“It is comforting to be liked, and it would be pleasant to bask in the sunshine of perpetual public favor. As tempting as that might be, I could not go that way.”
Warren, Earl. The Memoirs of Earl Warren. Garden City, NY: Doubleday, 1977. p. 332.
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“Considering this fact along with the further fact that every organism maintains its identity despite the perpetual flow through it of matter and energy called metabolism, there is seen to be no escape from the conclusion that the organism is creative in the deepest sense.”
Ritter, William Emerson. The Higher Usefulness of Science, and Other Essays. Boston, MA: Gorham Press, 1918. p. 93.
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“In considering the ocean in its entirety as an environment, we are at first impressed by the wide ranges of living conditions, the salinities varying from those of dilute estuarian waters to concentrations of 37% or more in the open sea, temperatures from 30°C to freezing point, light intensities from brilliant sunlight at the surface to absolute and perpetual darkness in the deeper layers, and pressures from a single atmosphere at the surface to about 1000 atmospheres in the greatest oceanic deeps."
Sverdrup, H. U., Martin W. Johnson, and Richard Howell Fleming. The Oceans: Their Physics, Chemistry, and General Biology. New York: Prentice-Hall, 1942. p. 272.
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“There is an almost visible line that a person of the invading culture could walk across: out of history and into a perpetual present, a way of life attuned to the slower and steadier processes of nature.”
Snyder, Gary. The Practice of the Wild. San Francisco: North Point Press, 1990. p. 14.
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“In the very beginning everything was resting in perpetual darkness: night oppressed all the earth like an impenetrable thicket.”
Rothenberg, Jerome. Technicians of the Sacred a Range of Poetries from Africa, America, Asia, Europe, and Oceania. Garden City, NY: Anchor Books, 1969. p. 9.
From Strehlow, T.G.H., “Genesis II.” Aranda Traditions (Melbourne University Press, 1947), pp. 7-8 (abridged).
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“A frolicking of joints, the musical angle which the arm makes with the forearm, a foot that falls, a knee that bends, fingers that seem to fly off the hand— all this is like a perpetual play of mirrors in which the parts of the human body seem to send each other echoes, musical phrases, in which the notes of the orchestra, the whispers of the wind instruments evoke the idea of a violent aviary where the actors themselves provide the beating wings.”
Artaud, Antonin. From “On the Balinese Theater.” In Symposium of the Whole: A Range of Discourse toward an Ethnopoetics, edited by Jerome and Diane Rothenberg, 237. Berkeley; Los Angeles; London: University of California Press, 1983.
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