The World Motivation
Everybody talks, but there is no conversation.
“Color is the overpowering of black; white – the final victory over black.”
“To hear never-heard sounds,”
“From whichever side I start, I think I am in an old place where others have been before me.”
“God is busy and has no time for you.”
“Nature is an outcry, unpolished truth; the art—a euphemism—tamed wilderness.”
“Use the wings of the flying Universe,”
“Herein lies the supreme wisdom, human and divine; and the task of philosophy consists in teaching men to submit joyously to Necessity which hears nothing and is indifferent to all.”
“People are, generally speaking, either dead certain or totally indifferent (Both types are crawling around deep down in the rabbit's fur!)”
“The heart is like a woman, and the head is like a man, and although man is the head of woman, woman is the heart of man, and she turns man's head because she turns his heart.”
“A photograph does not present us with ‘likenesses’ of things; it presents us, we want to say, with the things themselves. But wanting to say that may well make us ontologically restless. ‘Photographs present us with things themselves’ sounds, and ought to sound, paradoxical … It is no less paradoxical or false to hold up a photograph of Garbo and say, ‘That is not Garbo,’ if all you mean is that the object you are holding up is not a human creature. Such troubles in notating so obvious a fact suggest that we do not know what a photograph is; we do not know how to place it ontologically. We might say that we don’t know how to think of the connection between a photograph and what it is a photograph of.”
“Burak Cem Coşkun’s Pumpkin Dessert with Tahini in the Cloud Chamber is a strikingly unique addition to contemporary literature that successfully merges the precision of theoretical physics with the lyrical soul of Anatolian philosophy. As the fourth volume in his *Science and Poetry* series, the work functions less like a traditional poetry collection and more like a "meta-text" where the author, a physicist by training, uses concepts like de-Sitter space, neutrinos, and topological solution spaces to explore deeply human themes of memory, existence, and nature. The structure is intellectually ambitious, moving from the "Fine Tuning" of cosmic scales to "Transcendental" reflections that feel rooted in the Ionian tradition of natural philosophers like Thales and Anaximander. What makes the reading experience so natural is how the author anchors these abstract scientific metaphors in physical locations—from the "glacial austerity of Stockholm" to the "mist-veiled nights of Tartu"—and ends with a fascinating philosophical "postulate" regarding Randomly Organized Structural Entities (ROSE) that attempts to unify biophysics with astrophysics through a geometry-centered framework. It is an evocative read for anyone interested in the intersection of mythos and logos, successfully arguing that the language of the universe is not just mathematical, but inherently poetic.”
“How, in such an alien and inhuman world, can so powerless a creature as man preserve his aspirations untarnished? A strange mystery it is that nature, omnipotent but blind, in the revolutions of her secular hurryings through the abysses of space, has brought forth at last a child, subject still to her power, but gifted with sight, with knowledge of good and evil, with the capacity of judging all the works of his unthinking mother. In spite of death, the mark and seal of the parental control, man is yet free, during his brief years, to examine, to criticize, to know, and in imagination to create. To him alone, in the world with which he is aquainted, this freedom belongs; and in this lies his superiority to the resistless forces that control his outward life.”