoted in: Abstract Art, Anna Moszynska, Thames and Hudson, London, 1990, p. 65
1910-20s
“Liberalism and its Discontents,” pp. 20-21.
Outside Ethics (2005)
Jean Arp (1931), as quoted in: Eric Robertson (2006) Arp: Painter, Poet, Sculptor, p. 108
1930s
Source: Pedagogia do oprimido (Pedagogy of the Oppressed) (1968, English trans. 1970), Chapter 4
I Wanna Learn a Love Song
Song lyrics, Verities & Balderdash (1974)
Source: The Ethics of Competition, 1935, p. 211
Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 23 - on new Surrealism techniques and methods.
Kunnumpuram, K. (ed) (2007) World Peace: An Impossible Dream? , Mumbai: St Pauls
On Peace
Source: Extending and Formalizing the Framework for Information Systems Architecture, 1992, p. 590
Ann Druyan and the creators of Cosmos: ASO discuss science in a brief promotional video clip for the series entitled, "Science As A Candle In The Darkness" http://channel.nationalgeographic.com/cosmos-a-spacetime-odyssey/videos/science-as-a-candle-in-the-darkness/.
2010s, Europe at the Edge of the Abyss (2016)
Cited in the Future of Society http://leninist.biz/en/1973/FS375/5.3-Main.Historical.Stages.of.the.Communist.Formation
Source: The Anarchist Cookbook (1971), Chapter Two: "Electronics, Sabotage, and Surveillance".
Source: Essays In Biography (1933), Alfred Marshall, p. 170; as cited in: Donald Moggridge (2002), Maynard Keynes: An Economist's Biography, p. 424
The Dialectic of Sex (1970)
1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)
How Pleasant to Know Mr. Lear, st. 2.
Source: 1940s, I is Style (2000), p. 100 : in 'My art and My live' (1940 – 1946), Kurt Schwitters.
“Architecture is the concrete presentment in space of the soul of a people.”
Architecture and Democracy http://books.google.com/books?id=_88YAAAAYAAJ&q=%22Architecture+is+the+concrete+presentment+in+space+of+the+soul+of+a+people%22&pg=PA176#v=onepage (1918)
Source: "Hideo Kojima: The Kikizo Interview 2008 (Page 3)". https://web.archive.org/web/20111009180041/http://archive.videogamesdaily.com/features/hideo-kojima-interview-2008-p3.asp Kikizo. August 24, 2008. Archived from the original on October 9, 2011. Retrieved August 7, 2009.
p, 125
Ken Kern's Masonry Stove (1983)
That is Architecture. Art enters in.
Vers une architecture [Towards an Architecture] (1923)
Source: Practical Pictorial Photography, 1898, The application of the foregoing principles, p. 13
Source: Men Under Stress, 1945, p. 44
Source: Treason of the Intellectuals (1927), pp. 151–152
Part III, Section 31
Principles of Philosophy of the Future http://www.marxists.org/reference/archive/feuerbach/works/future/index.htm (1843)
Source: Europe and the People Without History, 1982, Chapter 2, The World in 1400, p. 46.
Michael C. Jensen and William H. Meckling. "Rights and production functions: An application to labor-managed firms and codetermination." Journal of business (1979): 469-506.
August 1945. Quoted in "The Soviet Union Since World War II" - Page 4 - by American Academy of Political and Social Science, Philip Edward Mosely - History - 1949
after 2000, Agnes Martin: Between the Lines', 2002
2010s, Update on Investigations in Ferguson (2015)
Source: The Pocket Manager, (1987), p. 161
Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.
1930s, Address at the Dedication of the Memorial on the Gettysburg Battlefield (1938)
Context: It seldom helps to wonder how a statesman of one generation would surmount the crisis of another. A statesman deals with concrete difficulties — with things which must be done from day to day. Not often can he frame conscious patterns for the far off future. But the fullness of the stature of Lincoln's nature and the fundamental conflict which events forced upon his Presidency invite us ever to turn to him for help. For the issue which he restated here at Gettysburg seventy five years ago will be the continuing issue before this Nation so long as we cling to the purposes for which the Nation was founded — to preserve under the changing conditions of each generation a people's government for the people's good.
Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 104-105
Source: Biographia Literaria (1817), Ch. XIV.
Context: This power... reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative; the sense of novelty and freshness with old and familiar objects; a more than usual state of emotion with more than usual order; judgment ever awake and steady self-possession with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry.
1960s, Where Do We Go from Here: Chaos or Community? (1967)
Context: Nowhere have the riots won any concrete improvement such as have the organized protest demonstrations. When one tries to pin down advocates of violence as to what acts would be effective, the answers are blatantly illogical. Sometimes they talk of overthrowing racist state and local governments and they talk about guerrilla warfare. They fail to see that no internal revolution has ever succeeded in overthrowing a government by violence unless the government had already lost the allegiance and effective control of its armed forces. Anyone in his right mind knows that this will not happen in the United States. Furthermore, few, if any, violent revolutions have been successful unless the violent minority had the sympathy and support of the non-resisting majority.
Introduction http://www-groups.dcs.st-and.ac.uk/~history/Extras/Eddington_Gifford.html
The Nature of the Physical World (1928)
Context: Science aims at constructing a world which shall be symbolic of the world of commonplace experience. It is not at all necessary that every individual symbol that is used should represent something in common experience or even something explicable in terms of common experience. The man in the street is always making this demand for concrete explanation of the things referred to in science; but of necessity he must be disappointed. It is like our experience in learning to read. That which is written in a book is symbolic of a story in real life. The whole intention of the book is that ultimately a reader will identify some symbol, say BREAD, with one of the conceptions of familiar life. But it is mischievous to attempt such identifications prematurely, before the letters are strung into words and the words into sentences. The symbol A is not the counterpart of anything in familiar life.
Vague Thoughts On Art (1911)
Context: Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothecated perfect human being.
Science and the Unseen World (1929), III, p.33
Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere, between the idea of God in the works of Thomas Aquinas or Spinoza and the intuition of God in those of St. John of the Cross or Meister Eckhart — the difference between theory and experience.
“The concrete world isn't necessarily the most powerful world.”
Academy of Achievement interview (2006)
Context: The concrete world isn't necessarily the most powerful world. The world of the mind — whether you're watching Matrix or whatever — the world that's inside here has the power to do a lot of good and a lot of damage.