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Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing.... Video
Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it â€” Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.
The distinction between responsible moral agents and beings with diminished or no responsibility is coherent, real, and important. It is coherent, even if in many instances it is hard to apply; it draws an empirically real line, in that we don't all fall on one side; and, most important, the distinction matters: the use we make of it plays a crucial role in the quality and meaning of our lives. [...] We want to hold ourselves and others responsible, but we recognize that our intuitions often support the judgement that a particular individual has "diminished responsibility" because of his or her infirmities, or because of particularly dire circumstances upon upbringing or at the time of action. We also find it plausible to judge that nonhuman animals, infants, and those who are severely handicapped mentally are not responsible at all. But since we are all more or less imperfect, will there be anyone left to be responsible after we have excused all those with good excuses? [...] We must set up some efficiently determinable threshold for legal competence, never for a moment supposing that there couldn't be intuitively persuasive "counterexamples" to whatever line we draw, but declaring in advance that such pleas will not be entertained. [...] The effect of such an institution [...] is to create [...] a class of legally culpable agents whose subsequent liability to punishment maintains the credibility of the sanctions of the laws. The institution, if it is to maintain itself, must provide for the fine tuning of its arbitrary thresholds as new information (or misinformation) emerges that might undercut its credibility. One can speculate that there is an optimal setting of the competence threshold (for any particular combination of social circumstances, degree of public sophistication, and so on) that maximizes the bracing effect of the law. A higher than optimal threshold would encourage a sort of malingering on the part of the defendants, which, if recognized by the populace, would diminish their respect for the law and hence diminish its deterrent effect. And a lower than optimal threshold would yield a diminishing return of deterrence and lead to the punishment of individuals who, in the eyes of society, "really couldn't help it." The public perception of the fairness of the law is a critical factor in its effectiveness.
Dennett, Daniel C.
Each work of art excludes the world, concentrates attention on itself. For the time it is the only thing worth doing --to do just that; be it a sonnet, a statue, a landscape, an outline head of Caesar, or an oration. Presently we return to the sight of another that globes itself into a whole as did the first, for example, a beautiful garden; and nothing seems worth doing in life but laying out a garden.
Ralph Waldo Emerson
It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed." These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead.
For so it had come about, as indeed I and many men might have foreseen had not terror and disaster blinded our minds. These germs of disease have taken toll of humanity since the beginning of things--taken toll of our prehuman ancestors since life began here. But by virtue of this natural selection of our kind we have developed resisting power; to no germs do we succumb without a struggle, and to many--those that cause putrefaction in dead matter, for instance--our living frames are altogether immune. But there are no bacteria in Mars, and directly these invaders arrived, directly they drank and fed, our microscopic allies began to work their overthrow. Already when I watched them they were irrevocably doomed, dying and rotting even as they went to and fro. It was inevitable. By the toll of a billion deaths man has bought his birthright of the earth, and it is his against all comers; it would still be his were the Martians ten times as mighty as they are. For neither do men live nor die in vain.
Wells, H. G. (Herbert George)
No man was ever endowed with a right without being at the same time saddled with a responsibility.
Johnson, Gerald W.
Go out of the house and go into the convulsion of the world, out of history into history and the awful responsibility of Time.
Robert Penn Warren
We are at the very beginning of time for the human race. It is not unreasonable that we grapple with problems. But there are tens of thousands of years in the future. Our responsibility is to do what we can, learn what we can, improve the solutions, and pass them on.
Feynman, Richard P.
At 13 you whack off 19 times a day anyway. Imagine being on a Viagra and like a liter of Mountain Dew and home alone with the VCR on a snow day from school. His mom would come home from work and open the front door and a big avalanche of semen would come out and wash her down the street.
When power leads men towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man's concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truth which must serve as the touchstone of our judgment. The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure. He has, as Frost said, a lover's quarrel with the world. In pursuing his perceptions of reality, he must often sail against the currents of his time. This is not a popular role. If Robert Frost was much honored in his lifetime, it was because a good many preferred to ignore his darker truths.
Kennedy, John F.
Remaining character count: 500
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