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Man and His Symbols
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The Chain of Chance
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Flowers for Algernon
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“We observe a fraction of the process, like hearing the vibration of a single string in an orchestra of supergiants. We know, but cannot grasp, that above and below, beyond the limits of perception or imagination, thousands and millions of simultaneous transformations are at work, interlinked like a musical score by mathematical counterpoint. It has been described as a symphony in geometry, but we lack the ears to hear it.”
Stanislaw Lem, BOZZA: Solaris

Friedrich Nietzsche
“Without music, life would be a mistake.”
Friedrich Nietzsche, Twilight of the Idols

“Look at the American Revolution in 1776. That revolution was for what? For land. Why did they want land? Independence. How was it carried out? Bloodshed. Number one, it was based on land, the basis of independence. And the only way they could get it was bloodshed. The French Revolution- what was it based on? The land-less against the landlord. What was it for? Land. How did they get it? Bloodshed. Was no love lost; was no compromise; was no negotiation. I'm telling you, you don't know what a revolution is. 'Cause when you find out what is it, you'll get back in the alley; you'll get out of the way. The Russian Revolution- what was it based on? Land. The land-less against the landlord. How did they bring it about? Bloodshed. You haven't got a revolution that doesn't involve bloodshed. And you're afraid to bleed. I said, you're afraid to bleed”
Malcolm X "Message to the Grassroots"

Stanisław Lem
“The human mind is only capable of absorbing a few things at a time. We see what is taking place in front of us in the here and now, and cannot envisage simultaneously a succession of processes, no matter how integrated and complementary. Our faculties of perception are consequently limited even as regards fairly simple phenomena. The fate of a single man can be rich with significance, that of a few hundred less so, but the history of thousands and millions of men does not mean anything at all, in any adequate sense of the word. The symmetriad is a million—a billion, rather—raised to the power of N: it is incomprehensible. We pass through vast halls, each with a capacity of ten Kronecker units, and creep like so many ants clinging to the folds of breathing vaults and craning to watch the flight of soaring girders, opalescent in the glare of searchlights, and elastic domes which criss-cross and balance each other unerringly, the perfection of a moment, since everything here passes and fades. The essence of this architecture is movement synchronized towards a precise objective. We observe a fraction of the process, like hearing the vibration of a single string in an orchestra of supergiants. We know, but cannot grasp, that above and below, beyond the limits of perception or imagination, thousands and millions of simultaneous transformations are at work, interlinked like a musical score by mathematical counterpoint. It has been described as a symphony in geometry, but we lack the ears to hear it.”
Stanisław Lem, Solaris

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