42
" In its quest to discover how the patterns of reality are organised, the story of modern science hints at a picture of a set of Chinese puzzle boxes, each one more intricately structured and wondrous than the last. Every time the final box appears to have been reached, a key has been found which has opened up another, revealing a new universe even more breathtakingly improbable in its conception. We are now forced to suspect that, for human reason, there is no last box, that in some deeply mysterious, virtually unfathomable, self-reflective way, every time we open a still smaller box, we are actually being brought closer to the box with which we started, the box which contains our own conscious experience of the world. This is why no theory of knowledge, no epistemology, can ever escape being consumed by its own self-generated paradoxes. And this is why we must consider the universe to be irredeemably mystical. "
44
" Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.
Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.
And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce "
― Aldous Huxley , The Doors of Perception
45
" In the candle's flickering light, the library's thousands of books emerged from the shadows, and for a moment Nicholas could not help admiring them again. During free time he had almost never looked up from the pages he was reading, but now he saw the books anew, from without rather than from within, and was reminded of how beautiful they were simply as objects. The geometrical wonder of them all, each book on its own and all the books together, row upon row, the infinite patterns and possibilities they presented. They were truly lovely. "
― Trenton Lee Stewart , The Extraordinary Education of Nicholas Benedict (The Mysterious Benedict Society, #0)
46
" Being ill when you are a child or growing up is such an enchanted interlude! The outside world, the world of free time in the yard or the garden or on the street, is only a distant murmmur in the sickroom. Inside, a whole world of characters and stories proliferate out of the books you read. The fever that weakens your perception as it sharpens your imagination turns the sickroom into something new, both familiar and strange; monsters come grinning out of the patterns on the curtains and the carpet, and chairs, tables, bookcases and wardrobes burst out of their normal shapes and become mountains and buildings and ships you can almost touch although they're far away. Through the long hours of the night you have the Church clock for company and the rumble of the occasional passing car that throws it's headlights across the walls and ceilings. These are hours without sleep, which is not to say they're sleepless, because on the contrary, they're not about lack of anything, they are rich and full. Desires, memories, fears, passions form labryinths in which we lose and find then lose ourselves again. They are hours where anything is possible, good or bad. "
― Bernhard Schlink , The Reader
60
" The heartbeat is an irregular bell tolling; the footprints create ammonite patterns in the snow; they spiral in serpentine undulations, toward a complicated centre of mass, forming a beautifully inscribed hieroglyph, the earth acting as papyrus. It’s all signs and symbols; reading the emotions of another is an art, and tonight she lacks the imagination needed in order to be creative. Bewitching to behold, wings tucked neatly into the back of a loose summer jacket; his bare feet, dusky and dusty, tumble languidly toward her, over the soft crumbling ground. Dawn finds her dreams more beautiful to inhabit than reality. To her it becomes more real than the bed sheets she’s pulling close to her chest. As he approaches, she continues to watch the invocation of her desire. Wherever he steps the snow flees, it’s as if spring flowers from the very tips of his toes. She holds her breath as he slips his hand into hers, leading her away from the top of the hill on which they are standing. They don’t follow the path, instead they tread boldly over willow roots, twigs and fern leaves. Looking upwards, in order to see the colour of the sky, Dawn crosses her fingers for a shade of blue. "