1
" Human existence can relate to beings only if it holds itself out into the nothing. Going beyond beings occurs in the essence of Dasein. But this going beyond is metaphysics itself. This implies that metaphysics belongs to the " nature of man." It is neither a division of academic philosophy nor a field of arbitrary notions. Metaphysics is the basic occurrence of Dasein. It is Dasein itself. Because the truth of metaphysics dwells in this groundless ground it stands in closest proximity to the constantly lurking possibility of deepest error. For this reason no amount of scientific rigor attains to the seriousness of metaphysics. Philosophy can never be measured by the standard of the idea of science.If the question of the nothing unfolded here has actually questioned us, then we have not simply brought metaphysics before us in an extrinsic manner. Nor have we merely been " transposed" to it. We cannot be transposed there at all, because insofar as we exist we are always there already. " For by nature, my friend, man's mind dwells in philosophy" (Plato, Phaedrus, 279a). So long as man exists, philosophizing of some sort occurs. Philosophy―what we call philosophy―is metaphysics getting under way, in which philosophy comes to itself and to its explicit tasks. Philosophy gets under way only by a peculiar insertion of our own existence into the fundamental possibilities of Dasein as a whole. For this insertion it is of decisive importance, first, that we allow space for beings as a whole; second, that we release ourselves into the nothing, which is to say, that we liberate ourselves from those idols everyone has and to which he is wont to go cringing; and finally, that we let the sweep of our suspense take its full course, so that it swings back into the basic question of metaphysics which the nothing itself compels: 'Why are there beings at all, and why not rather nothing?'" ―from_What is Metaphysics?_ "
2
" Human existence can relate to beings only if it holds itself out into the nothing. Going beyond beings occurs in the essence of Dasein. But this going beyond is metaphysics itself. This implies that metaphysics belongs to the " nature of man." It is neither a division of academic philosophy nor a field of arbitrary notions. Metaphysics is the basic occurrence of Dasein. It is Dasein itself. Because the truth of metaphysics dwells in this groundless ground it stands in closest proximity to the constantly lurking possibility of deepest error. For this reason no amount of scientific rigor attains to the seriousness of metaphysics. Philosophy can never be measured by the standard of the idea of science.If the question of the nothing unfolded here has actually questioned us, then we have not simply brought metaphysics before us in an extrinsic manner. Nor have we merely been " transposed" to it. We cannot be transposed there at all, because insofar as we exist we are always there already. " For by nature, my friend, man's mind dwells in philosophy" (Plato, Phaedrus, 279a). So long as man exists, philosophizing of some sort occurs. Philosophy―what we call philosophy―is metaphysics getting under way, in which philosophy comes to itself and to its explicit tasks. Philosophy gets under way only by a peculiar insertion of our own existence into the fundamental possibilities of Dasein as a whole. For this insertion it is of decisive importance, first, that we allow space for beings as a whole; second, that we release ourselves into the nothing, which is to say, that we liberate ourselves from those idols everyone has and to which he is wont to go cringing; and finally, that we let the sweep of our suspense take its full course, so that it swings back into the basic question of metaphysics which the nothing itself compels: 'Why are there beings at all, and why not rather nothing?" ―from_What is Metaphysics?_ "
10
" But confining myself more to the particular, I say that a prince may be seen happy to-day and ruined to-morrow without having shown any change of disposition or character. This, I believe, arises firstly from causes that have already been discussed at length, namely, that the prince who relies entirely upon fortune is lost when it changes. I believe also that he will be successful who directs his actions according to the spirit of the times, and that he whose actions do not accord with the times will not be successful. Because men are seen, in affairs that lead to the end which every man has before him, namely, glory and riches, to get there by various methods; one with caution, another with haste; one by force, another by skill; one by patience, another by its opposite; and each one succeeds in reaching the goal by a different method. One can also see of two cautious men the one attain his end, the other fail; and similarly, two men by different observances are equally successful, the one being cautious, the other impetuous; all this arises from nothing else than whether or not they conform in their methods to the spirit of the times. This follows from what I have said, that two men working differently bring about the same effect, and of two working similarly, one attains his object and the other does not. "
― Niccolò Machiavelli , The Prince
14
" When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art. "
― L. Ron Hubbard
