Organic Quotes - page 8
As opposed to [megatechnics], an organic system directs itself to qualitative richness, amplitude, spaciousness, free from quantitative pressure and crowding, since self-regulation, self-correction, and self-propulsion are as much an integral property of organisms as nutrition, reproduction, growth, and repair. Balance, wholeness, completeness, continuous interplay between inner and outer, the subjective and the objective aspects of existence are identifying characteristics of the organic model; and the general name for an economy based on such a model is an economy of plenitude.
Lewis Mumford
Opponents of Fracastoro met his arguments by feigning imaginary causes, which differed from each other rather in name than in substance. Andrea Mattioli, for instance, an eminent botanist, the illustrator of Dioscorides, embraced the notion of Agricola, a German miner, that a certain 'materia pinguis' or 'fatty matter,' set into fermentation by heat, gave birth to fossil organic shapes. Yet Mattioli had come to the conclusion, from his own observations, that porous bodies, such as bones and shells, might be converted into stone, as being permeable to what he termed the 'lapidifying juice.
Charles Lyell
Quirini, in 1676, contended in opposition to Scilla, that the diluvian waters could not have conveyed heavy bodies to the summit of mountains, since the agitation of the sea never (as Boyle had demonstrated) extended to great depths, and still less could the testacea, as some pretended, have lived in these diluvian waters, for 'the duration of the flood was brief, and the heavy rains must have destroyed the saltness of the sea! He was the first writer who ventured to maintain that the universality of the Noachian cataclysm ought not to be insisted upon. ...Visionary as was this doctrine, it gained many proselytes even amongst the more sober reasoners of Italy and Germany, for it conceded both that fossil bodies were organic, and that the diluvial theory could not account for them.
Charles Lyell
The Posthumous Works of Robert Hooke M. D.,'... appeared in 1705, containing 'A Discourse of Earthquakes'... His treatise... is the most philosophical production of that age, in regard to the causes of former changes in the organic and inorganic kingdoms of nature. 'However trivial a thing,' he says, 'a rotten shell may appear to some, yet these monuments of nature are more certain tokens of antiquity than coins or medals, since the best of those may be counterfeited or made by art and design, as may also books, manuscripts, and inscriptions, as all the learned are now sufficiently satisfied has often been actually practised,' &c.; 'and though it must be granted that it is very difficult to read them and to raise a chronology out of them, and to state the intervals of the time wherein such or such catastrophes and mutations have happened, yet it is not impossible.
Charles Lyell
A geologist should be well versed in chemistry, natural philosophy, mineralogy, zoology, comparative anatomy, botany; in short, in every science relating to organic and inorganic nature. ...But the brief duration of human life, and our limited powers, are so far from permitting us to aspire to such extensive acquisitions, that excellence even in one department is within the reach of few, and those individuals most effectually promote the general progress, who concentrate their thoughts on a limited portion of the field of inquiry.
Charles Lyell
Agriculture is the art of deriving from the earth the most valuable organic productions. He who exercises this art, seeks to obtain profit by causing to grow, and by using, its animal and vegetable productions. The more considerable the gain derived, therefore, the better is the object accomplished. The most perfect agriculture is, evidently, that which produces, by the application of labour, the largest and the most permanent profit in comparison with the means employed. Systematic agriculture ought, then, to teach us all the circumstances by means of which we may derive the most considerable profit by the practice of the art.
Albrecht Thaer