104
" An outline, my body, no mass or feeling, A dark reflection spread from floor to ceiling, The faceless copycat stalks me day after day, A personal eclipse of the sun never going astray, Each movement mine in a world of its own, Whispering shades unseen of a different home, A skewed yet comparable story occurs every day, Removed, though not far, less than halfway, The whiter the glow the blacker the stain, An ethereal cachet remaining midst the acidic rain, A trust and intimacy of a curious nature, I follow, it follows, we follow a stranger. "
106
" At its root, the logic is that of the Grand Inquisitor, who bitterly assailed Christ for offering people freedom and thus condemning them to misery. The Church must correct the evil work of Christ by offering the miserable mass of humanity the gift they most desire and need: absolute submission. It must “vanquish freedom” so as “to make men happy” and provide the total “community of worship” that they avidly seek. In the modern secular age, this means worship of the state religion, which in the Western democracies incorporates the doctrine of submission to the masters of the system of public subsidy, private profit, called free enterprise. The people must be kept in ignorance, reduced to jingoist incantations, for their own good. And like the Grand Inquisitor, who employs the forces of miracle, mystery, and authority “to conquer and hold captive for ever the conscience of these impotent rebels for their happiness” and to deny them the freedom of choice they so fear and despise, so the “cool observers” must create the “necessary illusions” and “emotionally potent oversimplifications” that keep the ignorant and stupid masses disciplined and content. "
― Noam Chomsky , Necessary Illusions: Thought Control in Democratic Societies
107
" Human nature is full of riddles and contradictions; its very complexity engenders art—and by art I mean the search for something more than simple linear formulations, flat solutions, oversimplified explanations. One of these riddles is: how is it that people who have been crushed by the sheer weight of slavery and cast to the bottom of the pit can nevertheless find strength to rise up and free themselves, first in spirit and then in body; while those who soar unhampered over the peaks of freedom suddenly appear to lose the taste for freedom, lose the will to defend it, and, hopelessly confused and lost, almost begin to crave slavery. Or again: why is it that societies which have been benumbed for half a century by lies they have been forced to swallow find within themselves a certain lucidity of heart and soul which enables them to see things in their true perspective and to perceive the real meaning of events; whereas societies with access to every kind of information suddenly plunge into lethargy, into a kind of mass blindness, a kind of voluntary self deception. "
― Aleksandr Solzhenitsyn , Warning to the West
113
" His rapier was at his belt, glittering as he swung. He reached down, ripped the sword clear.
I jumped over a slashing frond of plasm, spun round with the water bottle in my hand. I hurled it across to Lockwood.
George threw his rapier to me.
Watch this now. Sword and bottle, sailing through the air, twin trajectories, arching beautifully through the mass of swirling tendrils towards Lockwood and me. Lockwood held out his hand. I held out mine.
Remember I said there was that moment of sweet precision when we gelled perfectly as a team?
Yeah, well. This wasn't it.
The rapier shot past, missing me by miles. It skidded halfway across the floor. The bottle struck Lockwood plumb in the centre of his forehead, knocking him through the window.
There was a moment's pause.
'Is he dead?' the skulls voice said 'Yay! Oh. No, he's hanging onto the shutters. Shame. Still, this is defiantly the funniest thing I've ever seen. You three really are incompetence on a stick "
― Jonathan Stroud , The Hollow Boy (Lockwood & Co., #3)
116
" It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power. "
― Robert Hughes , The Shock of the New