As long as politics is the shadow cast on society by big business, the attenuation of the shadow will not change the substance.

Every great advance in science has issued from a new audacity of imagination.

While they denounce as subversive anarchy signs of independent thought, of thinking for themselves on the part of others lest such thought disturb the conditions by which they profit, they think quite literally for themselves, that is of themselves.

Because rhythm is a universal scheme of existence, underlying all realization of order in change, it pervades all the arts, literary, musical, plastic and architectural, as well as the dance. Since man succeeds only as he adapts his behavior to the order of nature, his achievements and victories, as they ensue upon resistance and struggle, become the matrix of all esthetic subject-matter; in some sense they constitute the common pattern of art, the ultimate conditions of form. Their cumulative orders of succession become without express intent the means by which man commemorates and celebrates the most intense and full moments of his experience. Underneath the rhythm of every art and every work of art there lies, as a substratum in the depths of the subconsciousness, the basic pattern of the relations of the live creature to his environment.

The true antithesis of nature is not art but arbitrary conceit, fantasy, and stereotyped convention.

The recurrence of relations-not of elements-in different contexts, which constitutes transposition is qualitative and hence directly experienced in perception.

Works of art express space as opportunity for movement and action.

There is another significant involution of time and movement in space. It is constituted not only by directional tendencies-up and down for example-but by mutual approaches and retreatings. Near and far, close and distant, are qualities of pregnant, often tragic, import-that is, as they are experienced, not just stated by measurement of science. They signify loosening and tightening, expanding and contracting, separating and compacting, soaring and drooping, rising and falling; the dispersive, scattering, and the hovering and brooding, unsubstantial lightness and massive blow. Such actions and reaction are the very stuff out if which the objects and events we experience are made.

To look at a work of art in order to see how well certain rules are observed and canons conformed to impoverished perception. But to strive to note the ways in which certain conditions are fulfilled, such as the organic means by which the media is made to express and carry definite parts, or how the problem of adequate individualization is solved, sharpens esthetic perception and enriches its content.

The color is of the object and the object in all its qualities is expressed through color. For it is objects that glows- gems and sunlight; and it is objects that are splendid- crowns, robes, sunlight. Except as they express objects, through being the significant color-quality of materials of ordinary experience, colors effect only transient excitations.

In all ranges of experience, externality of means defines the mechanical.

All the cases in which means and ends are external to one another are non-esthetic.

In ordinary visual perception, we see by means of light; we distinguish by means of reflected and refracted colors. But in ordinary perception, this medium of color is mixed, adulterated. While we see, we also hear; we feel pressures, and heat and cold. In a painting, color renders the scene without these alloys and impurities. They are part of the dross that is squeezed out and left behind in an act of intensified expression. The medium becomes color alone, and since color alone must now carry the qualities of movement, touch, sound, etc., that are present physically on their own account in ordinary vision, the expressiveness and energy of color are enhanced.

Coleridge said that every work of art must have about it something not understood to obtain its full effect.

Even at the outset, the total and massive quality has its uniqueness; even when vague and undefined, it is just that which it is and not anything else. If the perception continues, discrimination inevitably sets in. Attention must move, and as it moves, parts, members, emerge from the background. And if attention moves in a unified direction instead of wandering, it is controlled by the pervading qualitative unity; attention is controlled by it because it operates within it.

Artist and perceiver alike begin with what may be called a total seizure, an inclusive qualitative whole not yet articulated, not distinguished into members.

Interest only becomes one-sided and morbid only when it ceases to be frank, and becomes sly and furtive.

No work of art can be instantaneously perceived because there is the no opportunity for conservation and increase in tension, and hence none for that release and unfolding which gives volume to a work of art.

Because energy is not restrained by other elements that are at once antagonistic and cooperative, action proceeds by jerks and spasms. There is discontinuity.

In most cases the esthetic objection to doses of morals and of economic or political propaganda in works of art will be found upon analysis to reside in the over-weighing of certain values at the expense of others until, except for those in a similar stare of one-sides enthusiasm, weariness rather than refreshment sets in.

Equally there is no rhythm when variations are not placed. There is a wealth of suggestions in the phrase "takes place". The change not only comes but it belongs; it had its definite place in a larger whole.

It is no accident that all democracies have put a high estimate upon education; that schooling has been their first care and enduring charge. Only through education can equality of opportunity be anything more than a phrase. Accidental inequalities of birth, wealth, and learning are always tending to restrict the opportunities of some as compared with those of others. Only free and continued education can counteract those forces which are always at work to restore, in however changed a form, feudal oligarchy. Democracy has to be born anew every generation, and education is its midwife.