1
" Curiosity is everywhere and nowhere. This mode of Being-in-the-world reveals a new kind of Being of everyday Dasein―a kind in which Dasein is constantly uprooting itself.Idle talk controls even the ways in which one may be curious. It says what one " must" have read and seen. In being everywhere and nowhere, curiosity is delivered over to idle talk. These two everyday modes of Being for discourse and sight are not just present-at-hand side by side in their tendency to uproot, but *either* of these ways-to-be drags the *other* one with it. Curiosity, for which nothing is closed off, and idle talk, for which there is nothing that is not understood, provide themselves (that is, the Dasein which is in this manner [*dem so seienden Dasein*]) with the guarantee of a 'life' which, supposedly, is genuinely 'lively'. But with this supposition a third phenomenon now shows itself, by which the disclosedness of everyday Dasein is characterized." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, p. 217 "
5
" ... If instead of colonies you send troops, the cost is vastly greater, and the whole revenues of the country are spent in guarding it so that the gain becomes a loss, and much deeper offense is given since in shifting the quarters of your soldiers from place to place the whole country suffers hardship, which as all feel, all are made enemies and enemies who remaining, although vanquished, in their own homes, have power to hurt. In every way, therefore, this mode of defense is as disadvantageous as that by colonizing is useful. "
― Niccolò Machiavelli , The Prince
6
" A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray.
Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present. "
― Alain de Botton , The Art of Travel
8
" If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'.
A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray.
Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present. "
― Alain de Botton , The Art of Travel
10
" The writer,' said Donald Barthelme, 'is one who, embarking upon a task, does not know what to do.' In this mode of not-knowing, the thick-torsoed, literal, and crew-cut mind is moved to the sidelines in favor of the swinging, perceptive, light-footed, tutu-wearing subconscious. "
― George Saunders , The Braindead Megaphone
13
" There is no life without the conditions of life that variably sustain life, and those conditions are pervasively social, establishing not the discrete ontology of the person, but rather the interdependency of persons, involving reproducible and sustaining social relations, and relations to the environment and to non-human forms of life, broadly considered. This mode of social ontology (for which no absolute distinction between social and ecological exists) has concrete implications for how we re-approach the issues of reproductive freedom and anti-war politics. The question is not whether a given being is living or not, nor whether the being in question has the status of a “person”; it is, rather, whether the social conditions of persistence and flourishing are or are not possible. Only with this latter question can we avoid the anthropocentric and liberal individualist presumptions that have derailed such discussions. "
― Judith Butler , Frames of War: When is Life Grievable?