Exclude Quotes (displaying: 1 - 30 of 141 quotes )
Science fiction [is] the kind of writing that prepares us for the necessary mutations brought about in society from an ever changing technological world and as a result. The mainstream hasn’t excluded SF; the mainstream has excluded itself. No one told Jules Verne he was a science fiction writer, but he invented the 20th century.
For centuries, as pope and emperor tore each other apart in their quarrels over power, the excluded went on living on the fringe, like lepers, of whom true lepers are only the illustration ordained by God to make us understand this wondrous parable, so that in saying 'lepers' we would understand 'outcast, poor, simple, excluded, uprooted from the countryside, humiliated in the cities.' But we did not understand; the mystery of leprosy has continued to haunt us because we have not recognized the nature of the sign.
I shall quite briefly mention here the notorious atheism of science. The theists reproach it for this again and again. Unjustly. A personal God can not be encountered in a world picture that becomes accessible only at the price that everything personal is excluded from it. We know that whenever God is experienced, it is an experience exactly as real as a direct sense impression, as real as one’s own personality. As such He must be missing from the space-time picture. ‘I do not meet with God in space and time’, so says the honest scientific thinker, and for that reason he is reproached by those in whose catechism it is nevertheless stated: ‘God is Spirit’.
Kitsch" is a German word born in the middle of the sentimental nineteenth century, and from German is entered all Western languages. Repeated use, however, has obliterated its original metaphysical meaning: kitsch is the absolute denial of shit, in both the literal and figurative sense of the word; kitsch excludes everything from its purview which is essentially unacceptable in human existence.
The great Sufi poet and philosopher Rumi once advised his students to write down the three things they most wanted in life. If any item on the list clashes with any other item, Rumi warned, you are destined for unhappiness. Better to live a life of single-pointed focus, he taught. But what about the benefits of living harmoniously among extremes? What if you could somehow create an expansive enough life that you could synchronize seemingly incongruous opposites into a worldview that excludes nothing?
Be calm! I entreat you to hear me before you give vent to your hatred on my devoted head. Have I not suffered enough, that you seek to increase my misery? Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it. Remember, thou hast made me more powerful than thyself; my height is superior to thine, my joints more supple. But I will not be tempted to set myself in opposition to thee. I am thy creature, and I will be even mild and docile to my natural lord and king if thou wilt also perform thy part, the which thou owest me. Oh, Frankenstein, be not equitable to every other and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due. Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Everywhere I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous.
Andrew Moraviscik, one of the best American scholars of Europe, points out that once you exclude translators and clerical workers, the European Commission employs 2.500 officials, "fewer than any moderately sized European city and less than 1 percent of the number employed by the French state alone". As for its undemocratic nature, any new law it wishes to pass needs more than 71 percent of the weighted national-government votes - "a larger proportion than the required to amend the American Constitution".
As long as the sole ruler and disposer of the universe, the nous, remained excluded from artistic activity, things were mixed together in a primeval chaos: this was what Euripides must have thought; and so, as the first "sober" one among them, he had to condemn the "drunken" poets. Sophocles said of Aeschylus that he did what was right, though he did it unconsciously. This was surely not how Euripides saw it. He might have said that Aeschylus, because he created unconsciously, did what was wrong. The divine Plato, too, almost always speaks only ironically of the creative faculty of the poet, insofar as it is not conscious insight, and places it on a par with the gift of the soothsayer and dream-interpreter: the poet is incapable of composing until he has become unconscious and bereft of understanding.
Marco enters a city; he sees someone in a square living a life or an instant that could be his; he could now be in that man's place, if he had stopped in time, long ago; or if, long ago, at a crossroads, instead of taking one road he had taken the opposite one, and after long wandering he had come to be in the place of that man in the square. By now, from that real or hypothetical past of his, he is excluded; he cannot stop; he must go on to another city, where another of his pasts awaits him, or something perhaps that had been a possible future of his and is now someone else's present. Futures not achieved are only branches of the past: dead branches.
So don't be frightened, dear friend, if a sadness confronts you larger than any you have ever known, casting its shadow over all you do. You must think that something is happening within you, and remember that life has not forgotten you; it holds you in its hand and will not let you fall. Why would you want to exclude from your life any uneasiness, any pain, any depression, since you don't know what work they are accomplishing within you?
In two minutes only those shops which could boast of no attendant save the master or the mistress remained with open eyes. These were ever somewhat less prompt to exclude customers than the others: for their owners' ears the closing hour had scarcely the cheerfulness that it possessed for the hired servants of the rest.
As Narrative (Novel, Passion), love is a story which is accomplished, in the sacred sense of the word: it is a program which must be completed. For me, on the contrary, this story has already taken place; for what is event is exclusively the delight of which I have been the object and whose aftereffects I repeat (and fail to achieve). Enamoration is a drama, if we restore to this word the archaic meaning Nietzsche gives it: "Ancient drama envisioned great declamatory scenes, which excluded action (action took place before or behind the stage)." Amorous seduction (a pure hypnotic moment) takes place before discourse and behind the proscenium of consciousness: the amorous "event" is of a hieratic order: it is my own local legend, my little sacred history that I declaim to myself, and this declamation of a fait accompli (frozen, embalmed, removed from any praxis) is the lover's discourse.
He refused categorically all ideas of fidelity or serious commitments. He explained that they were arbitrary and sterile. From anyone else such views would have shocked me, but I knew that in his case they did not exclude tenderness and devotion - feelings which came all the more easily to him since he was determined that they should be transient.
Play on lively, diversified sidewalks differs from virtually all other daily incidental play offered American children today: It is play not conducted in a matriarchy. Most city architectural designers and planners are men. Curiously, they design and plan to exclude men as part of normal, daytime life wherever people live. In planning residential life, they aim at filling the presumed daily needs of impossibly vacuous housewives and preschool tots. They plan, in short, strictly for matriarchal societies.
When it is impossible to stretch the very elastic threads of historical ratiocination any farther, when actions are clearly contrary to all that humanity calls right or even just, the historians produce a saving conception of ‘greatness.’ ‘Greatness,’ it seems, excludes the standards of right and wrong. For the ‘great’ man nothing is wrong, there is no atrocity for which a ‘great’ man can be blamed.
A writer who writes, ''I am alone''... can be considered rather comical. It is comical for a man to recognize his solitude by addressing a reader and by using methods that prevent the individual from being alone. The word alone is just as general as the word bread. To pronounce it is to summon to oneself the presence of everything the word excludes.