Buddhists From The United States

"Ramsey could contain the question no longer. "What's your definition of sanity, Skipper?" "The ability to swim," said Sparrow...."That means the sane person has to understand currents, has to know what's required in different waters.""

"Religious services, thought Ramsey. Here's one of the binding forces of this crew. Participation Mystique! The consecration of the warriors before the foray."

"A man is a fool not to put everything he has, at any given moment, into what he is creating. You're there now doing the thing on paper. You're not killing the goose, you're just producing an egg. So I don't worry about inspiration, or anything like that. It's a matter of just sitting down and working. I have never had the problem of a writing block. I've heard about it. I've felt reluctant to write on some days, for whole weeks, or sometimes even longer. I'd much rather go fishing, for example, or go sharpen pencils, or go swimming, or what not. But, later, coming back and reading what I have produced, I am unable to detect the difference between what came easily and when I had to sit down and say, 'Well, now it's writing time and now I'll write.' There's no difference on paper between the two."

"Dune was aimed at this whole idea of the infallible leader because my view of history says mistakes made by a leader (or made in a leader's name) are amplified by the numbers who follow without question. That's how 900 people wound up in Guyana drinking poison Kool-Aid. That's how the U.S. said "Yes, sir, Mister Charismatic John Kennedy!" and found itself embroiled in Vietnam. That's how Germany said "Sieg Heil!" and murdered more than six million of our fellow human beings."

"One of the most important things is corporate politics. Big corporations are bureaucracies that often promote people who are best at covering their asses. Such people run scared, fearful of any suggestion they can make mistakes. And they surround themselves with others who run the same way. Don't take risks. Find out what succeeds and copy it."

"What I'm saying in my books boils down to this: Mine religion for what is good and avoid what is deleterious. Don't condemn people who need it. Be very careful when that need becomes fanatical."

"Technology is both a tool for helping humans and for destroying them. This is the paradox of our times which we're compelled to face."

"I’ve heard you say, Bell, that logic is good for playing pyramid chess but often too slow for needs of survival."

"All governments suffer a recurring problem: Power attracts pathological personalities. It is not that power corrupts but that it is magnetic to the corruptible. Such people have a tendency to become drunk on violence, a condition to which they are quickly addicted."

"We are questioning more than the philosophy behind our dependence upon limited and limiting systems. We question the power structures that have grown up around such systems."

"The people I distrust most are those who want to improve our lives but have only one course of action in mind."

"If you ask "Should we be in space?" you ask a nonsense question. We are in space. We will be in space."

"Science fiction, because it ventures into no man's lands, tends to meet some of the requirements posed by Jung in his explorations of archetypes, myth structures and self-understanding. It may be that the primary attraction of science fiction is that it helps us understand what it means to be human."

"By the time we awaken faintly to the awareness that we have been socially conditioned, we find ourselves so indoctrinated that it's difficult, if not impossible, to break the old patterns … Survival pressures demanding that we evolve, grow, and change, however, continue to proliferate. We don't want to change, but the floodgates open abruptly and we are overwhelmed. Crisis!"

"The current utopian ideal being touted by people as politically diverse (on the surface, but not underneath) as President Richard M. Nixon and Senator Edward M. Kennedy goes as follows — no deeds of passion allowed, no geniuses, no criminals, no imaginative creators of the new. Satisfaction may be gained only in carefully limited social interactions, in living off the great works of the past. There must be limits to any excitement. Drug yourself into a placid "norm." Moderation is the key word…"

"If we define Futurism as an exploration beyond accepted limits, then the nature of limiting systems becomes the first object of exploration."

"When I was quite young... I began to suspect there must be flaws in my sense of reality. It seemed to my dim sense of confusion that things often blended one into another, and the Law of Excluded Middle merely opened up a void wherein anything was possible. But I had been produced to focus on objects (things) and not on systems (processes)."

"There is no real ending. It's just the place where you stop the story."

"[S]omebody said that ecology is the science of understanding consequences."

"Ecology is a dirty seven-letter word to many people. They are like heavy sleepers refusing to be aroused. "Leave me alone! It's not time to get up yet!""

"There are no uncharted isles here where we can run away to sunshine and sparkling white beaches. We have just this one world, and on these pages we're beginning to get a feeling for the gigantic physical project confronting us. Our awakening is touched with dismay; we must come to terms with this world or it will terminate us. When we speak of defending the environment, we are speaking of defending our own lives."

"The thing we must do intensely is be human together. People are more important than things. We must get together. The best thing humans can have going for them is each other. We have each other. We must reject everything which humiliates us. Humans are not objects of consumption. We must develop an absolute priority of humans ahead of profit — any humans ahead of any profit. Then we will survive. … Together."

"It's rooted in the fears to which all men are heir and, thus, deserves sympathy, not censure or laughter. The dream may be out of touch with history, but it's a good dream, and it doesn't appear to have been used to bilk gullible widows out of their savings. Never mind that we have a consistent record of slaughtering our messiahs. Look beyond the wacky arguments to the motivation — that sense of brotherhood which is all that has ever saved mankind from going over the brink."

"This group is composed of those for whom belief in saucers is tantamount to religion...They believe men from outer space will step in on Earth "before it's too late," put a stop to the atomic bomb threat "by their superior powers," and enforce perpetual peace "for the good of the universe"..."

"Briefly, the scientists working the Oregon coast found that sand could be controlled only by the use of one type of grass (European beach grass) and by a system of follow-up plantings with other growth. The grass sets up a beachhead by holding down the sand in an intricate lacing of roots. This permits certain other plants to gain a foothold. The beach grass is extremely difficult to grow in nurseries, and part of the solution to the dune problem involved working out a system for propagating and handling the grass."

"...WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS."

"I believe that the use of noise to make music will continue and increase until we reach a music produced through the use of electrical instruments which will make available for musical purposes any and all sounds that can be heard. Photoelectric, film and mechanical mediums for the synthetic production of music will be explored."

"I'm just back from Halberstadt (a 20+ hour journey), having attended the ceremonious 13th note change in the hyperdurational sounding of John Cage's Organ2/ASLSP. This is the last note change to occur for seven long years, so it was particularly well attended. The image above is my vantage point -- being among the last to enter the church, I was really only able to watch the proceedings via the many cell phones held above the heads of hundreds of compatriots. (The presence of so much technology in so hallowed a space is, well, jarring.)"

"Cage took it to work in his way of making compositions then; and he used the idea of 64 — the number of the hexagrams — to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow — say a particular sound — what did the I Ching suggest? Well, I took this also for dance."

"John Cage and I became interested in the use of chance in the 50's. I think one of the very primary things that happened then was the publication of the I Ching, the Chinese book of changes, from which you can cast your fortune: the hexagrams."

"Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide."

"Cage's Music of Changes was a further indication that the arts in general were beginning to consciously deal with the 'given' material and, to varying degrees, liberating them from the inherited, functional concepts of control."

"I met Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me.. .Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company.. .I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn.. .He could apply his ideas on space and time to painting, or music or architecture.. ..I don't have a clear sense of cause and effect in my painting, but it is probably there."

"Once, I made a kind of sculpture of a flag in bronze: it was an edition of three, I think. One of them was given on some occasion to President Kennedy. I became very upset that this was happening. It was given on Flag Day! (he laughs). It seemed to me to be such a terrible thing to happen. I complained bitterly to my very good friend John Cage. He said: "Don't let it worry you. Just consider it as a pun on your work". (he laughs)."

"Object in/ and space – the first impulse may be to give the object – a position – to place the object. (The object had a position to begin with.) Next – to change the position of the object. – Rauschenberg's early sculptures – A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden – The rocks can be anywhere [within the garden].."

"The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power."

"I'm especially interested in the music of John Cage.. ..I would like to do some experimenting with the relationship between his freeform sound and [my] free-form art."

"I can't speak or write German, but I'am overjoyed because I have bought one of your pictures. Now it is in me. I write music. You are my teacher."

"John Cage ...once told me, ‘When you start working everybody is in your studio – the past, your friends, enemies, the art world, and above all, your own ideas – all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave."

"We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is."

"I once asked Aragon, the historian, how history was written. He said, 'You have to invent it.' When I wish as now to tell of critical incidents, persons, and events that have influenced my life and work, the true answer is all of the incidents were critical, all of the people influenced me, everything that happened and that is still happening influences me."

"What I'm proposing, to myself and other people, is what I often call the tourist attitude - that you act as though you've never been there before. So that you're not supposed to know anything about it. If you really get down to brass tacks, we have never been anywhere before."

"They say, 'you mean it's just sounds?' thinking that for something to just be a sound is to be useless, whereas I love sounds just as they are, and I have no need for them to be anything more than what they are. I don't want them to be psychological. I don't want a sound to pretend that it's a bucket or that it's president or that it's in love with another sound. I just want it to be a sound."

"When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic — here on Sixth Avenue, for instance — I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound.. .I don't need sound to talk to me."

"As far as consistency of thought goes, I prefer inconsistency."

"Value judgments are destructive to our proper business, which is curiosity and awareness."

"I can't understand why people are frightened of new ideas. I'm frightened of the old ones."

"Art's purpose is to sober and quiet the mind so that it is in accord with what happens."

"There is one term of the problem which you are not taking into account: precisely, the world. The real. You say: the real, the world as it is. But it is not, it becomes! It moves, it changes! It doesn’t wait for us to change.. .It is more mobile than you can imagine. You are getting closer to this reality when you say as it 'presents itself'; that means that it is not there, existing as an object. The world, the real is not an object. It is a process."

"I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said, 'You'll come to a wall you won't be able to get through.' I said, 'Well then, I'll beat my head against that wall.' I quite literally began hitting things, and developed a music of percussion that involved noises."