“I want to be the best criminal I can be.” That’s what Todd told himself every morning. That or something like it. And not every morning, but fairly often.
Adrian Caliban, The Magnificent Egglestons.
Doubt is an old philosophical joke. And the word “reasonable” is promotional language.
Cedric Plumm, All Roads Lead.
Loss.
Godfrey Tooke, Collected Aphorisms.
And where does “thinking” take us? To a casual leftism and to Zen.
Addison West, The Ontology of Destruction.
“Sir, I do not often use the expression shan’t, but I can assure you that I shan’t desist from using it in this case.”
Edward Valerian, The Empire Is Maintained.
“That one there, see? What does that cloud look like?”
“A weasel, Emily. It looks just like a weasel.”
Nicholas Bruhns, Otto the Magpie.
Logic cannot assess your assumptions. It merely reports their consequences.
Addison West, The Ontology of Destruction.
If you are a modern artist, then you are enmeshed in a set of concerns about what painting is or what it should be. And these “concerns” have developed over time: the concerns of Piet Mondrian might seem somewhat silly to an artist of 2010. On the other hand, traditional artists—Duccio, Memling, Hals—created images for viewers.
Orson Tatterhouse, The Anatomy Lesson of Dr. Nicolaes Tulp.
An art historian is a person who believes that old paintings came into existence so that they might—eventually—be addressed in a lofty academic language.
Orson Tatterhouse, The Anatomy Lesson of Dr. Nicolaes Tulp.
Modern people trust habitual liars.
Godfrey Tooke, Collected Aphorisms.
dennis scharnberg 