looked Zitate

In the terrible years of the Yezhov terror, I spent seventeen months in the prison lines of Leningrad. Once, someone "recognized" me. Then a woman with bluish lips standing behind me, who, of course, had never heard me called by name before, woke up from the supor to which everyone had succumbed and whispered in my ear (everyone spoke in whispers there):
"Can you describe this?"
And I

answered: "Yes, I can."
Then something that looked like a smile passed over what had once been her face.

Muslim ‘community’ in India had remained sharply divided into two mutually exclusive segments throughout the centuries of Islamic invasions and rule over large parts of the country. On the one hand, there were the descendants of conquerors who came from outside or who identified themselves completely with the conquerors - the Arabs, the Turks, the Iranians, and the Afghans. They glorified

themselves as the Ashrãf (high-born, noble) or Ahli-i-Daulat (ruling race) and Ahl-i-Sa‘adat (custodians of religion). On the other hand, there were converts from among the helpless Hindus who were looked down upon by the Ashrãf and described as the Ajlãf (low-born, ignoble) and Arzãl (mean, despicable) depending upon the Hindu castes from which the converts came. The converts were treated

as Ahl-i-Murãd (servile people) who were expected to obey the Ahl-i-Daulat and Ahl-i-Sa‘adat abjectly. Shah Waliullah (1703-62) and his son Abdul Aziz (1746-1822) were the first to notice this situation and felt frightened that the comparatively small class of the Ashrãf was most likely to be drowned in the surrounding sea of Hindu Kafirs. … They had to turn to the neo-Muslims. The

neo-Muslims, however, had little interest in waging wars for Islam. They had, therefore, to be fully Islamized, that is, alienated completely from their ancestral society and culture. That is why the Tabligh movement was started.

Art is not to be looked at. Art is looking at us. What is art to others is not necessarily art to me. Nor for the same reason and vice versa. What was art to me or was not some time ago might have lost that value or gained it in the meantime and maybe again though art is not an object but experience. To be able to perceive it we need to be receptive. Therefore art is there where art meets us now.

The content of art is visual formulation of our relation to life. The measure of art, the ratio of effort to effect, the aim of art revelation and evocation of vision.

And I learned very early [Josef Albers was then ten years old] how to make imitation of wood grain. This is something I have in common with Georges Braque. Braque also learned very early from his father how to imitate marble or wood grain. So I could easily make the appearance of oak or walnut on pine. That is very easy; a very simple technique. And I learned how to imitate marble. I never made

such a good joke as Braque did. When he was in the Mediterranean he fooled his friends. He painted a rowboat that had wood on one side and marble on the other side. You see, when he'd row out of the city it looked as if he were in a boat of a different material than when he came back, you see, one side was imitation wood and the other side was imitation marble.

Alchian: Two things you [Hayek] wrote that had a personal influence on me, after your Prices and Production, were 'Individualism and Economic Order' [sic — Alchian certainly has in mind Hayek's 'Economics and Knowledge'] and 'The Use of Knowledge in Society.' These I would regard as your two best articles, best in terms of their influence on me.
Hayek: 'Economics and Knowledge' — the '37

one — which is reprinted in the volume, is the one which marks the new look at things in my way.
Alchian: It was new to you, too, then? Was it a change in your own thinking?
Hayek: Yes, it was really the beginning of my looking at things in a new light. … I was aware that I was putting down things which were fairly well known in a new form, and perhaps it was the most exciting moment in

my career when I saw it [i. e. 'Economics and Knowledge'] in print.
Alchian: Well, I'm delighted to hear you say that, because I had that copy typed up to mimeograph for my students in the first course I gave here [i. e. UCLA]. And Allan Wallace … came through town one day, and I said, 'Allan, I've got a great article!" He looked at it, started to laugh, and said, "I've seen it too; it's just

phenomenal!' I'm just delighted to hear you say that it was exciting, because it was to me, too … that was a very influential article, I must say.

The hardship of it was a pleasure. Life was a pleasure; he looked back at its moments, many of them as shrouded in mist as the opposite bank of the Thames. Objectively, many of them held only misery, fear, confusion; but afterward, and even at the time, he had known an exhilaration stronger than the misery, fear, or confusion. A fragment of belief came to him from another epoch: Cogito ergo sum.

For him that had not been true; his truth had been: Sentio ergo sum. I feel, so I exist. He enjoyed this fearful, miserable, confused life, and not only because it made more sense than nonlife. He could never explain that to anyone.