Academics From Germany

"He [Einstein] calls my way of describing the physical world 'incomplete'; in his eyes this is a flaw which he hopes to see removed, while I am prepared to put up with it. I have in fact always regarded it as a step forward, because an exact description of the state of a physical system presupposes that one can make statements of infinite precision about it, and this seems absurd to me. It seems to me that I have followed Einstein's own way of thinking in accordance with his theory of relativity, which recognizes the impossibility of locating any point in time and space absolutely, and therefore concludes that the concept of absolute place and time determination does not make sense. This is at the base of the whole of his mighty edifice. But he did not want to acknowledge the analogy of the situation in the quantum theory."

"In combination with other infernal contraptions, like rockets to deliver bombs at large distances, chemical, biological and radioactive poisons, such a war must mean a degree of human suffering and degradation which is beyond the power of imagination. No country would be immune, but those with highly developed industry would suffer most. It is very doubtful whether our technological civilization would survive such a catastrophe. One may be inclined to regard this as no great loss, but as a just punishment for its shortcomings and sins: the lack of productive genius in art and literature, the neglect of the moral teachings of religion and philosophy, the slowness to abandon outdated political conceptions, like national sovereignty. Yet we are all involved in this tragedy, and the instinct of self-preservation, the love of our children, makes us think about a way of salvation."

"The dance of atoms, electrons and nuclei, which in all its fury is subject to God's eternal laws, has been entangled with another restless Universe which may well be the Devil's: the human struggle for power and domination, which eventually becomes history. My optimistic enthusiasm about the disinterested search for truth has been severely shaken. I wonder at my simplemindedness when I re-read what I said on the modern fulfilment of the alchemists dream: "Now however, the motive is not the lust for gold, cloaked by the mystery of magic arts, but the scientists' pure curiosity. For it is clear from the beginning that we may not expect wealth too." Gold means power, power to rule and to have a big share in the riches of this world. Modern alchemy is even a short-cut to this end, it provides power directly; a power to dominate and to threaten and hurt on a scale never heard of before. And this power we have actually seen displayed in ruthless acts of warfare, in the devastation of whole cities and the destruction of their population."

"America has grown by expansion in a practical vacuum; the pioneers of the West had to overcome terrific natural obstacles, but negligible human resistance. The Russia of today had to conquer not only natural but human difficulties: she had to break up the rotten system of the Czars and to assimilate backward Asiatic tribes; now she has set herself the task of bringing her brand of modernization to the ancient civilizations of the Far East. For this purpose it is indispensable to have a well-defined doctrine full of slogans, which appeals to the needs and instincts of the poverty-stricken masses. Thus one understands the power which Marx's philosophy has gained in the East. What can we scientists do in this conflict? We can join the spiritual, religious, philosophical forces, which reject war on ethical grounds. We can even attack the ideological foundations of the conflict itself. For science is not only the basis of technology but also the material for a sound philosophy."

"There are metaphysical problems, which cannot be disposed of by declaring them meaningless. For, as I have repeatedly said, they are "beyond physics" indeed and demand an act of faith. We have to accept this fact to be honest. There are two objectionable types of believers: those who believe the incredible and those who believe that "belief" must be discarded and replaced by "the scientific method.""

"The world of Man's experience is infinitely rich and manifold, but chaotic and involved with the experiencing being. This being strives to arrange his impressions and to agree with others concerning them. Language and art, with their numerous modes of expression, are such ways of transmission from mind to mind, complete in their way where objects of the sense-world are concerned, but not well suited to the communication of exact ideas concerning the outer world. This marks the beginning of the task of science. From the multitude of experiences it selects a few simple forms, and constructs from them, by thought, an objective world of things. In physics, all 'experience' consists of the activity of constructing apparatus and of reading pointer instruments. Yet the results thereby obtained suffice to re-create the cosmos by thought. At first images are formed which are much influenced by observation; gradually, the conceptions become more and more abstract, old ideas are rejected and replaced by new ones. But, however far the constructed world of things departs from observation, nevertheless it is indissolubly linked at its boundaries to the perceptions of the sense, and there is no statement of the most abstract theory that does not express, ultimately, a relation between observations. That is why each new observation shakes up the entire structure, so that theories seem to rise and fall. This, however, is precisely what charms and attracts the scientist. The creation of his mind would be a melancholy thing, did it not die and come to life once more."

"The belief that there is only one truth and that oneself is in possession of it, seems to me the deepest root of all that is evil in the world."

"The scientist's urge to investigate, like the faith of the devout or the inspiration of the artist, is an expression of mankind's longing for something fixed, something at rest in the universal whirl: God, Beauty, Truth. Truth is what the scientist aims at. He finds nothing at rest, nothing enduring, in the universe. Not everything is knowable, still less predictable. But the mind of man is capable of grasping and understanding at least a part of Creation; amid the flight of phenomena stands the immutable pole of law."

"Intellect distinguishes between the possible and the impossible; reason distinguishes between the sensible and the senseless. Even the possible can be senseless."

"I am now convinced that theoretical physics is actually philosophy. It has revolutionized fundamental concepts, e.g., about space and time (relativity), about causality (quantum theory), and about substance and matter (atomistics). It has taught us new methods of thinking (complementarity), which are applicable far beyond physics."

"Can we call something with which the concepts of position and motion cannot be associated in the usual way, a thing, or a particle? And if not, what is the reality which our theory has been invented to describe? The answer to this is no longer physics, but philosophy. … Here I will only say that I am emphatically in favour of the retention of the particle idea. Naturally, it is necessary to redefine what is meant. For this, well-developed concepts are available which appear in mathematics under the name of invariants in transformations. Every object that we perceive appears in innumerable aspects. The concept of the object is the invariant of all these aspects. From this point of view, the present universally used system of concepts in which particles and waves appear simultaneously, can be completely justified. The latest research on nuclei and elementary particles has led us, however, to limits beyond which this system of concepts itself does not appear to suffice. The lesson to be learned from what I have told of the origin of quantum mechanics is that probable refinements of mathematical methods will not suffice to produce a satisfactory theory, but that somewhere in our doctrine is hidden a concept, unjustified by experience, which we must eliminate to open up the road."

"I believe there is no philosophical high-road in science, with epistemological signposts. No, we are in a jungle and find our way by trial and error, building our road behind us as we proceed. We do not find signposts at crossroads, but our own scouts erect them, to help the rest."

"If God has made the world a perfect mechanism, He has at least conceded so much to our imperfect intellect that in order to predict little parts of it, we need not solve innumerable differential equations, but can use dice with fair success."

"The continuity of our science has not been affected by all these turbulent happenings, as the older theories have always been included as limiting cases in the new ones."

"I must give some attention to the delicate question of religion, on which I have touched already. In my father's generation this question still was discussed with passion. Since then a sort of truce has existed in the countries of the West, while in the communist states of the East atheism has been made into the State religion. It is not advisable to blow on the embers of such controversies. But as I am talking about the limitations of our physical world picture I cannot but say that I do not believe in transgressions of the laws of nature. As these laws are of a statistical nature, and therefore allow deviations from the norm, I must define more clearly what I mean. The statistical deviations themselves obey certain laws. The miraculous events of religious tradition, however, are of a different kind, they lie on a different plane altogether; they are meant to prove something lying entirely beyond scientific consideration, such as the power of prayer, the intervention of divine power for or against certain men or nations."

"It is true that many scientists are not philosophically minded and have hitherto shown much skill and ingenuity but little wisdom."

"I... refer to the... Waynflete Lectures given by... E. D. Adrian, on The Physical Background of Perception because the results of physiological investigations seem... in perfect agreement with my suggestion about the meaning of reality in physics. The messages which the brain receives have not the least similarity with the stimuli. They consist in pulses of given intensities and frequencies, characteristic for the transmitting nerve-fiber, which ends in a definite place in the cortex. All the brain 'learns' (I use... the objectionable language of the 'disquieting figure of a little hobgoblin sitting... aloft in the ') is a distribution or a 'map' of pulses. From this information it produces the image of the world by a process which can metaphorically be called a consummate place of combinatorial mathematics: it sorts out of the maze of indifferent and varying signals invariant shapes and relations which form the world of ordinary experience."

"Friedrich empties his canvas in order to imagine, through an invocation of the void, an infinite, unrepresentable God."

"How does Friedrich persuade us, again and again, that we are at the very edge of the natural world, ready at last to immerse ourselves in something that, for want of a better word, must be called the supernatural – a domain of the mystical speculation about human life and afterlife that before the Romantics found a proper home in the church?"

"To see any of Friedrich's paintings as simply nationalist is, however, mistaken. His paintings are not celebrations of German mysticism so much as examinations of it. Friedrich uses the emptiness of the Baltic shore and the Thuringian forest to suggest the hubris of empire. He is not the prophet of German territorial ambition but its satirist. Friedrich's theme is the unconquerability of space. Human beings are tiny interlopers in a world they can never hope to rule. He exposes authority - of the monarchical states, Prussia and the rest, from which German liberals felt so alienated."

"It is significant, as William Vaughan remarks in his introduction to Borsch-Supan's catalogue, that churches never appear in Friedrich's work except in the distance, as unreal visions, or as ruins. The visible Church is dead, only the invisible Church, in the heart or revealed through Nature, is alive. This is part of Friedrich's Pietist heritage, a personal religion that refuses all outward forms, all doctrine. To put a landscape on an altar is an aggressive act, as destructive of the old forms as it is creative of a new sensibility."

"Friedrich's written commentary on aesthetics was limited to a collection of aphorisms set down in 1830, in which he explained the need for the artist to match natural observation with an introspective scrutiny of his own personality."

"When not converging on literally nothing, his pictorial schemes address objects that are either remote, like the moon, or obdurate, like the battered oak. Human figures intercept our gaze and transmit it into ineffable distance. The pictures don't give; they take. Something is drawn out of us with a harrowing effect, which Friedrich's use of color nudges toward intoxication. What at first seem to be mere tints in a tonal range combust into distinctly scented, disembodied hues: drenching purples and scratchy russets, plum."

"Friedrich is recognized today as the supreme German painter of the Romantic era, but in his own time his genius was not so widely acknowledged. This was not because the aims of his art were foreign to the interests of his generation. On the contrary, his allusions to the spiritual in nature, his close study of the local landscape, and his emphasis on the need for inspiration were all commonplace preoccupations of the period. His art was undervalued because it explored these areas with a new uncompromising vision that was too personal and original to be easily grasped."

"The isolation of Friedrich's back-view figures [in his pictures] underscores their importance. They are alone, solitary, in pairs or in a small group, in a natural setting. They are aliens in the elementary coordinate system of nature. One always feels that they have only just now entered the painting, to pause for a long moment and then go on."

"[Friedrich] worked in the frigid technique of his time, which could hardly inspire a school of modern painting.."

"Whenever a storm with thunder and lightning moved over the sea, he would hurry out to the top of the cliffs as if he had a pact of friendship with the forces of nature, or even went on into the oakwood where the lightning had split a tall tree from top to bottom, which led him to murmur: 'How great, how mighty, how wonderful!' Thus a friend remembered the wanderings of Caspar David Friedrich as a young painter on the Baltic island of Rugen in 1802. It was Friedrich's favorite posture: Homo romanticus out in the weather, saluting the crag."

"Here is a man who has discovered the tragedy of landscape."

"Friedrich, with his somewhat stiff and diffuse but highly poetic manner, was the first artist — in painting as a whole, but more especially in landscape painting — who ever assailed and shook up the philistines of Dresden. There had been a great stir when one of his paintings, a crucifix on a rock beneath dark fir trees and against the dying glow of an evening sky, had given rise to a literary controversy conducted on Friedrich's behalf by his friend Gerhard von Kügelchen [Kügelgen] and on the opposing side by a prosaic dilettante, a certain Herr von Ramdohr — to the latter's eventual discomfiture."

"He never made the obligatory journey south to study in Rome; his subject matter was the foggy and precipitous vista, sublimely expansive and filled with premonitory brooding. The writer Ludwig Tieck believed Friedrich was the Nordic genius incarnate, whose mission was "to express and suggest most sensitively the solemn sadness and religious stimulus which seem recently to be reviving our German world in a strange way." Friedrich's work, the Dresden painter Ludwig Richter remarked in 1825, does not deal with "the spirit and importance of nature.. ..Friedrich chains us to an abstract idea, using the forms of nature in a purely allegorical manner, as signs and hieroglyphs.""

"He [Friedrich] was indeed a strange mixture of temperament, his moods ranging from the gravest seriousness to the gayest humor.. ..But anyone who knew only this side of Friedrich's personality, namely his deep melancholic seriousness, only knew half the man. I have met few people who have such a gift for telling jokes and such a sense of fun as he did, providing that he was in the company of people he liked."

"This picture [ 'Man and Woman contemplating the Moon',] full of sentiment and the quietness of nature, was painted by Friedrich in 1819 and he gave it to me in exchange for one of my own works. Friedrich had to copy it several times, but he did not approve of this, hence others copied it as well. Only the deserved destination for the picture, the Royal Picture Gallery, could convince me to part with it."

"In landscape it was Friedrich above all whose profound and vigorous mind, with total originality, laid hold of this tangle of banality, staleness, and tedium and—cutting through it with a mordant melancholy — raised from its midst a distinctively new and radiant poetic tendency."

"What a picture of death this landscape is!.. ..one shudders when looking at it."

"He never made sketches, cartoons, or color studies for his paintings, because he stated (and certainly he was not entirely wrong), that such aids chill the imagination somewhat. He did not begin to paint an image until it stood, living, in the presence of his soul.."

"We visited Friedrich's atelier today. Listening to him and seeing his paintings was wonderful. He has some bonhomie which pleases people and his paintings reveal his romantic imagination. As a rule, he expresses in them one thought or feeling, though vaguely. You may meditate over his paintings but not have a clear understanding of them, for they are vague even in his soul. They are dreams or daydreams. He often employs very simple natural things, such as an ice block floating on sea waves, a few trees in a dale, window of his room (facing the beautiful Elbe), knight meditating over ruins or tombstones, monk staring into the distance or below his feet: all this captivates your soul, plunges you into dreams, all invokes your imagination, powerfully though vaguely."

"The revolutionaire and seaport scenes of Lorrain [French painter Claude Lorrain, strongly admired by Friedrich] contain many artistic principles which form an important part of Friedrich’s style: melting distances where water and sky merge as one, the portrayal of a dreamlike unreal world beyond, seascapes in which early morning light dissolves into mist which engulfs ships that appear as mysterious aspparations, magically floating in fluid ether. The assumtion that Friedrich is an isolated figure in the history of art is not correct."

"[Friedrich] ignores the use of light [and] does not strive to adjust his colors to one another or to create a harmony.. ..[but his pictures were] thought-out inventions.."

"From time to time I see the painter Friedrich here. He has started a large landscape [the painting 'Cemetery at Dusk'].. .A large iron gate, which leds into a cemetery, stand open; by the gate, leaning on one of his posts and partly covered by its shadow, a man and a woman can be seen.. ..who have just buried their child and in the night are looking at its grave.. ..it is just a little grass mound, besides which one can see a spade, Streaks of mist lie over the cemetery, they hide the tree trunks from sight so that they seem detached from the ground. One can make out other graves through the misty veil, and, above all, natural monuments[!]; an upright stone looks like a grey ghost."

"Artists and connoisseurs saw in Friedrich's art only a kind of mystic, because they themselves were only looking out for the mystic.. ..They did not see Friedrich's faithful and conscientious study of nature in everything he represented."

"LADY: Oh, I felt so at home in front of the picture, it truly touched me. It is truly lifelike, and when you were talking like that, it was all hazy, just like when I went for a walk beside the sea with our philosophical friends. I only wish that a fresh sea breeze was blowing and a sail was coming in, and that there was a glint of sunlight and the water was lapping. As it is, it's like a dream, having a nightmare or feeling homesick — let's move on, it's making me feel sad."

"A TALL, FORBEARING MAN: I am glad that there is still one landscape painter who pays attention to the strange conjunctures of the seasons and the sky, which produce the most striking effects in even the poorest regions. True, I would prefer it if he also had the gift and the technique to represent it truthfully; in this respect he is as far inferior to some of the Dutch School who have painted subjects similar to this as he is their superior in his overall approach."

"FIRST GENTLEMAN: Magnificent, certainly, you are right. (to the Lady) But, my dear, you have not said a word."

"FIRST GENTLEMAN: Yes, he is the soul, the heart, the whole picture's reflection in itself and on itself."

"SECOND GENTLEMAN: [the monk].. ..he does predict the weather, he is the one within the wholeness, the lonely center in the lonely circle."

"SECOND GENTLEMAN: How divinely the figure is chosen, it is not merely a device to show the height of the other objects, as in the work of the common run of painters. He is the subject itself, he is the picture; and as he seems to dream himself into this setting, as if into a sad mirror of his isolation, so the ship-less, enclosing sea, which binds him like a vow,"

"..northerly Ossianic nature reflected the icy air and the chalck-cliffed coasts of the Baltic Sea where he was brought up."

"FIRST YOUNG LADY: Oh yes, I'd like to fish for a nice amber necklace for myself."

"GENTLEMAN: Magnificent, magnificent! This is the only artist who expresses a soul in his landscapes. There is a great individuality in this picture, high truth, solitude, the overcast, melancholy sky — he knows what he’s painting all right."

"GOVERNESS: Why did he paint nothing but dull skies? How lovely it would be if he had painted some men gathering amber on the seashore."