A Quote by Charles Lindbergh
I can't get used to the ease with which one covers the world today. It's no longer an effort--Pole--equator--oceans--continents--it's just a question of which way you point the nose of your plane. The pure joy of flight as an art has given way to the pure efficiency of flight as a science.... Science is insulating man from life -- separating his mind from his senses. The worst of it is that it soon anaesthetizes his senses so that he doesn't know what he's missing.
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The refining influence is the study of art, which is the science of beauty; and I find that every man values every scrap of knowledge in art, every observation of his own in it, every hint he has caught from another. For the laws of beauty are the beauty of beauty, and give the mind the same or a higher joy than the sight of it gives the senses. The study of art is of high value to the growth of the intellect.
Why all this insistence on the senses? Because in order to convince your reader that he is THERE, you must assault each of his senses, in turn, with color, sound, taste, and texture. If your reader feels the sun on his flesh, the wind fluttering his shirt sleeves, half your fight is won. The most improbable tales can be made believable, if your reader, through his senses, feels certain that he stands at the middle of events. He cannot refuse, then, to participate. The logic of events always gives way to the logic of the senses.
To those who think that all this sounds like science fiction, we point out that yesterday's science fiction is today's fact. The Industrial Revolution has radically altered man's environment and way of life, and it is only to be expected that as technology is increasingly applied to the human body and mind, man himself will be altered as radically as his environment and way of life have been.
It is the great destiny of human science, not to ease man's labors or prolong his life, noble as those ends may be nor to serve the ends of power, but to enable man to walk upright without fear in a world which he at length will understand and which is his home.
The plain man is familiar with blindness and deafness, and knows from his everyday experience that the look of things is influenced by his senses; but it never occurs to him to regard the whole world as the creation of his senses.
The physical world is the point of departure from whence the magician works and upon which every human being, initiated or not, live and moves through his senses, his spirit, his soul and his physical body.
This example illustrates the differences in the effects which may be produced by research in pure or applied science. A research on the lines of applied science would doubtless have led to improvement and development of the older methods - the research in pure science has given us an entirely new and much more powerful method. In fact, research in applied science leads to reforms, research in pure science leads to revolutions, and revolutions, whether political or industrial, are exceedingly profitable things if you are on the winning side.
What if criticism is a science as well as an art? Not a pure or exact science, of course, but these phrases belong to a nineteenth-century cosmology which is no longer with us.
The animal man lives in the senses. If he does not get enough to eat, he is miserable; or if something happens to his body, he is miserable. In the senses both his misery and his happiness begin and end.
It is alone that part of the external universe which we call material which acts on man through his senses - that part of which we ordinarily feel our knowledge to be the surest; but in reality, strangely enough, as will soon appear, this is one of the aspects of the external world, of which we can know nothing.
We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded ... unconscious, automatic.
But the thing that stands eternally in the way of really good writing is always one: the virtual impossibility of lifting to the imagination those things which lie under the direct scrutiny of the senses, close to the nose. It is this difficulty that sets a value upon all works of art and makes them a necessity. The senses witnessing what is immediately before them in detail see a finality which they cling to in despair, not knowing which way to turn. Thus this so-called natural or scientific array becomes fixed, the walking devil of modern life.
Artificial flight may be defined as that form of aviation in which a man flies at will in any direction by means of an apparatus attached to his body, the use of which requires personal skill. Artificial flight by a single individual is the proper beginning for all species of artificial flight, as the necessary conditions can most easily be fulfilled when man flies individually.
Modern man lives isolated in his artificial environment, not because the artificial is evil as such, but because of his lack of comprehension of the forces which make it work- of the principles which relate his gadgets to the forces of nature, to the universal order. It is not central heating which makes his existence 'unnatural,' but his refusal to take an interest in the principles behind it. By being entirely dependent on science, yet closing his mind to it, he leads the life of an urban barbarian.
The light dove, in free flight cutting through the air the resistance of which it feels, could get the idea that it could do even better in airless space. Likewise, Plato abandoned the world of the senses because it posed so many hindrances for the understanding, and dared to go beyond it on the wings of the ideas, in the empty space of pure understanding.
The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing... there are times when the simple dignity of movement can fulfill the function of a volume of words. There are movements which impinge upon the nerves with a strength that is incomparable, for movement has power to stir the senses and emotions, unique in itself. This is the dancer's justification for being, and his reason for searching further for deeper aspects of his art.
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