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Read through the most famous quotes by topic #natur
The title of the work, its place in the collective library, the nature of the person who tells us about it, the atmosphere established in the written or spoken exhange, among many other instances, offer alternatives to the book itself that allow us to talk about ourselves without dwelling upon the work too closely. ↗
Kur es galu galā biju iekļuvis? Es jutos kā mājās, kā savējo vidū. Te jau viss norisinājās uz mata tāpat kā pie mums, latviešiem! Ķildas, izstāšanās, izslēgšanas, sūdzības, draudi… Raug, ne jau mēs, latvieši, vien esam tie ķildīgie un kašķīgie! Visas pasaules tautas šinī ziņā bija vienādas!… Vienīgā starpība bija tā, ka šeit, saskaitušies, ļaudis viens otru nesaukāja par komūnistiem. Bet rietumnieki jau komūnismu un komūnistus nepazina tik labi kā mēs. ↗
What interests me is to set up what you might call the rapport de grand écart - the most unexpected relationship possible between the things I want to speak about, because there is a certain difficulty in establishing relationships in just that way, and in that difficulty there is an interest, and in that interest there is a certain tension and for me that tension is a lot more important than the stable equilibrium of harmony, which doesn't interest me at all. Reality must be torn apart in every sense of the word. What people forget is that everything is unique. Nature never produces the same thing twice. Hence my stress on seeking the rapport de grand écart: a small head on a large body; a large head on a small body. I want to draw the mind in the direction it's not used to and wake it up. I want to help the viewer discover something he wouldn't have discovered without me. That's why I stress the dissimilarity, for example, between the left eye and the right eye. A painter shouldn't make them so similar. They're just not that way. So my purpose is to set things in movement, to provoke this movement by contradictory tensions, opposing forces, and in that tension or opposition, to find the moment which seems the most interesting to me. ↗
Only within the 20th Century has biological thought been focused on ecology, or the relation of the living creature to its environment. Awareness of ecological relationships is — or should be — the basis of modern conservation programs, for it is useless to attempt to preserve a living species unless the kind of land or water it requires is also preserved. So delicately interwoven are the relationships that when we disturb one thread of the community fabric we alter it all — perhaps almost imperceptibly, perhaps so drastically that destruction follows." Essay on the Biological Sciences, in: Good Reading (1958) ↗
The fact is, that for the Huichol, and for all those who refuse, who are in flight, words and things are precisely what language does not speak about. Language is a natural act which implies belonging. He who exists, speaks. He who does not speak, does not exist. He has no place in the world. The Huichol language is Huichol to the same degree as the Huichol earth, the Huichol sky, religion, tattooing, dress, the peyoteros' hat. It is not enough to pronounce the syllables of the Huichol language to be Huichol. That is obvious. ↗
The world was in truth made of jackstraws. The world was very combustible, the human body was partible in ways heretofore unimagined. What held the civilized world together was the thinnest tissue of nothing but human will. Civilization was not in the natural order but was some wort of willed invention held taut like a fabric or a sail against the chaos of the winds. And why we had invented it, or how we knew to invent it, was beyond him. Newmann had seen some truth that was completely out of his power to put into words. But he had come away knowing that even though the world of civilization was made of straw and lantern slides, he must live in it as if it were solid. Even when the heat of the lantern itself burnt away the illusions and a black hole appeared in the middle of the slide. ↗
Napoleon said of Massena, that he was not himself until the battle began to go against him; then, when the dead began to fall in ranks around him, awoke his powers of combination, and he put on terror and victory as a robe. So it is in rugged crises, in unweariable endurance, and in aims which put sympathy out of question, that the angel is shown. ↗
Ahistorical commentators who too readily dismiss Nietzsche's interest in physiological questions (e.g., DeMan 1979: 119; Nehamas 1985: 120) miss the centrality of such ways of thinking to Nietzsche's naturalism and to the whole intellectual climate of the period. 'The naturalization of the image of man under the influence of natural science was the work of the materialist movement of the middle of the century' (Schnädelbach 1983: 229). In this regard, Nietzsche was very much a thinker of his times. ↗
