The recognition of the art that informs all pure science need not mean the abandonment for it of all present art, rather it will mean the completion of the transformation of art that has already begun.

Scientific corporations might well become almost independent states and be enabled to undertake their largest experiments without consulting the outside world - a world which would be less and less able to judge what the experiments were about.

As the scene of life would be more the cold emptiness of space than the warm, dense atmosphere of planets, the advantage of containing no organic material at all, so as to be independent of both these conditions, would be increasingly felt.

Anticipation of movement, through muscular innervation and memory, by its retention of nerve impulse images, extend the present to the limit of a second or so.

Religious suffering is at once the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the sentiment of the heartless world, as it is the soul of soulless condition. It is the opium of the people.

Naturalism aimed at giving the primitive wishes full play but failed because these wishes are too primitive, too infantile, too inconsistent with themselves to be satisfied even by the greatest license.

Hunger and sex still dominate the primitive mammalian side of human existence, but at the present time it looks as if humanity were within sight of their satisfaction. Permanent plenty, no longer a Utopian dream, awaits the arrival of permanent peace.

The problem is essentially that of communications to an army in action. After a rapid advance communications become disorganized, and there is a temporary halting until they are again in working order.

It is characteristic of science that the full explanations are often seized in their essence by the percipient scientist long in advance of any possible proof.

As experimentation becomes more complex, the need for the co-operation in it of technical elements from outside becomes greater and the modern laboratory tends increasingly to resemble the factory and to employ in its service increasing numbers of purely routine workers.

The psychology of a complex mind must differ almost as much from that of a simple, mechanized mind as its psychology would from ours; because something that must underlie and perhaps be even greater than sex is involved.

Marxists have some way of analyzing the development of affairs which enables them to judge far in advance of scientific thinkers what the trend of social and economic development is to be.

There are two futures, the future of desire and the future of fate, and man's reason has never learned to separate them.

We shall be forced to attempt planned and directed research employing hundreds of workers for many years, and this cannot be done without risking the loss of independence and originality. This is a serious and fundamental obstacle but it may be overcome in two ways.

A part of sexuality may go to research, and a much larger part must lead to aesthetic creation. The art of the future will, because of the very opportunities and materials it will have at its command, need an infinitely stronger formative impulse than it does now.

The recognition of the art that informs all pure science need not mean the abandonment for it of all present art, rather it will mean the completion of the transformation of art that has already begun.

It is pretty clear that they are ineffective in stopping the course of thought at present, but they have not always been so in the past and we cannot be sure that they will not be so in the future.

Political and social events must also be effective, but not in a very obvious fashion. But political confusion and prolonged peace undoubtedly affect creative thought but whether they respectively hinder or help it is not at all certain.

The present aristocracy of western culture, at the moment when it most clearly dominates the world, is being imitated rapidly and successfully in every eastern country.

The relevance of Marxism to science is that it removes it from its imagined position of complete detachment and shows it as a part, but a critically important part, of economy and social development.

The human mind evolved always in the company of the human body, and of the animal body before it was human. The intricate connections of mind and body must exceed our imagination, as from our point of view we are peculiarly prevented from observing them.

Published papers may omit important steps and the memory of men of science, even the greatest, is sadly fallible.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I always feel like the art's there and I just see it, so it's not really a lot of work.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.

And, moreover, it is art in its most general and comprehensive form that is here discussed, for the dialogue embraces everything connected with it, from its greatest object, the state, to its least, the embellishment of sensuous existence.