82
" The century of Einstein and Planck was also the century of Hitler. The Gestapo and the scientific renaissance were children of the same age. How humane the nineteenth century seemed, that century of naive physics, when compared with the twentieth century, the century that had killed his [Viktor's] mother. There is a terrible similarity between the principles of Fascism and those of contemporary physics.Fascism has rejected the concept of a separate individuality, the concept of " a man," and operates only with vast aggregates. Contemporary physics speaks of the greater or lesser probability of occurrences within this or that aggregate of individual particles. And are not the terrible mechanics of Fascism founded on the principle of quantum politics, of political probability?Fascism arrived at the idea of the liquidation of entire strata of the population, of entire nations and races, on the grounds that there was a greater probability of overt or covert opposition among these groupings than among others: the mechanics of probabilities and of human aggregates.But no! No! And again no! Fascism will perish for the very reason that it has applied to man the laws applicable to atoms and cobblestones!Man and Fascism cannot co-exist. If Fascism conquers, man will cease to exist and there will remain only man-like creatures that have undergone an internal transformation. But if man, man who is endowed with reason and kindness, should conquer, then Fascism must perish, and those who have submitted to it will once again become people. "
90
" As for my own answers to any of this? I have none. I'm far more confused than before I first went. I've had no great epiphanies, no profound realisations, but since returning home I've resigned myself to this one thing: that, putting the economics and politics of it all aside - naive as that may be - what it all boils down to is individuals. It's a simple interaction between just two people: one, a person with opportunities and choices, and who could get a flight out tomorrow should they choose; the other, a person with few options - if any. If nothing else, it's a gesture. An attempt. Food and a tent for Toto. Burns dressing for Jose. A little operating theatre with car batteries and boiled instruments, where Roberto can ply his trade. Free HIV treatment for Elizabeth, who'll never be cured and will always live in a hut anyway, but who'll have a longer, healthier life because of it. And sometimes it's little more than a bed in which to die peacefully, attended to by family and health workers... but hey, that's no small thing in some parts.
My head says it's futile.
My heart knows differently. "
― Damien Brown , Band-Aid for a Broken Leg
94
" I am a runaway, lost at sea.
I am a broken bird, yearning to fly free.
I am a sinner, unworthy and unholy.
I am a rose, wilting slowly.
I am a raindrop, touching your cheek.
I am a child who plays hide and seek.
I am nothing, and yet I am everything.
I am contradictions and complexities.
I am a face with a hundred entities.
I am love and I am hate.
I am the voice that cannot communicate.
I am a melody, haunting and sad.
I am a soul that has slowly gone mad.
I am death in a living body.
I am a dangerous opium poppy.
I am rage, running through my veins.
I am pain, bound in chains.
I am isolation, imprisoned in my mind.
I am abandoned and left behind.
I am tenderness, soft and kind.
I am trust, naïve and blind.
I am remorse, shattered and frozen.
I am the path I have not chosen.
I am sadness, drowning in an ocean.
I am faith, yearning for devotion.
I am madness, rebellious and wild.
I am sanity, safely filed.
I am wisdom, cursed and blessed.
I am a name that will burn in your chest. I am a journey, destination unknown.
I am a heart turned to stone.
I am forever alone. "
― Mina Alexia
95
" This was what Dennis had been doing lately: granting everyone permission to feel the way they were going to feel regardless. It was the books. Dennis’s relationship to his own feelings had become tender, curatorial. Dismantling. Entomological. Mave couldn’t be like that. She treated her emotional life the way she treated her car: She let it go, let it tough it out. To friends she said things like “I know you’re thinking this looks like a ’79, but it’s really an ’87.” She finally didn’t care to understand all that much about her emotional life; she just went ahead and did it. The point, she thought, was to attend the meager theater of it, quietly, and not stand up in the middle and shout, “Oh, my God, you can see the crew backstage!” There was a point at which the study of something became a frightening and naive thing. "
― Lorrie Moore
97
" Methods of detoxifying and processing plants for human use are known throughout the world, and include a variety of techniques, including dehydration, application of heat, leaching, and fermentation, among others (Johns and Kubo 1988). While it is difficult to trace the origins of these methods, or to answer the questions of how certain groups learned to detoxify and process useful plants in their environment, to make a blanket claim that certain cultures were incapable of discovering plant properties, and the methods necessary for rendering them same and useful, seems naive at best. "
― , Entheogens and the Development of Culture: The Anthropology and Neurobiology of Ecstatic Experience
99
" Contemporary attitudes toward urban parks fall into three levels of sophistication. The first, the most naive assumption, is that parks are just plots of land preserved in their original state. If asked to discuss the issue at all, many laymen have maintained this much, that parks are bits of nature created only in the sense that some decision was made not to build on the land. Many are surprised to learn that parks that an artifact conceived and deliberated as carefully as public buildings, with both physical shape and social usage taken into account. The second, a little more informed, is that parks are aesthetic objects and that their history can be understood in terms of an evolution of artistic styles independent of societal considerations. The third is the view that each of the elements of the urban park represents part of planners' strategy for moral and social reform, so that today, as in the past, the citizen visiting a park is subject to an accumulated set of intended moral lessons. "
― , The Politics of Park Design: A History of Urban Parks in America