Immigrants To The United States

"I did all the problems a little different from the rest of the class."

"We must expect that these German scientists, once they get here, will continually try to defend the actions of Germany before and during the war. Their background and education wiil have supplied them with the necessary arguments. The rocket specialists have at times tried to convince us that they worked on rockets only for the purpose of scientific research. The German atomic scientists, who failed in their attempt to make a bomb, planned to deny that they wanted to make one."

"Secrecy, it was impressed upon us at the outset, was imperative, despite the fact that our code name, ALSOS, seemed a give-away, being the Greek translation for Groves. Since General Groves was in complete charge of all Army activities relating to the atom bomb project, the inference did not take too much imagination. To make it even more obvious, the Mission's vehicles had license plates bearing the Greek letter Alpha."

"If only we could get hold of a German atomic physicist, we felt, we could soon find out what the rest of them were up to. To us physicists the problem seemed very simple. Even those of us who were not working on the atom bomb project knew pretty well what was going on over here. No amount of military security could have prevented us from knowing, difficult as it was for the military to understand this. Active scientists engaged in the same general field of research inevitably form a kind of clan; they work closely together and know all about each other's specialities and whereabouts. You can't take a group of key scientists from their accustomed haunts and have them disappear in some remote place in New Mexico, together with their families, without their colleagues who are left behind wondering about it and deriving the right conclusions. The same thing, we knew, would be true of the Germans."

"In short, we knew very little about the German uranium project, and what little we knew we almost invariably interpreted in their favor. In the long run, this was probably all to the good, since it accelerated our own work enormously. But in those days, before the invasion of Europe, we would have given a great deal to know more."

"In my study hangs a fine old horse shoe, which I found in an abandoned Western ghost town. I don't believe in superstitions, but it is supposed to work even for a nonbeliever2. It hasn't so far."

"Goudsmit stumbled to fame in 1925. For more than a decade, Niels Bohr and others had been trying to develop a quantum theory of the atom, mostly by studying atomic spectra. These consist of the energies (specific to each element) of the quanta of light, or photons, that an atom’s electrons can absorb or emit. Physicists had been struggling to make sense of anomalies that appeared in spectra when atoms were immersed in a magnetic field: some spectral levels mysteriously split into two or more. Goudsmit and his friend George Uhlenbeck, both graduate students at Leiden University in the Netherlands, had an idea. They proposed that the splitting could be explained if the electron had an intrinsic ‘spin’ that could assume one of two directions: clockwise or anticlockwise. Other physicists had discarded this idea, seeing it as marred by conceptual difficulties. ... Soon, researchers including Paul Dirac explained away the conceptual difficulties. Quantum spin was born."

"The most fruitful research grows out of practical problems."

"Indeed, in my judgment, the simplest measurements are always the best because they have the least possibility for error and the greatest likelihood of survival."

"Simple calculations based on a range of variables are better than elaborate ones based on limited input."

"If you can’t reduce a difficult engineering problem to just one 8-1/2 x 11-inch sheet of paper, you will probably never understand it."

"With the acceptance of the doctrine of evolution, old forms of thought crumbled; new ideas everywhere arose to take the place of worn-out dogmas; and we now have the spectacle of a general intellectual movement in directions strangely parallel with Oriental philosophy. The unprecedented rapidity and multiformity of scientific progress during the last fifty years could not have failed to provoke an equally unprecedented intellectual quickening among the non-scientific. That the highest and most complex organisms have been developed from the lowest and simplest; that a single physical basis of life is the substance of the whole living world; that no line of separation can be drawn between the animal and vegetable; that the difference between life and non-life is only a difference of degree, not of kind; that matter is not less incomprehensible than mind, while both are but varying manifestations of one and the same unknown reality – these have already become the commonplaces of the new philosophy."

"They are hideous Golgothas, these old intermural cemeteries of ours. In other cities cemeteries are beautiful with all that the art of the gardener and sculptor can give....There the horror is masked. Here it glares at us with empty sockets. The tombs are fissured, or have caved in, or have crumbled down into shapeless bricks and mortar...[and] crawfish undermine the walls to feast upon what is hidden within."

"Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio."

"My friends are much more dangerous than my enemies. These latter – with infinite subtlety – spin webs to keep me out of places where I hate to go, – and tell stories of me to people whom it would be vanity and vexation to meet; – and they help me so much by their unconscious aid that I almost love them."

"Japanese affection is not uttered in words; it scarcely appears even in the tone of voice; it is chiefly shown in acts of exquisite courtesy and kindness."

"How sweet Japanese woman is! All the possibilities of the race for goodness seem to be concentrated in her."

"Whatever doubts or vexations one has in Japan, it is only necessary to ask one's self: "Well, who are the best people to live with?""

"Your information is based on the meagre translations of our immense literature, if not on the unreliable anecdotes of passing travellers. It is rarely that the chivalrous pen of a Lafcadio Hearn or that of the author of "The Web of Indian Life" enlivens the Oriental darkness with the torch of our own sentiments."

"He is the writer in our language who can best be compared with Hans Christian Andersen and the brothers Grimm."

"To denounce Hearn is the same thing as a denunciation of Japan. Lafcadio Hearn was as Japanese as haiku."

"Mr Hearn began really to count as a writer only when his Hellenic qualities of mind, stunted at first by the conditions of life in North America, were at last developed among a people distinguished by somewhat of that instinctive feeling for beauty which formed an incomparable element in the genius of ancient Greece. His æsthetic sense luxuriated in a land where fineness of taste is still a common characteristic. Through the gate of their art he entered, not only into the ways of life of the Japanese, but into their moods and their religion."

"But what is after all the happiness of mere power? There is a greater happiness possible than to be lord of heaven and earth; that is the happiness of being truly loved."

"The time of illusion, then, is the beautiful moment of passion; it represents the artistic zone in which the poet or romance writer ought to be free to do the very best that he can."

"Any idealism is a proper subject for art."

"It may remain for us to learn … that our task is only beginning; and that there will never be given to us even the ghost of any help, save the help of unutterable unthinkable Time. We may have to learn that the infinite whirl of death and birth, out of which we cannot escape, is of our own creation, of our own seeking;—that the forces integrating worlds are the errors of the Past;—that the eternal sorrow is but the eternal hunger of insatiable desire;—and that the burnt-out suns are rekindled only by the inextinguishable passions of vanished lives."

"The religion of the Jesuits could never have adapted itself to the social conditions of Japan; and by the fact of this incapacity the fate of the missions was really decided in advance. The intolerance, the intrigues, the savage persecutions carried on,~-all the treacheries and cruelties of the Jesuits may simply be considered as the manifestations of such incapacity; while the repressive measures taken by Iyéyasu and his successors signify sociologically no more than the national perception of supreme danger. It was recognized that the triumph of the foreign religion would involve the total disintegration of society, and the subjection of the empire to foreign domination. Neither the artist nor the sociologist, at least, can regret the failure of the missions. Their extirpation, which enabled Japanese society to evolve to its type-limit, preserved for modem eyes the marvellous world of Japanese art, and the yet more marvellous world of its traditions, beliefs, and customs. Roman Catholicism, triumphant, would have swept all this out of existence. The natural antagonism of the artist to the missionary may be found in the fact that the latter is always, and must be, an unsparing destroyer. Everywhere the developments of art are associated in some sort with religion; and by so much as the art of a people reflects their beliefs, that art will be hateful to the enemies of those beliefs. Japanese art, of Buddhist origin, is especially an art of religious suggestion,—not merely as regards painting and sculpture, but likewise as regards decoration, and almost every product of aesthetic taste. There is something of religious feeling associated even with the Japanese delight in trees and flowers, the charm of gardens, the love of nature and of nature's voices,—-with all the poetry of existence, in short. Most)assuredly the Jesuits and their allies would have ended all this, every detail of it, without the slightest qualm. Even could they have understood and felt the meaning of that world of strange beauty.—result of a race-experience never to be repeated or replaced,—-they would not have hesitated a moment in the work of obliteration and effacement. To-day, indeed, that wonderful art-world is being surely and irretrievably destroyed by Western industrialism. But industrial influence, though pitiless, is not fanatic; and the destruction is not being carried on with such ferocious rapidity but that the fading story of beauty can be recorded for the future benefit of human civilization."

"With the massacre of Shimabara ends the real history of the Portuguese and Spanish missions. After that event, Christianity was slowly, steadily, implacably stamped out of visible existence. It had been tolerated, or half tolerated, for only sixty-five years: the entire history of its propagation and destruction occupies a period of scarcely ninety years. People of nearly every rank, from prince to pauper, suffered for it thousands endured tortures for its sake - tortures so frightful that even three of those Jesuits who sent multitudes to useless martyrdom were forced to deny their faith under the infliction;* and tender women, sentenced to, the stake, carried their little ones with them into the fire, rather than utter the words that would have saved both mother and child. Yet this religion, for which thousands vainly died, had brought to Japan nothing but evil disorders, persecutions, revolts, political troubles, and war. Even those virtues of the people which had been evolved at unutterable cost for the protection and conservation of society, - their self-denial, their faith, their loyalty, their constancy and courage, - were by this black creed distorted, diverted, and transformed into forces directed to the destruction of that society. Could that destruction have been accomplished, and a new Roman Catholic empire have been founded upon the ruins, the forces of that empire would have been used for the further extension of priestly tyranny, the spread of the Inquisition, the perpetual Jesuit warfare against freedom of conscience and human progress. Well may we pity the victims of this pitiless faith, and justly admire their useless courage: yet who can regret that their cause was lost? ... Viewed from another standpoint than that of religious bias, and simply judged by its results, the Jesuit effort to Christianize Japan must be regarded as a crime against humanity, a labour of devastation, a calamity comparable only, - by reason of the misery and destruction which it wrought, - to an earthquake, a tidal-wave, a volcanic eruption."

"After the first recognition even by theology of physical evolution, it was easy to predict that the recognition of psychical evolution could not be indefinitely delayed; for the barrier erected by old dogma to keep men from looking backward had been broken down. And today for the student of scientific psychology the idea of pre-existence passes out of the realm of theory into the realm of fact, proving the Buddhist explanation of the universal mystery quite as plausible as any other. "None but very hasty thinkers," wrote the late Professor Huxley, "will reject it on the ground of inherent absurdity. Like the doctrine of evolution itself, that of transmigration has its roots in the world of reality; and it may claim such support as the great argument from analogy is capable of supplying.”"

"A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell'."

"[Max] Ernst continued - as he himself said - the tradition of what the German Romantics called 'inner landscapes'. Few statements encapsulate the mindset of this Surrealist artist as aptly as these words by Caspar David Friedrich, the ultimate Romantic painter: 'The painter should not just paint what he sees before him, but also what he sees in himself. If he sees nothing in himself, however, then he should forebear to paint what he sees before him.'"

"Max Ernst is above all an artist in the limited sense-a man who paints with taste and sensibility. He used these gifts to convey his vision-his symbolic vision-just as Blake used his poetic sensibility to convey his symbolic vision. After a century or so we have arrived at the point of accepting the genius of Blake; in the same mood we should be able to accept instantly the comparable genius of Ernst."

"The Dada movement was an anti-movement which corresponded to a need born of the first World War.. .Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism.. .In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious."

"Reader, when you cross the threshold of Max Ernst's world abandon all hope of receiving help from the outside.. ..you will have to walk alone"

"Quote of Benjamin Péret, (1926), in 'Cahiers d'art', 1937, p. 60; as cited by Edward Quinn in Max Ernst, Barcelona, Poligrafa, 1984, p.140"

"He had the ears of an oyster"

"Quote of Paul Éluard, his poem on Max Ernst in 'Capitale de la douleur', 1926; as cited by Edward Quinn in Max Ernst, Barcelona, Poligrafa, 1984, p.132"

"First contact with occult, magical and enchanting forces. One of his best friends, a very intelligent and affectionate pink cockatoo, died in the night of 5 January. It was a terrible shock for Max when he found the dead bird in the morning, at the same moment as his father told him of the birth of his sister, Loni. The boy's consternation was so great that he fainted. In his imagination, he linked the two events and made the baby responsible for extinguishing the bird's life. A series of psychological crises and depressions followed. A dangerous amalgamation of birds and human beings became firmly established in his mind and later found expression in his paintings and drawings."

"Mixed feelings when he [Max Ernst frequently writes about himself in the third person] enters the forest for the first time: delight and oppression. And what the Romantics spoke of as 'being at one with Nature'. Wonderful joy in breathing freely in an open space, but also anxiety at being encircled by hostile trees. Outside and inside at the same time, free and trapped."

"Art has nothing to do with taste, art is not there to be 'tasted'. Yet a certain mayor believes that art exists to be 'judged', and the most modern art to be 'judged from a business point of view'. That such an original thought could emerge from a mayor's brain! What the mayor wants is exactly what the critics of the large and small dailies actually do. They set out to judge art. That is a very pleasant occupation, because no matter how wrong a judgment may be, you never have to revise it. The art judges talk about 'ability' and complain that the 'younger generation' has lost this ability. Sometimes their complaints are even seriously intended. But, gentlemen, do you really know what that is — ability? No, you don't."

"Laymanship"

"The painter"

"A painter may know what he does not want."

"Two artists can suggest two different subject matters and two completely different pictures by using the same spot. Every picture demonstrates certain aspects from the inner life of the painter who made it. For this reason, the orthodox Tachist is wary of letting himself be influenced by Leonardo's famous wall.. .I grant the painter the right to speak, to laugh, to take a stand and to draw upon all his hallucinatory faculties. But I absolutely refuse to live like a Tachist."

"Woman's nakedness is wiser than the teachings of the philosophers. [the title of his essay]"

"A painter may know what he doesn't want. But woe be to him if he desires to know what he wants. A painter is lost if he finds himself. Max Ernst considers his sole virtue to be that he has managed not to find himself."

"Studies in painting: Non. He learned to express himself by means of art in the same way as the child learns to talk. No teaching is needed for the one who is born an artist, and even the expression 'self-taught' is a phony, he thinks."

"A picture that I painted after the defeat of the Republicans in Spain [in 1936, Max Ernst was a resolute opponent of the Spanish dictator General Franco, who was supported by Germany's Nazi regime] is 'The Fireside Angel'. This is, of course, an ironic title for a rampaging beast that destroys and annihilates anything that gets in its way. This was my idea at the time of what would probably happen in the world, and I was right."

"I saw a shady forest and therein a crowd of nightingales. The nightingales as to their breast were rough and hairy, and as to their feet some were like calves, some like panthers, and some like wolves, and they had beast's claws instead of toes."

"Max Ernst died the 1st of August 1914. He resuscitated the 11th of November 1918 as a young man aspiring to become a magician and to find the myth of his time."