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121 " If Mohammed had been a false prophet. there is no reason why Christ should not have spoken of him as he spoke of Antichrist but if Mohammed is a true Prophet the passages referring to the Paraclete must inevitably concern him - not exclusively but eminently - for it is inconceivable that Christ, when speaking of the future, should have passed over in silence a manifestation of such magnitude. The same reasoning excludes a priori the possibility that Christ. when making his predictions, intended to include Mohammed under the general denomination of'' false prophets" , for in the history of our era Mohammed is in no sense a typical example among others of the same kind, but on the contrary, a unique and incomparable apparition(1). If he had been one of the false prophets announced by Christ he would have been followed by others and there would exist in our day a multitude of false religions subsequent to Christ and comparable in importance and extension to Islam. The spirituality to be found within Islam from its origins up to our days is an incontestable fact. and " by their fruits ye shall know them." Moreover, it will be recalled that the Prophet in his doctrine has testified to the second coming of Christ without attributing to himself any glory. unless it be that of being the last Prophet of the cycle and history proves that he spoke the truth, no comparable manifestation having followed after him. "
122 " My body's been touched a thousand or more times but I am craving something so much deeper than that ~ I desire to be felt, right down to the core of my soul and the corners of my heart. That's what love is about isn't it ~ cracking yourself open to the possibility that it could change your life. "
― Nikki Rowe
123 " If you can sustain your interest in what you’re doing, you’re an extremely fortunate person. What you see very frequently in people’s professional lives, and perhaps in their emotional life as well, is that they lose interest in the third act. You sort of get tired, and indifferent, and, sometimes, defensive. And you kind of lose your capacity for astonishment — and that’s a great loss, because the world is a very astonishing place. What I feel fortunate about is that I’m still astonished, that things still amaze me. And I think that that’s the great benefit of being in the arts, where the possibility for learning never disappears, where you basically have to admit you never learn it. "
― Milton Glaser
124 " For J.-L.G., color does not exist simply to show us that a girl has blue eyes or that a certain gentleman is a member of the Legion of Honor. By necessity, a film by Godard that offers the possibility of color is going to show us something that could not be shown in black and white, a kind of voice that cannot resound ehen colors are mute. "
― Louis Aragon
125 " Having been a Ship’s Captain, a Naval Officer a Mathematics & Science Teacher, most people would believe that my primary interests would be directed towards the sciences. On the other hand, those that know me to be an author interested in history, may believe me to be interested in the arts. University degrees usually fall into the general category of Art or Science. It’s as if we have to pick sides and back one or the other team…. With my degree in Marine Science I am often divided and pigeon holed into this specific discipline or area of interest. One way or the other, this holds true for most of us but is this really true for any of us. As a father I can certainly do other things. Being a navigator doesn’t preclude me from driving a car. Hopefully this article does more than just introduce Cuban Art and in addition gives us all good reason to be accepted as more than a “Johnny One Note.“ My quote that “History is not owned solely by historians. It is a part of everyone’s heritage” hopefully opens doors allowing that we be defined as a sum of all our parts, not just a solitary or prominent one. As it happens, I believe that “Just as science feeds our intellect, art feeds our soul.” For the years that Cuba was under Spanish rule, the island was a direct reflection of Spanish culture. Cuba was thought of as an extension of Spain's empire in the Americas, with Havana and Santiago de Cuba being as Spanish as any city in Spain. Although the early Renaissance concentrated on the arts of Ancient Greece and Rome, it spread to Spain during the 15th and 16th centuries. The new interest in literature and art that Europe experienced quickly spread to Cuba in the years following the colonization of the island. Following their counterparts in Europe, Cuban Professionals, Government Administrators and Merchants demonstrated an interest in supporting the arts. In the 16th century painters and sculptors from Spain painted and decorated the Catholic churches and public buildings in Cuba and by the mid-18th century locally born artists continued this work.During the early part of the 20th century Cuban artists such as Salvador Dali, Joan Miró and Pablo Picasso introduced modern classicism and surrealism to Europe. Cuban artist Wilfred Lam can be credited for bringing this artistic style to Cuba. Another Cuban born painter of that era, Federico Beltran Masses, known to be a master of colorization as well as a painter of seductive images of women, sometimes made obvious artistic references to the tropical settings of his childhood. As Cuban art evolved it encompassed the cultural blend of African, European and American features, thereby producing its own unique character. One of the best known works of Cuban art, of this period, is La Gitana Tropical, painted in 1929, by Víctor Manuel.After the 1959 Cuban Revolution, during the early 1960’s, government agencies such as the Commission of Revolutionary Orientation had posters produced for propaganda purposes. Although many of them showed Soviet design features, some still contained hints of the earlier Cuban style for more colorful designs. Towards the end of the 1960’s, a new Cuban art style came into its own. A generation of artists including Félix Beltran, Raul Martinez, Rene Mederos and Alfredo Rostgaard created vibrantly powerful and intense works which remained distinctively Cuban. Though still commissioned by the State to produce propaganda posters, these artists were accepted on the world stage for their individualistic artistic flair and graphic design. After bringing the various and distinct symbols of the island into their work, present day Cuban artists presented their work at the Volumen Uno Exhibit in Havana. Some of these artists were Jose Bedia, Juan Francisco Elso, Lucy Lippard, Ana Mendieta and Tomas Sanchezare. Their intention was to make a nationalistic statement as to who they were without being concerned over the possibility of government rep "
― Hank Bracker
126 " God has said not to create any accounts (karmic). Create accounts (only) if you have the knowledge of the future. Hey! If you want to start an account, then why don’t you account for the possibility that you may die tomorrow? "
― Dada Bhagwan
127 " Considerable thought was given in early Congresses to the possibility of renaming the country. From the start, many people recognized that United States of America was unsatisfactory. For one thing, it allowed of no convenient adjectival form. A citizen would have to be either a United Statesian or some other such clumsy locution, or an American, thereby arrogating to ourselves a title that belonged equally to the inhabitants of some three dozen other nations on two continents. Several alternatives to America were actively considered -Columbia, Appalachia, Alleghania, Freedonia or Fredonia (whose denizens would be called Freeds or Fredes)- but none mustered sufficient support to displace the existing name. "
― Bill Bryson , Made in America: An Informal History of the English Language in the United States
128 " People who mock incidents in history such as 9/11 or the Holocaust, referring to it all as a hoax or stirring up crazy conspiracy theories about it, should really stop and think about their words first, both because it shows flaws in logic and rationality to deny the obvious, and because to play pretend with incidents which killed innocent people, well, that's just like laughing in the face of tragedy. It's as if to say, " no, it's not horrible enough that these people were killed, oh no, we have to drag on these incidents by indulging in melodramatic fantasies!" In essence this means that those who lost loved ones not only have to live with these losses forever, they also have to live with the people who deny that any of it ever happened. It does no good to forget history or to deny it. All it does is desensitize people; it tells them that it's all just a game, which then risks the possibility of nobody taking it seriously enough to prevent something similar from happening again. "
129 " The appeal to the 'natural' is one of the most powerful aspects of common-sense thinking but it is a way of understanding social relations which denies history and the possibility of change for the future. "
― , Feminist Practice and Poststructuralist Theory
130 " Surely it is foolish to hate facts. The struggle against the past is a futile struggle. Acceptance seems so much more like wisdom. I know all this. And yet there are some facts that one must never, never accept. This is not merely an emotional matter. The reason that one must hate certain facts is that one must prepare for the possibility of their return. If the past were really past, then one might permit oneself an attitude of acceptance, and come away from the study of history with a feeling of serenity. But the past is often only an earlier instantiation of the evil in our hearts. It is not precisely the case that history repeats itself. We repeat history—or we do not repeat it, if we choose to stand in the way of its repetition. For this reason, it is one of the purposes of the study of history that we learn to oppose it. "
― Leon Wieseltier , Kaddish
131 " No matter what the hatred is, preserve the possibility of peace and always have room for forgiveness. "
132 " I made spasmodic efforts to work, assuring myself that once I began working I would forget her. The difficulty was in beginning. There was a feeling of weakness, a sort of powerlessness now, as though I were about to be ill but was never quite ill enough, as though I were about to come down with something I did not quite come down with. It seemed to me that for the first time in my life I had been in love, and had lost, because of the grudgingness of my heart, the possibility of having what, too late, I now thought I wanted. What was it that all my life I had so carefully guarded myself against? What was it that I had felt so threatened me? My suffering, which seemed to me to be a strict consequence of having guarded myself so long, appeared to me as a kind of punishment, and this moment, which I was now enduring, as something which had been delayed for half a lifetime. I was experincing, apparently, an obscure crisis of some kind. My world acquired a tendency to crumble as easily as a soda cracker. I found myself horribly susceptible to small animals, ribbons in the hair of little girls, songs played late at night over lonely radios. It became particularly dangerous for me to go near movies in which crippled girls were healed by the unselfish love of impoverished bellhops. I had become excessively tender to all the more obvious evidences of the frailness of existence; I was capable of dissolving at the least kind word, and self-pity, in inexhaustible doses, lay close to my outraged surface. I moved painfully, an ambulatory case, mysteriously injured. "
― Alfred Hayes , In Love
133 " I grew up with landscape as a recourse, with the possibility of exiting the horizontal realm of social relations for a vertical alignment with earth and sky, matter and spirit. Vast open spaces speak best to this craving, the spaces I myself first found in the desert and then in the western grasslands. "
― Rebecca Solnit , A Field Guide to Getting Lost
134 " -And what would you do if you lost a child?-I would think I was going to die, Elena said. But I wouldn't. I learned long ago that I must give up my child to the earth, to God, to the world, to death, to the possibility of death, to the possibility of disease, and in doing so I became at peace. Because I had let my child go. And in letting the child go, I became colder, more distant, and more at peace. But I still loved the child, don't be wrong. As you love your child. I am sorry. "
135 " ... the possibility of pain is inherent in the very existence of a world where souls can meet. "
136 " Every person, young or old, risks the possibility of their life not turning out as planned. Especially when it comes to marriage. They might find they aren't suited for marriage after all. Or their spouses might die of an early illness. Taking a risk on another person is what marriage is all about. "
― Sabrina Jeffries , Married to the Viscount (Swanlea Spinsters, #5)
137 " A young woman faces the decision of whether to marry a certain man whom she loves but who has deeply rooted, traditional ideas concerning marriage, family life, and the roles of men and women in each. A sober assessment of her future tell the woman that each of the two alternatives offers real but contrasting goods. One life offers the possibility of a greater degree of personal independence, the chance to pursue a career, perhaps more risk and adventure, while the other offers the rewards of parenting, stability, and a life together with a man whom, after all, she is in love with. In order to choose in a self-determined mode the woman must realize that the decision she faces involves more than the choice between two particular actions; it is also a choice between two distinct identities. In posing the questions " Who am I? Which of the two lives is really me?" she asks herself not a factual question about her identity but a fundamental practical question about the relative values of distinct and incommensurable goods. The point I take to be implicit in Tugendhat's (and Fichte's) view of the practical subject is that it would be mistaken to suppose that the woman had at her disposal an already established hierarchy of values that she must simply consult in order to decide whether to marry. Rather, her decision, if self-determined, must proceed from a ranking of values that emerges only in the process of reflecting upon the kind of person she wants to be. "
138 " After dinner Natasha went to the clavichord, at Prince Andrey's request, and began singing. Prince Andrey stood at the window, talking to the ladies, and listened to her. In the middle of a phrase, Prince Andrey ceased speaking, and felt suddenly a lump in his throat from tears, the possibility of which he had never dreamed of in himself. He looked at Natasha singing, and something new and blissful stirred in his soul. He was happy, and at the same time he was sad. He certainly had nothing to weep about, but he was ready to weep. For what? For his past love? For the little princess? For his lost illusions? For his hopes for the future? Yes, and no. The chief thing which made him ready to weep was a sudden, vivid sense of the fearful contrast between something infinitely great and illimitable existing in him, and something limited and material, which he himself was, and even she was. This contrast made his heart ache, and rejoiced him while she was singing. "
― Leo Tolstoy , War and Peace
139 " Musicians are some of the most driven, courageous people on the face of the earth. They deal with more day-to-day rejection in one year than most people do in a lifetime. Every day, they face the financial challenge of living a freelance lifestyle, the disrespect of people who think they should get real jobs, and their own fear that they’ll never work again. Every day, they have to ignore the possibility that the vision they have dedicated their lives to is a pipe dream. With every note, they stretch themselves, emotionally and physically, risking criticism and judgement. With every passing year, many of them watch as the other people their age achieve the predictable milestones of normal life – the car, the family, the house, the nest egg. Why? Because musicians are willing to give their entire lives to a moment – to that melody, that lyric, that chord, or that interpretation that will stir the audience’s soul. Musicians are beings who have tasted life’s nectar in that crystal moment when they poured out their creative spirit and touched another’s heart. In that instant, they were as close to magic, God, and perfection as anyone could ever be. And in their own hearts, they know that to dedicate oneself to that moment is worth a thousand lifetimes. "
― David Ackert
140 " I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something. "
