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I adopted the theory of Reincarnation when I was twenty six. Religion offered nothing to the point. Even work could not give me complete satisfaction. Work is futile if we cannot utilise the experience we collect in one life in the next. When I discovered Reincarnation it was as if I had found a universal plan I realised that there was a chance to work out my ideas. Time was no longer limited. I was no longer a slave to the hands of the clock. Genius is experience. Some seem to think that it is a gift or talent, but it is the fruit of long experience in many lives. Some are older souls than others, and so they know more. The discovery of Reincarnation put my mind at ease. If you preserve a record of this conversation, write it so that it puts men’s minds at ease. I would like to communicate to others the calmness that the long view of life gives to us.
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Interview in the San Francisco Examiner (26 August 1928)

 

Henry Ford

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The whole of Asia believes in reincarnation, in being reborn in another life. When you enquire what it is that is going to be born in the next life, you come up against difficulties. What is it? Yourself? What are you? a lot of words, a lot of opinions, attachments to your possessions, to your furniture, to your conditioning. Is all that, which you call the soul, going to be reborn in the next life? Reincarnation implies that what you are today determines what you will be again in the next life. Therefore behave! — not tomorrow, but today, because what you do today you are going to pay for in the next life. People who believe in reincarnation do not bother about behavior;t all; it is just a matter of belief, which has no value. Incarnate today, afresh not in the next life! Change it now completely, change with great passion, let the mind strip itself of everything, of every conditioning, every knowledge, of everything it thinks is "right" — empty it. Then you will know what dying means; and then you will know what love is. For love is not something of the past, of thought, of culture; it is not pleasure. A mind that has understood the whole movement of thought becomes extraordinarily quiet, absolutely silent. That silence is the beginning of the new.

 

Jiddu Krishnamurti

 

The ethical thesis that every human being has a calling expresses that there is a rational order of things, in which every human being, if he so wills, fills his place in such a way that he simultaneously expresses the universally human and the individual. As soon as talent is not regarded as a calling-and if it is regarded as a calling ever human being has a calling-the talent is absolutely egotistic. Therefore, everyone who bases his life on a talent establishes to the best of his ability a robber existence. He has no higher expression for the talent than that it is a talent. Consequently, this talent want to advance in all its difference. Therefore, every talent has a tendency to make itself central; every condition must be present to promote it, because only in this wild onrushing is there the genuinely esthetic enjoyment of the talent. If there is a concurrent talent going in another direction, they clash in a life-and-death struggle, since they have no concentricity, no higher shared expression. So our hero has found what he was looking for, a work from which he can live; he has also found a more significant expression for the relation of this work to his personality: it is his calling-consequently, the carrying out of it is bound up with a satisfaction for his whole personality. He has also found a more significant expression for his relation of his work to other people, inasmuch as his work is his calling, he is thereby placed essentially on the same level as all other human beings. Hence through his work he is doing the same as everyone else-he is carrying out his calling. He insists on this acknowledgment; he does not insist on more, for this is the absolute. “If my calling is a humble one,” he says, “I can nevertheless be faithful to my calling, and then according to what is essential I am as great as the greatest. If my calling is humble, I can nevertheless, be unfaithful to it, and if I am, I am committing just as great a sin as the greatest. I shall not be so foolish as to want to forget the differences or to believe that my unfaithfulness would have just as corrupting consequences for the whole as the unfaithfulness of the greatest-to do so would be of no benefit to me; I myself would be the one who would lose the most.” The ethical view, then, that every human being has a calling, has two advantages over the esthetic theory of talent. First, it does not account for anything accidental in existence but for the universal; second, it shows the universal in its true beauty. In other words, the talent is not beautiful until it is transfigured into a calling, and existence is not beautiful until every person has a calling. (…)When a person has a calling he generally has a norm outside himself, which, without making him a slave, nevertheless gives him some indication of what he has to do, maps out his time for him, often provides him with the occasion to begin. If at some time he fails in his task, he hopes to do it better the next time, and this next time is not so very far away. Our hero has found a more beautiful expression for the relation of his work to the work of other men-that it is a calling. So he has been acknowledged, has received his credentials. But now when he carries out his calling-yes, then he finds his satisfaction in it, but he also insists on an expression of the relation of this activity to other people; he insists on accomplishing something. At this point he may again go astray. The esthete will explain to him that the satisfaction of the talent is the highest, and whether he accomplishes something or does not accomplish anything is entirely beside the point. He may encounter a practical narrow-mindedness that in its bungling zeal thinks it is accomplishing everything, or an esthetic snobbery that thinks that accomplishing something in the world falls to the lot of a chosen few, that there are a few very talented individuals who accomplish something, that the rest of the people are ciphers, superfluities in life, extravagances of the creator. But none of these explanations helps our hero.

 

Soren Aabye Kierkegaard

 

I hope I may be allowed to remark that recent inventions and improvements enabling works of art to be duplicated faithfully, easily, and safely may properly be used to give industry a direction in which beauty is as important as utility. I cannot, as many do, regret the mechanical process that turns the artist's attention increasingly towards the intellectual element in the production of a work of art; something that no machinery can replace. Anything that a machine can imitate and duplicate perfectly is no longer in the realm of art. But as a work of art can be mechanically duplicated both faithfully and with ease, and this distributed to all classes of society, if the knowledge of that work need no longer be acquired solely in museums or in those private collections to which access is difficult, then we may hope that here and there one of the seeds thus broadcast will take root and eventually bear fruit.

 

Karl Friedrich Schinkel

 

Within the next ten years Rossum's Universal Robots will produce so much wheat, so much cloth, so much everything that things will no longer have any value. Everyone will be able to take as much as he needs. There'll be no more poverty. Yes, people will be out of work, but by then there'll be no work left to be done. Everything will be done by living machines. People will do only what they enjoy. They will live only to perfect themselves... But before that some awful things may happen, Miss Glory. That just can't be avoided. But then the subjugation of man by man and the slavery of man to matter will cease. Never again will anyone pay for his bread with hatred and his life. There'll be no more laborers, no more secretaries. No one will have to mine coal or slave over someone else's machines. No longer will man need to destroy his soul doing work that he hates.

 

Karel Capek

 

"The best experience (while working with Grant Mohrman)? Watching movies and eating junkfood when we were too burnt to work anymore. That and finding someone who I can work with, understands me musically and otherwise and someone I know I will work with for a long time to come... I don't generally work with anyone, but Grant has brought valuable things to the project and I felt it was time to let someone in, so to speak."

 

Klayton