Mazen Atiq

“Conway felt again, as he gazed up at the stupendous mountain wall, that there was a superb and exquisite peril in the scene; but for some chance-placed barrier, the whole valley would clearly have been a lake, nourished continually from the glacial heights around it. Instead of which, a few streams dribbled through to fill reservoirs and irrigate fields and plantations with a disciplined conscientiousness worthy of a sanitary engineer. The whole design was almost uncannily fortunate, so long as the structure of the frame remained unmoved by earthquake or landslide”
― James Hilton

“Our comforting conviction that the world makes sense rests on a secure foundation: our almost unlimited ability to ignore our ignorance.”
― Daniel Kahneman, Thinking, Fast and Slow

“A man has as many social selves as there are distinct groups of persons about whose opinion he cares. He generally shows a different side of himself to each of these different groups.”
― William James

“Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.
Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.
And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce”
― Aldous Huxley, The Doors of Perception