We are all familiar with the passionate and closely argued appeal against censorship by the outstanding Soviet writer A. Solzhenitsyn.He as well as G. Vladimov, G. Svirsky, and other writers who have spoken out on the subject have clearly shown how incompetent censorship destroys the living soul of Soviet literature, but the same applies of course to all other manifestations of social thought, causing stagnation and dullness and preventing fresh and deep ideas. Such ideas, after all, can arise only in discussion, in the face of objections, only if there is a potential possibility of expressing not only true but also dubious ideas. This was clear to the philosophers of ancient Greece and hardly anyone nowadays would have any doubts on that score. But after fifty years of complete domination over the minds of an entire nation, our leaders seem to fear even allusions to such a discussion.
Andrei SakharovRelated topics
ancient anyone appeal arise causing censorship clear complete course deep discussion domination dullness entire face familiar fear fifty fresh greece incompetent literature living nation nowadays passionate possibility potential score show social soul speak stagnation subject thought well writer years solzhenitsyn leaders sovietRelated quotes
What! when it is necessary to take the most simple resolve, we are under the domination of our habitudes, our wants, our social relations, and a host of causes which, all of them, draw us about in a hundred different ways. These influences are so powerful, that we have no difficulty in telling, even when referring to persons whom we are scarcely acquainted with, or even know not at all, what is the resolution to which they will lead such parties. Whence, then, this certainty of foresight, exemplified by you daily, if you were not convinced, at the outset, that it is extremely probable the empire of causes will carry it over free-will. In considering the moral world a priori, you give to this free-will the most entire latitude; and when you come to practice, when you speak of what passes around you, you constantly fall into contradiction with yourselves.
Adolphe Quetelet
It was like living half your life in a tiny, stuffy, warm gray box, and being moderately happy in there because you knew no better...and then discovering a little hole in one corner of the box, a tiny opening which you could get a finger into, and tease and pull at, so that eventually you created a tear, which led to a greater tear, which led to the box falling apart around you...so that you stepped out of the tiny box's confines into startlingly cool, clear fresh air and found yourself on top of a mountain, surrounded by deep valleys, sighing forests, soaring peaks, glittering lakes, sparkling snowfields and a stunning, breathtakingly blue sky. And that, of course, wasn't even the start of the real story, that was more like the breath that is drawn in before the first syllable of the first word of the first paragraph of the first chapter of the first book of the first volume of the story.
Iain Banks
Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.
Kenneth Clark
Aggregation means the organization of elements of a system into patterns that tend to put highly compatible elements together and less compatible elements apart. Landscape theory predicts how aggregation will lead to alignments among actors (such as nations), whose leaders are myopic in their assessments and incremental in their actions. The predicted configurations are based upon the attempts of actors to minimize their frustration based upon their pairwise propensities to align with some actors and oppose others. These attempts lead to a local minimum in the energy landscape of the entire system. The theory is supported by the results of the alignment of seventeen European nations in the Second World War. The theory has potential for application to coalitions of business firms, political parties in parliaments, social networks, social cleavages in democracies, and organizational structures.
Robert Axelrod
When Andy [Andrew Wood] died, I couldn't listen to his songs for about two years after that, and it was for that reason - his lyrics often seem as though they can tell that story. But then again, my lyrics often could tell the same one. In terms of seeing everything as a matter of life and death - if that's what you're feeling at the time, then that's what you're going to write. It's sort of a morbid exchange when somebody who is a writer like that dies, and then everyone starts picking through all their lyrics. In Kurt [Cobain]'s case, whatever he was thinking and whatever he was writing, there wasn't an arrow pointing at what his demise was. It's a stream of thought, it's a possibility - it's definitely something that somebody was feeling when they were writing. It doesn't mean that it's going to happen. But it doesn't necessarily mean that it isn't, either.
Chris Cornell
