21
" 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
26
" Writing a personal essay or memoir addresses how a person thinks and behaves in the context of society’s prevailing moral and ethical codes, informal rules, laws, and customs. A self-ethnographer emphasis what he or she considers important regarding how people perceive and categorize the world, their meaning for behavior, how they imagine and explain things, and ascertaining what has meaning for them. Expository writing, a discursive examination of a broad field of subjects, is one method of cohering the dimensions of a person’s emic and etic thoughts and a linked series of memorable events into a unified personal ideology how to live a purposeful life. In cultural anthropology, the emic approach focuses on what people of a local culture think and how they interpret events whereas the etic approach takes a more objective view of how an outsider evaluates the behavior and customs of a culture. Usage of both emic and etic analysis provides the richest description of a cultural or a society in which the personal essayist operates within. "
― , Dead Toad Scrolls
28
" Imagine that the keeper of a huge, strong beast notices what makes it angry, what it desires, how it has to be approached and handled, the circumstances and the conditions under which it becomes particularly fierce or calm, what provokes its typical cries, and what tones of voice make it gentle or wild. Once he's spent enough time in the creature's company to acquire all this information, he calls it knowledge, forms it into a systematic branch of expertise, and starts to teach it, despite total ignorance, in fact, about which of the creature's attitudes and desires is commendable or deplorable, good or bad, moral or immoral. His usage of all these terms simply conforms to the great beast's attitudes, and he describes things as good or bad according to its likes and dislikes, and can't justify his usage of the terms any further, but describes as right and good the things which are merely indispensable, since he hasn't realised and can't explain to anyone else how vast a gulf there is between necessity and goodness. "
― Plato , The Republic
31
" Ultimately, the definition of both the wonder tale and the fairy tale, which derives from it, depends on the manner in which a narrator/author arranges known functions of a tale aesthetically and ideologically to induce wonder and then transmits the tale as a whole according to customary usage of a society in a given historical period. The first stage for the literary fairy tale involved a kind of class and perhaps even gender appropriation. The voices of the nonliterate tellers were submerged, and since women in most cases were not allowed to be scribes, the tales were scripted according to male dictates or fantasies, even though they may have been told by women. Put crudely, it could be said that the literary appropriation of the oral wonder tales served the hegemonic interests of males within the upper classes of particular communities and societies, and to a great extent this is true. However, such a statement must be qualified, for the writing down of the tales also preserved a great deal of the value system of those deprived of power. And the more the literary fairy tale was cultivated and developed, the more it became individualized and varied by intellectuals and artists, who often sympathized with those society marginalized or were marginalized themselves. The literary fairy tale allowed for new possibilities of subversion in the written word and in print, and therefore it was always looked upon with misgivings by the governing authorities in the civilization process. "
― Jack D. Zipes , Spells of Enchantment: The Wondrous Fairy Tales of Western Culture
34
" The most common definition of [the word information] is: " the action of informing; formation or molding of the mind or character, training, instruction, teaching; communication of instructive knowledge.This definition remained fairly constant until the years immediately following World War II, when it came in vogue to use 'information' as a technological term to define anything that was sent over an electric or mechanical channel. 'Information' became part of the vocabulary of the science of messages. And, suddenly, the appellation could be applied to something that didn't necessarily have to inform. This definition was extrapolated to general usage as something told or communicated, whether or not it made sense to the receiver. Now, the freedom engendered by such an amorphous definition has, as you might expect, encouraged its liberal deployment. It has become the single most important word of our decade, the suspense of our lives and our work. "
35
" The most common definition [of the word information] is: " the action of informing; formation or molding of the mind or character, training, instruction, teaching; communication of instructive knowledge.This definition remained fairly constant until the years immediately following World War II, when it came in vogue to use 'information' as a technological term to define anything that was sent over an electric or mechanical channel. 'Information' became part of the vocabulary of the science of messages. And, suddenly, the appellation could be applied to something that didn't necessarily have to inform. This definition was extrapolated to general usage as something told or communicated, whether or not it made sense to the receiver. Now, the freedom engendered by such an amorphous definition has, as you might expect, encouraged its liberal deployment. It has become the single most important word of our decade, the suspense of our lives and our work. "