Quotes about somewhere
page 5

Alastair Reynolds photo
Gerard O'Neill photo
Henry Adams photo

“…but he distinctly remembered standing at the house door one summer morning in a passionate outburst of rebellion against going to school. Naturally his mother was the immediate victim of his rage; that is what mothers are for, and boys also; but in this case the boy had his mother at unfair disadvantage, for she was a guest, and had no means of enforcing obedience. Henry showed a certain tactical ability by refusing to start, and he met all efforts at compulsion by successful, though too vehement protest. He was in fair way to win, and was holding his own, with sufficient energy, at the bottom of the long staircase which led up to the door of the President's library, when the door opened, and the old man slowly came down. Putting on his hat, he took the boy's hand without a word, and walked with him, paralyzed by awe, up the road to the town. After the first moments of consternation at this interference in a domestic dispute, the boy reflected that an old gentleman close on eighty would never trouble himself to walk near a mile on a hot summer morning over a shadeless road to take a boy to school, and that it would be strange if a lad imbued with the passion of freedom could not find a corner to dodge around, somewhere before reaching the school door. Then and always, the boy insisted that this reasoning justified his apparent submission; but the old man did not stop, and the boy saw all his strategical points turned, one after another, until he found himself seated inside the school, and obviously the centre of curious if not malevolent criticism. Not till then did the President release his hand and depart.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Susan Cooper photo
Robert Olmstead photo
Robert G. Ingersoll photo
Aretha Franklin photo
Andrew Sega photo
Tad Williams photo

“I’m your apprentice!” Simon protested. “When are you going to teach me something?”
“Idiot boy! What do you think I’m doing? I’m trying to teach you to read and to write. That’s the most important thing. What do you want to learn?”
“Magic!” Simon said immediately. Morgenes stared at him.
“And what about reading…?” the doctor asked ominously.
Simon was cross. As usual, people seemed determined to balk him at every turn. “I don’t know,” he said. What’s so important about reading and letters, anyway? Books are just stories about things. Why should I want to read books?”
Morgenes grinned, an old stoat finding a hole in the henyard fence. “Ah, boy, how can I be mad at you…what a wonderful, charming, perfectly stupid thing to say!” The doctor chuckled appreciatively, deep in his throat.
“What do you mean?” Simon’s eyebrows moved together as he frowned. “Why is it wonderful and stupid?”
“Wonderful because I have such a wonderful answer,” Morgenes laughed. Stupid because…because young people are made stupid, I suppose—as tortoises are made with shells, and wasps with stings—it is their protection against life’s unkindnesses.”
“Begging your pardon?” Simon was totally flummoxed now.
“Books,” Morgenes said grandly, leaning back on his precarious stool, “—books are magic. That is the simple answer. And books are traps as well.”
“Magic? Traps?”
“Books are a form of magic—” the doctor lifted the volume he had just laid on the stack, “—because they span time and distance more surely than any spell or charm. What did so-and-so think about such-and-such two hundred years agone? Can you fly back through the ages and ask him? No—or at least, probably not.
But, ah! If he wrote down his thoughts, if somewhere there exists a scroll, or a book of his logical discourses…he speaks to you! Across centuries! And if you wish to visit far Nascadu or lost Khandia, you have also but to open a book….”
“Yes, yes, I suppose I understand all that.” Simon did not try to hide his disappointment. This was not what he had meant by the word “magic.” “What about traps, then? Why ‘traps’?”

Tad Williams (1957) novelist

Morgenes leaned forward, waggling the leather-bound volume under Simon’s nose. “A piece of writing is a trap,” he said cheerily, “and the best kind. A book, you see, is the only kind of trap that keeps its captive—which is knowledge—alive forever. The more books you have,” the doctor waved an all-encompassing hand about the room, “the more traps, then the better chance of capturing some particular, elusive, shining beast—one that might otherwise die unseen.”
Source: Memory, Sorrow, and Thorn, The Dragonbone Chair (1988), Chapter 7, “The Conqueror Star” (pp. 92-93).

“We do not know the truth. But sometimes we get a glimpse of the shadow of the truth. And where there is a shadow, somewhere there must be light.”

Eric Mervyn Lindsay (1907–1974) Irish astronomer

Quoted in [The Irish Astronomical Journal, Volume 12, Irish Astronomical Society, 1975, 150]

John Crowley photo
Anthony Burgess photo
Phillip Guston photo
Richard Henry Horne photo

“T is always morning somewhere in the world.”

Richard Henry Horne (1802–1884) English poet and critic

Orion (1843), Book iii, Canto ii. Compare: "'T is always morning somewhere", Henry Wadsworth Longfellow, Wayside Inn. Birds of Killingworth, stanza 16.

Shamini Flint photo
Marsden Hartley photo
Clive Staples Lewis photo
William Styron photo
G. K. Chesterton photo
Thomas Bailey Aldrich photo
Henry Moore photo

“The idea for [his sculpture] 'The Warrior' came to me at the end of 1952 or very early in 1953. It was evolved from a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip. Just as Leonardo says somewhere in his notebooks that a painter can find a battle scene in the lichen marks on a wall, so this gave me the start of The Warrior idea. First I added the body, leg and one arm and it became a wounded warrior, but at first the figure was reclining. A day or two later I added a shield and altered its position and arrangement into a seated figure and so it changed from an inactive pose into a figure which, though wounded, is still defiant... The head has a blunted and bull-like power but also a sort of dumb animal acceptance and forbearance of pain... The figure may be emotionally connected (as one critic has suggested) with one’s feelings and thoughts about England during the crucial and early part of the last war. The position of the shield and its angle gives protection from above. The distance of the shield from the body and the rectangular shape of the space enclosed between the inside surface of the shield and the concave front of the body is important... This sculpture is the first single and separate male figure that I have done in sculpture and carrying it out in its final large scale was almost like the discovery of a new subject matter; the bony, edgy, tense forms were a great excitement to make... Like the bronze 'Draped Reclining Figure' of 1952-3 I think 'The Warrior' has some Greek influence, not consciously wished…”

Henry Moore (1898–1986) English artist

Quote from Moore's letter, (15 Jan. 1955); as cited in Henry Moore on Sculpture: a Collection of the Sculptor's Writings and Spoken Words, ed. Philip James, MacDonald, London 1966, p. 250
1940 - 1955

Václav Havel photo
Albert Einstein photo

“In living through this "great epoch," it is difficult to reconcile oneself to the fact that one belongs to that mad, degenerate species that boasts of its free will. How I wish that somewhere there existed an island for those who are wise and of good will! In such a place even I should be an ardent patriot!”

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

Man begreift schwer beim Erleben dieser "großen Zeit", daß man dieser verrückten, verkommenen Spezies angehört, die sich Willensfreiheit zuschreibt. Wenn es doch irgendwo eine Insel der Wohlwollenden und Besonnenen gäbe! Da wollte ich auch glühender Patriot sein.
Letter to Paul Ehrenfest, early December 1914. Collected Papers of Albert Einstein, Vol. 8, Doc. 39. Quoted in The New Quotable Einstein by Alice Calaprice (2005), p. 3
1910s

Ingrid Newkirk photo

“I plan to send my liver somewhere in France, to protest foie gras (liver pate) … I plan to have handbags made from my skin … and an umbrella stand made from my seat.”

Ingrid Newkirk (1949) British-American activist

During the hoof and mouth disease outbreak in Europe
speaking to onMilwaukee.com, 2005 February 1
2005

Helen Keller photo
John Danforth photo
Richard Summerbell photo

“My main orientation is harmonic. Bill, besides having the harmonic structures that he did, had a control of the dynamic level of the piano and pedaling, which is ridiculously fantastic. I never saw a man make so many gradations from pianissimo to piano in my life. I can't do that. On the other hand, I think that what I do harmonically is somewhere other than where he was.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Radio interview, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT453 (1992, 2006, 2014)

Alan Hirsch photo
Arthur C. Clarke photo
Ai Weiwei photo
Joseph Beuys photo
Hendrik Werkman photo

“.. not the familiar paradise, but the unknown - somewhere in a continent that hasn’t been discovered yet by anyone from the civilized countries - I have escaped [in his prints! ] because it is almost unbearable to be in our world.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): ..niet het bekende paradijs, maar het onbekende, ergens in een werelddeel dat nog door geen mensch uit de cultuurstaten is ontdekt – daarheen ben ik gevlucht [in zijn prenten!] omdat het in onze wereld haast niet meer uit te houden is.
in his letter (nr. 143) to Julia Henkels, 15 July 1942; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 120
Werkman is referring to his series prints 'Vrouweneiland / Women-island', D-288 - D-311, he made in 1942]
1940's

Garrison Keillor photo

“Cherish the Minnesota State Fair. Wherever you find beauty and simplicity and truth, know that there is a committee somewhere planning to improve it --- don't let them do it.”

Garrison Keillor (1942) American radio host and writer

University of Minnesota Alumni Association (UMAA) Annual Meeting Keynote Speech (29 April 1992) UMAA 199204 to 199306 Meeting Minutes http://conservancy.umn.edu/bitstream/48842/1/199204-199306.pdf

Revilo P. Oliver photo

“In 1945 I really believed that by the year 1952 no American could hear the name of Roosevelt without a shudder or utter it without a curse. You see; I was wrong. I was right about the inevitability of exposure. Like the bodies of the Polish officers who were butchered in Katyn Forest by the Bolsheviks (as we knew at the time), many of the Roosevelt regime's secret crimes were exposed to the light of day. The exposures were neither so rapid or so complete as I anticipated, but their aggregate is far more than should have been needed for the anticipated reaction. Only about 80 per cent of the secret of Pearl Harbor has thus far become known, but that 80 per cent should in itself be enough to nauseate a healthy man. Of course I do not know, and I may not even suspect, the full extent of the treason of that incredible administration. But I should guess that at least half of it has been disclosed in print somewhere: not necessarily in well-known sources, but in books and articles in various languages, including publications that the international conspiracy tries to keep from the public, and not necessarily in the form of direct testimony, but at least in the form of evidence from which any thinking man can draw the proper and inescapable deductions. The information is there for those who will seek it, and enough of it is fairly well known, fairly widely known, especially the Pearl Harbor story, to suggest to anyone seriously interested in the preservation of his country that he should learn more. But the reaction never occurred. And even today the commonly used six-cent postage stamp bears the bloated and sneering visage of the Great War Criminal, and one hears little protest from the public.”

Revilo P. Oliver (1908–1994) American philologist

"What We Owe Our Parasites", speech (June 1968); Free Speech magazine (October and November 1995)
1960s

Prem Rawat photo
Clive Barker photo
Aimee Mann photo

“There's always something that's smoldering somewhere
I know it don't make a difference to you
But oh! It sure made a difference to me
You'll see me off in the distance, I hope
At the other end
At the other end of the telescope.”

Aimee Mann (1960) American indie rock singer-songwriter (born 1960)

The Other End (of the Telescope), written by Elvis Costello and Aimee Mann
Song lyrics, Everything's Different Now (1988)

Thomas Hughes photo

“I object very much when my work is said to not be political, because my feelings about the social system are in there somewhere. The idea is to have it all in there together—you can’t pull it out.”

Donald Judd (1928–1994) artist

1980
Source: Flash Art, Nr. 132-134, (1987), p. 36: Cited in: " ‘Donald Judd: Stacks’ at Mnuchin Gallery http://galleristny.com/2013/10/donald-judd-stacks-at-mnuchin-gallery/" by Andrew Russeth at galleristny.com, 10/01/13.

Carl Sagan photo
Georg Solti photo

“Between the two men, somewhere, a truth is lying, and that is what I try to find.”

Georg Solti (1912–1997) Hungarian orchestral and operatic conductor

Arguing that Toscanini and Furtwangler both went to extremes.
Conductors by John L. Holmes (1988) pp 256-261 ISBN 0-575-04088-2

Charlotte Brontë photo
Sylvia Plath photo
Louis Bromfield photo
Jean Paul Sartre photo
James K. Morrow photo
John Steinbeck photo
Jordan Peterson photo

“We're adapted to the meta-reality, which means that we're adapted to that which remains constant across the longest spans of time. And that's not the same things that you see around you day to day. They're just like clouds, they're just evaporating, you know? There are things underneath that that are more fundamental realities, like the dominance hierarchy, like the tribe, like the danger outside of society, like the threat that other people pose to you, and the threat that you pose to yourself. Those are eternal realities, and we're adapted to those. That's our world, and that's why we express all those things in stories. Then you might say, well how do you adapt yourself to that world? The answer, and I believe this is a neurological answer, is that your brain can tell you when you're optimally situated between chaos and order. The way it tells you that is by producing the sense of engagement and meaning. Let's say that there's a place in the environment that you should be. So what should that place be? Well, you don't want to be terrified out of your skull. What good is that? And you don't want to be so comfortable that you might as well sleep. You want to be somewhere where you are kind of on firm ground with both of your feet, but you can take a step with one leg and test out new territory. Some of you who are exploratory and emotionally stable are going to go pretty far out there into the unexplored territory without destabilizing yourself. And some people are just going to put a toe in the chaos, and that's neuroticism basically - your sensitivity to threat that is calibrated differently in different people. And some people are more exploratory than others. That's extroversion and openness, and intelligence working together. Some people are going to tolerate more chaos in their mixture of chaos and order. Those are often liberals, by the way. They're more interested in novel chaos, and conservatives are more interested in the stabilization of the structures that already exist. Who's right? It depends on the situation. That's why liberals and conservatives have to talk to each other, because one of them isn't right and the other is wrong. Sometimes the liberals are right and sometimes the liberals are right, because the environment is unpredictable and constantly changing, so that's why you have to communicate. That's what a democracy does. It allows people of different temperamental types to communicate and to calibrate their societies. So let's say you're optimally balanced between chaos and order. What does that mean? Well, you're stable enough, but you're interested. A little novelty heightens your anxiety. It wakes you up a bit. That's the adventure part of it. But it also focuses the part of your brain that does exploratory activity, and that's associated with pleasure. That's the dopamine circuit. So if you're optimally balanced - and you know you're there if you're listening to an interesting conversation or you're engaged in one…you're saying some things that you know, and the other person is saying some things that they know - and what both of you know is changing. Music can model that. It provides you with multi-level predictable forms that can transform just the right amount. So music is a very representational art form. It says, 'this is what the universe is like.' There's a dancing element to it, repetitive, and then little variations that surprise you and produce excitement in you. In doesn't matter how nihilistic you are, music still infuses you with a sense of meaning because it models meaning. That's what it does. That's why we love it. And you can dance to it, which represents you putting yourself in harmony with these multiple layers of reality, and positioning yourself properly.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

"The selection pressure that women placed on men developed the entire species. There's two things that happened. The men competed for competence, since the male hierarchy is a mechanism that pushes the best men to the top. The effect of that is multiplied by the fact that women who are hypergamous peel from the top. And so the males who are the most competent are much more likely to leave offspring, which seems to have driven cortical expansion."
Concepts

Lester del Rey photo
Willie Nelson photo

“When I was out in the bars drinking and fighting I was a little bit less of a peacemaker than I would be if I'd had a coupla hits of a joint and gone and laid down somewhere.”

Willie Nelson (1933) American country music singer-songwriter.

Willie Nelson: 'If We Made Marijuana Legal, We'd Save a Whole Lotta Money and Lives', Michael, Hann, May 17, 2012, May 20, 2012, The Guardian, Guardian News and Media Ltd. http://www.guardian.co.uk/music/2012/may/17/30-minutes-with-willie-nelson,

András Petőcz photo
Christopher Reeve photo
Nadine Gordimer photo
Svetlana Alliluyeva photo
Brian Wilson photo

“I met Paul in 1967, Ringo in 1985, and I saw George Harrison in a nightclub somewhere in L. A. I never met John.”

Brian Wilson (1942) American musician, singer, songwriter and record producer

On the Beatles. "A Pop Genius Speaks of Love, Mercy, and Melody " (6 November 2001) http://web.archive.org/web/20061231041958/http://video.barnesandnoble.com/search/interview.asp?z=y&CTR=662203

William Gibson photo
Willem Maris photo

“I recognize that the career draws applicants from a certain psychological pool. Garrett came from somewhere near the shallow end.”

Eric Garcia (1972) An amazing author who has written several wonderful books!

Source: The Repossession Mambo (2009), Chapter 15 (p. 248)

Donald J. Trump photo
Louis-ferdinand Céline photo

“And the music came back with the carnival, the music you've heard as far back as you can remember, ever since you were little, that's always playing somewhere, in some corner of the city, in little country towns, wherever poor people go and sit at the end of the week to figure out what's become of them, sometimes here, sometimes there, from season to season, it tinkles and grinds out the tunes that rich people danced to the year before. It's the mechanical music that floats down from the wooden horses, from the cars that aren't cars anymore, from the railways that aren't at all scenic, from the platform under the wrestler who hasn't any muscles and doesn't come from Marseille, from the beardless lady, the magician who's a butter-fingered jerk, the organ that's not made of gold, the shooting gallery with the empty eggs. It's the carnival made to delude the weekend crowd. We go in and drink the beer with no head on it. But under the cardboard trees the stink of the waiter's breath is real. And the change he gives you has several peculiar coins in it, so peculiar that you go on examining them for weeks and weeks and finally, with considerable difficulty, palm them off on some beggar. What do you expect at the carnival? Gotta have what fun you can between hunger and jail, and take things as they come. No sense complaining, we're sitting down aren't we? Which ain't to be sneezed at. I saw the same old Gallery of the Nations, the one Lola caught sight of years and years ago on that avenue in the park of Saint-Cloud. You always see things again at carnivals, they revive the joy of past carnivals. Over the years the crowds must have come back time and again to stroll on the main avenue of the park of Saint-Cloud…taking it easy. The war had been over long ago. And say I wonder if that shooting gallery still belonged to the same owner? Had he come back alive from the war? I take an interest in everything. Those are the same targets, but in addition, they're shooting at airplanes now. Novelty. Progress. Fashion. The wedding was still there, the soldier too, and the town hall with its flag. Plus a few more things to shoot at than before.”

27
Journey to the End of the Night (1932)

E. B. White photo

“Everything (he kept saying) is something it isn't. And everybody is always somewhere else.”

E. B. White (1899–1985) American writer

The Door http://fiction.eserver.org/short/the_door.html (1939)

Tomas Kalnoky photo
Tom McCarthy (writer) photo
Algis Budrys photo

“There has to be an end somewhere, he thought. Each thing has to end, or there will never be any room for beginnings.”

Algis Budrys (1931–2008) American writer

The End of Summer, p. 32
The Unexpected Dimension (1960)

Brad Paisley photo
Lois McMaster Bujold photo
Rick Santorum photo

“As the hobbits are going up Mount Doom, the eye of Mordor is being drawn somewhere else. It's being drawn to Iraq. You know what? I want to keep it on Iraq. I don't want the eye to come back to the United States.”

Rick Santorum (1958) American politician

Santorum defends Iraq war
Bucks County Courier Times
2006-10-17
Alison
Hawkes
http://www.phillyburbs.com/pb-dyn/news/111-10172006-728120.html

Francis Galton photo
Mickey Spillane photo
Demi Lovato photo

“Somewhere we went wrong
We were once so strong
Our love is like a song
You can't forget it at all.”

Demi Lovato (1992) American singer, songwriter, actress, and author

Don't Forget
Lyrics, Don't Forget (2008)

Harry Chapin photo
Daniel Abraham photo
Bryan Adams photo
Charles Fort photo
David Miscavige photo

“Talk about the Van Allen Belt or whatever is that, that forms no part of current Scientology, none whatsoever. Well, you know, quite frankly, this tape here, he's talking about the origins of the universe, and I think you're going to find that in any, any, any religion, and I think you can make the same mockery of it. I think it's offensive that you're doing it here, because I don't think you'd do it somewhere else.”

David Miscavige (1960) leader of the Church of Scientology

After being played a portion of an audiotape where L. Ron Hubbard describes the Xenu story — Scientology Leader Gave ABC First-Ever Interview: David Miscavige, Scientology Leader and Best Man at Tom Cruise's Wedding, Spoke to ABC News' 'Nightline' in 1992, ABC News, November 18, 2006, 2010-07-03 http://abcnews.go.com/print?id=2664713,.

Agatha Christie photo
Neal Stephenson photo
Tom McCarthy (writer) photo
Arsène Wenger photo
Jason Biggs photo

“When I heard about the project, the name sounded kind of familiar. I felt like I'd seen it in the book review section or on a list somewhere, but I didn't really know what the story was. The two things that stood out immediately were Jenji Kohan, who I think is one of the best writers out there, and the other thing was Netflix.”

Jason Biggs (1978) American actor

On debut in show Orange Is the New Black, interviewed in: — [December 4, 2014, http://www.rollingstone.com/movies/news/q-a-jason-biggs-changes-stripes-in-orange-is-the-new-black-20130710, Rolling Stone, Q&A: Jason Biggs Changes Stripes in 'Orange Is the New Black', July 10, 2013, James Sullivan]

Dilip Sankarreddy photo

“A tired flying bird
Has to perch somewhere to rest.
So should my old knees.”

Dilip Sankarreddy Business professional

Wanderings with Poetry (2007)

Jeff Beck photo
Denis Healey photo

“So long as the Soviet Union has nuclear weapons there have to be nuclear weapons somewhere in NATO to deter them from using them.”

Denis Healey (1917–2015) British Labour Party politician and Life peer

The Tribune (28 March 1986).
1980s

Hamid Dabashi photo
Leo Tolstoy photo

“I longed for activity, instead of an even flow of existence. I wanted excitement and danger and the chance to renounce self for the sake of my love. I was conscious of a superabundance of energy which found no outlet in our quiet life. I had bouts of depression, which I tried to hide, as something to be ashamed of…My mind, even my senses were occupied, but there was another feeling – the feeling of youth and a craving for activity – which found no scope in our quiet life…So time went by, the snow piled higher and higher round the house, and there we remained together, always and for ever alone and just the same in each other’s eyes; while somewhere far away amidst glitter and noise multitudes of people thrilled, suffered and rejoiced, without one thought of us and our existence which was ebbing away. Worst of all, I felt that every day that passed riveted another link to the chain of habit which was binding our life into a fixed shape, that our emotions, ceasing to be spontaneous, were being subordinated to the even, passionless flow of time… ‘It’s all very well … ‘ I thought, ‘it’s all very well to do good and lead upright lives, as he says, but we’ll have plenty of time for that later, and there are other things for which the time is now or never.’ I wanted, not what I had got, but a life of challenge; I wanted feeling to guide us in life, and not life to guide us in feeling.”

Family Happiness (1859)

Archibald Hill photo

“All knowledge, not only that of the natural world, can be used for evil as well as good: and in all ages there continue to be people who think that its fruit should be forbidden. Does the future wlfare, therefore, of mankind depend of a refusal of science and a more intensive study of the Sermon on the Mount? There are others who hold the contray opinion, that more and more of science and its applications alone can bring prosperity and happiness to men. Both of these extremes views seem to me entirely wrong - though the second is the more perilous as more likely to be commonly accepted. The so-called conflict between science and religion is usually about words, too often the words of their unbalanced advocates: the reality lies somewhere in between. "Completeness and dignity", to use Tyndall's phrase, are brought to man by three main channels, first by the religiouos sentiment and its embodiment of ethical principles, secondly by the influence of what is beautiful in nature, human personality, or art, and thirdly, by the pursuit of scientific truth and its resolute use in improving human life. Some suppose that religion and beauty are incompatible: others, that the aesthetic has no relation to the scientific sense: both seem to me just as mistaken as those who hold that the scientific and the religious spirit are necessarily opposed. Co-operation is required, not conflict: for science can be used to express and apply the principles of ethics, and those principles themselves can guide the behaviour of scientific men: while the appreciation of what is good and beautiful can provide to both a vision of encouragement. Is there really then any special ethical dilemma which we scientific men, as distinct from other people, have to meet? I think not: unless it be to convince ourselves humbly that we are just like others in having moral issues to face. It is true that integrity of thought is the absolute condition of oour work, and that judgments of value must never be allowed to deflect our judgements of fact. But in this we are not unique. It is true that scientific research has opened up the possibility of unprecedented good, or unlimited harm, for manking: but the use is made of it depends in the end on the moral judgments of the whole community of men. It is totally impossible noew to reverse the process of discovery: it will certainly go on. To help to guide its use aright is not a scientific dilemma, but the honourable and compelling duty of a good citizen.”

Archibald Hill (1886–1977) English physiologist and biophysicist

The Ethical Dilemma Of Science, Hill, 1960. The Ethical Dilemma of Science and Other Writings https://books.google.com.mx/books?id=zaE1AAAAIAAJ&printsec=frontcover#v=onepage&q&f=false. Rockefeller Univ. Press, pp. 88-89