"Humans lived for several million years as fully wild beings: only in the last 10, 000 did we invent agriculture; only in the last couple of centuries did we invent industry. We are a species that has spent 99 per cent of its history as hunter-gatherers. We haven't had time for our unconscious minds and our unconscious needs to have changed. If you like, our souls have not changed, and this is true whether or not we believe that we have them."

"Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas."

"It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting."

"Vito Acconci’s extraordinary career—poetry, art, architecture: a sort of triathlon of the arts—began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers’ Workshop. But when he came back to New York in the early ’60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading."

"In 1968 Ian Wilson made his final sculpture. Since then, he has explored the idea of oral communication as an art form... Wilson’s work is very hard to track down, even in terms of documentation. He has been compared to the Socratic philosophers but if there is a similarity between his practice and theirs, it probably lies mainly in the fact that everything we have from that period of philosophy takes the form of secondary fragments embedded in other texts. Wilson’s work functions almost like archaeological or geological evidence: it consists of objects that we examine in order to deduce, from scanty clues, what must have happened."

"Open the door, my princess dear, Open the door to thy true love here! And mind the words that thou and I said By the fountain cool, in the greenwood shade."

"The creation of economic “stories” from real life is an ongoing process—because new stories appear every day."

"Mendelian genetics was a rather abstract subject, since no one knew what genes were actually made of, or how they operated. The first great leap forward came when biochemists demonstrated that each step in a biochemical pathway was determined by a single gene. Each biosynthetic reaction is carried out by a specific protein known as an enzyme. Each enzyme has the ability to mediate one particular chemical reaction and so the one gene—one enzyme model of genetics (Fig. 1.02) was put forward by G. W. Beadle and E. L. Tatum, who won a Nobel prize for this scheme in 1958. Since then, a variety of exceptions to this simple scheme have been found. For example,some complex enzymes consist of multiple subunits, each of which requires a separate gene."

"Durch alle Töne tönet Im bunten Erdentraum Ein leiser Ton gezogen Für den, der heimlich lauschet."

"...a boat visiting the wild places on Lake Lucerne by moonlight."

"Globalization has brought a new challenge to Europe: migration."

"Schumpeter’s work, his dynamic view of the entrepreneur and creative destruction has had a great impact on me. He indeed wrote a book, Capitalism, Socialism and Democracy, which intended to give a complex analysis of the two systems. But these two books, and a few others (e.g., some of Mises’s and Hayek’s works) are rather exceptional. A typical American textbook on economic systems is not written with the same ambition about capitalism with which I wrote about socialism. It doesn’t give you a general model of capitalism, including the characterization of the political, ideological, and social spheres."

"Carl Schmitt in theory is one thing; confined to a few conservatives on the right and a somewhat greater number of envious postmodernists on the left, Schmitt’s ideas have not reached the informed reading public. Schmitt’s books are destined to be confined to the political theory seminar room for some time to come."

"Like other German theorists of the state, Carl Schmitt held to the idea that politics is always about violence; if we really and truly disagree with other people, we ought to treat them as enemies. Fish does not follow Schmitt this far. To be sure, he fills his books with examples of people who ought to, and usually do, hate each other: secular liberals dealing with religious fundamentalists; full-stop opponents of affirmative action confronting those who support it; defenders of speech codes and critics of hate-crime laws."

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