The interlaced borders of the "Late-Roman" mosaic pavements and sarcophagus-edges, and even geometrical plane-patterns are introduced, and finally, throughout the Persian-Anatolian world, mobility and bizarrerie culminate in the Arabesque. This is the genuine Magian motive-anti-plastic to the last degree, hostile to the pictorial and to the bodily alike. Itself bodiless, it disembodies the object over which its endless richness of web is drawn.
Oswald SpenglerRelated topics
arabesque degree draw hostile last magian mobility mosaic object pictorial richness web world bizarrerieRelated quotes
Independent of biological need fulfillment and the reproductive needs of the species, cultures] satisfy not bodily needs, but values. Values define cultural man's need for rationality, meaningfulness in emotional experience, richness of imagination, and depth of faith. All cultures respond to such supra-biological values. But in what form they do so depends on the specific kind of values people happen to have.
Ervin László
All kids draw and write poetry and everything, and some of us last until we're about eighteen, but most drop off at about twelve when some guy comes up and says, "You're no good." That's all we get told all our lives. "You haven't got the ability. You're a cobbler." It happened to all of us, but if somebody had told me all my life, "Yeah, you're a great artist," I would have been a more secure person.
John Lennon
Another longstanding foreign policy flaw is the degree to which special interests dictate the way in which the "national interest" as a whole is defined and pursued.... America's important historic relationship with Israel has often led foreign policy decision-makers to defer reflexively to Israeli security assessments, and to replicate Israeli tactics, which, as the war in Lebanon last summer demonstrated, can turn out to be counter-productive.
Samantha Power
Are we at last brought to such an humiliating and debasing degradation, that we cannot be trusted with arms for our defense? Where is the difference between having our arms in possession and under our direction, and having them under the management of Congress? If our defense be the real object of having those arms, in whose hands can they be trusted with more propriety or equal safety to us, as in our own hands?
Patrick Henry
Hamlet's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.
Samuel Taylor Coleridge
