Quotes about originality
page 20

Ernesto Che Guevara photo
Anton Mauve photo

“our Goddess [how painting is going] is sometimes so erratic, just when you want to speak to her, she is hiding and if you did not immediately think of her, she comes to give hanks incessantly and is so kind, anyway - we shall see.. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) onze Godin [hoe het schilderen verloopt] is soms zoo grillig, juist als je haar wil spreken, houd zij zich schuil en als je niet direct aan haar dacht, komt ze onophoudelijk hándjes geven en is zoo vriendelijk, enfin - wij zullen zien..
In a letter to Willem Witsen, from The Hague, 28 Dec. 1884?]; original copy from website DBNL https://www.dbnl.org/tekst/wits009brie01_01/wits009brie01_01_0025.php; location of resource: Koninklijke Bibliotheek, Den Haag: no. KB75 C51
1880's

Willem Roelofs photo

“[a landscape painter cannot do with] being stupid-natural…. all that art would be [made] in vain if the feeling stayed away. (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:) Het doel, het streven van de kunst, is als dat van de muziek, te ontroeren; in onze geest gewaarwordingen te doen ontstaan..
[een landschapschilder kan niet volstaan met] stom-natuurlijk te zijn.. ..al die kunst zou ijdel zijn, als het gevoel weg bleef.
2 short quotes of W. Roelofs in a letter to his pupil , 8 June 1886; as cited in Willem Roelofs 1822-1897. De adem der natuur, ed. M. van Heteren and R. te Rijdt; exposition catalog of Museum Jan Cunen, Oss / Kunsthal Rotterdam, 2006, p. 50
1880's

Laura Dern photo
Ted Nelson photo

“The World Wide Web was precisely what we were trying to PREVENT— ever-breaking links, links going outward only, quotes you can't follow to their origins, no version management, no rights management.”

Ted Nelson (1937) American information technologist, philosopher, and sociologist; coined the terms "hypertext" and "hypermedia"

Ted Nelson's Home Page http://xanadu.com.au/ted/XU/XuPageKeio.html (November 17, 1998)

Jules Payot photo
Paul Gauguin photo

“No one wants my painting because it is different from other people's — peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Source: 1890s - 1910s, The Writings of a Savage (1996), p. 205: in a letter to Ambroise Vollard, January 1900

H.L. Mencken photo

“For a person who wants to do original, realistic, and critical work in statistics there is no atmosphere anywhere in the world today to compare with this Department.”

Leonard Jimmie Savage (1917–1971) American mathematician

Leonard Jimmie Savage, (1960) cited in: W.A. Wallis, "Leonard Jimmie Savage 1917-1971," in E Shils (ed.), Remembering the University of Chicago: teachers, scientists, and scholars. (University of Chicago Press, Chicago, 1991), 436-451; Quoted in: J J O'Connor and E F Robertson (2010).
Letter to Chicago Department before taking up a professorship at the University of Michigan.

Maimónides photo

“Atomism originally stood for iconoclasm, impiety, and atheism, because the Greek atomists conceived a universe under the reign of chance.”

Lancelot Law Whyte (1896–1972) Scottish industrial engineer

p, 125
Essay on Atomism: From Democritus to 1960 (1961)

Charles Babbage photo

“In the making both of lace and of statues, the remuneration to the artists can only be reduced by producing a larger number of them through more extended education. The expense of the raw material is small in both. The expense of labour in lacemaking is very large, and it is perhaps considerable also in sculpture. The discovery of more convenient localities yielding marble, may make some diminution in its cost; and the improved manufacture of thread may slightly reduce the price of lace. A reduction in the price of labour may to a very moderate extent reduce the cost of the raw material of both. But it is evident that any very great reduction is not to be expected.
Let us now contrast this possible reduction with the past history of some industrial art. The plain lace made at Nottingham, called patent net, will supply us with a good example. In the year 1813 that lace was sold in the piece at the rate of 218. a-yard. At the present time lace of the same kind, but of a better quality, is sold under the same circumstances at 3d. per yard. Thus, in less than forty years the price of the industrial produce has diminished to one eighty-fourth part of its original price.”

Charles Babbage (1791–1871) mathematician, philosopher, inventor and mechanical engineer who originated the concept of a programmable c…

Source: The Exposition of 1851: Views Of The Industry, The Science, and the Government Of England, 1851, p. 51-52

Patrick Matthew photo
Koichi Tohei photo
Glenn Gould photo
Tina Fey photo
Frantz Fanon photo
Gregory Benford photo
Paul Gabriël photo

“An early morning may look superficially gray, but it is not…. the dew is much more colorful than one would believe, often so strongly that the palette fails. (translation from the Dutch original: Fons Heijnsbroek)”

Paul Gabriël (1828–1903) painter (1828-1903)

version in original Dutch / citaat van Paul Gabriël, in Nederlands: Een vroege morgen kan er oppervlakkig grijs uitzien, maar ze is het niet.. ..de dauw is veel gekleurder dan men wel zou geloven, dikwijls zo sterk dat het palet te kort schiet.
Quote of Paul Gabriël, in a letter to a befriended art-critic; as cited in 'Dauw heeft meer kleur dan men denkt', by Truus Ruiter https://www.volkskrant.nl/cultuur-media/dauw-heeft-meer-kleur-dan-men-denkt~b14d3e3c/; newspaper 'de Volkskrant', 27 July 1998
Gabriël avoided to use frequently grey in his work, because he loved natural colors
undated quotes

Adolphe Tavernier photo
Nas photo

“No idea is original, there's nothing new under the sun, it's never what you do, but how it's done”

Nas (1973) American rapper, record producer and entrepreneur

No Idea's Original
On Albums, The Lost Tapes (2002)

Victor Davis Hanson photo
Ken Ham photo

“Sadly, many Christians openly embrace big bang cosmology (that the universe essentially created itself) but argue that God is the one who started the process. But this means that God really didn’t do much and was distant from His creation, which is not the way the God of the Bible says He created (this idea also has many other problems as mentioned earlier). But what many of these Christians don’t realize is that the big bang is not just a story about the past—it’s also a story about the future. As this news article reminds us, when scientists start with the presupposition that nature is all that there is and time will eventually take its course on the universe, they are left with bleak predictions. And the prediction of those who believe in the big bang is that the universe will slowly run out of energy and, eventually, became “cold, dark, and desolate.” This does not match with the future described in God’s Word! So what do Christians who have accepted the big bang do? If they (as many do) embrace the secular scientists’ ideas about the past (i. e., the big bang cosmology), then will they also embrace the rest of the secularist belief concerning the heat death in the future? The Christians I’ve met who have compromised God’s Word with the big bang concerning origins don’t accept the rest of the big bang idea concerning the future. Frankly, they are so inconsistent! This highlights why Christians shouldn’t pick and choose which parts of the Bible they want to accept and which ones we will reinterpret to fit fallible man’s ideas. If so, then man is really being an authority over God! This is back-to-front! We need to believe all of God’s Word from the very beginning.”

Ken Ham (1951) Australian young Earth creationist

The Universe Is “Dying” and It’s Because of Sin https://answersingenesis.org/blogs/ken-ham/2015/08/20/universe-dying-and-its-because-sin/, Around the World with Ken Ham (August 20, 2015)
Around the World with Ken Ham (May 2005 - Ongoing)

George Mason photo
Charlotte Salomon photo

“The following pictures are those which to the author seem the strangest. Without doubt they have their origin in Michelangelo Rome series of the main section that was sung with the loudest and most penetrating voice of this entire opus.”

Charlotte Salomon (1917–1943) German painter

'Creation of Adam, by Michelangelo'
written text with brush in her painting: 'Only by touching can greatness be achieved' in image JHM no. 4685 https://charlotte.jck.nl/detail/M004685/part/character/theme/keyword/M004685: in 'Life? or Theater..', p. 567
Charlotte Salomon - Life? or Theater?

“"I'm not sure I ever 'got it' when it comes to how to live my life in a way that was original and free," reflected Steven Salt, a retired businessman. "Of course, like most men, I always believed I had the answers and that I was not going to live my life the stupid way other men do. I was going to be unique and avoid their mistakes, but instead I'm just another male stereotype. I started off thinking that being an achiever and a 'winner' would be the key to real freedom. So all my energy went that way and I faked everything else when it came to caring about other people. Then I thought I'd marry the 'perfect' woman and be the 'perfect' dad and husband, not like the other married men. I'd be different. But no matter how I tried I was forcing it and probably fooling no one but myself. My wife finally left and I barely know who my kids really are. When we talk it's mainly 'business.' I fell into all the traps. Now that I'm in my seventies, I'm becoming just like all those guys I felt sorry for when I was younger— guys with no real friends and with no patience for anyone else's ideas or opinions. I can barely stand to talk to anyone and yet I'm still looking to fulfill myself by meeting the 'perfect' woman. I've become a macho cliché. It's taken me this long to realize that even if she existed I really wouldn't know how to be with her and make it feel good anyway."”

Herb Goldberg (1937–2019) American psychologist

The Personal Journey of Masculinity: From Externalization to Disconnection to Oblivion, p. 9
What Men Still Don't Know About Women, Relationships, and Love (2007)

Lionel Robbins photo

“I shall always regard this aspect of my dispute with Keynes as the greatest mistake of my professional career, and the book, The Great Depression, which I subsequently wrote, partly in justification of this attitude, as something which I would willingly see be forgotten. […] Now I still think that there is much in this theory as an explanation of a possible generation of boom and crisis. But, as an explanation of what was going on in the early ’30s, I now think it was misleading. Whatever the genetic factors of the pre-1929 boom, their sequelae, in the sense of inappropriate investments fostered by wrong expectations, were completely swamped by vast deflationary forces sweeping away all those elements of constancy in the situation which otherwise might have provided a framework for an explanation in my terms. The theory was inadequate to the facts. Nor was this approach any more adequate as a guide to policy. Confronted with the freezing deflation of those days, the idea that the prime essential was the writing down of mistaken investments and the easing of capital markets by fostering the disposition to save and reducing the pressure on consumption was completely inappropriate. To treat what developed subsequently in the way which I then thought valid was as unsuitable as denying blankets and stimulants to a drunk who has fallen into an icy pond, on the ground that his original trouble was overheating.”

Lionel Robbins (1898–1984) British economist

Autobiography of an Economist (1971), p. 154.

Max Delbrück photo
John Stuart Mill photo

“The practical reformer has continually to demand that changes be made in things which are supported by powerful and widely-spread feelings, or to question the apparent necessity and indefeasibleness of established facts; and it is often an indispensable part of his argument to show, how these powerful feelings had their origin, and how those facts came to seem necessary and indefeasible. There is therefore a natural hostility between him and a philosophy which discourages the explanation of feelings and moral facts by circumstances and association, and prefers to treat them as ultimate elements of human nature; a philosophy which is addicted to holding up favorite doctrines as intuitive truths, and deems intuition to be the voice of Nature and of God, speaking with an authority higher than that of our reason. In particular, I have long felt that the prevailing tendency to regard all the marked distinctions of human character as innate, and in the main indelible, and to ignore the irresistible proofs that by far the greater part of those differences, whether between individuals, races, or sexes, are such as not only might but naturally would be produced by differences in circumstances, is one of the chief hindrances to the rational treatment of great social questions, and one of the greatest stumbling blocks to human improvement.”

Source: Autobiography (1873), Ch. 7: General View of the Remainder of My Life (p. 192)

Sören Kierkegaard photo
John Ruysbroeck photo
Joseph Strutt photo

“The wassail is said to have originated from the words of Rowena, the daughter of Hengist; who, presenting a bowl of wine to Vortigern, the king of the Britons, said, wæs hæl or, health to you, my lord king…”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 363
The Sports and Pastimes of the People of England (1801), Wassail

Edgar Degas photo
Ursula Goodenough photo
Leo Tolstoy photo

“This divergence and perversion of the essential question is most striking in what goes today by the name of philosophy. There would seem to be only one question for philosophy to resolve: What must I do? Despite being combined with an enormous amount of unnecessary confusion, answers to the question have at any rate been given within the philosophical tradition on the Christian nations. For example, in Kant´s Critique of Practical Reason, or in Spinoza, Schopenhauer and specially Rousseau.

But in more recent times, since Hegel´s assertion that all that exists is reasonable, the question of what one must do has been pushed to the background and philosophy has directed its whole attention to the investigation of things as they are, and to fitting them into a prearranged theory. This was the first step backwards.

The second step, degrading human thought yet further, was the acceptance of the struggle for existence as a basic law, simply because that struggle can be observed among animals and plants. According to this theory the destruction of the weakest is a law which should not be opposed. And finally, the third step was taken when the childish originality of Nietzsche´s half-crazed thought, presenting nothing complete or coherent, but only various drafts of immoral and completely unsubstantiated ideas, was accepted by the leading figures as the final word in philosophical science. In reply to the question: what must we do? the answer is now put straightforwardly as: live as you like, without paying attention to the lives of others.

If anyone doubted that the Christian world of today has reached a frightful state of torpor and brutalization (not forgetting the recent crimes committed in the Boers and in China, which were defended by the clergy and acclaimed as heroic feats by all the world powers), the extraordinary success of Nietzsche´s works is enough to provide irrefutable proof of this.

Some disjointed writings, striving after effect in a most sordid manner, appear, written by a daring, but limited and abnormal German, suffering from power mania. Neither in talent nor in their basic argument to these writings justify public attention. In the days of Kant, Leibniz, or Hume, or even fifty years ago, such writings would not only have received no attention, but they would not even have appeared. But today all the so called educated people are praising the ravings of Mr. N, arguing about him, elucidating him, and countless copies of his works are printed in all languages.”

Leo Tolstoy (1828–1910) Russian writer

Source: What is Religion, of What does its Essence Consist? (1902), Chapter 11

Wolfgang Pauli photo

“Already in my original paper I stressed the circumstance that I was unable to give a logical reason for the exclusion principle or to deduce it from more general assumptions. I had always the feeling, and I still have it today, that this is a deficiency.”

Wolfgang Pauli (1900–1958) Austrian physicist, Nobel prize winner

"Exclusion Principle and Quantum Mechanics," Nobel Prize acceptance lecture for the discovery of the Exclusion Principle, also called the Pauli Principle (Dec. 13, 1946)

Hans Urs Von Balthasar photo
Georg Brandes photo
Phillip Guston photo
Alfred Denning, Baron Denning photo

“Limitation is not a matter of justice. It is a rule of public policy which has its origin in history and its justification in convenience.”

Alfred Denning, Baron Denning (1899–1999) British judge

The Bramley Moore [1964] P 200 at 220, commenting on the limitation of liability in maritime claims.
Judgments

Anton Mauve photo

“.. it is really beautiful here with that freezing weather. o you should see now the distance, and the fields with their black earth and flat shadows it would strike you, how lovely the sun is shining in the Betuwe.. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) ..het is hier zo mooi met dat vriesende weer. o je moest thans de verschieten eens zien, en die akkers met zijn zwarte aarde en vlakken schaduwen dat zou je frapperen, heerlijk schijnt de zon in de ..
in a letter to Willem Maris, 1860's; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 31
1860's

Neal Stephenson photo
Meir Kahane photo
Andreas Schelfhout photo

“Here are 3 drawings that I have made for You. It will be satisfactory, if it will meet your expectation and what it is for [to make a painting]. The two landscapes are thoughts, but the one that suggests the moonlight is the castle at Doorenwaart in Gelderland. I also painted a painting of that subject which I enjoyed a lot in Amsterdam [because, purchased there by A. B. Roothaan there] (translation from original Dutch: Fons Heijnsbroek)”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

(original Dutch, citaat van Schelfhout, uit zijn brief:) Hierbij 3 teekeningen die ik voor UE. Vervaardigd hebt, het zal mij genoegelijk zijn, indien dezelve aan uwe verwachting en aan het [doel], waar voor zie dienen moeten [voor het maken van een schilderij], zullen beantwoorden. De 2 landschapjes zijn gedachten, maar het gene dat het maanlicht voorsteld, is het kasteel te Doorenwaart in Gelderland. Ik heb ook van dat zelve onderwerp een schilderij geschilderd waar van ik veel genoege gehad heb te Amsterdam [aangekocht door A. B. Roothaan aldaar]
Quote of Schelfhout in his letter to , 2 Dec. 1823; as cited in Andreas Schelfhout - landschapschilder in Den Haag, Cyp Quarles van Ufford, Primavera Pers, (ISBN 978-90-5997-066-3), Leiden, p. 49

Brian Viglione photo
Ernest Mandel photo
L. Frank Baum photo

“The scenery and costumes of 'The Wizard of Oz' were all made in New York — Mr. Mitchell was a New York favorite, but the author was undoubtedly a Chicagoan, and therefore a legitimate butt for the shafts of criticism. So the critics highly praised the Poppy scene, the Kansas cyclone, the Scarecrow and the Tin Woodman, but declared the libretto was very bad and teemed with 'wild and woolly western puns and forced gags.' Now, all that I claim in the libretto of 'The Wizard of Oz' is the creation of the characters of the Scarecrow and the Tin Woodman, the story of their search for brains and a heart, and the scenic effects of the Poppy Field and the cyclone. These were a part of my published fairy tale, as thousands of readers well know. I have published fifteen books of fairy tales, which may be found in all prominent public and school libraries, and they are entirely free, I believe, from the broad jokes the New York critics condemn in the extravaganza, and which, the New York people are now laughing over. In my original manuscript of the play were no 'gags' nor puns whatever. But Mr. Hamlin stated positively that no stage production could succeed without that accepted brand of humor, and as I knew I was wholly incompetent to write those 'comic paper side-splitters' I employed one of the foremost New York 'tinkerers' of plays to write into my manuscript these same jokes that are now declared 'wild and woolly' and 'smacking of Chicago humor.' If the New York critics only knew it, they are praising a Chicago author for the creation of the scenic effects and characters entirely new to the stage, and condemning a well-known New York dramatist for a brand of humor that is palpably peculiar to Puck and Judge. I am amused whenever a New York reviewer attacks the libretto of 'The Wizard of Oz' because it 'comes from Chicago.”

L. Frank Baum (1856–1919) Children's writer, editor, journalist, screenwriter

Letter to "Music and the Drama", The Chicago Record-Herald (3 February 1903)
Letters and essays

Koenraad Elst photo
Steven Pinker photo
Robert Bork photo

“[The] National Rifle Association is always arguing that the Second Amendment determines the right to bear arms. But I think it really is the people's right to bear arms in a militia. The NRA thinks it protects their right to have Teflon-coated bullets. But that's not the original understanding.”

Robert Bork (1927–2012) American legal scholar

In Miriam Bensimhorn, Advocates: Point and Counterpoint, Laurence Tribe and Robert Bork Debate the Framers' Spacious Terms, LIFE magazine, Fall 1991 (Special Issue).

Koichi Tohei photo
Seyyed Hossein Nasr photo

“For Muslims the Quran is the Word of God; it is sacred scripture, not a work of "literature," a manual of law, or a text of theology, philosophy or history although it is of incomparable literary quality, contains many injunctions about a Sacred Law, is replete with verses of metaphysical, theological, and philosophical significance, and contains many accounts of sacred history. The unique structure of the Quran and the flow of its content constitute a particular challenge to most modern readers. For traditional Muslims the Quran is not a typical "read" or manual to be studied. For most of them, the most fruitful way of interacting with the Quran is not to sit down and read the Sacred Tex from cover to cover (although there are exceptions, such as completing the whole text during Ramadan). it is, rather, to recite a section with full awareness of it as the Word of God and to meditate upon it as one whose soul is being directly addressed, as the Prophet's soul was addressed during its revelation. … In this context it must be remembered that the Quran itself speaks constantly of the Origin and the Return, of all things coming from God and returning to Him, who himself has no origin or end. As the Word of god, the Quran also seems to have no beginning and no end. Certain turns of phrase and teachings about the Divine Reality, the human condition, the life of this world, and the Hereafter are often repeated, but they are not mere repetitions. Rather each iteration of a particular word, phrase, or verse opens the door of a hidden passage to other parts of the Quran. Each coda is always a prelude to an as yet undiscovered truth.”

The Study Quran: A New Translation and Commentary https://books.google.com/books?id=GVSzBgAAQBAJ&printsec=frontcover (2015)

Karl Barth photo
Joseph Nechvatal photo
John Coleridge, 1st Baron Coleridge photo

“Fellows of colleges in the universities are in one sense the recipients of alms, because they receive funds which originally were of an eleemosynary character.”

John Coleridge, 1st Baron Coleridge (1820–1894) British lawyer, judge and Liberal politician

Harrison v. Carter (1876), L. R. 2 Com. PI. D. 36.

Robert G. Ingersoll photo
Peter Paul Rubens photo

“[those paintings that are] done entirely by my hand.... [those, ]done by the hand of a master skillfull in that department.... but this one not being finished, would be entirely retouched by my own hand, and by this means would pass as original; done by one of my pupils, but the whole retouched by my hand.”

Peter Paul Rubens (1577–1640) Flemish painter

In a letter of 28 April, 1618, to the collector Sir Dudley Carleton; transl. from Italian, R. Saunders Magurn, The letters of Peter Paul Rubens, Cambridge Mass., 1955, p.60-61
Rubens is indicating in this letter to a good client the level of his personal involvement in several paintings which were offered then for sale. Rubens is specifying his involvement in a variety of degrees, in relation to the attribution by pupils or by other fellow-artists - like his cooperation in many paintings with Breughel, for instance
1605 - 1625

Philip Schaff photo
John Ruysbroeck photo
Matthijs Maris photo

“My brother Jaap was born as a painter, which means he really enjoyed it. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Matthijs Maris (1839–1917) Dutch painter

version in original Dutch / citaat van Matthijs Maris, in het Nederlands: mijn was een geboren schilder which means, hij had er plezier in.
Quote of Matthijs c. 1890; in Jacob Maris (1837-1899), M. van Heteren and others; as cited in 'Ik denk in mijn materie', in exhibition catalog of Teylers Museum / Museum Jan Cunen), Zwolle 2003, p. 29
his remark shortly after Jacob's death, from London where Matthijs lived for many years

“He was a poet of great power, who described the loneliness of military life in the early Forties with unique eloquence and accuracy; he wrote, too, exciting and original love poetry.”

Alun Lewis (1915–1944) Welsh poet

Martin Seymour-Smith, Guide to Modern World Literature (London: Hodder & Stoughton, 1975) vol. 1, p. 353.
Criticism

Monier Monier-Williams photo

“The grammar of Panini is one of the most remarkable literary works that the world has ever seen, and no other country can produce any grammatical system at all comparable to it, either for originality of plan or analytical subtlety.”

Monier Monier-Williams (1819–1899) Linguist and dictionary compiler

Sir Monier Monier-Williams in: Indian Wisdom https://books.google.co.in/books?id=CgBAAQAAMAAJ&pg=PA172, W. H. Allen & Company, 1876, p. 172.

Thomas Henry Huxley photo

“My reflection when I first made myself master of the central idea of the Origin was, "How extremely stupid of me not to have thought of that."”

Thomas Henry Huxley (1825–1895) English biologist and comparative anatomist

Another version of this quotation, omitting the "of me" phrase, appears in Life and Letters of Thomas Henry Huxley F.R.S (1900) edited by Leonard Huxley, p. 170
1880s, On the Reception of the Origin of Species (1887)

James Fenimore Cooper photo

“For a time our efforts seem to create, and to adorn, and to perfect, until we forget our origin and destination, substituting self for that divine hand which alone can unite the elements of worlds as they float in gasses, equally from His mysterious laboratory, and scatter them again into thin air when the works of His hand cease to find favour in His view.
Let those who would substitute the voice of the created for that of the Creator, who shout "the people, the people," instead of hymning the praises of their God, who vainly imagine that the masses are sufficient for all things, remember their insignificance and tremble. They are but mites amid millions of other mites, that the goodness of providence has produced for its own wise ends; their boasted countries, with their vaunted climates and productions, have temporary possessions of but small portions of a globe that floats, a point, in space, following the course pointed out by an invisible finger, and which will one day be suddenly struck out of its orbit, as it was originally put there, by the hand that made it. Let that dread Being, then, be never made to act a second part in human affairs, or the rebellious vanity of our race imagine that either numbers, or capacity, or success, or power in arms, is aught more than a short-lived gift of His beneficence, to be resumed when His purposes are accomplished.”

James Fenimore Cooper (1789–1851) American author

The Crater; or, Vulcan's Peak: A Tale of the Pacific http://www.gutenberg.org/files/11573/11573-h/11573-h.htm (1847), Ch. XXX

Julius Evola photo
David Hume photo

“They (social costs) are damages or diseconomies sustained by the economy in general, which under different institutional conditions could be avoided. [... ] if these costs were inevitable under any kind of institutional arrangement they would not really present a special theoretical problem. [... ] to reveal their origin, the study of social costs must always be an institutional analysis. Such an analysis raises inevitably the question of institutional reform and policy.”

Karl William Kapp (1910–1976) American economist

Source: Social Costs of Business Enterprise, 1963, p. 186 cited in: Sebastian Berger and Mathew Forstater (2007) "Toward a Political Institutionalist Economics: Kapp’s Social Costs, Lowe’s Instrumental Analysis, and the European Institutionalist Approach to Environmental Policy". In: Journal of Economic Issues. Vol.XLI, No.2, June 2007. p. 539

Sri Aurobindo photo
Charles Darwin photo

“With savages, the weak in body or mind are soon eliminated; and those that survive commonly exhibit a vigorous state of health. We civilised men, on the other hand, do our utmost to check the process of elimination; we build asylums for the imbecile, the maimed, and the sick; we institute poor-laws; and our medical men exert their utmost skill to save the life of every one to the last moment. There is reason to believe that vaccination has preserved thousands, who from a weak constitution would formerly have succumbed to small-pox. Thus the weak members of civilised societies propagate their kind. No one who has attended to the breeding of domestic animals will doubt that this must be highly injurious to the race of man. It is surprising how soon a want of care, or care wrongly directed, leads to the degeneration of a domestic race; but excepting in the case of man himself, hardly any one is so ignorant as to allow his worst animals to breed.

The aid which we feel impelled to give to the helpless is mainly an incidental result of the instinct of sympathy, which was originally acquired as part of the social instincts, but subsequently rendered, in the manner previously indicated, more tender and more widely diffused. Nor could we check our sympathy, even at the urging of hard reason, without deterioration in the noblest part of our nature. The surgeon may harden himself whilst performing an operation, for he knows that he is acting for the good of his patient; but if we were intentionally to neglect the weak and helpless, it could only be for a contingent benefit, with an overwhelming present evil. We must therefore bear the undoubtedly bad effects of the weak surviving and propagating their kind; but there appears to be at least one check in steady action, namely that the weaker and inferior members of society do not marry so freely as the sound; and this check might be indefinitely increased by the weak in body or mind refraining from marriage, though this is more to be hoped for than expected.”

volume I, chapter V: "On the Development of the Intellectual and Moral Faculties during Primeval and Civilised Times" (second edition, 1874) pages 133-134 http://darwin-online.org.uk/content/frameset?pageseq=156&itemID=F944&viewtype=image
The last sentence of the first paragraph is often quoted in isolation to make Darwin seem heartless.
The Descent of Man (1871)

David Brewster photo
Sun Myung Moon photo
Nick Bostrom photo
Sydney Smith photo

“As threats went, it was not subtle, nor was it original. But it was one of those things that had stayed around because it tended to work.”

Sarah Zettel (1966) American writer

Source: Bitter Angels (2009), Chapter 19 (p. 246)

Gabriele Münter photo
Robert A. Heinlein photo
Seth Lloyd photo

“For hundreds of millions of years, Sex was the most efficient method for propagating information of dubious provenance: the origins of all those snippets of junk DNA are lost in the sands of reproductive history. Move aside, Sex: the world-wide Web has usurped your role.”

Seth Lloyd (1960) American engineer

"Move Aside, Sex" http://www.edge.org/q2010/q10_3.html#lloyd, in The Edge Annual Question—2010: How Is the Internet Changing the Way You Think? http://www.edge.org/q2010/q10_index.html, January 2010

Slavoj Žižek photo

“The original question of desire is not directly 'What do I want?', but 'What do others want from me? What do they see in me? What am I to others?”

Slavoj Žižek (1949) Slovene philosopher

Source: The Plague of Fantasies (1997), Chapter One: The Seven Veils of Fantasy, p.9

Ibn Battuta photo

“One day I rode in company with ‘Alã-ul-mulk and arrived at a plain called Tarna at a distance of seven miles from the city. There I saw innumerable stone images and animals, many of which had undergone a change, the original shape being obliterated. Some were reduced to a head, others to a foot and so on. Some of the stones were shaped like grain, wheat, peas, beans and lentils. And there were traces of a house which contained a chamber built of hewn stone, the whole of which looked like one solid mass. Upon it was a statue in the form of a man, the only difference being that its head was long, its mouth was towards a side of its face and its hands at its back like a captive’s. There were pools of water from which an extremely bad smell came. Some of the walls bore Hindî inscriptions. ‘Alã-ul-mulk told me that the historians assume that on this site there was a big city, most of the inhabitants of which were notorious. They were changed into stone. The petrified human form on the platform in the house mentioned above was that of their king. The house still goes by the name of ‘the king’s house’. It is presumed that the Hindî inscriptions, which some of the walls bear, give the history of the destruction of the inhabitants of this city. The destruction took place about a thousand years ago…”

Ibn Battuta (1304–1377) Moroccan explorer

Lahari Bandar (Sindh) . The Rehalã of Ibn Battûta translated into English by Mahdi Hussain, Baroda, 1967, p. 10.
Travels in Asia and Africa (Rehalã of Ibn Battûta)

Paula Modersohn-Becker photo
Ken Ham photo

“The question of origins can’t be proven through experimentation—indeed, there is no absolute proof for either evolution or creation! But a creation geologist looks at the layers of rock and the fossil record and finds that much of it fits in the biblical framework of a catastrophic global Flood, not in the evolutionary model of slow erosion over millions of years.”

Ken Ham (1951) Australian young Earth creationist

"It is a Fearful Thing to fall into the Hands of the Living God" http://blogs.answersingenesis.org/blogs/ken-ham/2014/06/01/a-fearful-thing-to-fall-into-the-hands-of-the-living-god/, Around the World with Ken Ham (June 1, 2014)
Around the World with Ken Ham (May 2005 - Ongoing)

John Cleese photo
Benjamin N. Cardozo photo
Luboš Motl photo

“Because the white genes are mutations of the genes of the original men of color - and males are mutations of the original females - we can finally answer the question "Is God black?"”

Luboš Motl (1973) Czech physicist and translator

The answer is "Yes, She is."
http://motls.blogspot.com/2007/10/skin-color-gene.html
The Reference Frame http://motls.blogspot.com/

Ernst Bloch photo