मेघदूत: "नीचैर्गच्छत्युपरि दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Saturday, February 18, 2023

टाइम ट्रॅव्हलर जातो जिवानिशी, टी-रेक्सची बाळ म्हणतात वातड

James Gleick:
“A pregnant moment in intellectual history occurs when H.G. Wells’s Time Traveller (“for so it will be convenient to speak of him”) gathers his friends around the drawing room fire to explain that everything they know about time is wrong. This after-dinner conversation marked something of a watershed, more telling than young Wells, who had never even published a book before The Time Machine, imagined just before the turn of the twentieth century.
What is time? Nothing but a fourth dimension, after length, breadth, and thickness. “Through a natural infirmity of the flesh,” the cheerful host explains, “we incline to overlook this fact.” The geometry taught in school needs revision. “Now, it is very remarkable that this is so extensively overlooked…. There is no difference between Time and any of the three dimensions of Space except that our consciousness moves along it.”
“The world remains, always, a bundle of processes evolving in time,” says Smolin.
Logic and mathematics capture aspects of nature, but never the whole of nature. There are aspects of the real universe that will never be representable in mathematics. One of them is that in the real world it is always some particular moment.
In a coda he ruminates briefly on the problem of consciousness—“the really hard problem.” He doesn’t propose any answers, but I’m glad to see physicists, mathematicians, and computer scientists continuing to wrestle with it, rather than leaving it to neurologists. Whatever consciousness will turn out to be, it’s not a moving flashlight illuminating successive slices of the four-dimensional spacetime continuum. It is a dynamical system, occurring in time, evolving in time, able to absorb bits of information from the past and process them, able also to create anticipation for the future.”

 Artist: Kim Warp, The New Yorker, 2018