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Attributions to Diderot of similar statements also occur in various forms, ie: "Men will never be free until the last king is strangled with the entrails of the last priest."

 

Denis Diderot

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Our initial sensory data are always "first derivatives," statements about differences which exist among external objects or statements about changes which occur either in them or in our relationship to them. Objects and circumstances which remain absolutely constant relative to the observer, unchanged either by his own movement or by external events, are in general difficult and perhaps always impossible to perceive. What we perceive easily is difference and change — and difference is a relationship.

 

Gregory Bateson

 

"There are only two possible statements that can be made about the worlds," the Black Pope of the Carlist Hills had lectured one day. "Alpha: There is a God. Omega: there is not a God. To adhere to either of these two statements strongly is to be logical at least. Not to do so is to be in the snivelling wasteland between and to have no point of contact with logic or reason."

 

R. A. Lafferty

 

"No golden age to discover now," he whispered. "No end to disease and starvation. No, bright sparkling cities reaching the clouds ... All that I have lived for is gone now. I am so tired." "Then think on this, priest: You stopped the Eternal from finding greater weapons. Your actions here have led to her death. The world is free again." "Free? Of one tyrant perhaps. You think there will be no others?" "No, I do not. But I know there will always be men to stand against them. You grieve because of a pure magic lost. That magic was corrupted by evil. This is how evil thrives. We find an herb that cures disease, and someone will make a poison from it. We forge iron to make a better plow, and someone will make a sharper sword. There can be no power that evil will not corrupt."

 

David Gemmell

 

Schinkel had asserted that architecture should be the expression of an idea, and, that insofar as it represented a transcendence of the intellectual over purely material considerations, the Gothic style was the best example of an architectural expression of ideas. Yet, as it happened over the next several generations Gothic was capable of expressing a variety of ideas, often contradictory. It could, for example, express the ultimate victory of spirit over matter, an architectural system "organically" related to nature, or the most logical and efficient use of masonry. It was both the visible expression of the Germanic soul and an ideal vehicle for Catholic worship. If similar forms could express such a variety of ideas, was it also possible that a variety of forms could express similar ideas? That meaning was not intrinsic in the forms but rather attached to them by tacit agreement and confirmed by the specific context? Although it is true that the Gothic Monument to the Wars of Liberation was in a "national" style while the Museum dedicated to universal cultural history was in a timeless "international" style, there is also the particular location of each building to consider: a suburban hilltop for the former and the center of the city with its monumental classical buildings for the latter. Schinkel approached each particular problem on its own terms, and this freedom from a self-consistent but doctrinaire method contributed to his success as a practicing architect even if it makes it difficult to reconstruct his "theory of architecture."

 

Karl Friedrich Schinkel

 

He was a man with a thousand stories. This was one of his favorites. In Japan for an international conference on religion, Campbell overheard another American delegate, a social philosopher from New York, say to a Shinto priest, "We've been now to a good many ceremonies and have seen quite a few of your shrines. But I don't get your ideology. I don't get your theology." The Japanese [Shinto priest] paused as though in deep thought and then slowly shook his head. "I think we don't have ideology," he said. "We don't have theology. We dance." And so did Joseph Campbell — to the music of the spheres.

 

Joseph Campbell