All Quotes

"Moreover, in evolutionary accounts of religion there’s always a flipside to pro-sociality: being friendly to “us” also means being hostile and aggressive to “them”. There is a dark side to human pro-sociality that is often sanitized in popular accounts."

"Is such a life of voluntary delusion really what you should want? Even if you don’t have any objections against untruthfulness per se, how can you foresee all of the consequences and ramifications of your false belief in an afterlife, or in any other comforting fiction?"

"Rousseau’s first Discourse is one of the earliest instances of something that would come to accompany modernity wherever it gained a foothold: biting the hand that feeds you because you know it won’t punch you in the face."

"Although over the past decades leftists have been more creative in inventing ever more novel ways of denouncing Western civilisation, the efforts of the Right should not be discounted, either."

"There is also a rich tradition of right-wing thinkers in the West cozying up to foreign dictators, theocrats, and military strongmen, who are sworn enemies of western civilisation and its liberal values."

"Personally, I think the Western penchant for vilifying our own civilisation has a more straightforward explanation: only a free and affluent civilisation like ours permits people to vilify it. Where else can you take your own political leaders to task in public, even insult and abuse them, without fear of repercussions? You shouldn’t try it in Russia or China, just as you shouldn’t have tried it in Europe before the rights revolution and the liberal constitutions of the nineteenth and twentieth centuries. Similarly, where are you free to wage a full-frontal attack on the economic and political institutions under which you live? Where can you make a fuss about problems both real and imaginary? Only in a liberal democracy. But why would you want to bite the hand that feeds you in this way? Such critics have a variety of motives, but perhaps for many, the main appeal is that in doing so they feel they are striking a heroic posture. In a Western democracy, you can pat yourself on the back for courageously “speaking truth to power,” you can even complain about being silenced and censored, while the very fact that you are able to voice these complaints out loud proves them hollow. It’s the intellectual equivalent of a soccer player theatrically flopping down onto the field to feign injury."

"Nowhere else in the world, and at no other previous time in history, have people ever had so much freedom to bite the hand that feeds them without being punched in the face for it. This leads to a paradox that was probably first described by American diplomat Daniel Patrick Moynihan:"

"Just as the ritual of life has materialized on earth since ancient times, persisting even today in the gentle light of the sun, the poetic expression establishes itself in our tangible world like a gentle sunray that confirms that the human destiny originated in the being. However, as one can notice, in the eternal corroborative kaleidoscope of existence, the contemporary society is nothing but the fruit of the creative power of the wise man that intensely investigates the direct reality, from one end to the other, to the most hidden details, and imagines it in its infinity, even if, ignoring the play with the nothingness and the barriers of the heart, today there is no doubt that the same reality is indefinitely broader than reason and than man’s illusory ambitions to truly appropriate the mysteries of the universe. The rhetoric of my (purely metaphysical) verse does nothing but interrogate the vast universe of the human condition, consubstantially transposed by the instance of the poetic thought on the eternal winding path of the natural intramundane dimension."

":In Argument poetic ("Poetic argument"), p. 3"

"Haloed with the nonchalance of the light beyond death, in the galactic trench that vaguely separates us, oh, you – dear reader!, held in the palm of the same echo of the star trembling, full of grace, from afar, what better hook than your soul fabulously emerged from a book?"

":In Argument poetic ("Poetic argument"), p. 4"

": À bon entendeur, salut! Stanza 1, lines 1–7, p. 5"

": Absent în agorá ("Absent in the Agora"). Stanza 2, lines 16–29, p. 9"

": Axis mundi. Stanza 3, lines 30–40, p. 26"

": Clinamen. Stanza 6, lines 55–60, p. 48"

": Dacă eu aș pleca? (What if I Left?). Stanza 4, lines 41–52, p. 60"

": Fericirea înaltei mirări (The Happiness of the Great Wonder). Stanza 1, lines 1–4, p. 103"

": Grădina cuantică (The Quantum Garden). Stanza 7, lines 42–48, p. 132"

": Instanța lirică (The Lyrical Instance). Stanza 6, lines 57–60, p. 166"

": Zugravul (The Painter). Stanza 2, lines 8–14, p. 445"

"Natively in-spaced by the reflex of some experiences deeply rooted in the womb of the diversity which characterises the 'the worlds of man', whence springs the light of congeneric verses being born 'in the magical logic' of the metaphysical thrill of passage, the journey of thought and feelings undertaken by the physicist-cosmologist poet, begins and unfolds through his very substance, in the dominant tone of the Existent, from his fertile interiority, that is, from and towards the 'originary', in the Einsteinian shift towards red of the spectral lines..., of things. And all this against the 'musical' background of highly accurate poetic-philosophical projections, untainted by the ephemeral, which are subsumed to the logical introspection of the evolution over time of theories aiming at the scientific knowledge of the phenomenon itself."

"The poet is a Magician, Theosophist, Philosopher, Scholar and Astrophysicist. Definitely erudition, the supersaturation of a modern knowledge are complementary to a soteriology which does not take the risk of the blamed skeptical categorizing of a sociology of "mystification". Had he not have the inborn call to the foundation of the feeling of his existential mood, Dumitru Găleşanu would not have heard about us, his readers, either from "the temple of the book", or from the "desk" from where – like an Orpheus raised from the Myth up to the surface of the "endured labyrinth", tried hard, actually speaking, to pick Eurydice up from the darkness of an (eventual) complicity with Hades... But can the beast in the human being be tamed by such a new knowledge (intuition-mystic reason-transmodernism) – and can it be eluded through Poetry (imitatio Dei) – La condition humaine, Montaigne’s stigma? What would "tragic condition" mean if not its contraries for the regeneration, or the eternal return?"

"Is it serious that children and young people cannot read and write, but it is okay that they cannot calculate and interpret the numbers around them when they appear in subjects and contexts other than mathematics class? It is not much to demand that teachers who will teach our children in the various subjects at school have basic skills in mathematics."

"Getting a math assignment done is almost better than sex and orgasm."

"I remember the math classes there with horror and dread. The classroom was dark, and the teacher had a completely expressionless face and voice. I thought, am I going to sit here and do these math problems day in and day out?."

"At a time when poetic experiments have grown weary, when petty self-referentiality and the lamentations of the civic self have replaced the thrills of the exponential Self, when the benevolent propagandistic impulse, far more insidious than that imposed by totalitarian ideologies, manifests itself with irrepressible ease, a poetry that looks upward, that contemplates stellar combustions and perceives quanta of light, that investigates multiple universes and the entire existence itself solely through the lens of incorruptible thought and major acts of consciousness seems, if not impossible, at least of maximum strangeness. Despite this assumption, drawn directly from the configuration of the contemporary lyrical phenomenon, a discourse such as that contained in Dumitru Găleşanu Axioms of Infinity proves that everything is possible and that minor times have no way of supressing or thwarting major stakes. In a certain way, Găleşanu’s discourse, paradoxical in its ability to be simultaneously geometric and alluvial, does precisely that, it eludes historical time, escapes from the circumstances of concrete life imperceptibly transforms itself into a surprising oracular voice."

"A strange poetry is proposed to us by Dumitru Găleşanu, defying the limits of the poetic through his predilection for grand, resonant and abstract words, into which he instils a pathetic dynamism of a spectacular and rare innocence. Ancient and perennial literary motifs intertwine within the same poem with postmodern themes (some even of the most recent kind), yet the author’s plea is neither in favour of tradition nor of contemporaneity. His goal is the rediscovery, through poetry, of an essential nature and an essential humanity – a naturalness thanks to which the 'archetype of matter' might be held 'in the palm of the hand'. Dumitru Găleşanu proves to be a fervent follower of cosmodernity, the very logic of his poetry tends to be a cosmodern one."

"Dumitru Găleșanu is a rare poet nowadays (and not only nowadays). His metaphysical, authentic and irrepressible vocation opposes the aesthetic lightness without a real spiritual creativity of the most contemporary poets immersed in the dailiness of things, conjuncture and minimalism, in a mimetic modern era (N. Frye). In his poems, the tangible elements of reality that incite his eye, heart, thought and word acquire a metaphysical wing that elevates them to transcendence, projected on a cosmic screen that valorizes them. The vibration of the heart and thought is a priority in his poetry together with the spiritual vision, combining the reality of the "up-to-date" knowledge with the poetic imaginary, its rhythm dictating the layout of the verses, many times placed in multiple calligramic configurations."

"Dumitru Găleșanu shows a great loyalty to his poetic world and art. A sort of profound noosphere dealing with mathematics and metaphysics while everything happens with the aim of a poetic appeal. In other words, Dumitru’s poetics cannot avoid the poetry of science and, at the same time, the science of poetry, as a whole, mutually involved, in search of a new cosmology whose paradigm is constantly revised while the latter acquires or inherits the poetry of complexity of the reality of the world itself."

"Existentialism"

"Postmodernism"

"Human nature"

"Meaning of life"

"The challenges are very high. Women in science should manage to cope with the difficulties inside the scientific communities which range between fighting for equal opportunities, funds and positions. Sometimes this is very hard to be achieved, and they have to keep struggling for better conditions and to be equal or even comparable to their males peers."

"Allow girls and women to embrace science."

"The garden has always been subject to two main influences—the outer influence from the and the inner from the house."

"The recent obituaries of gave a measure of tribute to his engineering innovations at . It was undoubtedly he who conceived of tracks, bridges and buildings all in a single structural entity; the double-deck track fan to save space and the loop connection to circulate the trains. It was he who worked out all the details with the first official architects, , but to these winners of the competion for the new station goes the credit for the device for looping on "exterior circumferential elevated driveways" instead of through the centre of the station athwart the concourse as Wilgus had suggested."

"It was who spurred the design of , bringing from Chicago to plan his last great triumph in the late 1920s."

"Named to the Yale faculty in 1945 as assistant professor of , he eventually became director of Yale's graduate course in |city planning when it was initiated in 1950 and which he directed for the next decade. In 1962 he became professor of city planning and in 1965 he was named chairman of the department. In September 1969, as the result of a major reorganization of Yale's School of Art and Architecture, which split the school into two divisions, Professor Tunnard was appointed director of studies in planning, and remained in that post until his retirement in 1975."

"One thing I would like to mention here is that the Egyptian MAB National Committee has now been doing the same as the MAB International Coordinating Council. We are now issuing a young scientist award at the national level. It includes a 5000 EGP grant."

"We are happy to continue with this model. I encourage young scientists working in this field to apply, to both the national and international awards! I have been there, it helps a lot. The grant goes to the field, into analyses, etc."

"At that time, the Omayed Biosphere Reserve had no detailed management plan. So, when I produced this work, the data was used to establish the very first management plan. Of course, now we are continuously monitoring the biosphere reserve."

"Without an education, you can't get anywhere in Egypt, and the competition for jobs is very high."

"My parents wanted me to become a doctor, but I didn't get into the program."

"Carmela Zumbado - Delilah Alves"

"Saffron Burrows - Dottie Quinn"

"Ed Speelers - Rhys Montrose"

"Ambyr Childers - Candace Stone"

"Madeline Brewer - Brontë"

"Amy-Leigh Hickman - Nadia Farran"